Progarchives, the progressive rock ultimate discography

RIO/AVANT-PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

RIO/Avant-Prog definition

Avant-Prog

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

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

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

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


Rock In Opposition

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

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

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

The five initial Rock in Opposition bands were:

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

Three additional bands were later officially elected to the movement:

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

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

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

Dates of the original RIO festivals

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

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

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

Current team members:
as at 20/6/2015

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

RIO/Avant-Prog Top Albums


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

4.62 | 48 ratings
H─XAN
Art Zoyd
4.32 | 1278 ratings
HOT RATS
Zappa, Frank
4.32 | 753 ratings
THE GRAND WAZOO
Zappa, Frank
4.31 | 729 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.65 | 31 ratings
TAIGA
OOIOO
4.30 | 260 ratings
UZED
Univers Zero
4.31 | 225 ratings
SING TO GOD
Cardiacs
4.88 | 19 ratings
JACKSON
Korekyojin
4.33 | 146 ratings
IN EXTREMIS
Thinking Plague
4.44 | 56 ratings
BOOK M
Secret Chiefs 3
4.27 | 321 ratings
CHOIRS OF THE EYE
Kayo Dot
4.41 | 56 ratings
DECEIT
This Heat
4.25 | 235 ratings
HERESIE
Univers Zero
4.41 | 54 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.26 | 184 ratings
WESTERN CULTURE
Henry Cow
4.44 | 44 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.24 | 202 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.28 | 106 ratings
BARBARO (MA NON TROPPO)
Present
4.30 | 82 ratings
ON LAND AND IN THE SEA
Cardiacs
4.21 | 230 ratings
M┼LTID
Samla Mammas Manna

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

KILLED BY CHARITY
X-Legged Sally
KOTEGARDA
Gargantua
LACRYMOSA (AKA BUGBEAR)
Lacrymosa
ENSEMBLE HAVADI└
Ensemble HavadiÓ

Download (Stream) Free RIO/Avant-Prog MP3


Open player in a new window

Download (Stream) Free RIO/Avant-Prog MP3

Latest RIO/Avant-Prog Music Reviews


 Mňltid  by SAMLA MAMMAS MANNA album cover Studio Album, 1973
4.21 | 230 ratings

BUY
Mňltid
Samla Mammas Manna RIO/Avant-Prog

Review by ALotOfBottle

4 stars Samla Mammas Manna were a prominent act in the Rock In Opposition collective founded by Chris Cutler in the late 70's. Cutler's intention was to unify five groups from five different countries and create festivals aimed against capitalism and music industry. The first festival took place in The New London Theatre in London and the advertisement of the concert read "FIVE ROCK GROUPS THE RECORD COMPANIES DON'T WANT YOU TO HEAR." However, it's 1973 and the term of Rock In Opposition wasn't yet fully established. Two years after their self-titled debut album, Samla Mammas Manna started recording Matild.

The music on Matild blends influences ranging from Canterbury scene to Swedish folk music. Inspiration of Frank Zappa's Mothers of Invention is evident. The band's sound is quite comedic, circus-like, and quite eclectic. The affinity to Gentle Giant is also visible in places. Despite that, Samla Mammas Manna have their own distinct sound and Matild is considered one of its finest examples. The band's sound is definitely odd, but surprisingly pleasing, even at the first listen. The cover is definitely looks peculiar, despite the fact that there is nothing really unusual or ambiguous about it.

