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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 27/8/2014

Steve (HolyMoly) ... team leader
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 | 1051 ratings
HOT RATS
Zappa, Frank
4.32 | 563 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.31 | 588 ratings
THE GRAND WAZOO
Zappa, Frank
4.32 | 180 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.31 | 196 ratings
SING TO GOD
Cardiacs
4.29 | 211 ratings
UZED
Univers Zero
4.33 | 114 ratings
IN EXTREMIS
Thinking Plague
4.26 | 277 ratings
CHOIRS OF THE EYE
Kayo Dot
4.43 | 51 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.28 | 159 ratings
UNIVERS ZERO (1313)
Univers Zero
4.25 | 195 ratings
M┼LTID
Samla Mammas Manna
4.34 | 65 ratings
JEAN LOUIS
Jean Louis
4.49 | 31 ratings
SIRENS AND SILENCES/WORK RESUMED ON THE TOWER
News From Babel
4.24 | 149 ratings
WESTERN CULTURE
Henry Cow
4.65 | 20 ratings
THE UNIVERSE WILL PROVIDE
Keneally, Mike
4.53 | 26 ratings
H─XAN
Art Zoyd
4.21 | 182 ratings
HERESIE
Univers Zero
4.28 | 67 ratings
U TOTEM
U Totem
4.25 | 87 ratings
BARBARO (MA NON TROPPO)
Present
4.16 | 354 ratings
UNCLE MEAT
Zappa, Frank

RIO/Avant-Prog overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the RIO/Avant-Prog experts team

CARTOON
Cartoon
KNEBNAG─UJE
Pocket Orchestra
TIGROVA MAST
Tigrova Mast
AHVAK
Ahvak

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Latest RIO/Avant-Prog Music Reviews


 Redwings Nest by SOT album cover Studio Album, 2014
3.79 | 9 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Ok, let's attempt a review about one year after my last one... I have loved the first excellent album of this Norwegian trio and I have to say that this follow-up, even if quite different, is as good as that. There are some intersting news: Lars doesn't play tuba only but we can hear an excellent trumpet riff on "Morrakvisten", plus some noises and sounds throughout the album which should be coming from his pot. Skjalg's guitar is more "rude" and distorted, especially on the first three tracks, but also later there are some very rocking parts. Last but not least, it's good hearing a drummer-pianist not playing pop tunes in his old age.... The tracks are shorter respect to Kind of Saltz, but to me this means that the band has gone directly to the core of the musical ideas. The hard start becomes softer while progressing with the tracks, some jazzy moments are not far from Canterbury, but sometimes the energy rises again. Another new is that there are some guests. Cello and strings add a touch of chamber rock. The vocalists are at work not only to sing (few) but also to add speeches and a touch of crazyness to some tracks (but I haven't given much attention to them, honestly). This album is probably less spontaneous than the first, but it's more mature.

I apologize with the band for this is surely a low-quality review, but it's my first after a lot of time. If you have liked the debut which I actually rated with 4 stars, this doesn't deserve less. If you have missed it, this album will appeal fans of King Crimson which I suspect is one of the prinicipal influencer of the band, but also Canterbury in general. It appears clear that there's a lot of jazz skill behind the trio and even in the darkest moments the music is not too difficult even for listeners not used with this kind of things.

Morrakvisten and the title track are may personal favorites, but all the album is athe same excellent level.

4 full stars

 3rd Warning (3Ŕ Avertissement) by MIRIODOR album cover Studio Album, 1991
3.97 | 31 ratings

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3rd Warning (3Ŕ Avertissement)
Miriodor RIO/Avant-Prog

Review by apps79
Special Collaborator Neo Prog Team

4 stars At the fall of 1988 Miriodor took part at the Festival International de Musique Actuelle de Victoriaville and in 1989 they made a significant tour in Europe, visiting France and Belgium.Next move was to enter the La Prairie Studios in March 1991 and work on their next album.Being their third work this was entitled ''3e avertissement'' (''3rd warning''), released the same year on the Cuneiform label.

While not much has changed stylistically speaking compared to the previous album, it seems that the Miriodor trio worked and played in a more tight and consistent enviroment.They appear to be comfortable with the sampled instrumental parts, the talent was always there and the result was a great R.I.O./Fusion album, filled with deep orchestral moves, dramatic sax work and heavy use of synthesizers.Tracks are pretty short, but with so much going on a longer running time would have resulted a more tiring effort as a whole.Cleverly enough, not taking advantage of the CD's extended time, they presented some 45 minutes of beautiful, orchestral music with jazzy influences and more modern touches, highlighted by the intense sax/keyboards interplays, the flawless drumming and the endless breaks from dense instrumentals to more atmospheric deliveries.Melodious themes appear to have returned and be a decent part of Miriodor's music, combined nicely with strong dissonances and complex arrangements.Despite the limited instrumentation, the executions are always powerful and passionate with some romantic, laid-back interruptions, fronted by a frenetic Sabin Hudon on sax and the cinematic use of synthesizers.Propably a more natural sound would have been even better, but even so this is high-class RIO with certain Fusion touches.

Very serious, but always well-crafted music, showing Miriodor return to top level.Even if R.I.O. is not among your cups of tea, this one deserves some careful listenings.Great to fantastic material, highly recommended.

