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RIO/AVANT-PROG

A Progressive Rock Sub-genre


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RIO/Avant-Prog definition

Avant-Prog

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

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

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

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


Rock In Opposition

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

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

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

The five initial Rock in Opposition bands were:

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

Three additional bands were later officially elected to the movement:

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

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

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

Dates of the original RIO festivals

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

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

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

Current team members:
as at 20/05/2016

Raffaella (Raff)
Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)
Ori (frippism)

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 | 1400 ratings
HOT RATS
Zappa, Frank
4.32 | 802 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.32 | 826 ratings
THE GRAND WAZOO
Zappa, Frank
4.60 | 41 ratings
TAIGA
OOIOO
4.29 | 254 ratings
SING TO GOD
Cardiacs
4.31 | 201 ratings
WESTERN CULTURE
Henry Cow
4.32 | 158 ratings
IN EXTREMIS
Thinking Plague
4.28 | 288 ratings
UZED
Univers Zero
4.46 | 56 ratings
H─XAN
Art Zoyd
4.43 | 66 ratings
N║ 6
Present
4.26 | 344 ratings
CHOIRS OF THE EYE
Kayo Dot
4.26 | 250 ratings
HERESIE
Univers Zero
4.40 | 65 ratings
BOOK M
Secret Chiefs 3
4.25 | 252 ratings
M┼LTID
Samla Mammas Manna
4.32 | 95 ratings
ON LAND AND IN THE SEA
Cardiacs
4.62 | 28 ratings
JACKSON
Korekyojin
4.36 | 69 ratings
DECEIT
This Heat
4.23 | 222 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.28 | 118 ratings
BARBARO (MA NON TROPPO)
Present
4.35 | 61 ratings
ZABRANJENO PLAKATIRATI
Buldozer

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

THE LITANIES OF SATAN
Galas, Diamanda
CARTOON
Cartoon
KOTEGARDA
Gargantua
ENSEMBLE HAVADI└
Ensemble HavadiÓ

Latest RIO/Avant-Prog Music Reviews


 Hoping Against Hope by THINKING PLAGUE album cover Studio Album, 2017
3.98 | 34 ratings

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Hoping Against Hope
Thinking Plague RIO/Avant-Prog

Review by cirrusbay

5 stars I really don't have the words for how well crafted and amazing this album is. Full of strange beauty and subtle intricacies, this is an album to listen to loud, at night, when you can focus on every note and allow yourself to be completely captivated. Every note seems perfectly placed, and whereas fast runs are usually found in solos, here they are found in subtle and almost delicate, yet intense forays of composition, which to my ears is a much more effective and appealing way to demonstrate one's chops. But chops are not really what this is about. I have to apologize, I so rarely write a review, and don't want to bungle it up with repetitive adjectives, but don't know how else to explain this. This album, furthering the sound of their previous album, is in a world of its own. I know of nothing else out there that sounds quite like this. A touch of King Crimson, yes, but only a touch. I tend to think, how can one listen and not be blown away, but in a world we have to hope against hope in, for many reasons, I think it will be truly appreciated only by the relative few. Too bad. This deserves so much more. Even among the prog communities.
 Where Words Do Not Reach by OHO album cover Studio Album, 2015
4.00 | 2 ratings

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Where Words Do Not Reach
Oho RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl & Neo Teams

4 stars Three albums in 40 years (one still to be added to the site). Thos old chaps are very skilled and the fact that they can do "Avantgarde" at their age is really significant. Anyway, when they released their first album there wasn't a clear distinction between subgenres, and probably there's not one even today.

But this means that 40 years of material written and collected for this 2015 release aren't limited by labels. In the album there is sme avant noise, but also a track like "Nazi Dog Jam" which is very reminding of the early Pink Floyd (Ummagumma/Meddle period). There's a sort of catchy Calypso on "House Party" and "I Could Not See Until I Opened My Eyes", and all extremely well played and arranged, even when it's clearly a long bluesy jam. The short "Peradam" could be added to a newage compilation, "Aubrey Circle Dance" has some funky.

So there's a lot of everything and this album is surely worth to be carefully listened. The mixture of "easy" and "challenging" tracks, well...not too much challenging really, can make it result a bit "disconnected", but this is the effect of having recorded material coming from different period in over 40 years.

This is a band that would have deserved a bit of success. I don't know what the band members have done out of those three albums. There's no track of other recordings or collaborations with other artists, at least for what I know. Anyway this is a very good album which can0t have from me less than 4 PA stars

 Fant˘mas by FANTOMAS album cover Studio Album, 1999
3.45 | 52 ratings

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Fant˘mas
Fantomas RIO/Avant-Prog

Review by aglasshouse

3 stars If you're at all familiar with famed avant-garde metal act Mr. Bungle or it's mastermind Mike Patton, then you shouldn't be at all unaware as to the contents of Fantomas. Or maybe you should. Who knows at this point.

