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RIO/AVANT-PROG

A Progressive Rock Sub-genre


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RIO/Avant-Prog definition

Avant-Prog

Avant-prog is an umbrella term which refers to any progressive rock artist with a strong leaning towards avant-garde and highly experimental approaches to music. Therefore, it includes the sub-genres of Rock In Opposition (see below) and Zeuhl in addition to general avant-prog artists.

Avant-prog is generally considered to be more extreme and 'difficult' than other forms of progressive rock, though these terms are naturally subjective and open to interpretation. Common elements that may or may not be displayed by specific avant-prog artists include:

- Regular use of dissonance and atonality.
- Extremely complex and unpredictable song arrangements.
- Free or experimental improvisation.
- Fusion of disparate musical genres.
- Polyrhythms and highly complex time signatures.

Most avant-prog artists are highly unique and eclectic in sound and consequently tend to resist easy comparisons. However, Frank Zappa is often cited as a major influence on many avant-prog artists due to his early adoption of avant-garde and experimental attitudes within a predominantly rock/jazz context.


Rock In Opposition

Rock In Opposition (RIO for short) is the name of a short-lived movement that has gone on to define a sub-genre of progressive rock, and which is now sometimes applied to musicians whose careers hadn't even started by the time the movement had ceased to exist in any official capacity. It is not synonymous with the term avant-prog, for whilst bands associated with RIO are (generally speaking) avant-prog in nature, most avant-prog bands are not associated with RIO.

The roots of RIO can be traced to Henry Cow, a UK progressive rock band with a distinctly avant-garde sound and left wing political ideology. Henry Cow toured extensively in Europe throughout much of the 1970s and came into contact with a few similarly inclined bands, in an ideological sense as much, if not more, than a musical one. These groups did not always have much in common stylistically, apart from a basic leaning towards fusing avant-garde qualities with elements of rock. Most of these bands were working independently at the time and had no distribution or realistic opportunity of touring outside their native countries. The idea of Rock In Opposition was to create an independent network of like-minded performers that would not be dependent on the largesse of major record companies for their survival.

Henry Cow invited four of these bands to play alongside them at the first Rock in Opposition festival on 12th March 1978, at the New London Theatre, Drury Lane in London. The British Arts Council helped the funding of the festival with a ú1000 grant. The Rock in Opposition slogan "The music the record companies don't want you to hear" was altered very slightly for the flyer advertising the first Rock in Opposition concert.

The five initial Rock in Opposition bands were:

Henry Cow (England)
Univers Zero (Belgium)
Etron Fou Leloublan (France)
Samla Mammas Manna (Sweden)
Stormy Six (Italy)

Three additional bands were later officially elected to the movement:

Art Zoyd (France)
Art Bears (England)
Aksak Maboul (Belgium)

The involved bands had many disagreements in a meeting at Sunrise Studios in Kirchberg, Switzerland in December 1978 about the purpose of the group, and its meaning. They eventually came up with a plan to continue their joint concerts. They organised three more festivals and co-operative record distributions but eventually the RIO group dissolved. It left behind a legacy that would initially be picked up by later projects from the many musicians involved with the original movement, and later on by artists inspired by the original RIO groups. Miriodor and Ensemble Nimbus are often said to be influenced by Samla Mammas Manna, for example, and are consequently sometimes referred to as RIO bands.

Since 2007, a contemporary RIO festival has been held most years in Carmaux, France. This festival has included artists closely associated with the original RIO movement alongside bands from the wider world of avant-prog and experimental music.

