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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 Ł1000 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 26/10/2019

Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)

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

4.53 | 112 ratings
HÄXAN
Art Zoyd
4.75 | 40 ratings
SZOBEL
Szobel, Hermann
4.36 | 1838 ratings
HOT RATS
Zappa, Frank
4.32 | 1114 ratings
THE GRAND WAZOO
Zappa, Frank
4.38 | 190 ratings
ON LAND AND IN THE SEA
Cardiacs
4.31 | 1122 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.28 | 388 ratings
SING TO GOD
Cardiacs
4.28 | 323 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.27 | 395 ratings
UZED
Univers Zero
4.28 | 345 ratings
HERESIE
Univers Zero
4.27 | 304 ratings
WESTERN CULTURE
Henry Cow
4.34 | 113 ratings
BOOK M
Secret Chiefs 3
4.63 | 31 ratings
PLAYS STANDARDS
Ground Zero
4.30 | 170 ratings
HUONO PARTURI
Höyry-Kone
4.38 | 74 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.28 | 200 ratings
IN EXTREMIS
Thinking Plague
4.30 | 142 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.31 | 132 ratings
DECEIT
This Heat
4.24 | 342 ratings
MĹLTID
Samla Mammas Manna
4.28 | 138 ratings
TRISKAĎDÉKAPHOBIE
Present

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

PLAGUE MASS
Galás, Diamanda
LETTERS HOME
News From Babel
LABIRINTO D'ACQUA
Yugen
8.8
Silo, Le

Latest RIO/Avant-Prog Music Reviews


 Quigyat (with Borda) by NICHELODEON album cover Studio Album, 2024
3.51 | 3 ratings

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Quigyat (with Borda)
Nichelodeon RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. "Quigyat" is NICHELODEON's first production with electronic artist Teo Ravelli, who also adds drums. According to Inuit folklore the Northern lights were the spirits of children who died a violent death or died on their birthday. I live in central Ontario and am far enough north that I have seen these lights many times but it seems like a long, long time since I've witnessed them. There was to be quite the show of these lights about a month ago but we happened to have cloud cover making that advertised event a bust.

This record was taken from an event called A.N.F.O.R.E. which stands for "a new form of European recital". The voices on here were recorded from that live event and added to the studio compositions. This is surprisingly stripped down with us often just hearing bass, piano and Claudio's voice with electronics creating atmosphere. Considering the subject matter I am not surprised at how dark this can be and especially sad. They do go into the difficult side of our music but this record is less that than any of the previous NICHELODEON cds I own, in fact even Milano's vocals sound strangely normal at times. Still, this is not for the faint of heart believe me.

I think that second song "Requiem In Defense Of Children's Rights" is like a mini version of the album in the sense that everything I have described about this record is here. A great track to sample to see how you feel about this album. We get five tracks worth about 39 minutes and some of the instrumental sections were taken from previous NICHELODEON tracks. That closer might be my favourite, haunting and I like that there's drums and how about that powerful section just before 6 minutes. So good!

I applaud Claudio and this band for doing something a little different here although it seems Milano is always searching for something new and different to unveil to the world. I'll admit that their music doesn't always work for me, with me giving half of their records less than 4 stars over the years, but then there is always this guarantee with his music that new paths will be forged and that is exciting and welcomed whether I think it works or not according to my musical tastes.

 Quigyat (with Borda) by NICHELODEON album cover Studio Album, 2024
3.51 | 3 ratings

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Quigyat (with Borda)
Nichelodeon RIO/Avant-Prog

Review by snobb
Special Collaborator Honorary Collaborator

4 stars For the year 2024 Italian voice artist Claudio Milano's "Nichelodeon" project offers a new five-piece work "Quigyat" . "According to the Greenland Inuit, the "Quigyat" auroras were the spirits of children who died a violent death or on their birthday" is stated in album's liner notes, and even without knowledge of Italian the listener can easily feel the sadness, anxiety and dark beauty in music. Songs' titles like "Little Symphony for Frozen Soldiers" and "Requiem in Defense of Children's Rights" tell it all too. But even if the whole work is as eclectic as always with any Milano work, there are not only dark colors or concern in it.

The trio of Milano, pianist Francesca Badalini and fret-less bassist Andrea Grumelli on this album for the first time collaborates with percussionist/ live electronics artist Teo "Borda" Ravelli. Being eclectic, "Quigyat" is less quirky then many other Milano works. The vinyl space limitation dictates extremely accessible (for Milano music) release size - less then 40 minutes in total. It's not a secret, that many previous Milano works were far not easy accessible even for his followers since they contained extremely eclectic and complex form material, offered in a size of two or three hours long.

"Quigyat" is more accessible and it shows that smaller doze is sometimes a better solution. Still, the material here isn't what newcomer can easily imagine. Milano offers his usual voice theater, mixing musical genres from singing poetry to tango, to analog electronics and quite bare-naked piano-fretless bass Italian prog.

I really like here minimalist take on a chosen material with highlighted bass line, a bit flat piano sound and in whole very theatrical atmosphere. For my ear, "Quigyat" is one among more successful Milano works and can be recommended for open ear newbie, interested in testing what Claudio Milano music is too.