Fantomas originates from the titular character in a 1964 French film (or the 1913 thing, whatever you please), which was directed by the late Andre Hunebelle who just so happened to be a master glass-maker. Who would have guessed? Anywho, after the group Mr. Bungle sort-of kind-of broke up in 1999 (even though, not really- 2004 about) and avant-garde fetishist Mike Patton wanted another way to oust his urges since Faith No More wasn't really cutting it. Thus, Fantomas was born from a horrifying musical Caesarean section unto the world. Seeing as the last album of Mr. Bungle (which came in the same year, 1999) had combinations of doo-wop and thrash metal, it's safe to say that whatever this 'Fantomas' thing can't exactly be called 'normal'.

A first question I asked upon first inspection of this self-titled record was, "how the hell do I listen to it?" At first glance the first connection you might draw towards is grindcore, a similar genre with very short track times as well. Don't. It's not that.

Allow me to take a moment of clarity for a second. Like any avant-garde album, criticism is hard to levy towards it. I mean, something so erratic can't be easily pinned down. Lyrical quality is of course non-existent, although I do commend Mike Patton for his impeccable variation between "KI-KI-KI-KI-KI-KI-KI" and "hyena screeching after being impaled with four spears" impression, both of which are like audio serenades. It is definitely metal, for sure. Dave Lombardo, drummer of Slayer, is of course delivers a very powerful performance (at least when he's actually on the mic), especially when the music goes full monty on the metal aspect. Other than that differentiation of bass and guitar by Trevor Dunn and Buzz Osborne is practically impossible amidst all the noise. They are rather nice when they get a minute's time to shred and hit a crazy solo.

But the aforementioned noise is the centerpiece of this. For what it is, which is practically nothing, it's well- produced. Mike Patton is a man who is very fond of nothing, such as that one time when he recorded himself for 43 minutes clapping and screaming in a hotel room in '96*. When he gets a chance to do some neat stuff, he does it rather well. Every time the album goes silent the silence feels heavy, which is a very dismal yet cathartic experience you won't find in really any other genre. The ambiance of the piece yields interesting material as well, like film audio-samples (presumably from Fantomas or films of its caliber) and other industrial noises, all which create an example of metal degradation, something I'm sure Mr. Patton was going for. Although there are many motifs in Fantomas, such as a certain falsetto that Patton does occasionally and extremely high pitched screaming, which do tend to lose their effect after a few listens.

Although I can't really pin down specific tracks that I feel most in-tune with, I won't list any others than 'Page 26', which is so eerily...evil in it's intensity. Rarely have I found any other musical pieces that have instilled genuine discomfort in me more than this particular piece. Very interesting.

All in all I apologize for the disjointedness of some of my thoughts. I am someone who likes to write reviews of music while listening to the music itself. In doing so I sometimes channel the musical nature of it into the reviews themselves. What you just read is the product of a Fantomas-laden mind, and I'm sorry. As for the album itself, I suppose it hit its mark as a discomforting or overly-pretentious production, but it doesn't really break through any boundaries past that. Is it even worth proof reading this?

*THIS IS ACTUALLY TRUE

 The Ghost Of Hope by RESIDENTS, THE album cover Studio Album, 2017
4.00 | 2 ratings

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The Ghost Of Hope
The Residents RIO/Avant-Prog

Review by Tapfret
Collaborator Eclectic Prog Team

4 stars A Real "Trainwreck" of an Album

The Residents exist in a niche within a niche as one of the most divisive acts in our little archive. Generally regarded as surreal, darkly theatrical, and musically quite a bit more minimalist than the typical prog rock fare, they tend to evoke a "love 'em/hate 'em" response from listeners, particularly first timers. The consistency that one finds with The Residents is their affinity for unifying themes and full-on concept albums to go along with their dark theatrics. Their 2017 release, The Ghost of Hope, fits the mold to the letter.

In the current political climate of "out with the new, in with the old", the first thought that might come to mind is there is a political theme to this album with a name like The Ghost of Hope. Perhaps, but not on a superficial or immediately transparent way. No, The Residents are a great deal more clever than that. The album is a cautionary tale weaved from a conglomeration of turn of the century (19th-20th) rail disasters. Disasters ultimately resultant of hubris and decaying infrastructure, used as a parallel to current technological advancements and inability to apply the throttle in moderation. The seven disasters were chosen not for their quantity of carnage, but instead for the quality thereof. The scenes are painted in particularly gory, often fiery detail. Those familiar with The Residents ability to apply the aforementioned dark theatrics will not be surprised by their ability to create deeply morbid textures into 100-plus year-old stories. Often presented in the ubiquitous monotone, semi-spoken word vocal stylings of "Randy Rose", the stories take on that 90's, early 2000's backwater storytelling motif that became The Residents' staple. Combined with background sound effects of locomotive whistles, crowd noise (even an elephant), and rail clatter, one is transported to the scene of the horrifying incidents as described.