Dates of the original RIO festivals

12 March 1978 at New London Theatre, Drury Lane, London, England (set up by Henry Cow)
26 April 1979 to 1 May 1979 at Teatro dell'Elfo, Milano, Italia (set up by Stormy Six)
28/29 September 1979 in Uppsala, Sweden (set up by Samla Mammas Manna)
Bruxelles, Belgium (set up by Univers Zero)

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

Written/Compiled/Edited by past and present members of the RIO/Avant-Prog team

Current team members:
as at 20/6/2015

Raffaella (Raff)
Luca (octopus-4)
Ori (frippism)
Ian (Nogbad_The_Bad)

RIO/Avant-Prog Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 RIO/Avant-Prog | More Top Prog lists and filters

4.33 | 1184 ratings
HOT RATS
Zappa, Frank
4.64 | 36 ratings
H─XAN
Art Zoyd
4.30 | 680 ratings
THE GRAND WAZOO
Zappa, Frank
4.30 | 663 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.30 | 230 ratings
UZED
Univers Zero
4.30 | 211 ratings
SING TO GOD
Cardiacs
4.33 | 130 ratings
IN EXTREMIS
Thinking Plague
4.27 | 295 ratings
CHOIRS OF THE EYE
Kayo Dot
4.27 | 191 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.26 | 209 ratings
M┼LTID
Samla Mammas Manna
4.42 | 52 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.26 | 209 ratings
HERESIE
Univers Zero
4.35 | 67 ratings
JEAN LOUIS
Jean Louis
4.40 | 49 ratings
BOOK M
Secret Chiefs 3
4.45 | 38 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.45 | 38 ratings
SIRENS AND SILENCES/WORK RESUMED ON THE TOWER
News From Babel
4.29 | 95 ratings
BARBARO (MA NON TROPPO)
Present
4.24 | 166 ratings
WESTERN CULTURE
Henry Cow
4.30 | 74 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.55 | 26 ratings
LETTERS HOME
News From Babel

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ZYPRESSEN
Zypressen

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Latest RIO/Avant-Prog Music Reviews


 Delýrivm C˛rdia by FANTOMAS album cover Studio Album, 2004
3.35 | 61 ratings

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Delýrivm C˛rdia
Fantomas RIO/Avant-Prog

Review by Necrotica

4 stars Mike Patton's sure an interesting person. He's surely one of the best vocalists of our generation (along with being an awesome composer/keyboardist), but his works are definitely not accessible. Take any of Mr. Bungle's records (perhaps excluding California, one that's actually a bit sane), for instance. The first album was pure insanity, blending funk, prog, jazz, and bunch of other wild elements into one giant mixing pot. Disco Volante was even crazier, bordering to downright creepy. After the Bungle years, he created a project called Fantomas, named after a French crime novel.

This particular work, the mysteriously named "Delirium Cordia," stands out from the others in Fantomas's collection because of it's sheer length, clocking in at 75 minutes. Basically, the record sounds like the equivalent of a horror movie soundtrack (something Patton might have intended to make, considering his mind), but with one exception: YOU are the victim. That's right. Especially if you listen with headphones, everything will feel like it's happening to you. This includes, but is not limited to: Surgery, voices, light piano sounds, indescribable noises, crashing waves, etc.

The members surprisingly have little to do in this album. Mike Patton is really the star of the show here, while the other members just generally do other supporting noises/riffs. Dave Lombardo actually contributes to some cymbal noise and drum rolls for ambiance, but little else here. Buzz "King Buzzo" Osbourne does really low, distorted guitar fills through moments of tension. To be honest, Trevor Dunn doesn't do much of anything here, aside from riffs with the other band members. Again, Mike Patton rules most of the music here.

As with most ambient listens, this record will turn off a lot of listeners. There are especially some moments that will scare the living hell out of you. When lying in bed in the dark, this becomes even scarier, mainly when you just anticipate something to happen in the utter silence of a part of the piece. However, there are some instances of relief from the sorrowful creepiness on occasion. For instance, there is a portion of the song where a Hawaiian easy-listening tune is being played. Don't hold your breath, though, as that will disappear soon enough.

Also, there are plenty of moments that sound like you are a victim, as has been said before. As an example, there is a portion where surgeons are operating on a body, and it sounds like the tools are scraping at you madly. Unless you are patient and can handle that creepiness, you won't last for even a minute of the incessant craziness going on. Likewise, some noises will leave your imagination to fill in the rest, as they're pretty indescribable.