 Labirinto D'Acqua by YUGEN album cover Studio Album, 2006
4.05 | 78 ratings

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Labirinto D'Acqua
Yugen RIO/Avant-Prog

Review by theaqua

5 stars ''inventive and dense''

In 2006, Yugen, the band from Italy of RIO/Avant-Prog released the fantastic ''Labirinto D'Acqua'', I spent months listening to this album, dissecting it to finally be able to express myself about what I think of this experience, and I'm I'm glad that day has arrived.

the 14 instrumental songs that together have a duration of 50 minutes flow smoothly, so smoothly that it doesn't seem to be that long, since the album begins with the interlude ''Sévére Réprimande'' at no point have I felt that this album is dragged on, but it only evolved more and more, and after this intriguing start, Yugen attacks with the intense ''Catacresi5'', this song is intense, complex, jazzy, and with a lot of textures in its sound with a lot of breaks in rhythm and with a beautiful piano solo, to be honest, I believe that all the songs on this album stand out and only add to the album, ''Corale Metallurgico'' and ''Brachilogia7'' which, in my opinion, are more intense than many Black Metal albums, how macabre ''Skellotron 003'' is and how beautiful and hopeful ''Quando La Morte Mi Colse Nel Sonno '' is, I feel a lot of feelings in the songs on this album, love, sadness, anger, hate, joy, it's fascinating how the members of Yugen know how to manage this time, with extremely adventurous and dense compositions, full of diversity, full of emotions, with so many things happening, and yet, all these elements are well put together, I love this album, everything about it is very progressive and unique, masterfully executed from beginning to end, ''Labirinto D'Acqua'' is a masterpiece, a sensational diverse experience and easily one of my favorite albums of my life, highly recommended.

 this is NOT the end by PRESENT album cover Studio Album, 2024
4.40 | 32 ratings

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this is NOT the end
Present RIO/Avant-Prog

Review by TheEliteExtremophile

4 stars Though not a member of the eight "official" RIO bands, Present appeared not long after. It was founded in 1979 by Roger Trigaux, a founding member of Univers Zero, which is a band I respect more than I enjoy (and that sentiment can largely be applied to the original RIO movement as a whole). They're often minimal and moody and influenced by chamber music. I can appreciate it on a certain artistic level, but I don't really like it that much.

This Is NOT the End was my first exposure to Present, and I like it a lot. It has a lot less of the chamber music-influenced stuff I associate with Univers Zero, but it has plenty of exciting, experimental, and overall-weird passages. This release is the band's first since 2009, but it is, despite its title, the band's final release. Trigaux, the band's driving force, passed away in March of 2021, in the midst of recording.

"Contre" opens with jittery, nervous energy. Crunchy, syncopated guitars and whirring synths make for an anxious, disorienting atmosphere. Trigaux's vocals are slurred and demented, and the verses have the tense feeling of something you'd hear in the background of a spy thriller. Strings squeal, guitars twist, and the indefatigable rhythm marches onward. The lead and rhythm elements feel like they're pulling in opposite directions, but it's deeply satisfying.

Coming next is "This Is Not the End, Part 2". It shares some thematic and tonal throughlines with "Contre", but it's darker and more subdued, at least at first. Piano, violin, and clarinet lend a mournful character to the piece. There is a lot of repetition here, but it's utilized effectively. It builds tension, and the gradual changes are satisfying. (At least for the first ten minutes or so; the last couple minutes do feel a hair dragged-out.)

This Is NOT the End ends on the 26-minute first part of the title track. The various elements?guitar, piano, and clarinet, mainly?circle about each other nervously, as if they're pushing the limits of their own sonic territory. There's a sense of some impending storm being held back. The start-stop rhythm and occasional louder burst of noise add to that feeling of foreboding. Parts of this composition can linger for longer than entirely necessary, but the mood it cultivates is still enjoyable.

About two-thirds of the way through its runtime, this cut veers off into a wild, wiry riff. Stabs of Mellotron, piano, and reeds lend gravity to this passage. After the long buildup which preceded it, this is an especially impactful moment. Part 1's climax is powerful and enthralling. Though Roger Trigaux didn't live to hear its completion, this feels like a fitting end for the band he helmed for over 40 years.

Present's final album is a dark, stormy opus. Avant-garde influences abound here. Unusual keys, chords, and instrumentation swirl over zeuhl-inspired marching rhythms. Parts can perhaps linger longer than they should, but the overall effect of the album is potent.

Review originally published here: theeliteextremophile.com/2024/05/20/album-review-present-this-is-not-the-end/

 Szobel by SZOBEL, HERMANN album cover Studio Album, 1976
4.75 | 40 ratings

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Szobel
Hermann Szobel RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars After reading Nick Mannion's intriguing review of this album (and phenomenon) last week, my curiosity was so piqued that I listened to the album on YouTube. Like everybody else, I was utterly blown away. So I went searching for more on the story of this artist, the making of this album, and, of course, the story of what happened to Hermann after he disappeared. When I stumbled upon the very recent YouTube interview of bassist Mike Visceglia (the last surviving member of the band that made this album with Hermann) as conducted by insightful (and passionate) YouTube reviewer (and drummer), Andy Edwards (ROBERT PLANT, IQ, MAGENTA, FROST*, RAIN, LEY LINES), I was, again, blown away. What an amazing story!

1. "Mr. Softee" (6:45) so much bombastic power in Hermann's piano play, but then you get these amazingly-inspired collaborators to join in--young artists who totally shared and committed to Hermann's vision--and who had worked together for months pounding away at these songs in order to perfect them to Hermann's liking--and you can't help but be impressed. There is some very strong jazz funk in the bones of this song but the influence of Frank Zappa is also definitely obvious as well as modern classical composers like John Cale (with whom bassist Mike Visceglia had already been working). Other free jazz and European jazz trends can also be heard. Too bad about the sudden fade out at the end; the song/jam obviously went on longer (and I for one would love to hear it) but I get it: you only have two 19-minute sides to work with. Excellent song and music: commanding the listener's attention in very much the same way Norwegian band SEVEN IMPALE did with their debut album, 2014's City of the Sun. (14.75/15)