Musically the core instrumentation is consistent with the synth driven textures common to The Residents the late- 80's and forward material. Rarely are the tempos redundant. There are a few surprises. For example, a section of driving hard rock precipitated by the cycling of metal wheels on rail of a speeding train. But overall it falls within the expectations of their later material with long sections of ambiance to color the background canvas of accompanied sound effects.

What sets this album apart is the booklet packaging. The CD is sleeved in a hardcover book presentation. Anyone who has ever seen the coffee table books of railroad enthusiasts will recognize the publication styling. The booklet is 20-pages long, complete with the lyrics, stories and accounts of the accidents the songs describe, as well as accident scene photos with our friendly tuxedoed giant eyeballs photoshopped in for good measure.

For the music alone this is a good to excellent 3.5 star album. Perhaps nothing new under the sun, but beautifully textured and explicit example of the storytelling ability of The Residents. But I highly recommend the full CD package to even fringe appreciators of the band for its collector value. For that, I give the album a solid 4-stars.

 Yog Sothoth by YOG SOTHOTH album cover Studio Album, 1984
4.31 | 14 ratings

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Yog Sothoth
Yog Sothoth RIO/Avant-Prog

Review by Warthur
Prog Reviewer

4 stars What is it with avant-prog bands from France in the 1980s and names inspired by H.P. Lovecraft? Not only do you have Shub-Niggurath in a more zeuhlish sphere, but you also have Yog Sothoth, whose style feels more reminiscent of the sort of avant-prog/RIO material that sprang up around Henry Cow and its successor bands, with touches of chamber prog. There's jazzy moments reminiscent of both the fusion roots of Magma and the Canterbury roots of Henry Cow, but don't be suckered in - this is stranger territory than that. Cathy Camilleri's guest vocals are a particularly charming addition to the group's sound.
 The People In Your Neighbourhood by LED BIB album cover Studio Album, 2014
4.09 | 4 ratings

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The People In Your Neighbourhood
Led Bib RIO/Avant-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

Released in the same year as the limited edition live 'The Good Egg', this 11 song seventy-two-minute long album is quite different. Although still incredibly avant-garde, progressive and insane, there is a far greater feeling of structure and control. The album title was inspired by a song from Sesame Street where the Muppets take people from different walks of life, from Ralph Nader to Martina Navratilova, and sing a song about how they are people from your neighbourhood. "Hey, an avant-jazz band are also the people in your neighbourhood," band founder Mark Holub says.

With their unusual line-up, the guys have managed to capture the essence of bands as diverse as Can and Art Zoyd, with Zappa also being thrown into the mix. This is not easy listening music, and was never meant to be, but has taken improvisation as a base and have then built on that to create something that is full of energy and is twisting and turning as it burrows its way into your mind like a corkscrew. Many people will find music as challenging as this to be something that needs to be avoided at all costs, yet I find myself being drawn to it like a moth to a blowtorch. This is all about upsetting the considered norms and taking the music when it needs to go, like a living breathing snake that is shifting its coils as it tries to decide whether to bite you and put you out of your misery quickly, or to constrict you until all breath leaves the body.

Jazz and RIO are combining to create something very special indeed, and musical explorers should seek this out.

 The Good Egg by LED BIB album cover Live, 2014
4.00 | 1 ratings

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The Good Egg
Led Bib RIO/Avant-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars

Drummer Mark Holub founded Led Bib in 2003 for his MA project at Middlesex University in North London, and the band made its auspicious debut on Feb. 24, 2004 (which happens to be Holub's birthday). Various players cycled through the band that first year, but by December the quintet's current line-up had solidified. Joining the Holub is bassist Liran Donin, keyboardist/pianist Toby McLaren and the potent alto sax tandem of Pete Grogran and Chris Williams. The unique instrumentation "makes us think differently about how the music's structured," Holub says. "You don't want to have two alto solos on every tune. We're more about group improvising, and developing tunes with sections that may or may not open up."

Musically, Led Bib sound quite unlike any other jazz band I have ever come across, with the rhythm section concentrating on one musical area, the twin sax something quite different, and Toby trying to keep it all together. His role is quite different to the normal keyboard player, as it feels that he more of the gel that keeps everything in place while the mayhem goes on around him, although he also joins in as well. This four-track thirty-three-minute-long album captures the band in their home environment, namely live in front of an audience where they can experiment and build from each other. Exciting and vibrant this 2014 album certainly won't be to everyone's tastes, but if you enjoy your jazz to be improvisational, avant-garde and progressing, then this could well be for you.