Overall, this album is not for the light hearted in ANY way. If you are a Mike Patton fan, looking for risky and daring music, or a fan of ambient works, I'd suggest checking it out as it's quite good. Others, I'm afraid, might be turned off by this album.

(Originally published on Sputnikmusic)

 Wounded Fhealer Series: Part Four by MAKE A RISING album cover Singles/EPs/Fan Club/Promo, 2015
4.00 | 1 ratings

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Wounded Fhealer Series: Part Four
Make A Rising RIO/Avant-Prog

Review by LearsFool

— First review of this album —
4 stars With the fourth sample from the Wounded Fhealer Chronicles, Make A Rising have put out only a single track, the inevitable when the planned LP has fifteen tracks, but it is also a long, juicy one. Opening with a strings driven section as much modern indie as it almost '80's alt rock, it quickly goes through a section with playful guitar and strings towards a choral section. A percussion and bells filled musical break leads to the band's trademark vocals really shining in a tense section before suddenly loosening and slowing down; it's strictly beautiful until some strange winds/strings combo instead substitute a weirder beauty. And with that, the track ends. A fine and, as usual, ever brilliantly shifting offering from the band.
 Fire! Orchestra: Exit! by FIRE! album cover Studio Album, 2013
3.98 | 10 ratings

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Fire! Orchestra: Exit!
Fire! RIO/Avant-Prog

Review by snobb
Special Collaborator Honorary Collaborator

4 stars Originally written for www.jazzmusicarchives.com

Swedish sax player Mats Gustafsson is a household name in the local alternative scene, and his countless projects represent a wide range of jazz-related alternative music from the scratchy punk-jazz of The Thing, to "out" solo improvs and free-form duos with English bassist Barry Guy, as well as others. Last year (2012), when his Norwegian-Swedish trio The Thing released an album with r'n'b/hip hop vocalist and Don Cherry step-daughter Nenah Cherry, it almost sounded like a joke - but only on the first spin. Catchy RnB songs supported by a rocking/free-jazz trio were strange, but an attractive mix which received good media and listener attention.

All of that looked like a one-night adventure until the end of this January when Mats continued the same concept of adding guests to his groups, but with a much more ambitious project. Using his other trio - the all-Swedish Fire!, he formed a 30-piece Fire! Orchestra adding 5 vocalists, 10 reed players, 4 guitarists, 3 drummers, 3 bassists, plus a keyboardist and electronics wizard to the original trio's line-up! Based on the ritualistic lyrics written by Dutch avant-garde rock musician Arnold de Boer, Orchestra recorded a two part suite with chant vocals from Mariam Wallentin (of Swedish experimental duo Wildbirds & Peacedrums) and Ethiopian-Swedish soprano Sofia Jernberg.

By its concept, Exit! could be compared with Carla Bley's "Escalator Over The Hill", Charlie Haden's Liberation Orchestra or Keith Tippet's Centipede - but transferred to the XXI century. From the very first seconds the listener will be caught by industrial rock pulsations orchestrated by a mind-blowing reeds section and exceptional vocals. The Cherry Thing sounds like a childish rehearsal compared to Exit!'s monumental beauty. With support from leading Swedish jazz and avant-garde rock musicians such as guitarist David Stackenas, bassist Dan Beglund (ex E.S.T., Tonbruket), reeds players Fredrik Ljungkvist (Atomic) and Magnus Broo (Atomic, Angles) as well as others, this work represents the entire modern experimental Swedish scene at its best. Avant-garde free-jazz/rock big band with operatic vocals and contemporary classical music elements played live in front of an enthusiastic audience - you just have to hear it!

It's a pity the album is so short, just around 45 minutes. Mats is known as a passionate vinyl record collector, probably it's the reason why his albums are usually just vinyl disc-long.

Highly recommended - I believe this album will take an honorable place among this year's best releases.