2. "The Szuite" (12:30) a classically-styled and -constructed suite that definitely qualifies more for the neo-and pseudo-classical chamber type of music that Belgian/French bands Univers Zéro and, a little later, Présent would soon be doing. So many times as I listen to Hermann's piano play I feel as if I'm listening to the piano music or stylings of Franz Liszt or Sergei Rachmaninoff! After 90 seconds of brewing and bubbling the music bursts forth in a fullness with a very somber and serious yet melodic SEVEN IMPALE motif. (Of course I realize that my reference points are totally reversed since the band members of Seven Impale wouldn't even be born for another ten years or more. It's just what I know, here, now, in 2024, to compare this music to.) Lots of repetition of riffs for Dave Samuels to show off his prodigious talents on the tuned percussives, and then there is a rest period for the rest of the band while Hermann solos on his piano for about 11:24, very much carrying forward the ideas and melodies expressed by Dave's work during the previous minute or two. Here I am rather reminded of Keith Jarret's sound and work from his massively popular worldwide hit, The Köln Concert (an album that was released in January of this same year that Hermann and band were creating, perfecting, and, eventually, recording this album). When the other musicians rejoin I am more reminded of UZED again in some very complex, classically-oriented avant-garde music (which is masterfully composed and performed). These performances are just so tight, the composition so mature and perfect, it's really hard to find fault or flaw. Even if I don't always like the styles represented, here they're so good, so sensible and flowing (and, often, melodic--which is, unfortunately, important to me) that I do. I love this! (24.5/25)

3. "Between 7 & 11" (5:08) a song with big, funky, heavily-treated jazz bass that transpires with lots of syncopated, stop-and-go rhythmic elements coming from the careful, deliberate drums and percussion instruments, as well as that of Hermann's percussive piano. There is some kind of presence of an electric synth or treated percussive instrument flitting and floating around in the background of the opening couple of minutes. Then the song kind of restarts, with lots of staccato bursts and note play from the whole band as well as from Vadim Vyadro's tenor saxophone while Hermann fills the spaces between whole-band forays with impressively fluid piano runs and Rachmaninoff-like chord progressions. As the song develops both the speed and seem to compact and compress, culminating in more jazz-like soloing from Vlad's sax. Impressive if more mathematical song. (9.333333/10)

4. "Transcendental Floss" (6:08) This song is much more in line with some of the more rhythmically expressive jazz and jazz-rock artists of the time like McCoy Tyner and Tony Williams and Billy Cobham. Thank goodness for the presence (and talents) of such incredibly adaptive Jazz-Fusion artists like drummer Bob Goldman, funk bass player Mike Visceglia, and virtuosic vibraphone, marimba, and percussion player Dave Samuels (who had a long career as a vibraphonist/marimba player in the jazz/Latin music world) cuz there is some awesome funk going on here! as well as a very familiar SEVEN IMPALE vibe. Interesting final coda before the song finally cuts out. (Also SEVEN IMPALE-like) (9.5/10)

5. "New York City, 6 AM" (6:45) opens with some interestingly processed/treated/engineered percussion play--which cuts out after about 90 seconds whereupon Mike's deep, chunky "underwater" bass enters and leads the band into its slow, pensive, almost minimalistic weave. This is so rich! I love how all of the layers and instruments (and engineering effects) play with one another. The music may not be as sophisticated as the previous songs, but the construction and engineering are absolutely masterful! Definitely capturing an early morning big city vibe. The biggest problem with the ending of this song (and album) is that it leaves me starving for more! (14.5/15)

Total Time 37:16

I understand why so many people have trouble categorizing this music. I personally feel the music of this album is more Jazz-Rock Fusion (as Mike Visceglia and Andy Edwards elucidated: 1975 was the absolute peak for all possible combinations of existing musical traditions), but the piano play is definitely Avant Garde/RIO--the kind that bands like Univers Zero and Present would soon be exploring. The contrast in styles between Hermann's piano play and the lively and virtuosic jazz-rock play of the rest of the band is one of the things that makes the music so intriguing. After hearing the story about the headstrong personality of Mr. Szobel, I kept wondering how Hermann even allowed, much less was open to, this "jazz-rock dilution" of his music--if it had anything to do with the demands of Arista (his record company). But the more I heard about Hermann's demanding, controlling personality, I couldn't help but conclude that the eclectic cross-pollination represented in the album's music must have been fully idealized by its leader and composer. The fact that Mr. Visceglia so clearly claims to having spent "months" living in Hermann's Manhattan loft practicing these pieces attests to Hermann's shared passion for the product that resulted in Arista's 1976 release.

This music is so well performed (and recorded in single takes--with everyone playing live, together, in the recording studio, all at the same time!) that the listener can really tell how hard the musicians had worked to render it as perfectly as Hermann wished. Truly an incredible achievement of musical documentation!

A+/five stars; an unquestionable masterpiece of progressive rock fusion music. This is definitely one of finest studio albums I've ever heard (as well as one of the highest rated albums I've ever reviewed).

 Szobel by SZOBEL, HERMANN album cover Studio Album, 1976
4.75 | 40 ratings

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Szobel
Hermann Szobel RIO/Avant-Prog