 The Letter by COSA BRAVA album cover Studio Album, 2012
4.70 | 12 ratings

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The Letter
Cosa Brava RIO/Avant-Prog

Review by Gatot
Special Collaborator Honorary Collaborator

5 stars Wonderfully unstructured, unpredictable. But ... It's nice!

Commemorating the ProgRing (Progressive Gathering) at Apple Cafe, Jombang, September 19, 2014

The Context

This review would never happen without the important event held at Apple cafe in Jombang, East Java, Indonesia on the evening of September 19, 2014 (Friday). That was the first time I knew the name Cosa Brava from my prog mate Edi Santoso (usually I call him with "Mas Edi"). Well, actually mas Edi owns the cafe and he invited me to have a wonderful chat on progressive music PLUS. I say plus because we did not talk only about progressive music but also anything related to progressive life. So we agreed that PROG is not just the music but it's a PHILOSOPHY because it goes beyond music. Take a good example of Mas Edi. Yes, he is the die hard core fan of prog music especially in the area of RIO or he call it as "rock mbeling" (local words that mean: "naughty rock") which essentially depicts the description of what the RIO/Avant-garde music is all about. Of course he also loves things like Birdfish, The Flower Kings as well as Opeth and also legends like Genesis. In fact his Apple Cafe is a true prog cafe in a real sense: you can find many prog artwork like Genesis' Selling England By The Pound or King Crimson's In The Court repainted nicely at the walls of the cafe. Do not tak about copy act right ya ... But it's really prog nuances built inside the cafe. If you are real prog person, you would love the cafe - I guarantee ! So ..come to Indonesia mates! I will show you great prog places around ....

Mas Edi has taken prog spirit to the next level, applied in real life not as musician as both of us are not musicians and our friendship so far has been based on our shared taste of prog music plus prog spirit of course. What I mean here is that his decision to carry on his life by taking care his own mother who also live with him in that prog cafe. According to Islamic teaching, taking care of your own parents is number one priority after worshipping only ONE God - Allah subhanahu wa taala. So, has taken life progressively from serving only his own family (wife and two sons) and now to include taking care his own mother who is old and sometimes getting sick. So ...you can now imagin how deep our PROG discussion on that ProgRing event ....

The Music

I might send you big apology to describe the novel long context as part of this review because to me prog music is not just music ...it goes beyond music ... it's about friendship and long lasting relation with others. You can use the spirit of PROG in day to day life and you will find PROG with joy. Yes, initially I met people like mas Edi because of the need to form coalition of people who share similar taste in music. But after that we talk many things that go beyond the limits of musical taste.

I was very lucky meeting with him at that event where we discussed about prog at one corner of the cafe where the poster of Beardfish bassist was put on the wall. The first thing asked him was: "Who plays this music" when I heard the loudspeaker sounded the music that I never heard before, packed with violin sounds. He said it humbly : "Cosa Brava". And then I said "What? How do you spell it?". That indicates how new the name came into my mind, really! Yeah ...finally I got it right after he spelled it out for me: COSA BRAVA. What a great name!

You know ...what was the first impression about the music of Cosa Brava? Very unstructured ...and very unpredictable! When I listened to the violin of Haggard, I could sort of predict where the music would go. Or with Jean Luc Ponty or Didier Lockwood ...generally I can get an overall sense on where the music is going. But definitely not for Cosa Brava. But ...even though unstructered, I really enjoy how the music flew while Mas Edi talked with me. Of course, as senior prog head he has abundant knowledge about who's who in Cosa Brava as well as other RIO music. It was quite hard for me to understand the music as everything was unpredictable. But ... in enjoying music, do I need to understand? I thought about it quite sometime and posted that question to Mas Edi. His answer was really simple: "The composition must be excellent because the musicians are all talented persons ... The only thing is because we do not get used to it ...". WOW! What a wise prog words for me really .... I made a long pause from the discussion and I remember vividly I was hearing the sounds of mechanical typewriter we typically had in the past ....you know the Brother or IBM trade mark of typewriter. What really a great nuance created from the sound!

We continued the prog discussion while letting the stereo set played this album by Cosa Brava. In some segments I requested some pause for a while to discuss the subtleties of the particular segment. Then I noticed that the beauty of enjoying RIO (rock mbeling) music is by letting the music flow as it is and enjoy any segment the music gives to me; do not ever try to predict what is going to happen ... Do not expect nice melody that plays across all segments in longer duration. The melody is at every segment. It's kind like disjointed at first experience. But as time passes by it will definitely grow on you. At first I could only enjoy the section with drums on second track titled strangely as "The Eyjafjallajkull Tango" (6:48). The combined drums and violin work is really stunning!

In this kind of music, I think the most important thing to understand the music, if we want to, is putting ourselves as the musician. This music must have been created for a reason, possibly to support the acts of certain story plot. In this case, of course it revolves around The Letter. Honestly, in this particular album, I know nothing about the plot but it must be something to do with a series of acts that depicts certain life situation where Letter becomes one of the critical point of the story - and then you have other events like Drowning, The Wedding, Nobody Told Me as well as Common Sense. How can I find my joy listening to this album? Through a series of segments that in themselves provide provide a profound experience for me, personally. One thing that makes me happy with this album is its sound quality which I consider as top class! You can hear all subtleties of the music throughout the tracks presented in this album. All the detailed work of each musician can be enjoyed in its utmost clarity especially if you play it at the decent stereo set using at least B&W speakers, or other high end sound system.