 Dance me This by ZAPPA, FRANK album cover Studio Album, 2015
4.50 | 9 ratings

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Dance me This
Frank Zappa RIO/Avant-Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

5 stars This is a bitter-sweet album from Frank Zappa. It is poignant in that, according to the liner notes, this "is the last album Frank Zappa completed before his death". It is sweet because, even twenty- two years after his all-too-early death, we still have "new" Frank Zappa music. Unlike many other artists whose posthumous releases have been pieced together decades after their demise from left overs, out-takes and unfinished sessions, Frank was well aware of his fate for some time, and created a number of finished albums for his family to publish for years to come.

Also of note, the opening track has an all too brief (only 10 to 15 seconds long) guitar solo from Frank himself, and again from the liner notes: "As far as we know that was the last time he played guitar". This title track is actually the closest thing to a rock song on the album. Although completely sequenced on his Synclavier (with assistance from Todd Yvega) , Frank has created a piece similar to those that he often used to open his shows, a light vamp with space for solos. This space in this case is mostly filled with the eerie sound of a trio of Tuvan throatsingers, who appear in a number of tracks on this album.

The second track, "Pachuco Gavotte"' while played on the Synclavier, has the feel of Zappa's classic "Black Page", and sounds somewhat organic.

The centerpiece of the album is the half-hour long, six-part exploration, "Wolf Harbor". This is an amazing work, an extension of the work of Edgard Varese, whom Zappa has quoted and imitated often through the years. While Varese was limited to analog tape effect to create his unearthly sounds, Zappa has, of course, his Synclavier to expand the palette extensively. Although Zappa was known for musical excess, here he uses restraint to give the percussion and sounds room to come to life.

The closing track, "Calculus"' is notable as it contains a process invented by Yvega dubbed by Frank as "burglar music". Burglar music uses an algorithm to take a number of short sequences and play each one concurrently at different time intervals. This Yvega would use to give possible intruders the impression that someone was in the studio working. On "Calculus" the track was finished with the Tuvans singing over the results. The track is actually astounding.

I will admit that this album is not for everyone. The album is adventurous, sublime, and also beautiful, but the experimental nature may scare some listeners away. Scaring listeners away was never a deterrence to the incredible Mr. Zappa.

 The King & Eye: RMX by RESIDENTS, THE album cover Studio Album, 2004
1.70 | 8 ratings

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The King & Eye: RMX
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

1 stars So if you take a 3 star album full of Elvis covers that are done in a dark, minimalistic and sometimes sarcastic manner, and remix them so that they have very predictable dance beats behind them, do you think you can make it better? Well, all of the above traits in the original album were the only positives about the so-so album, and these things are completely erased from these remixes, except for the crazy guitar solo in "Devil in Disguise". Other than that, this is just too predictable and do nothing to add to the originals.

I was going to give this album 2 stars, but I was only half way through it when I made that decision. As the album continues, it gets even more annoying. Thus, it gets 1 star. Silly Residents anyway. That's all I got to say about this one.

 The King & Eye by RESIDENTS, THE album cover Studio Album, 1989
3.17 | 19 ratings

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The King & Eye
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

3 stars So, this is a tough one. It is genius and hilarious what The Residents are doing here, but it's hard to tell if they are paying homage to Elvis, or making fun sometimes. This is an album full of Elvis covers, with the typical (usually) minimalistic approach. They dismantle the songs, make them dark, occasionally throw some loud and strange guitar passages in there. Throughout the album, there is some spoken word skits where a person is sitting there telling the story of the King with some children listening in and making comments. KInd of a strange bedtime story.

The covers are interesting, but the album gets old fast. As much as you want to like what you are hearing, the rendering of the songs by what seems to be satirical takes on the music, it tends to run on too long, and it also is not an album you will want to listen to very often. However, hearing the songs this way emphasizes the darkness of some of the lyrics, while with others, the rendering changes the meanings completely. There are some very decent tracks here however, namely "Devil in Disguise", "Little Sister", "His Latest Flame" (with a surprisingly emotional guest vocalist) and "Viva Las Vegas". But the few high points here don't save the overall album.

I am surprised that you don't hear much mention from reviewers, professional or amateur, about how there are suggestions of religious sarcasm here, how there are hints of comparisons with Jesus and God, but if you listen to the story and the way the songs are delivered, surely you will hear this. Just another way The Residents make fun of music and society.