Review by Nickmannion

5 stars I can't verify the truth of the tale/s but I believe Szobel was related to the legendary Bill Graham (the US promoter) and this was how he ended up invited to New York. Via the Graham ticket it got his foot in the door of studios and in one an Arista signed act were recording (Gladys Knight and band?). During a break Szobel asks is he ok to sit and play the keyboard/s. They ask 'who are you?' He replies 'the best you will ever hear'. So of course they all gather round for a laugh and after 5 mins are ringing Arista and getting them to send an A&R man down to sign this kid. I understand his social awkwardness stemmed from issues we would understand better these days but the story continued that they had to get a set of musicians to play with him who could follow him rather than spend hours in rehearsals. All the above conspired to produce maybe the best keys based fusion (and touching other areas) albums of the 70's if not ever. I appreciate it more as it doesn't sound over rehearsed or top session players reading the dots and has a fire in it that goes beyond the virtuosity of the main man....maybe that's why I am meh about for example Hiromi. Trying to explain this and offering comparisons and influences is perhaps as complex as some of the music on the album. Szobel was too young to have absorbed a breadth of influences from jazz and fusion and maybe the 'classical' side of his playing is the enhancer here rather than 'this is my best jazz chops guys'. It doesn't sound like anyone else but also sounds like everyone else. If someone told you it was Chick Corea up to his eyes on his supplement of choice...you wouldn't be over surprised. I remember buying the album from a 99p cut out bin as I liked the cover of the Flat Iron building in NY and thought he looked a bit 'Tim Buckley' and I guess I expected something like that. But having been pinned to the wall on my first listen I decided I didn't 'understand' it but made damned sure I kept it. Over the years it has become to my ears, as I claimed above, perhaps the best jazz/rock/fusion album ever. It is perhaps fitting that he didn't record anything else...it was rumoured he ended up living in a commune near Jerusalem...because the album is 'unfollowable'.
 NeBeLNeST by NEBELNEST album cover Studio Album, 1999
4.02 | 53 ratings

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NeBeLNeST
NeBeLNeST RIO/Avant-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars NeBeLNeST (capitalisation was obviously important to these guys) emerged out of the international post-rock/RIO/ avant-progressive scene in the late 90's and were known for music influenced by the likes of King Crimson, Shylock and Univers Zero/Present, but played at high energy levels and bringing with them influences form the hardcore and noise scenes. With the line-up of Michaël ANSeLMI (drums), Cyril MALDeReZ (guitar), Gregory TeJeDOR (bass) and Olivier TeJeDOR (synth, devices), this debut album was recorded in 1998 and released the following year by the American label Laser's Edge. By the time of the next release they were signed to Cuneiform with whom they recorded two albums before calling it a day in 2013. In 2020 Cuneiform contacted the band to see if they wanted to reissue the debut, and after a series of quite unfortunate events (check out the Bandcamp page) they managed to recover the tapes which were then remixed and mastered by Olivier Tejedor and the album has finally been made available once again, with updated artwork.

I have long moved past being amazed at the artists discovered by Cuneiform and their seemingly endless mission to make music available which the vast majority of people will ignore or decry, as what they do is so incredibly essential for those of us who understand and long may they continue doing so. Did you know it is their 40th anniversary this year?

Right from the opening we understand we are into something quite special as here is a band who have improvisation at their heart but are approaching it from a quite different angle to many of the bands as this is not jazz, but something darker and more experimental, angular and with many edges as they refuse to conform to expectations and produce something which is very left field indeed, even for the then somewhat resurgent progressive scene. It is as if King Crimson have decided to work at their most extreme experimental boundaries and then they have brought in influences from their previous genres to create something which is difficult to listen to, being quite obnoxious and challenging. However, it is also essential as one needs to understand just what rocky path the guys are going to be taking next, how it is going to diverge and split again as they continue up the tricky terrain, never taking the easy route. Having brothers in a band is always a benefit as they know exactly how each other thinks and where they are going to go, but the others are also joined into that mindset so while there are times when they let the listeners in on the secret with more melodic passages there are plenty of ideas where they act as a guide to us who are totally lost.

This is my first experience of NeBeLNeST, but I can see at some point I need to check out their other releases as well, as some 25 years after this was first released this is still an essential work for those of us who want our prog to be uncompromising and totally left field.

 On Detour to Shortcut by CHOCLAT FROG album cover Studio Album, 2023
3.67 | 3 ratings

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On Detour to Shortcut
cHoclat FRoG RIO/Avant-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars The RIO duo cHoclat FRoG (their capitalisation) comprising Rainer Ludwig (vocals, drums, percussion, keyboards, guitar, synthesizer, Fx, programming) and his son-in- law Tim Ludwig (bass, guitar, programming, backing vocals, additional voices) are back with their second album, following on from 2021's 'Snapshot'. That release saw them bring in guests to fill out their sound and provide some different influences, but this time around it is just the two of them, and to my ears they have produced something which is more complex and richer than the debut.

While this is still solidly RIO with a refusal to conform to any set norms or styles, there is no doubt they felt inspired to bring the guitars more to the fore than previously. This means that some of the music moves into more of a prog metal style and listening to the opening of "This Is My Wife" one realises this has much more in common with Zappa than one might expect before moving more into a metal and avant mix than even he might imagine before dropping into a wonderfully emotional fretless bass and percussion duet. It is the sheer breadth of styles they embody which makes this such a fascinating release, from a duo who are more than happy to be fully instrumental when the mood takes them, bringing in vocals when they feel the time is right. It is difficult to comprehend it is just the two of them creating this soundscape as it feels much more like a full band, with people bouncing ideas off each other as opposed to spending countless hours in a studio creating this line by line, thread by thread.

They seamlessly switch between prog which is more mainstream and the avant garde, often within the same song, making for very interesting listening indeed as one never knows which path the music is going to take, only that one cannot expect a musical pattern to be followed bar to bar, and even when one gets lulled into a false sense of security such as with the bass on "Pollock" one is sure it is soon to change into something quite different. Overall this is a fascinating album which progheads will do well to discover.

 Unrest by HENRY COW album cover Studio Album, 1974
3.52 | 195 ratings

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Unrest
Henry Cow RIO/Avant-Prog

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars Perhaps one of the hardest nuts to crack in the four album legacy of Rock In Opposition legend HENRY COW, the band's second release UNREST (album #2 of the three album sock triptych) followed the debut "Legend" in less than a year but established an ever-changing stylistic approach and lineup that guaranteed each album sounded utterly unique in its short reign of the avant-prog underworld. Obscuring the obvious and punctuating the sounds that gravitate around a designated composition rather than presenting it in a clear fashion, UNREST continued the cutting edge experimentalism of the debut and took it even deeper into the recesses of the unexplored musical terrains where experimental art rock rendezvoused with Canterbury jazz, free improvisation and chamber music all dressed up in an air of 20th century classical alienation and a smattering of European free jazz.