Especially for this album, Samla Mammas Manna recruited a fusion guitarist Coste Apetrea, whose gentle guitar touch plays an important role in the band's music. Despite Apertrea's outstanding solo parts, he does not seem to have an urge of being at the first plan with his guitar often playing a role of a rhythm instrument that lays down a simple groove and repeats it. Lars Hollmer, the band's keyboardist showcases his versatility, going from bebop-like and even classically-inspired piano touches to full-on fusion passages on Fender Rhodes. Hollmer also supplies the band with smooth Mellotron sounds, which bring Matching Mole to mind. As opposed to the band's previous work, he sadly does not play organ, which gave the band a rather interesting flavor. Some of the pieces include whacky high-pitched vocals, which sound a bit like the great late David Byron of Uriah Heep was fooling around. The rhythm section of Hasse Bruniusson on drums and Lasse Krants on bass guitar also does a fantastic job and perfectly keeping up with the dynamic aspect of the group's music.

Despite being classified as avant-prog, Samla Mammas Manna are rather careful with musical sophistication. Odd time signatures, a common element of Henry Cow's music, appear seldom while unusual harmonies, alterations, bitonality, and free form parts are quite uncommon. The group seems to put greater emphasis on the eccentric quality of their music, which indeed is quite entertaining. The songs are quite diverse, without giving an impression of musical inconsistency. "Minareten" puts the band put in the more rock-oriented scenario, which resolves into a jazzy jam, "Svackorpoangen" shows the group's traditional jazz sensibilities, while "Tarningen" has elements of Yes' music with a funky rhythm being put into a symphonic-inspired form.

All in all, Matild is a very adventurous work characterized by musical intelligence, good sense of humor, and vigor. This will make a perfect addition to every progressive rock collection and is an essential avant-prog album. Highly recommended, 4.5 stars!

 Western Culture  by HENRY COW album cover Studio Album, 1979
4.26 | 184 ratings

BUY
Western Culture
Henry Cow RIO/Avant-Prog

Review by ALotOfBottle

5 stars Henry Cow in a nutshell?

After the release of In Praise of Learning, Henry Cow toured Europe intensively for nearly two years. The tension caused John Greaves to leave. The bassist participated in Canterbury scene projects such as National Health. The band recruited a young female cellist Georgie "Georgina" Born. Despite the fact that she had never played bass guitar before, she adapted well and found herself quite proficient in the instrument. Dagmar Krause, the band's vocalist left the group due to poor health and being unable to tour because of that. However, she agreed to sing on Henry Cow's upcoming album. In the end, the material was released by a trio of Fred Frith, Chris Cutler, and Krause under the name Art Bears on the album Hopes and Fears. Numerous problems forced Henry Cow to break up. Not for long however, as the band recorded their last album Western Culture a few months later as a quartet consisting of Fred Frith, Tim Hodgkinson, Chris Cutler, and Lindsay Cooper.

This is the first studio album of Henry Cow that does not have the band's signature sock on the cover. The group's sound has once again become strongly oriented towards classical music. It's their only entirely instrumental album (Unrest did feature some word-less vocal parts). The jazz methods are being gradually estranged with only tiny bits of the genre's influence, mainly on improvisational passages and on parts relying on heavier rhythm. The contemporary classical music influences of Schoenberg or Stravinsky are evident, while free jazz of Ornette Coleman, once an important element is being alienated. The quartet's sound is a bit similar to that of Art Zoyd or Univers Zero. Henry Cow introduces electronic effects, which were to some extent used on their previous album, In Praise Of Learning. The band often finds itself playing in odd time signatures, which is typical of them.

Fred Frith's fuzz guitar does not play a substantial role compared to previous releases. It is used economically, playing a role of a musical ornament rather than a solo instrument, like on previous releases. In addition, Frith introduces a completely new element to Henry Cow's music ? an acoustic guitar, which has a bright percussive sound, fitting perfectly in the band's music. He also plays bass parts (Georgie Born plays the instrument only on one track) as well as a soprano saxophone. However, he completely abandons playing violin, letting Anne-Marie Roelofs handle the of the instrument. In addition to wind instruments and piano, Tim Hodgkinson utilizes a synthesizer and organ. And this is not the lush Hammond organ, a characteristic element of progressive rock, but organ sounding closer to a violin or a harmonium. Lindsay Cooper lays down bassoon, oboe, Soprano sax, and sopranino recorder parts, while Chris Cutler supplies the band with trombone besides drum work. One of the tracks includes a guest pianist, Irene Schweizer, whose playing gives the band a jazzy flavor. All these instruments in conjunction create a very unique, yet familiar sound. The instruments seem to work particularly well when playing together, like on the opening of "Falling Away". Albeit different than on the previous releases, the musicianship on this album is as always proficient.