Judging from musical composition point of view, I would opt to say that "For Lars Hollmer", "The Eyjafjallajkull Tango", "The Letter", and "Common Sense" are favorite tracks. But the problem is then the track cannot be played its own as it must be placed on sequential basis ... So this kind of album can only be enjoyed if I play it in its entirety from start to end. I can find the brilliance of the musicians creating this intelligently crafted music for us. High salute to all musicians involved in this album!

What do you expect from me with the above novel-long elaboration? It's a FULL five star rating! Keep on proggin' ...!

Thanks to Mas Edi who showed me the hill of finding this kind of music.

Peace on earth and mercy mild - GW

 Nagah Mahdi - Opuscrits En 48 Rouleaux by SEBKHA CHOTT album cover Studio Album, 2006
4.13 | 24 ratings

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Nagah Mahdi - Opuscrits En 48 Rouleaux
Sebkha Chott RIO/Avant-Prog

Review by progadicto

4 stars Into Sebkha Chott's unbalanced discography, "Nagha Mahdi..." is IMHO a real mindblowing RIO jewel... 48 short compositions running thru' your head at speed of light mixed on a non-stop "tour de force" full of incessant changes and brutal breaks based on a hard bass work, awsome percussions and crazy vocal sections that turns this almost conceptual piece into a wild and enjoyable journey.

Perhaps is not a RIO masterpiece, "Nagha Mahdi..." has to be one of the most powerful albums of the last two decades and a proof that avaant-garde genre is still very alive. Mayb is not an album for inexperienced ears, but I'm sure that a real RIO fan would enjoy this amazing album that reminds me the most crazy RIO pieces created by band such as Doctor Nerve, The Muffins on "185", Thinking Plague of H÷yry-Kone... 4* to me...

 Francesco Zappa by ZAPPA, FRANK album cover Studio Album, 1984
2.62 | 94 ratings

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Francesco Zappa
Frank Zappa RIO/Avant-Prog

Review by siLLy puPPy
Prog Reviewer

3 stars One of many weird little releases in the discog of FRANK ZAPPA comes in the tribute form of FRANCESCO ZAPPA, who was a composer who lived from 1717 - 1803, born in Italy but mostly resided in the Netherlands. He was highly regarded as a virtuoso cellist in his day but spent most of life composing, organizing concerts and teaching music. Very little of his music was known and his name caught the attention of FRANK because of the ZAPPA part I would guess. It turns out there is no relation at all but after discovering his existence FRANK went to great lengths to dig up some of his works in order to bring them to digital life after 200 years. So obscure was his music that the only place it could be found was in the Mormon library and since none of his music had been published at this point, FRANK took the liberty to do that as well.

This is baroque music from beginning to end and it's entirely performed by The Barking Pumpkin Digital Gratification Consort and conducted by FRANK ZAPPA himself. Basically it's David Ocker playing synclavier for the 17 opuses that make up this album. The tracks mostly sound alike and if you ask me it sounds a lot like one of those Wendy Carlos (formerly Walter) "Switched On Bach" albums. FRANK ZAPPA did this obscure composer good by bringing his music to life after fading into oblivion. Actually I would have preferred that the music was more sophisticated with a full orchestra and some virtuoso cellist to interpret what FRANCESCO was most famous for.

I must say that this is indeed a pleasant little collection of baroque chamber music but this was one of the very last albums in the ZAPPA world that I have accumulated simply because it's not really a FRANK album at all but merely a tribute to a long lost musician from over 200 years ago. For that I salute FRANK for giving this man some deserved recognition but at the same time I understand why he didn't achieve the fame of his contemporaries like Mozart, Bach, Beethoven and the like simply because he wasn't up to that level of greatness. Still it is fun to hear one of the lesser known artists of the era and it really makes me wonder how many of the lesser known artists I like now will be unknown in 200 years. A nice anomaly of an album but obviously not an essential FRANK release.

 The Public Execution of Mr. Personality/Quasi Day Room by HAMSTER THEATRE album cover Studio Album, 2006
3.31 | 18 ratings

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The Public Execution of Mr. Personality/Quasi Day Room
Hamster Theatre RIO/Avant-Prog

Review by ShW1

4 stars the Public execution

If I would've been asked to describe HT music with a culinarian example, as we reviewers used to do just few years ago, I would say that the most suitable food for that would be an Israeli salad (or Arabian/middle east one, choose your preferred option). I don't mean to a European salad, cut to some big pieces with a pale sauce (apologize for that). I mean to a basic component of tomatoes and cucumbers, added by onion, few weeds, spiced generously with salt and pepper, and finally spritzed by lemon juice and olive oil. A crunchy one, which fill your mouth with abundance of tastes and textures. Such is Hamster Theatre music, juicy and mixed out from a lot of elements. Sometimes it's puzzling, sometimes not clear, but always interesting and unexpected. And even amusing, in a way.

In this album, we can find various compositions, most of them written by Dave Willey, (accordion and many other instruments), few by Jon Stubbs (trombone, keyboards and more) and one by Mike Johnson (guitars, mandolin, banjo). Some of the materials were written by Willey for a dance and multimedia show, so there is a mixed bag here. There are short pieces that clock in at even less than 2 minutes, but loaded with content and beautifully crafted and harmonized. Some are longer, with strange passages, and various moods and orchestrations. The two last pieces are quieter and simpler than most of the materials, and set the listener down to a calmer and peaceful mood.