UNREST found classical trained bassoonist / oboist Lindsay Cooper fresh out of Comus and replacing saxophonist Geoff Leigh which in the process took the band into an entirely new direction as she would become a key member in the band's distinct Rock In Opposition repertoire. After a lengthy demanding tour with Faust, the band lacked enough newly composed material for the duration of a second album, therefore UNREST found HENRY COW upping their free improv game significantly and finding clever new ways of extending limited material into sprawling and mind-blowing musical motifs that were as dramatic as they were intimidating. Perhaps the most notable examples of HENRY COW's bizarre sense of reinterpretation comes with the opening "Bittern Storm Over Ulm" which deconstructs The Yardbird's B-side blues rock "Got To Hurry" and resurrects it as an unrecognizable display of progressive rock and avant-garde jazz freakery. Cooper's distinct oboe style immediately sets the album apart from its predecessor.

The following "Half Asleep_Half Awake," a John Greaves contribution is perhaps the most "normal" of the diverse swath of sounds and styles offered on UNREST with the most consistent bass groove and the only track to cop a bit of the Canterbury jazz vibe that traversed the debut thus adding a touch of warmth and familiarity before launching into some of the most alienating soundscapes of the HENRY COW playbook. The Frith penned "Ruins" shifts gears completely by evoking the classical world of Hungarian classical composer Béla Bartók and adopting his use of Fibonacci number sequences to forge the abstruse beats and harmonic orchestral effect which in conjunct with the avant-rock guitar and jazz accompaniments offered a bizarre mishmash of a rock-based futurism the early pioneers of rock and roll never could've envisaged in their wildest dreams. After a jittery and skronky display of contrapuntal excess, the track takes a hairpin turn into the world of 20th century classical before reprising the unique chamber music effect and finally an energetic rock-fueled outburst that cedes into a etheric sustain closing sequence.

While primarily favoring a penchant for the trenchant instrumental workouts with improvised tape manipulations and pushing the musical avant-garde to the excesses of the extreme, "Linguaphone" showcases some rare vocal contributions albeit in wordless utterances in the context of chaotic noisy effects in the vein of Faust only augmented by Cooper's oboe sprinklings and Cutler's spasmodic percussive accents with pointillistic appearances of other band members channeling their inner Stockhausen. "Upon Entering The Hotel Adlon," a titular reference to a hotel in Berlin where German occultists started The Third Reich, showcases the most energetic display of rock run amok found on the album with spastic drumming patterns accompanied by frenetic free jazz saxophone squawking and bat[&*!#] crazy bass thumping seemingly displaying every conceivable time signature move coalescing all under the guise of a single track. The short "Arcades" offers a comedown moment with sparse instrumentation that slowly oozes angular rhythms and discordant sustain power.

As the album winds down with the Greaves 1972 composition "Don't Disturb Me" and deconstructed to only be resurrected in the form of "Deluge," the band pulls out their best sprinkling effects over a stabilizing bass groove which finds sputtering sounds bleeping in and out of existence while slinking sax naughtiness slithers to and fro between the cracks thus concluding one of the wildest prog experimentalism of the mid-1970s. UNREST fittingly describes its contents well as a menagerie of manic effulgence with a keen sense of uncompromising creativity. Add to that the amazing adaptability of eking out an entire album's worth of innovatory musical developments with only a handful of precomposed scores to work with. The improvisational skills were as impressive as the musical breadth of this team of musical agents seemingly operating out of a completely different world than any other act of the day.

While UNREST truly can be considered the pinnacle of avant-prog liberties run taken to the apex of creative freedom with no attempts to pacify the music normies of the era, it certainly latches on to the subconscious which picks up on the hidden patterns and structures and beckons for a deeper understanding. Perhaps one of those albums nobody will truly comprehend, it was certainly one that firmly established that HENRY COW was no one-trick pony, or should i say moo moo cow and had the chops to deliver an ever-evolving stylistic approach that seemed to have no limits. Although it requires a number of active listening exposures to even begin to sink in, UNREST is an acquirable taste that reveals much more than random noise chatter shrieking by in chaotic procession. Woefully ahead of its time, HENRY COW and albums like UNREST required several decades for zealots of extreme music to fully appreciate. While not as immediate as "Legend" nor as perfectly structured as "Western Culture," UNREST and its propensity to set sail across the vastness of what the world of sound had to offer resulted in some extraordinarily fascinating albeit bizarre musical experiments.

 Letters Home by NEWS FROM BABEL album cover Studio Album, 1986
4.36 | 74 ratings

BUY
Letters Home
News From Babel RIO/Avant-Prog

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars The studio only project NEWS FROM BABEL's mission was to keep the avant-garde spirit of Henry Cow and Art Bears alive in the prog desert 80s and released two extraordinarily demanding albums starting with the debut "Sirens and Silences / Work Resumed on the Tower" on New Year's Day 1983 (although most sites cite 1984 as the correct year, the band lists 1983 on its own website) followed three years later by its second and last offering LETTERS HOME.

Once again this was primarily the workings of former Henry Cow members Lindsay Cooper who composed the music and Chris Cutler who wrote the song texts which as the debut delved into Marxist politics and personal alienation. Zeena Parkins returns with her array of electric and prepared harps, accordion and on this second album offers something new with an e-bow guitar. The most striking difference between the two NEWS FROM BABEL albums is in the vocal department. Dagmar Krause dominated the debut but this time around only appeared as a guest on the two ending tracks "Victory" and "Anno Mirabilis."