Some moments on Western Culture remind me of those on the band's debut Legend. This might be partially caused by the band's general retreat towards chamber influences. The album is generally short, being only 36-minutes long with seven pieces. Every single one has a different feel, although that is not felt at first encounter with the album.

After recording Western Culture, Henry Cow ceased to exist. The band blessed us with three albums. Although not flawless, they all are very different and one-of-a-kind experiences. Sometimes jazzy, sometimes classical ? the band always looked for what had not yet been said. To this day, they remain a very respected band, known as one of the inventors of experimental rock. In conclusion, Western Culture is a great farewell album. It is a quintessential album of the group, summing up everything they had to say through over ten years of existence. A perfect way of saying goodbye to Henry Cow. This is a classic avant-prog album and is highly recommended to anyone just starting their adventure with the sub-genre. Five stars!

 In Praise Of Learning by HENRY COW album cover Studio Album, 1975
3.94 | 151 ratings

BUY
In Praise Of Learning
Henry Cow RIO/Avant-Prog

Review by ALotOfBottle

4 stars During their recording sessions for Unrest in Virgin's Manor Studios, Henry Cow were introduced to a German avant-rock band Slapp Happy. This group invited Henry Cow to guest on their new album Desperate Straights. Despite stylistic differences, the two decided to carry on playing together. In 1975, they joined forces to record an album with Henry Cow's material and named it In Praise Of Learning. Soon after, the bands started touring Western Europe for nearly two years continously and played alongside Robert Wyatt.

In Praise Of Learning is a milestone in Henry Cow's catalog. The band's dissonant free-jazz approach of Unrest is being estranged with more of "pure" avant-rock quality being put in the foreground. The contemporary jazz influences are by no means uncommon, but they are just a part of the musical extract. Although to a lesser extent, the band still shows some of their older chamber music elements, which played an important role on their previous releases. Even some Krautrock-inspired electronic effects are introduced. In addition, the band is becoming a lot more politically-oriented. We were able to catch just a glimpse of Henry Cow's political views on their debut Legend, specifically on "Nine Funerals Of Citizen King". Chris Cutler's left-wing lyrics deal with problems of social injustice as well as the ruthless music industry.

Anthony Moore, the keyboardist of Slapp Happy enriches the band's sound by adding organ as well as various electronics, while Phil Becque deals with synthesizer parts. Although it is not entirely felt, the wind section is extended with an addition of trumpet player Mongezi Feza, the comeback of Geoff Leigh (who played on Legend) on woodwinds and Peter Blegvad (who also played guitar). These combined with Lindsey Cooper's woodwinds give more of a jazzy, rather than chamber feel. Dagmar Krause, Slapp Happy's female singer adds a unique quality to the group's sound with her emotional soprano vocals. These work very well with the lyrical themes, as they picture an ordinary woman, who talks about class war. Other than that, Henry Cow's sound remains unchanged with Fred Frith's distorted guitar timbre and folk fiddle, Tim Hodgkinson's jazz-influenced piano, Chris Cutler's accurate and percise drumming or John Greaves' steady basslines.

This album contains six tracks. These are not very varied, really presenting only two or three different stlyes, but they all contribute to a very interesting and a unique whole. "Living In The Heart Of The Beast" is Henry Cow's own 15-minute suite, which opens with a dissonant distorted guitar and going through many different moody phases, it closes with a jazzy march, that brings some of more mainstream progressive rock acts to mind. I feel like this is the most representative piece of the album, both musically and lyrically. "Beautiful as the Moon - Terrible as an Army With Banners" is another longer track with a very smooth jazz-rock feel, leaded by solo piano. "Beginning: The Long March" or "Morning Star" (named after a British socialist magazine) present the more experimental side of Henry Cow's sound with more of an ambient electronic free-form approach. All in all, the band organized their album time very profficiently.