Anyway, it is an interesting concept, but it loses it's appeal after so long and it has a very short appeal as far as returning to the album later. It is kind of fun to play for Elvis fans though and a sick joke. Anyway, we'll give this one 3 stars. Good, but not terrific.

 In Extremis by THINKING PLAGUE album cover Studio Album, 1998
4.33 | 130 ratings

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In Extremis
Thinking Plague RIO/Avant-Prog

Review by marcobrusa

5 stars First time i thought it was crap. Second time too. Third time i was maybe more intrested because of some moments but nothing more. And after listening a few more times, it began to hit me. This is one of those albums that needs at least ten listenings to experience it properly. First, production is practically perfect (except for the compression maybe... sometimes instruments sound packaged). Second, this album has a variety of moods and instrumentation in every track that coud seem a little excessive. The truth is that the compositions are so good and different that instead of bothering me (like the first time i listend to this album) they began to attract me. Everything is complex all the time. After several listenings y developed the taste for the dissonance in these songs! This is a necessary album for the ones that are looking for obscure feelings through music.
 Just Another Band From L.A. by ZAPPA, FRANK album cover Live, 1972
3.07 | 119 ratings

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Just Another Band From L.A.
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

2 stars This is basically the 2nd part of the Fillmore East album for those of you who are Flo and Eddie fans. Personally, I think most of their shenanigans are obnoxious and I don't like most of the albums that they are involved with. This one probably has a little better quality recording than Filmore East did, but it's still very annoying, even more so. This album is loaded with humor and vocals, not much in the way of solos or instrumentals, though Frank does go into a short guitar solo in the middle of "Call Any Vegetable".

The opener on this is the 24 minute epic that was not recorded on any official album before this point. It is FZ satirical take on the rock opera trend that was popular at the time. It's a funny enough skit, but most of it is goofing around and spoken word with very little to offer musically. It takes up an entire side of this album, and after the first listen, kind of loses it's impact. The other tracks on the B-side don't get much better either. It's just full of a lot of Flo and Eddie hijinx and some of it is original to this album and most of it is Flo and Eddie's takes on past Mother's tracks.

If you are a fan of the era in FZ's history, then you will enjoy this. Personally, I would rather listen to almost any other era in FZ's discography than anything with Flo and Eddie in it, and this album does nothing to win me over either. Not that great for me.

 Trout Mask Replica by CAPTAIN BEEFHEART album cover Studio Album, 1969
3.76 | 286 ratings

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Trout Mask Replica
Captain Beefheart RIO/Avant-Prog

Review by AndyJ

2 stars Captain Beefheart's 'Trout Mask Replica' has to this date probably been the most difficult album I've ever listened to. Considered something of an infamous album I was keen to check it out. I had the chance to listen to it for the first time a few months ago while visiting a friend. I was browsing through his rather large CD collection and I spotted it, tucked away in the corner. The moment I pulled it out and held it up for him I swear I heard a slight groan from him, followed by a wry smile and a chuckle.

At first I was optimistic. Yes, the opening of the album is pretty wacky and a bit discordant, but then so is the opening first moments of Close To The Edge. At any moment some structure would kick, there would be a hook and I'd be drawn in. I waited, and waited some more. And then it dawned on me that this was really 'it'. Very little structure, at least in the classical sense, no hooks, few melodies, bizarre lyrics and vocal style from Mr Beefheart. It honestly sounded like some very young children had been set loose in an abandoned music shop and told to 'go nuts'. At this point I realized exactly why this album was regarded as an infamous recording of the 1960's. My friend joked to me as we sat and listened that this would probably all make much more sense if we were high on drugs. As it was we were both stone cold sober drinking coffee!