In fact five vocalists in all appear including Robert Wyatt on four tracks, future English film director Sally Potter on two tracks and Phil Minton who was a guest trumpeter on the debut but on this one makes a reprise as a lead vocalist on one track. Guest musician Bill Gilonis also contributes the occasional bass and guitar sounds when needed. Given the diversity of vocal styles on LETTERS HOME, this second coming doesn't offer the same consistency that albums by Art Bears or "Sirens and Silences / Work Resumed on the Tower" and although Robert Wyatt is a Canterbury avant-gardist legend, somehow his frail vocal style sounds totally out of place in the presence of a style of music pretty much built around Krause's unique singing style.

Another major point of separation is that LETTERS HOME seems to rely a lot more on the cabaret aspects of the NEWS FROM BABEL sound with the rock and jazz counterparts placed a little bit behind the scenes. The roaming through the avant-prog jungle approach of the debut also seems to have been tamped down a few notches with a greater emphasis on repetitive catchy motifs that establish and underbelly before unleashing the crazy counterpoints. All of this conspires to create a completely different album than its predecessor but unfortunately just doesn't rise to the same level of perfection to my ears. The album evokes the hodgepodge effect with a nonchalant randomness to the moods the different vocalists bring to the table.

It's certainly a brilliant album musically speaking with the same knotty angular nuttiness that the debut offered and plenty of blistering complexities laced like a time signature playground where no rules have been established. Pretty much anything Lindsay Cooper and Chris Cutler touched guaranteed a high quality alienating effect that no other musicians have even come close to replicating in the same manner. A slight step down in the inconsistency department as i find the vocal choices to work against the continuity rather than enhance it. Personally i would've rather seen Dagmar Krause as the sole diva in the house on this one but as it is it's still an excellent slice of high quality avant-prog which at this stage ended yet one more chapter in the extended Henry Cow playbook.