In Praise Of Learning is an absolutely exceptional work with a distinctive, unique sound. This album could be the closest that Henry Cow got to being a progressive rock band and so naturally In Praise Of Learning should be quite appealing for fans of the genre. Fairly inaccessible, this recquiers much more than one or two listens to appreciate fully, But I assure you - this will be a very rewarding journey. Highly recommended, a masterpiece! 4.5 stars!

 Live At Bazillus by SONAR album cover Live, 2012
4.00 | 1 ratings

BUY
Live At Bazillus
Sonar RIO/Avant-Prog

Review by Lewian

— First review of this album —
4 stars "Live at Bazillus" is my first encounter with Sonar, or let's say my first encounter after quickly sampling some of their material in order to decide what to buy first. This live record has three tracks from their debut "A Flaw of Nature" (note that the opener here is "Tromso" although this is erroneously omitted from the progarchives track list). This was the only album that appeared before this live release, but still some material that would appear only on later studio albums still existed at the time and is performed here. There are two tracks from their second album ("Static Motion" and "Tranceportantion") and one ("String Geometry") from the third one "Black Light". "Gordian Knot" is apparently exclusively here.

The music of Sonar is in my opinion better classified as "Post Rock/Math Rock" than as RIO/Avant. All is instrumental, and all songs are very rhythm oriented, slow to mid tempo, make ample use of odd time signatures, and build up mostly smoothly and slowly. The listener is fairly safe from sudden shocks and contrasts and also from sound experiments; we're up for a pretty plain and solid drums/bass/guitar/guitar landscape. For the right type of person this will be a quite comfortable experience; there is no reason to call this "avantgarde" at all.

I went for the live album because the rendering of the music is quite dynamic and lively here, but still the sound is almost impeccable. It deviates only in ways from the studio sound that I like, it's somewhat more rough, pure and earthly, which serves their music well. Venue and audience seem quite small and in this respect we are only very shyly reminded at times that this is a live recording.

The music is somewhat repetitive and based mainly on rhythmic patterns with variable dynamic, although these change occasionally. All is teamwork, there are hardly any solos; one could even deny the existence of composed melodies. It mixes the appeal of minimal music with a rock approach to the instruments and could as such be seen as archetypical post rock; the time signatures and the obvious attention to precision make it more math rock.

Overall this is very elegant, atmospheric and convincing and I like it a lot. I don't give it 5 stars because one can criticise this as a bit too uniform; of course if you're in the mood for this kind of thing, you may be quite happy about the fact that they go for it from beginning to end without flinching.

 Unrest by HENRY COW album cover Studio Album, 1974
3.46 | 134 ratings

BUY
Unrest
Henry Cow RIO/Avant-Prog

Review by ALotOfBottle

3 stars The return of the sock!

After releasing their debut album Legend, Henry Cow were organised a tour with a German experimental band Faust. In addition, the group was offered to play with Mike Oldfield (whom they met while recording Legend) on the BBC session recordings of Tubular Bells. It was at that time that Geoff Leigh left the band. He was replaced with a female oboe and bassoon player Lindsay Cooper, who had previously played in a folk rock outfit Comus. In early 1974, Henry Cow returned to Virgin's Manor Studios to record their second album called Unrest.