Two or three tracks are catchier, clearly followed and easily recognized by 'what's going on' terms. 'Reddy 4 luv' (by Willey) sound relatively simplified at first, until you got the rhythmical tricks there, and the ever-changing simple notes, toward the unexpected end. 'Oye Comatose' (by Johnson) is carried on a twisted Latin rhythm and a two-note melody, a pastoral middle part that cut cruelly and humorous, and a pleasant guitar improvisation toward the end.

A very important characteristic of this band is the long list of instruments including some exotic ones such as harmonium, guitarron, prepared piano, and various percussion. All is ruled by Dave Willey's Accordion. What I like the most, are the woodwinds played by Mark Harris, who shines here with his clarinet, saxophones and flute.

In all, a very nice album, but I would like that for the next time, (if ever occurs, it's been 8 years already!) things will be a bit more organized, and dare I say, even 'conceptual'. However, I'm aware that this might stand in contradiction to the Hamsterian mood, which recalls for a deliberate blurriness, and built-in disorder. And after all, this is part of the magic in this music.

For beginners I would recommend to start with 'Carnival detournement' and then make their way up to this latter album. 'Carnival' seems to be a bit more focused. But don't count too much on that.

3.5 stars rounded up to 4, due to my sentiments.

the Quasi day room

That CD comes along with 'the Public execution' CD, and hold a live show in a place that actually called 'the Quasi day room'. Well it's a beast of a show. IMO Hamster Theatre is a band that, like a good Jazz effort, must be heard live, in addition to studio albums. There are many nuances that reveals better than the studio version, in a live form. The compositions leave enough room for improvisations, but not in a jazz manner, with its long solos and back to the standard. It's done here in those little variations on the tunes, where each player takes on their instruments. The musicianship, the interplays, the 'togetherness', are all outstanding. No doubt, there's a lot to dive into, not abandoning a great joy.

About a half of the show is dedicated to the 'Carnival detournement' album. It is unexpected to realize, how those 'weird' compositions, turned, as time passed, to a sort of classics, at least for me. Indeed, about 8 years have been passed since the first time I've heard HT, as 'the Dave Willey's band, that guy from Thinking Plague', as introduced to me at the local record store. I've listened a bit and thought to myself 'What the hell is going on here? Oh, I'll have to take it home and check it out'. Needless to say, the record store does not exist anymore, unfortunately, and it's a sign of the time, I guess.

The rest of the show is dedicated to earlier materials, which sound less complicated, more improvised, and a bit amateur, but I'm not counting that as a disadvantage, on the contrary. One piece worth mentioning is 'the Hamster dance', which also could be heard in the Thinking Plague's live album 'Upon both your houses', which sound quite different (another things where done there). Here it sound more natural, catchier, and with the strength of a full band.

So, since I've been a bit unfocused, I'll make a long story short: It's a one helluva show, that, if you are not convinced yet to go for this bargain, here you have a very good reason for doing so. (For now this 2CD set can be found at a reasonable price, at the Wayside store). The whole package is very worthy.

 Sing To God by CARDIACS album cover Studio Album, 1996
4.31 | 196 ratings

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Sing To God
Cardiacs RIO/Avant-Prog

Review by jeromach

5 stars A brilliantly amazing and amazingly brilliant album, I have no other words for it.

Genesis, Queen, Madness, The Stranglers, Captain Beefheart, Amon DŘŘl II and who knows who else were mercilessly pushed into a nuclear powered blender, then cryogenically submerged in and shiveringly topped with cardiacssauce and this is what came out; a roller coaster of randomly changing time signatures frantically making love to pastoral sounding dissonants descending from heaven without any detour.

Sung to God and those who listen carefully can hear him sing along. I do, even through my own tears of utter joy and enlightenment.

If it'd wake the deceased from the dead I would not be surprised, but for sure it will melt any bad mood like an ice cube in a cup of hot boiling tea on a tropical beach on a volcanic Island in a heat wave.

And then these last two minutes of Dirty Boy, oh boy, it will make the most austere and rigorous atheist fall on his knees singing his heart out in repentance.

 Iridule by YUGEN album cover Studio Album, 2010
3.92 | 87 ratings

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Iridule
Yugen RIO/Avant-Prog

Review by Progulator

5 stars Marimba? Check. Harp? Check. Mandolin, tubax, thermin, mellotron, glockenspiel, prepared piano, contrabass, clarinet, hammond, etc? Check. Oh yeah, there's guitars, bass, drums, and a bit of vocals in there too?I mean, Iridule is a rock album, right? Right? but it's a rock album very unlike most. Italy's Yugen definitely does not shy away from being at the cutting edge of progressive rock with their third album which maintains their signature avant-prog approach and RIO aesthetic. Complex meters with jolting time changes, frantic evolution of instrumentation, and an ultra deviant sense of melody and tonality, Iridule does just about everything it can to break the rock music norm, going far beyond where most "progressive" acts would even dare.

I do not hesitate to say that Yugen has perfected their craft with this third release. With little use of distorted guitars, Yugen brilliantly pulls off moments that are dark and heavy enough to more than satisfy the most extreme metal fan's crave for brutality. However, Iridule does not short-change the listener when it comes to beautifully crafted subdued passages; large portions of each song are dedicated to the fabulous weaving of uncanny textures that never allow you to just sit back and passively listen. At other times Iridule can be quite the psychotic mix of 20th century atonality violently blended with jazz fusion and funk.