Data cached

RIO/Avant-Prog bands/artists list

Bands/Artists Country
16-17 Switzerland
1870 (MIL OCHOCIENTOS SETENTA) Mexico
LA 1919 Italy
3 MICE Multi-National
3 PRIMATES France
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AD NAUSEAM United Kingdom
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AIR CANDA Russia
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
TOM ALDRICH / ZOLDER ELLIPSIS Netherlands
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC ENSEMBLE United States
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
ANTHROPODS Austria
ÁPOLÓK Hungary
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARIA PRIMITIVA France
ARKTIS / AIR Austria
ARMON KUILU Finland
ARS DE ER Belarus
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
THE ARTAUD BEATS United Kingdom
ARTERIA Mexico
ASCETA Chile
ATHANOR France
AUKTYON Russia
BABLICON United States
BALUNGAN Various
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
GRECO BASTIÁN Mexico
LES BATTERIES France
ROMAIN BAUDOIN France
BBP UNDERGROUND ORCHESTRA Czech Republic
BECOMING-ANIMAL Multi-National
BEGNAGRAD Yugoslavia
BOB BELL Canada
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BIRTHDAY ASS United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
BLACK MIDI United Kingdom
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
BLUEPRINT HUMAN BEING Finland
BOAT DARES United States
BOLTZMANN BRAIN Germany
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANÇOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BRIAN! United States
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
ÇA France
DOS CAFUNDOS Brazil
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 CÔNDOR Chile
THE CELLAR AND POINT United States
CERBERUS SHOAL United States
CHAINSAW JAZZ United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHĘNE NOIR France
GUIGOU CHENEVIER France
CHOCLAT FROG Germany
CHOU PAHROT United Kingdom
CHROMB! France
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
CLOUD BECOMES YOUR HAND United States
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
COMPASSIONIZER Russia
CONFUSIONAL QUARTET Italy
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CAIO CSIZMAR Brazil
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CUDŮ Italy
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
DARRIFOURCQ HERMIA CECCALDI Various
DAS RAD United Kingdom
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEADLY ORGONE RADIATION Various
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
DESERTION TRIO United States
DETAILS AT ELEVEN United States
DETIETI Russia
DEUS NUVEM Brazil
DIER Netherlands
DIRECTION SURVET France
DISCUS Indonesia
THE DISPLAY TEAM United Kingdom
DIZZYLUNA United States
DOCTOR NERVE United States
DON SALSA United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
JONATAN PIŃA DULUC Dominican Republic
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-MČRE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
DYING GROUND Multi-National
EARDANCE United States
EBU GOGO United States
L' EFFET DEFEE France
ELECTRIC MASADA United States
ENCORE + GRANDE Multi-National
ENSAMBLE DENTRO DE LA NADA Mexico
ENSEMBLE HAVADIŔ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAYÉ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACEMEAT Australia
FACTOR BURZACO Argentina
FAIR WIND PLEASES Russia
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FALLING INTO BIRDS United States
FAMILHA ARTÚS France
FANTÔMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FESTÍN SAGITAL Chile
FILTHY HABITS ENSEMBLE Spain
FINNEGANS WAKE Belgium
FIRE! Sweden
FISTFIGHTS WITH WOLVES / EX INTERROBANG United States
FIVE-STOREY ENSEMBLE Belarus
THE FLYING LUTTENBACHERS United States
FOREVER EINSTEIN United States
FORTRANGT HUSHALLSARBETE Sweden
FOTE / EX THE TRUTH CLUB United Kingdom
FOTGJENGEREN United States
THE FOURTH WORLD QUARTET United States
THE FRACTURED DIMENSION United States
LES FRAGMENTS DE LA NUIT France
FREE SALAMANDER EXHIBIT United States
FRENCH TV United States
FRESH! Japan
FRIENDLY BEARS United States
FRED FRITH United Kingdom
FRANK-WILLIAM FROMY France
FUKKEDUK Belgium
DIAMANDA GALÁS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
GIANT HEDGEHOG Germany
MICHAEL GILES MAD BAND United Kingdom
GLINTSHAKE Russia
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
LE GRAND SBAM France
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
THE GREAT TYRANT United States
GROUND ZERO Japan
GRUPPO D'ALTERNATIVA Italy
GUAPO United Kingdom
GUARDIAN ALIEN United States
GUERILLA TOSS United States
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HAPPY 55 Russia
YUMI HARA United Kingdom
HARDSCORE Belgium
HARPY Japan
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HELMUT RÓBOT Argentina
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
HET United Kingdom
HI-SPEED Japan
HIGH CASTLE TELEORKESTRA Multi-National
HIKASHU Japan
ZACH HILL United States
TIM HODGKINSON United Kingdom
LARS HOLLMER Sweden
HONEY RIDE ME A GOAT United Kingdom
HORDE CATALYTIQUE POUR LA FIN France
HORRIFIC CHILD France
HORSE LORDS United States
HOT FUR Israel
HÖYRY-KONE Finland
HUMBLE GRUMBLE Belgium
HUNK AI Denmark
HUNUNHUM Japan
HYRROKKIN United States
I AM ABOVE ON THE LEFT Russia
LES I France
ICSIS France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
IN LOVE WITH France
LA INCREÍBLE FUGA DE TRIÁNGULOS Argentina
INFANTEPHANT United States
L' INFONIE Canada
INNER EAR BRIGADE United States
INSIDE//OUTSIDE United States
INSONAR Italy
INTERFERENCE SARDINES Canada
INUS United States
IVOR AXEGLOVITCH Denmark
JACK DUPON France
CATHERINE JAUNIAUX Belgium
JEAN LOUIS France
JERSEYBAND United States
JIMI SUMÉN PROJEKT Finland
SCOTT JOHNSON United States
JONO EL GRANDE Norway
LARS JONSSON Sweden
JORK Ireland
JAKOB JUHKAM Estonia
JULVERNE Belgium
JUMP FOR JOY! Multi-National
JUNGLE Japan
JUSTINE Canada
KAADA & PATTON United States
HENRY KAISER United States
KAM-PAS-NEL-LA Multi-National
HOPPY KAMIYAMA Japan
KAPELA LA CHATELIER Slovenia
KAREN COOPER COMPLEX United States
KARENAUTAS Argentina
KARMIC JUGGERNAUT United States
KATRA TURANA Japan
KATZEN KAPELL Sweden
KAUHUKAKARA Multi-National
KAYO DOT United States
MIKE KENEALLY United States
KILLING TIME Japan
KILLSONG Australia
KLAXON GUEULE Canada
KLETKA RED Multi-National
KLIMPEREI France
THE KNELLS United States
DIE KNÖDEL Austria
KNOMIGON United States
KOLKHÖZE PRINTANIUM France
KOMBINAT M Austria
KOMINTERN France
KOREKYOJINN Japan