It is known that there were many tensions between the members while recording this album. This is very much reflected in the music. Unrest is really a game of two. Side one presents a rather familiar Henry Cow sound with just a few new touches. The Canterbury-style jazz influence is substituted with a darker avant-garde chamber-like feel to it. Free-form elements previously being just a portion of the group's musical extract are being embraced to a much greater extent. Side two is said to have been fully improvised based loosely just on little themes that the musicians brought in. It's really a shame, because it feels like that material does not lead to anything and does not contribute to a whole in any way whatsoever. And they could do much better than that! "Bittern Storm Over Ulm", "Half Asleep; Half Awake" or "Ruins" are very decent tracks, but their potential glory is overshaded by side two's experimentation on pieces such as "Upon Entering The Hotel Adlon" or "Deluge".

As previously mentioned, Henry Cow's sound on Unrest is a lot darker than on Legend. The fast-paced jazz passages are virtually gone and are replaced with slow, dissonant, experimental bassoon and saxophone parts, which must admitt are more typical of Rock In Opposition or Avant-rock than the things the band did on their debut. Despite the changes, we are still capable of observing the group's classic elements: Fred Frith's fuzz guitar tones, his violin, Tim Hodgkinson's piano, Chris Cutler's percise drumming or John Greaves' basslines. However, the "magic", the claw and the true spark of their first album is absent.

All in all, Unrest is a bit of a let-down after Henry Cow's excellent and promising debut release. It's by no means bad or unambitious, but monotonous and a bit lacking. That is not to say that I wish the band would put aside their musical exploration and carry on playing old tunes, no. I think though, the group didn't particularly pick the right direction with their material. Thankfully, much better things were to come. Nonetheless, this is an important album in Henry Cow's discography and deserves attention. 3.5 stars!

 The Letter by COSA BRAVA album cover Studio Album, 2012
4.57 | 15 ratings

BUY
The Letter
Cosa Brava RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars This is the second studio album released by COSA BRAVA, a Fred Frith project. He has enlisted SLEEPYTIME GORILLA MUSEUM's violinist and drummer along with the bass player from SECRET CHIEFS 3 and the keyboardist from NEWS FROM BABEL. Fred wanted to get back to making music in the context of a Rock band but to my ears there's not a lot of "rock" in this music. I'd say it's RIO/ Avant with a Chamber Music vibe with all the violin on this album. It certainly comes across as a violin led album but there is some variety on here as well. Lets just say it did eventually win me over but I'm not nearly as into this as the other reviewers, but it's well worth 4 stars in my opinion.

"Soul Of The Machine" is a short 2 minute opener led by the violin as we also get some percussion and vibes. "The Eyjafjallajokull Tango" opens with bass, intricate sounds and electronics before the violin joins in. It kicks in after 1 1/2 minutes. Great sound here. These two soundscapes are contrasted the rest of the way. I like this song a lot. "Drowning" was significant to me early this past week as that's how I felt. "Drowning, I'm drowning". Violin and drums standout to start but it settles quickly as these contrasts continue. A melancholic beauty. Male vocals before 1 1/2 minutes as it settles in, female vocals help out as well. "The Wedding" opens with what I thought was sitar and there is some guest tambura in this one. Violin and a beat take over along with some prominent bass. Catchy stuff. I like the calm after 3 minutes then the violin returns. Great track!

"The Letter" is a favourite of mine. We get male and female vocals then these typewriter sounds come in after 1 1/2 minutes. There's a doomy violin/ drum section without vocals but the singing returns before 3 minutes. "Slings And Arrows" is another standout piece and it's very Avant to start until the violin arrives before 2 minutes. The drums kick in after 5 minutes. So good. Guitar joins in as well in this surprisingly heavy section. "Jitters" has pulsating keys, drums and many cool sounds coming and going. A feast for the ears except for that annoying sound to start and it will return later on.

"For Lars Hollmer" is melancholic with violin and intricate sounds early on. The mood does change several times throughout this song from melancholic to upbeat to urgent to uplifting. Such are the feelings when remembering someone. Vocal melodies and a baby crying is included in this amazing track. "Emigrants" is uptempo with violin and drums followed by some dissonance and unusual sounds. There's even some cool guitar expressions as determined drums and violin help out. Love it!