What impresses me so much about this album is that somehow, in all of its avant-rock glory, Iridule comes off as a strangely approachable album. I attribute this to three key aspects of their music that ensures that the active listener sees the big picture, and thus does not drown in the more "experimental" elements: Iridule is an album laced with tangible texture, strong themes, and discovery. Their constant use of a/polytonal percussion by means of marimba, glockenspiel, prepared piano, and harpsichord creates a dense fabric of texture that transcends your auditory senses. Its effects are often dark, haunting, or dreamlike, as they transform, evolve, and flow in ultra smooth ways that make sense despite the absence of tonal clarity. There exists the sensation of touching this music as its sound waves seem to physically envelop you.

Yugen makes great use of recognizable motifs in most every song on this album. After a couple of listens you come to realize that Iridule has its conventions that make the listener a part of an intricate conversation between instruments, melodies, and rhythms. Yugen tends to take a melody or rhythm and play with it throughout the entire song; it may be a short sequence of note values or a chromatic run, but you will definitely hear it bouncing around and being twisted and torn apart by the plethora of instruments that each song presents. Finally, there is an exciting aspect of discovery in Yugen's music. Although it is initially a bit confusing, I was surprised by how quickly I found myself recognizing distinctive elements of their music. It is chaotic, yet somehow predictable once you begin to get in on their secrets. I often find myself playing the game of trying to seek out and recognize conventions and motifs in each song; Iridule has great replay value; it empowers the listener to discover new things about the music with each listen.

The lyrics for the album, taken from Vladimir Nabokov's postmodern novel Pale Fire, provide insight into the heart of the album. Nabokov's synesthesia somehow serves as an overlying structure for this work of art presented in a medium that is auditory by nature (music), but somehow appeals more to the sense of touch than anything else. Yugen's choice to use Nabokov's words, "We are most artistically caged," at the end of the first vocal interlude, carries a glaring sense of irony. Nothing could be further from the truth when it comes to this fine album that Yugen offers us. Iridule successfully manages to transcend genre boundaries; it is somehow a jazz album without being jazz, a metal album without being metal, a prog album without being prog, and even a 20th century classical album without being classical (or released in the 20th century, for that matter). Iridule, while being a hard album to place, is a fantastic musical journey and an essential album for all those who still enjoy sitting down and listening actively to music. Highly recommended!

 Snack(s) by MIRTHKON album cover Studio Album, 2013
4.10 | 53 ratings

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Snack(s)
miRthkon RIO/Avant-Prog

Review by Progulator

5 stars My first experience with miRthkon was in a small club in Oakland where they performed alongside the strangeness of fellow avant-rockers Free Salamander Exhibit (formerly SGM). For the entirety of miRthkon's set I stared in awe, trying to pick my jaw up off the floor as these Bay Area locals blew the roof off with blaring saxophones, thrashy guitars, complex lines, and a serious dose of humor. Snacks represents the second release from this Altrock Records band, an album that is at once strange, quirky, and avant-garde while never losing its ability to be catchy, engaging, and fun.

Snacks is art music through and through with an overall and thorough sense of the postmodern. The record dwells in a space that invites a thorough blend of high and low brow culture, where the popular meets the erudite, and where genres and cultures crossover into a realm where anything goes. Let's make this clear from the start: this is some serious musicians' music, the scholarly sort that conservatory kids and music majors dream to make. The kind where they apply all of the most devious tricks, twists, and turns that they can squeeze from their knowledge of music theory. Though I'll get back to the music shortly, I mention this up front to highlight that despite the musical erudition, the band is still quirky, even silly, bringing in that Zappa-esque touch where even the most pretentious of things ridicule their own pretentiousness in an act of self-awareness.

The visual art and text of the record (in the form of lyrics, song titles, and track descriptions) come from that side of the field where the zany occurs, I must add, which is certainly not uncommon in the sphere of postmodern and avant-garde art. The album title and individual song names, along with their accompanying artwork, are perhaps the clearest place to start. The theme, as the title of the album states, is snacks. The album cover displays the band name miRthkon in a fashionable Pringles chips sort of way, while each song is offered up as a morsel with its individualized snack photos, representations of things such as Twix candybars ("Eat a Bag of Dix"), Three Musketeers ("Nocturne op 33″), Mountain Dew ("Variety Pack"), and Fritos ("Fairies Wear Boots," the most original rendition of the Black Sabbath piece you'll ever hear). Along with each song's visual image we get the nutritional facts, offering health benefits such as the beats per minute, tuning, metrics, additives (such as Wurlitzer, Organ, Harp, Glockenspiel, and let's not forget, BUBBLES), as well as an ingredients list containing lyrics. Whether all of this is to be viewed as a festival of pastiche or parody, the end result is an album which is not only musically sophisticated, but visually entertaining on a base level without ever losing that air of "we did this in full consciousness of 20th century artistic trends."

As previously mentioned, Snacks celebrates the juxtaposition of high and low culture in a way I think is distinctive from much of the prog rock world. While I would consider a lot of prog to be a sort of rock musicians' aim at making high art, miRthkon is distinct in that they give the impression of simply being artists who are interested in seeing what happens when music from all corners of the sociocultural spectrum collide. Snacks is in the realm of extreme crossover and interplay between musical genres and tendencies. "Eat a Bag of Dix" (apart from warning us to avoid contact with eyes) fills the air with brutal metal riffing, swirling sax solos, loads of syncopation, and tension filled avant-chamber music. "Hapax Legomena" takes us into the realm of avant-jazz rock that is extremely catchy while not forgetting to throw in some brutal vocals and odd, heavy riffing; despite being heavy, it still allows you to forget that you're hearing a lot of metal. "QXP13″ manages to blend some punk influences with jazzy sax interplay, and "The Cascades" offers heavy sax groove with lots of great bluesy moves, odd phrasing, whammy dives and dreamlike textures. Finally, "Snack(s): The Song!," brings in a very modern sound where synths meet fascinating vocal lines and heavy riffs.