KORMORANY Poland
KOROVA MILK BAR France
KOUMA France
KOUTUS Finland
KRALDJURSANSTALTEN Sweden
DAGMAR KRAUSE Germany
KROKO Finland
KRUZENSHTERN & PAROHOD Israel
KSIEZYC Poland
KUHA. Finland
KULTUR SHOCK Multi-National
KULU HATHA MAMNUA Switzerland
KURUSHIMI Australia
THE KURWS Poland
LACRYMOSA Japan
LARSEN RUPIN Switzerland
LARVAL United States
LASK Germany
LAST EXIT United States
LEAN LEFT Multi-National
LED BIB United Kingdom
JOSÉ LUIS FERNÁNDEZ LEDESMA Mexico
LEFTYFISH Indonesia
JOHN DE LEO Italy
BEN LEVIN GROUP United States
LIGEIA MARE United States
LIGHT COORPORATION Poland
A LIGHT SLEEPER United States
LITAI Italy
LITTLE WOMEN United States
THE LOCALS Germany
LOOK DE BOUK France
LOOMINGS France
LOST CROWNS United Kingdom
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 SEXTET United States
LE MASCHERE DI CLARA Italy
MASSACRE United States
MESMERICO Italy
METABOLIST United Kingdom
METAL-O-PHONE France
METAMORPHOSIS Czech Republic
MEZZ GACANO Italy
MIASMA & THE CAROUSEL OF HEADLESS HORSES United Kingdom
MICROKINGDOM United States
MILLER TWINS 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
MONOGLOT Switzerland
MOONCHILD TRIO United States
MORKOBOT Italy
MORVISCOUS United Kingdom
MOSAĎC France
MOTEUR! France
MOTOR HUMMING Japan
MOTOR TOTEMIST GUILD United States
MPXXIV Switzerland
MR. BUNGLE United States
MUCHO TAPIOCA France
MUD MOTHS United States
THE MUFFIN MEN United Kingdom
LA MUJER BARBUDA Argentina
MULA Colombia
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
NATIONAL DIET United States
NAZCA Mexico
NE ZHDALI Estonia
NEBELNEST France
NEBULOUS SUN France
NEO Italy
NEPTUNIAN MAXIMALISM Belgium
NEWS FROM BABEL United Kingdom
NI Austria
NI. France
NICHELODEON Italy
NICOTINA ES PRIMAVERA Argentina
NIEW HIP STILEN Netherlands
NIMAL Switzerland
NINE TOBS Netherlands
NITRAM ET LES SEPT GRAMMES Canada
NO BASE TRIO Puerto Rico
NO SAFETY United States
NO SECRETS IN THE FAMILY Switzerland
NOICE United States
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
O-U Japan
OCTAFISH Germany
OCTAVO France
OCTOBER EQUUS Spain
OGIVES Belgium
OHO United States
OLD TIME RELIJUN United States
OLIVE MESS Latvia
OOIOO Japan
OORT SMOG United States
OPABINIA Japan
OPTICAL*8 Japan
OPUS AVANTRA Italy
ORANGE TULIP CONSPIRACY United States
ORCHESTRA NJERVUDAROV Italy
ORCHESTRA OF THE UPPER ATMOSPHERE United Kingdom
THE ORDINAIRES United States
LAS OREJAS Y LA LENGUA Argentina
ORQUESTA METAFÍSICA Argentina
THE ORTHOTONICS United States
OSSI DURI Italy
OTEME Italy
OTOLITHEN Multi-National
OTOMO YOSHIHIDE Japan
OXOMAXOMA Mexico
P.O.N. Japan
PABST Germany
PAINKILLER United States
PAK United States
PALINCKX Netherlands
PANICSMILE Japan
PANZERPAPPA Norway
PAPER MICE United States
PARDANS Denmark
PARTNER United States
PATAPHONIE France
MIKE PATTON United States
PEARLS OF SWINES France
PERFUME DE MUJER Cuba
PERHAPS CONTRAPTION United Kingdom
LA PERRA Mexico
PFS United States
EMME PHYZEMA United States
PIENZA ETHNORKESTRA France
PIG SOUL Brazil
PIKAPIKA TEART Russia
PING Norway
PINIOL France
PISSUK RACHAV Israel
PITOM United States
PLASTIC DOGS Japan
THE PLASTIC PEOPLE OF THE UNIVERSE Czech Republic
PLOZ Canada
ANDREW PLUMMER & WORLD SANGUINE REPORT United Kingdom
POCHAKAITE MALKO Japan
POCKET ORCHESTRA United States
KIMMO POHJONEN Finland
POIL France
POKERFACE Sweden
POLYMORPHIE France
LES POULES Canada
PRESCOTT United Kingdom
PRESENT Belgium
NICK PROL AND THE PROLETARIANS United States
PROSESSOR BALTHAZAR Norway
PSUDOKU Norway
PSYCHOYOGI United Kingdom
PSYNKOPAT Sweden
PULSOPTIONAL United States
PUNGO Japan
PUSH THE TRIANGLE France
QUARTET DIMINISHED Iran
QUATEBRIGA Yugoslavia
QUEEN CRONY United States
QUINTORIGO Italy
RABBINICAL SCHOOL DROPOUTS United States
RADIATION10 France
RALE Czech Republic
RAMDAM FATAL 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
RED FICTION / EX ATOMIC APE United States
THE RED MASQUE United States
RED NOISE France
ALEC K. REDFEARN AND THE EYESORES United States
REDRICK SULTAN Canada
REFLECTIONS IN COSMO Norway
RENALDO & THE LOAF United Kingdom
REPORTAZ Poland
THE RESIDENTS United States
RESISTENCIA CHACO Argentina
RĘVE GÉNÉRAL Multi-National
LES RHINOCÉROS United States
ALESSIO RICCIO Italy
RINNESYA Japan
HARRY ROESLI Indonesia
ROUGE CIEL Canada
ROZ VITALIS Russia
RUDOLF Russia
SAAL HARDALI Israel
SAJJANU Japan
SALES DE BAŃO Argentina
SALLE GAVEAU Japan
SALMAGÜNDI Italy
SALMO France
SAMLA MAMMAS MANNA Sweden
SARLO AKROBATA Yugoslavia
SATANIQUE SAMBA TRIO Brazil
MASAHIKO SATOH AND THE SOUNDBREAKERS Japan
DIONYSIS SAVVOPOULOS Greece
DANIEL SCHELL & KARO Belgium
SCHNELLERTOLLERMEIER Switzerland
THE SCIENCE GROUP Multi-National
SCISSOR SHOCK United States
SCORCH TRIO Multi-National
SCROOGE Austria
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
FRANCISCO SLEPOY Argentina
SMEGMA United States
SNAKE OIL France
SNAKEFINGER United Kingdom
SNARLING ADJECTIVE CONVENTION United States
THE SOCIETŔ ANONIMA DECOSTRUZIONISMI ORGANICI Italy
LA SOCIETE DES TIMIDES Ŕ LA PARADE DES OISEAUX France
SONAR Switzerland
SONS OF CEPHEIDS United States
SOT Norway
SOTOS France
SPALTKLANG Switzerland
SPECIES BEING United States
SPINIFEX Netherlands
SPRAIN United States
SQUARTET Italy
STABAT AKISH France
MARK STANLEY United States
STARRING United States
STEAMBOAT SWITZERLAND Switzerland
SIMON STEENSLAND Sweden
STEPMOTHER Multi-National
STERBUS Italy
STOP MOTION ORCHESTRA United States
STORMY SIX Italy
STRANGE CHANGES United States
STRIPSEARCH United States
SUBTILIOR Italy
SUDOKU KILLER Italy
SUN CITY GIRLS United States
SUPERDENSECRUSHLOADFACTOR Australia
SUPERSTRING Korea
SWEET POTATO United Kingdom
SYNKOKE Norway
SZENTENDRE France
HERMANN SZOBEL Austria
TACO Japan
TAIRIKUOTOKO VS SANMYAKUONNA Japan
TALI TOKÉ Belgium
TAMANDUA United States
TANZ Italy
TAPETTO TRACI France
TARTAR LAMB United States
TAYLOR'S FREE UNIVERSE Denmark
TAYLOR'S UNIVERSE Denmark
ROBIN TAYLOR Denmark
TEDDYBJÖRN BAND Sweden
TENKO Japan
TEXTBOOK OF MODERN KARATE Italy
STEPHAN THELEN United States
THINKING FELLERS UNION LOCAL 282 United States
THINKING PLAGUE United States
THIS HEAT United Kingdom
JACQUES THOLLOT France
THONK Switzerland
THRANGH Italy
THROWAWAY United States
STEVAN KOVACS TICKMAYER Serbia
TIGRESS AND THE U-FRAIDEES United States
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TIME OF ORCHIDS United States
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WHO'S YOUR FAVORITE SON,GOD? United States
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