"Nobody Told Me" is another favourite of mine. Slow bursts of violin and some deep sounds to start then male and female vocals arrive after 1 1/2 minutes. Man I love this guys vocals, so much character, especially when he sings "... murder" Oh my! Violin, picked guitar and drums around 3 1/2 minutes followed by heavy outbursts of drums and more. "Common Sense" might be my favourite track overall with the vocal melodies and intricate sounds to start. Emotion for me 2 minutes in and this will come and go. The vocal melodies are back but then check it out before 5 minutes. So good! Whistling late with the sound of birds to end it. The album end with "Soul Of The Machine(Reprise)" which pretty much ends the album like it started.

I don't love it mainly because of the violin being all over this but the creative juices were certainly flowing when they made "The Letter".

 Szobel by SZOBEL, HERMANN album cover Studio Album, 1976
4.09 | 3 ratings

BUY
Szobel
Hermann Szobel RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group RIO / Avant / Zeuhl Team & Moderator

4 stars Hermann would be an explosive multi-dimensional therapist based upon avantgarde-jazz approaches.

Zappaish complicated hustle bustle avenue and cool piano sound palace ... they all musical collaborators might be a perfect quintet methinks. One of their remarkable sound points is they would play their style intensively along with leanings toward free-form jazz (the fourth track "Transcendental Floss" a bit reminds me of Yosuke Yamash'ta Trio), and this point itself might mist or blur impression of originality, their instrumental technique should be awesome though.

Very positive phase is kaleidoscopic appearance of the third (and the shortest in this album) track "Between 7 And 11" filled with improvised piano play-based sound landscape crystallized via all of instruments. On the other hand, the second shot "The Szuite" sounds flooded with Zeuhl-ish quirkiness, inspired sound chasing, and therapeutic surrealism, especially in the beginning or the middle. As if their cogwheels could perfectly engage with each other, there is no awkwardness nor irritation but another massive weird sense of unity.

This moment to enjoy this production notifies us of a pity this be his only one (official) release. No novelty nor innovative brilliance can be heard indeed but we can get freak out by their incredible atmospheric development with superb play and technique. Why can we ignore such an excellent obscurity?

 The Painted Bird by ZORN, JOHN album cover Studio Album, 2016
4.00 | 1 ratings

BUY
The Painted Bird
John Zorn RIO/Avant-Prog

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars John Zorn's discography either as solo artist, band member, composer, performer/collaborator, director or producer is huge. It will take a life time effort to keep up with it, less write about each release under his blessing. This being the fourth CD in a 12-month period by Zorn's new ensemble (including long time accomplice John Medeski).

So, I do consider myself lucky of having acquired this 2016 "The Painted Bird" release in which traditional Jazz structures and modern Jazz improvisations are reconstructed via the heavy metal way. A clash of 3 musical worlds balanced throughly and to experimental perfection without any kind of condescending attitude towards neither of the styles.

A daring and flawless performance full of extremely well crafted details true to the nature of their roots yet always on the look out for unsuspected detours or musical expression options, as usual with the non-mainstream soul of this musician's projects.

Music composition wise its creative proposals go beyond the mere blending of styles, opposite to that it explores deeply into its own "crossover" encounters but never losing its balanced focus or becoming indulgent. It is extremely experimental yet at the same time friendly, in John Zorn's terms of course.

Anyway, serious fun to call it somehow.