There isn't a boring moment on the album. miRthkon manipulates elements that are familiar and displays them in ways that are fresh and engaging, all while perfectly balancing the intellectual, whimsical, and raucous aesthetics. Add to the mix (pun intended) marvelous quality post-production where every single detail of the music is clearly accessible and we have on our hands one of the most ambitious, original, and I daresay, fun, albums of the year. For miRthkon, Snacks is a landmark album that will set the standard, not only for their own future releases, but for the rest of the RIO community.

 Ancestors' Tale by UT GRET album cover Studio Album, 2014
4.00 | 16 ratings

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Ancestors' Tale
Ut Gret RIO/Avant-Prog

Review by Progulator

3 stars Out of Louisville, Kentucky, comes a fascinating brand of avant-rock in the form of Ut Gret, a band that describes its music as 'pan-idiomatic' due to its genre-crossing nature. From dueling bassons and clarinets to Mellotron and belly dancers, Ut Gret certainly isn't interested in being mundane as it explores the edge where jazz, rock, folk, classical, and world music collide. Their latest release, Ancestor's Tale, is an intriguing sonic documentation of that world.

The record kicks it off with the title track, "Ancestor's Tale," as female voices enter one by one, overlaying in interesting harmonization before the band breaks out and follows up with a similar theme done with an array of woodwinds, bass and drums. This piece, originally written for a silent film (Call of Chthuhlu) takes the listener through a bit of what's typical for the band: jazzy lines on electric piano, grooving drums, and an eventual Mellotron filling in the space for lots of woodwind solos. While vocals aren't necessarily the law in Ut Gret, there are a few tracks that make use of them, generally in similar style as the opener. Another one of these is "The Raw, the Cooked, and the Overeasy," a song that demonstrates not only the ability to write cool song titles, but also the knack for covering a wide amount of ground. The piece starts off jazzy, even bluesy, as it carries us through the opening verses. When the singing comes to a break the band sets ground for some great violin, bassoon and a flute improvisation. The ending proves itself to be the real treat though as it fires off heavy unison bursts interspersed with a descending guitar pattern while a catchy drum beat accompanied by flute and tron strings take us to the finish line.

Combining both mood and rhythm are a couple of standout tracks, "Hopperknockity Tune" and "An Elephant in Berlin." The former, dedicated to Soft Machine bassist Hugh Hopper, flows from classic Cantebury moods to a headspinning 7/8 overladen with various polyrhythms for a thrilling ride. "An Elephant in Berlin" is a driven by a sharp, staccato motiff that knows how to punch its menacing chords at the right time. Chaotic solos in 12/8 abound on virtually all the woodwinds that band employs before moving to one of the coolest moments on the album: the contra-bassoon solo. Yes, you heard me right, Ut Gret delivers a sexy low-rumbing contra-bassoon solo that leads us to moody moments ranging from dark to dreamy and nostalgic before coming full circle to the original staccato riff. In case you didn't get enough contra-bassoon, don't worry, "Dinosaur on the Floor" is still on its way.

Ancestor's tale ends up being quite a fun listen even if a bit inconsistent at times. Songs like the closer, "Walk the Plank," have gorgeous moments that are well thought out and delivered with feeling, but there are also certain riffs or solo areas that could be shortened, areas where the fat could be trimmed. On the other hand, despite the fact that there are certain techniques or compositional elements that are very familiar (such as the Frippian moments on "Zodiac"), there seems to be something about Ut Gret that seems very personal and even fresh. Their combination of musical genres blends well with the individual performers sense of phrasing, their blend of instruments is interesting and presents many pleasant surprises, and the overall feel of the album is genuine. Ancestor's Tale shows a band that is headed in a solid direction and likely has a few tricks up their sleeves for us for next time.