I turned the album off about 2/3rds of the way through and put some Led Zeppelin on just to un-fry our brains. But I was left feeling intrigued still, and also a little bit confused. Which record label had green lighted the recording of this album? So I spent a bit of time on the Internet reading about this album, and I looked at the Prog Archive reviews for this album and was surprised, to say the least, at the overwhelming high scores that this album has achieved. I felt angry - not at the other reviewers, but at myself. What was I missing - why did this album just sound like discordant noise to my ears but for other's it is a masterpiece of music?

Since that evening a few months ago I have tried to listen to this album again. I cannot listen to all 28 tracks in one sitting, which probably tells you something about my feelings towards this album. There are some moments on the album such as in the track 'Hair Pie: Bake 2' where there is some structure and I find myself tapping my feet, but the overriding sense I feel when listening to this album is "I'd rather be listening to something else".

It would be harsh to give this album 1 star, after all a lot of people swear by it as a classic album. I've come to the conclusion myself that this album most definitely is not for me, but it deserves at least 2 stars.

 Pellucidar / A Dreamers Fantabula by ZORN, JOHN album cover Studio Album, 2015
3.04 | 4 ratings

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Pellucidar / A Dreamers Fantabula
John Zorn RIO/Avant-Prog

Review by admireArt
Collaborator PSIKE Team

3 stars Jazz a lß Zorn

The most notable thing about John Zorn┤s "Pellucidar" (2015), besides the fact that he acts as arranger, composer, conductor, primary artist and producer, is his amiable approach to classic and modern Jazz, with slight brushes of Rock, standards.

Unexepected as where it will go as most of his releases, regarding stylings, this project shows its roots from the very first composition to its last.

Its songs run through quiet travelled roads, yet there is this "Zornesque" attribute that marks its own step without sabotaging or twisting the styles as to become a parody of themselves. In fact it enforces these style "standards" to the limit without shame.

To advise what kind of instrumental environment you will find, let me finger point that the electric piano (Jamie Saft) and Kenny Wollesen's vibraphone play lead role and they are counterpointed by an electric guitar (Marc Ribot) which varies its function accordingly. Sometimes angry and poignant, others distant, dreamy and wrapping, others "latin" like and others just truly Rocking. And of course everything is tightly bound by a true to the varied Jazz styles rhythm section (Trevor Dunn, Ben Perowsky and Cyro Baptista, among others).

Music wise it could actually turn out be a truthful tribute to some of the Jazz legends that have enriched these styles. Influences like Tatum, Hampton and Rich trio or Dave Brubeck or Wes Montgomery to B.B. King to George Benson (yes I┤m also surprised) and whatever may fall in between.

As far as the rating goes, I have to agree that in John Zorn┤s terms this album is quiet daring, yet I could not really consider this, extremely good and clean-cut, release as "essential", even though it is flawless.

***3. (imaginary) 9, PA stars.

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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETËN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARKTIS/AIR Austria
ARMON KUILU Finland
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
BABLICON United States
BANDA EL┴STICA Mexico
ARRIGO BARNAB╔ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BEGNAGRAD Yugoslavia
BOB BELL Canada
BEN LEVIN GROUP United States
BIG BLOCK 454 United Kingdom
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOV┴ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
FRANăOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
CALOMITO Italy
THE CAMBERWELL NOW United Kingdom
CAPILLARY ACTION United States
CAPTAIN BEEFHEART United States
CARDBOARD AMANDA Multi-National
CARDIACS United Kingdom
CARTEL CARNAGE France
CARTOON United States
CASSIBER Germany
CATERPILLARMEN Iceland
CAZUELA DE CďNDOR Chile
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CH╩NE NOIR France
GUIGOU CHENEVIER France
CHOU PAHROT United Kingdom
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
THE DESERTS OF TRAUN United States
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DIE KNODEL Austria
DISCUS Indonesia
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-M╚RE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
ELECTRIC MASADA United States
RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADI└ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAY╔ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACTOR BURZACO Argentina
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FAMILHA ART┌S France
FANTOMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FEST═N SAGITAL Chile
FILTHY HABITS ENSEMBLE Spain
FINNEGANS WAKE Belgium
FIRE! Sweden
THE FLYING LUTTENBACHERS United States
FOREVER EINSTEIN United States
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