****4 PA stars.

 Legend by HENRY COW album cover Studio Album, 1973
4.12 | 197 ratings

BUY
Legend
Henry Cow RIO/Avant-Prog

Review by ALotOfBottle

5 stars Henry Cow was formed in the summer of 1968, soon after two Cambridge University students, Tim Hodgkinson and Fred Frith, met in a blues club. The two quickly found they shared common approach to music and started performing as a duo. In a short time, they were joined by a few other musicians and after various personel changes Frith and Hodgkinson recruited a bassist John Greaves, who would stay in the band for a longer period of time. It was around 1971, when Henry Cow started functioning as a proper band, playing at numerous music festivals and taking part in John Peel's "Rockortunity Knocks" contest, for instance. The band took their time to observe ever-changing musical trends and constantly learn. By and by, the quartet was joined by Geoff Leigh on woodwinds and Chris Cutler on drums. In 1973, the quintet signed a deal with Virgin to record their debut, which they called Legend (or Leg End as it is often called).

Legend comprises diverse musical styles including post-bop and free jazz of Ornette Coleman or Rahsaan Roland Kirk, 20th century classical music of Arnold Schoenberg or Benjamin Britten, as well as some material of their contemporaries - Soft Machine, Gentle Giant, King Crimson or Frank Zappa's Mothers of Invention. Henry Cow's music is demanding and complex throughout, full of exceptionally clever detailing. The band's sound is rich in countless free sections, odd time signatures, unconventional arrangements, and unusual sounds.

All of the previously mentioned characteristics are executed in a proficient way. Virtually every musician appearing on Legend is a multiinstrumentalist. Tim Hodgkinson handles most keyboard parts and can be often heard playing clarinet and saxophone. This becomes evident on Hodgkinson-Leigh sax duel on the opening track "Nirvana For Mice". Fred Frith's guitar tone varies from highly saturated and almost synthesizer-like to clean and glassy. Frith also plays violin, which is an important element of the band's music, giving it a feel of Bartok's violin concertos. Geoff Leigh laid down flute, clarinet, recorder and saxophone parts. John Greaves is capable of fantastic grooves, while Chris Cutler's drumming is characterised by astonishing precision. With all of that in mind, without a shade of doubt, the musicians of Henry Cow present phenomenal musicianship and musical know-how throughout the whole work. The sounds of the so-called "toy instruments" such as a pixiphone are not uncommon and enrich the album, giving it even more of a unique sound.

Henry Cow's Legend consists of ten tracks. Varying from melodic to improvisation-based, most of them are instrumental. That is with an exception of "Nine Funerals Of Citizen King", which includes charming harmony vocals and bright political lyrics. The track brings Gentle Giant and King Crimson to mind at times. The "Teenbeat" trilogy is highly influenced by free jazz, while "Tenth Chaffinch" is an experimental, beat-less electronic work-out. Overall, the tracks have a much-needed diversity, which saves this album from sounding monotonous, sterile and "ho-hum".

All things considered, Henry Cow's debut album is a consistent and a very mature work. Borrowing from many different genres, Legend sounds like no other record. Not quite Canterbury scene, not quite jazz-rock, not quite progressive rock - Henry Cow occupy a strange territory of their own. Experimental, complex, vigorous, original, eclectic and one-of-a-kind, in short - a beautifully twisted masterpiece, five stars.

 Moonsongs by THINKING PLAGUE album cover Studio Album, 1987
3.43 | 31 ratings

BUY
Moonsongs
Thinking Plague RIO/Avant-Prog

Review by Bj-1
Special Collaborator Honorary Collaborator

4 stars A step up from their interesting but slightly unfocused debut album, Moonsongs shows a more mature and relentless new edge to TP's musical vision. The material is fairly dark, edgy and delightfully creepy throughout, with several mindboggling twists lurking everywhere, and while all of it is on a very dissonant note, TP's unique sense of melody and rhythmic challenges makes this album good for dozens of repeated listenings. Highlights are the gritty and apocalyptic opener "Warheads", which starts out right in your face with spiky and jagged rhythms before segueing into a most atmospheric and pessimistic purgatory, and the monolithic title track, which features intruging tribal percussion for a good rhythmic start before going into a forest of strange vocal samplings (reminiscent of Jarre's 'Zoolook' album from '84) and bizarre couplings of jazz, avantgarde classical and brutal industrial rock.