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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 CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
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
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
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
HASSE BRUNIUSSON Sweden
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
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
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
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
FORTRANGT HUSHALLSARBETE Sweden
FOTE / THE TRUTH CLUB United Kingdom
THE FRACTURED DIMENSION United States
FRENCH TV United States
FRIENDLY BEARS United States
FRED FRITH United Kingdom
FRANK-WILLIAM FROMY France
FUKKEDUK Belgium
DIAMANDA GALAS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
GOD OF SHAMISEN United States
GODZIK PINK United States
GOLDBUG United States
GOLDEN AVANT-GARDE Japan
THE GORDON GRDINA TRIO Canada
GORGE TRIO United States
GRAMIGNA Italy
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
GROUND ZERO Japan
GRUPPO D'ALTERNATIVA Italy
GUAPO United Kingdom
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HARDSCORE Belgium
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
HI-SPEED Japan
HIKASHU Japan
TIM HODGKINSON United Kingdom
LARS HOLLMER Sweden
HONEY RIDE ME A GOAT United Kingdom
HORDE CATALYTIQUE POUR LA FIN France
HORRIFIC CHILD France
HOT FUR Israel
HÍYRY-KONE Finland
HUMBLE GRUMBLE Belgium
HUNUNHUM Japan
HYRROKKIN United States
I AM ABOVE ON THE LEFT Russia
LES I France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
LA INCRE═BLE FUGA DE TRI┴NGULOS Argentina
INFANTEPHANT United States
L' INFONIE France
INNER EAR BRIGADE United States
INSIDE//OUTSIDE United States
INTERFERENCE SARDINES Canada
IVOR AXEGLOVITCH Denmark
JACK DUPON France
CATHERINE JAUNIAUX Belgium
JEAN LOUIS France
SCOTT JOHNSON United States
JONO EL GRANDE Norway
JORK Ireland
JAKOB JUHKAM Estonia
JULVERNE Belgium
JUNGLE Japan
JUSTINE Canada
KAADA & PATTON United States
HENRY KAISER United States
KAM-PAS-NEL-LA Multi-National
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KAREN COOPER COMPLEX United States
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MIKE KENEALLY United States
KILLING TIME Japan
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KOMBINAT M Austria
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DAGMAR KRAUSE Germany
KROKO Finland
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KUHA. Finland
KULTUR SHOCK Multi-National
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L'EFFET DEFEE France
LA 1919 Italy
LACRYMOSA Japan
LARS LACH'N JONSSON Sweden
LARSEN RUPIN Switzerland
LARVAL United States
LASK Germany
LAST EXIT United States
LEAN LEFT Multi-National
LED BIB United Kingdom
JOSE LUIS FERNANDEZ LEDESMA Mexico
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LIGHT COORPORATION Poland
LITAI Italy
LITTLE WOMEN United States
THE LOCALS Germany
LOOK DE BOUK France
LOVELY LITTLE GIRLS United States
LUNAPARK ENSEMBLE Japan
LUZ DE RIADA Mexico
MACROMASSA Spain
MAESTRO TRYTONY Poland
THE MAGIC BAND United States
MAKE A RISING United States
MAMMA NON PIANGERE Italy
MAN MAN United States
MANY ARMS United States
ALBERT MARCOEUR France
MASADA United States
MASADA STRING TRIO / BAR KOKHBA United States
LE MASCHERE DI CLARA Italy
MASSACRE United States
MESMERICO Italy
METABOLIST United Kingdom
METAL-O-PHONE France
METAMORPHOSIS Czech Republic
MIASMA AND THE CAROUSEL OF HEADLESS HORSES United Kingdom
MICROKINGDOM United States
MIRIODOR Canada
MIRTHKON United States
MIZUTAMA SHOBODAN Japan
MMCIRCLE Canada
MOE! STAIANO/MOE!KESTRA! United States
MOMBU Italy
MONKEY PUZZLE TRIO United Kingdom
MOONCHILD TRIO United States
MORKOBOT Italy
MORVISCOUS United Kingdom
MOSA¤C France
MOTOR TOTEMIST GUILD United States
MR. BUNGLE United States
MUCHO TAPIOCA France
THE MUFFIN MEN United Kingdom
LA MUJER BARBUDA Argentina
MUSEO HETERODOXO Peru
MUSICA D'REPUESTO Cuba
MUSICA TRANSONIC Japan
MYRBEIN Sweden
N.O.R.M.A. Italy
NAKED CITY United States
NAKED TRUTH United States
NAZCA Mexico
NE ZHDALI Estonia
NEBELNEST France
NEO Italy
NEWS FROM BABEL United States
NI France
NICHELODEON Italy
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NIMAL Switzerland
NINE TOBS Netherlands
NO SAFETY United States
NO SECRETS IN THE FAMILY Switzerland
NON CREDO United States
NOODBAND Netherlands
NOOUMENA France
NORMAL LOVE United States
NOUVELLES ETHNOLOGIQUES DE L'OBSCUR MUSEUM France
NOW WE'VE GOT MEMBERS Norway
NOXAGT Norway
NUCLEAR RABBIT United States
THE (EC) NUDES Multi-National
OCTAFISH Germany
OCTAVO France
OCTOBER EQUUS Spain