 Jean Louis by JEAN LOUIS album cover Studio Album, 2008
4.23 | 77 ratings

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Jean Louis
Jean Louis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

5 stars JEAN LOUIS is a rather unique freeform avant-garde jazz meets avant-prog type of power trio from Paris, France. So original is their sound that they managed to come in second in the La Defense National Jazz Competition in 2007. Their self-titled debut release came out the year following and displays all their interesting fusion styles with a healthy diverse palette of eclectic influences. The band is a mere trio with Aymeric Avice on trumpet, Joachim Forent on double bass and Fracesco Pastacaldi on drums but like any excellent power triumvirate of sound, have the ability to encapsulate a much larger band experience with a huge swath of styles and eclecticism that makes this eponymous debut quite an intriguing listen. While no guitarist on board, Forent manages to make his bass sound as fuzzed-out as a peach orchard often reminding me of bands like Zu or Aluk Todolo in the process.

The rhythms are quite the strange mix of avant-garde jazz with Avice's angular trumpet playing style and avant-prog type of rhythmic or should i say anti-rhythmic spastic meanderings. So think a mixture of 60s Sun Ra with a Miles Davis flare mixed with Thinking Plague and a noisy math rock band like Lightning Bolt and you've got half the picture! This band doesn't stay still too long and after an intense hardcore workout they delve into extremely psychedelic meltdowns. Just check out the mind bending freakiness on "Airbus." In addition to the instruments listed i swear there are other sounds to be found on here. My guess is that they use different percussive objects as there are lots of clanking and banging sounds. There is also a distinct cello sound on "Tranche" which means there must have been some studio guests participating.

This album is a major wild ride that has taken me forever to find on physical format as the CD is out of print and quite expensive but can be heard on the band's Bandcamp site. This is one that must be experienced to be believed. The dynamic shifts from the passively surreal to the full out aggressive assaults on the eardrums is staggering as each member deftly weaves his respective instrumental riffs in a perfect complimentary way. This album has it all. Intricate melodies, scary storms of cacophonous walls of din, distinct jazz parts, avant-prog run amok and progressive workouts of exquisite virtuosity. The members of JEAN LOUIS are clearly aiming for the most ambitious of the ambitious music nerds out there of which i am one of! This is one of those relentless type of albums that just slaps you in the face with one surprise after another therefore I LOVE IT!!!

 ZePTO by NEBELNEST album cover Studio Album, 2006
3.81 | 40 ratings

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ZePTO
NeBeLNeST RIO/Avant-Prog

Review by Progfan97402

4 stars This was the third album by this French band, released in 2006. It's now 2017 and they became one of those "Whatever happened to them" kind of bands. It seems their website was last updated in 2008, although still running. It sounds like when they were recording Zepto, they were having trouble with keeping guitarists. They started with Cyril Malderez, who was the original guitar and played entirely on their previous releases, and then there were Sebastien Carmona and Vincent Boukera. With a four year gap between albums, there surprisingly little change, despite the guitarists. Olivier Tejedor does appear to have larger reign on his keyboards, other than that, it's the same twisted King Crimson, Magma, and Anekdoten type of RIO. Parts of this are a bit even more "out there", but much of it is the same tried and true formula. If you like what they did on previous CDs, there should be no reason to enjoy this one. On the other hand they probably realize they may end up hitting a brick wall, and probably the reason we hadn't heard from them since. Still, this is a great album if you enjoyed their other, but like RIO in general, it's not for everyone.
 A Token Of His Extreme by ZAPPA, FRANK album cover DVD/Video, 2013
4.11 | 15 ratings

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A Token Of His Extreme
Frank Zappa RIO/Avant-Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars Frank was proud to say that he made this TV performance with his own money and added that it's the best DVD that has been made! You can't be more humble than this! This is a 1974 performance with the Mothers of Invention that was refused by American TV for obvious reason but was accepted by the more open French and Switzerland TV. It's only 73 minutes of great music and funny stuff with some strange animations that can only come from the mind of Frank or maybe a band like Tool... The song "Room Suite" is an improvisation between Frank and his partner Napoleon Murphy Brock about someone who orders something to eat in his hotel. It's just cool to see Frank laugh many times during this. As usual with Frank's music, the percussion side is always amazing with Ruth Underwood. Being filmed in the 70's this video is not comparable to today's standards but who watch this for the picture? Don't miss the great interview and performance on the Mike Douglas Show who Frank talk about the music artists he listens.
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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETËN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
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
THE ARTAUD BEATS United Kingdom
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
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
BEN LEVIN GROUP United States
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOV┴ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANăOIS 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
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
CHROMB! France
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
THE DESERTS OF TRAUN United States
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DIE KNODEL Austria
DISCUS Indonesia
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-M╚RE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
ELECTRIC MASADA United States
RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADI└ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAY╔ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
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
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
FOTGJENGEREN United States
THE FRACTURED DIMENSION United States
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