Finishing a TP album is like finishing a good, twisted horror movie - you simultaineously get mind[%*!#]ed and euphoric, yet can't really shake the thing off for a few days. This is some really dark and weird music but any adventurous listener should check these guys out. Their 1989 masterpiece "In This Life" is also recommended!

Data cached

RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETËN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
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
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
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
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
LES FRAGMENTS DE LA NUIT France
FRENCH TV United States
FRESH! Japan
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
GUARDIAN ALIEN United States
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HAPPY 55 Russia
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
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
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
INSONAR Italy
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
HOPPY KAMIYAMA Japan
KAREN COOPER COMPLEX United States
KARENAUTAS Argentina
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
KNOMIGON United States
KOLKHÍZE PRINTANIUM France
KOMBINAT M Austria
KOMINTERN France
KOREKYOJIN Japan
KORMORANY Poland
KOROVA MILK BAR France
KRALDJURSANSTALTEN Sweden
DAGMAR KRAUSE Germany
KROKO Finland
KRUZENSHTERN & PAROHOD Israel
KUHA. Finland
KULTUR SHOCK Multi-National
KULU HATHA MAMNUA Switzerland
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
JOHN DE LEO Italy
LIGEIA MARE United States
LIGHT COORPORATION Poland
LITAI Italy
LITTLE WOMEN United States
THE LOCALS Germany
LOOK DE BOUK France
LOOMINGS 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
NIEW HIP STILEN Netherlands
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
ORANGE TULIP CONSPIRACY United States
ORCHESTRA NJERVUDAROV Italy
THE ORDINAIRES United States
LAS OREJAS Y LA LENGUA Argentina
ORQUESTA METAF═SICA 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
PANZERPAPPA Norway
PAPER MICE 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
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
PRESCOTT United Kingdom
PRESENT Belgium
PROSESSOR BALTHAZAR Norway
PSUDOKU 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
R╩VE G╔N╔RAL Multi-National
LES RHINOC╔ROS United States
ALESSIO RICCIO Italy
HARRY ROESLI Indonesia
ROUGE CIEL Canada
ROZ VITALIS Russia
SAJJANU Japan
SALES DE BAĐO Argentina
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
SCHNELLERTOLLERMEIER Switzerland
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
STEPMOTHER Multi-National
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
SWEET POTATO United Kingdom
SYNKOKE Norway
SZENTENDRE France
HERMANN SZOBEL Austria
TACO Japan
TAIRIKUOTOKO VS SANMYAKUONNA Japan
TALI TOK╔ 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
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
TIN HAT United States
TIPOGRAPHICA Japan
TOM MOTO Italy
TONE DOGS United States
TOUPIDEK LIMONADE France
TR-OND AND 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
DAVE WILLEY United States
WONDEUR BRASS Canada
THE WORK United Kingdom
THE WORLD HERITAGE Japan
BRIAN WROTEN United States
X-LEGGED SALLY Belgium
XAAL France
XHOHX Belgium
YBO▓ Japan
YETI United States
LES YEUX DE LA T╩TE France
YOG SOTHOTH France
YOLK France
YOLK Switzerland
YONHOSAGO Chile
TATSUYA YOSHIDA Japan
YOWIE United States
YUGEN Italy
ZAAR France
THIERRY ZABOITZEFF France
ZAMLA MAMMAZ MANNA Sweden
FRANK ZAPPA United States
ZAUSS Multi-National
TOM Z╔ Brazil
ZEVIOUS United States
ZLETOVSKO Japan
ZNR France
ZOAMBO ZOET WORKESTRAO Slovenia
ZOOLIXO LIGO Greece
JOHN ZORN United States
ZS United States
ZU Italy
ZUT UN FEU ROUGE Sweden
ZYPRESSEN Japan

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.37 seconds