OLD TIME RELIJUN United States
OLIVE MESS Latvia
OOIOO Japan
OPABINIA Japan
OPTICAL*8 Japan
OPUS AVANTRA Italy
ORCHESTRA NJERVUDAROV Italy
THE ORDINAIRES United States
LAS OREJAS Y LA LENGUA Argentina
ORQUESTA METAF═SICA Argentina
THE ORTHOTONICS United States
OSSI DURI Italy
OTOLITHEN Multi-National
OTOMO YOSHIHIDE Japan
OXOMAXOMA Mexico
P.O.N. Japan
PABST Germany
PAINKILLER United States
PAK United States
PALINCKX Netherlands
PANZERPAPPA Norway
PAPER MICE United States
PATAPHONIE France
MIKE PATTON United States
PERFUME DE MUJER Cuba
PERHAPS CONTRAPTION United Kingdom
LA PERRA Mexico
PFS United States
PIENZA ETHNORKESTRA France
PIG SOUL Brazil
PIKAPIKA TEART Russia
PISSUK RACHAV Israel
PITOM United States
THE PLASTIC PEOPLE OF THE UNIVERSE Czech Republic
PLOZ Canada
POCHAKAITE MALKO Japan
POCKET ORCHESTRA United States
KIMMO POHJONEN Finland
POIL France
POKERFACE Sweden
LES POULES Canada
PRESENT Belgium
PROSESSOR BALTHAZAR Norway
PSYNKOPAT Sweden
PULSOPTIONAL United States
PUNGO Japan
PUSH THE TRIANGLE France
QUATEBRIGA Yugoslavia
QUINTORIGO Italy
RABBINICAL SCHOOL DROPOUTS United States
RADIATION10 France
RAMLOSA KVALLAR Sweden
THE RANCID YAK BUTTER TEA PARTY United States
RAPA NUI Peru
RASCAL REPORTERS United States
RATIONAL DIET Belarus
RATTLEMOUTH United States
RECREATION Belgium
RED BALUNE United Kingdom
THE RED MASQUE United States
RED NOISE France
ALEC K. REDFEARN AND THE EYESORES United States
REDRICK SULTAN Canada
REPORTAZ Poland
THE RESIDENTS United States
RESISTENCIA CHACO Argentina
LES RHINOC╔ROS United States
HARRY ROESLI Indonesia
ROUGE CIEL Canada
ROZ VITALIS Russia
SAJJANU Japan
SALLE GAVEAU Japan
SAMLA MAMMAS MANNA Sweden
SARLO AKROBATA Yugoslavia
SATANIQUE SAMBA TRIO Brazil
MASAHIKO SATOH AND THE SOUNDBREAKERS Japan
DIONYSIS SAVVOPOULOS Greece
DANIEL SCHELL & KARO Belgium
THE SCIENCE GROUP Multi-National
SCORCH TRIO Multi-National
SEABROOK POWER PLANT United States
SEBKHA CHOTT France
SECRET CHIEFS 3 United States
SHINING Norway
SILENCIO United States
LE SILO Japan
SIR MILLARD MULCH United States
SIX CYLINDRES EN V France
SKELETON CREW United States
SLAPP HAPPY Multi-National
SLEEPYTIME GORILLA MUSEUM United States
SMEGMA United States
SNAKE OIL France
SNAKEFINGER United Kingdom
SNARLING ADJECTIVE CONVENTION United States
THE SOCIET└ ANONIMA DECOSTRUZIONISMI ORGANICI Italy
LA SOCIETE DES TIMIDES └ LA PARADE DES OISEAUX France
SONAR Switzerland
SONS OF CEPHEIDS United States
SOT Norway
SOTOS France
SPALTKLANG Switzerland
SPECIES BEING United States
STABAT AKISH France
MARK STANLEY United States
STARRING United States
STEAMBOAT SWITZERLAND Switzerland
SIMON STEENSLAND Sweden
STORMY SIX Italy
STRANGE CHANGES United States
STRIPSEARCH United States
SUBTILIOR Italy
SUN CITY GIRLS United States
SUPERDENSECRUSHLOADFACTOR Australia
SWEET POTATO United Kingdom
SYNKOKE Norway
SZENTENDRE France
TACO Japan
TAIRIKUOTOKO VS SANMYAKUONNA Japan
TAMANDUA United States
TAPETTO TRACI France
TARTAR LAMB United States
TAYLOR'S FREE UNIVERSE Denmark
TAYLOR'S UNIVERSE Denmark
ROBIN TAYLOR Denmark
TENKO Japan
TEXTBOOK OF MODERN KARATE Italy
THINKING FELLERS UNION LOCAL 282 United States
THINKING PLAGUE United States
THIS HEAT United Kingdom
JACQUES THOLLOT France
THONK Switzerland
THRANGH Italy
STEVAN KOVACS TICKMAYER Serbia
TIGRESS AND THE U-FRAIDEES United States
TIGROVA MAST Croatia
TIME OF ORCHIDS United States
TIPOGRAPHICA Japan
TOM MOTO Italy
TONE DOGS United States
TOUPIDEK LIMONADE France
TR-OND & THE SUBURBAN SAVAGES Norway
TRANSELEMENT / ELEMENT United Kingdom
TRAP United States
TRAWLER BYCATCH United States
TRIBAL LOGIC Russia
TRIBRACO Italy
TRIPLE ZERO France
YASUTAKA TSUTSUI / KOHSUKE ICHIHARA / MASAHIKO SATOH Japan
U TOTEM United States
UDUS Italy
UKANDANZ France
ULTRA ZOOK France
UNBELTIPO Japan
UNIVERS ZERO Belgium
UNREST WORK & PLAY United Kingdom
UPSILON ACRUX United States
UR KAOS Sweden
UT GRET United States
UZ JSME DOMA Czech Republic
VERTO France
VEZHLIVYJ OTKAZ Russia
VIALKA France
VIDEO-AVENTURES France
VIRGULE IV France
VLADIMIR BOZAR N ZE SHERAF ORKEST─R France
THE VOID'S LAST STAND Germany
VOLAP▄K France
VOLCANO THE BEAR United Kingdom
VOLUNTARY MOTHER EARTH Japan
VON ZAMLA Sweden
VORTEX France
WAPASSOU France
WHA-HA-HA Japan
WHEN Norway
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THE WORLD HERITAGE Japan
X-LEGGED SALLY Belgium
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ZAAR France
THIERRY ZABOITZEFF France
ZAMLA MAMMAZ MANNA Sweden
FRANK ZAPPA United States
TOM Z╔ Brazil
ZEVIOUS United States
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ZNR France
ZOAMBO ZOET WORKESTRAO Slovenia
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