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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 £1000 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 02/02/2014

Steve (HolyMoly)
Luca (octopus-4)
Ori (frippism)
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

4.33 | 1037 ratings
HOT RATS
Zappa, Frank
4.31 | 559 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.30 | 586 ratings
THE GRAND WAZOO
Zappa, Frank
4.27 | 201 ratings
SING TO GOD
Cardiacs
4.26 | 186 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.43 | 49 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.24 | 286 ratings
CHOIRS OF THE EYE
Kayo Dot
4.24 | 219 ratings
UZED
Univers Zero
4.28 | 121 ratings
IN EXTREMIS
Thinking Plague
4.22 | 163 ratings
UNIVERS ZERO (1313)
Univers Zero
4.50 | 30 ratings
SIRENS AND SILENCES/WORK RESUMED ON THE TOWER
News From Babel
4.21 | 200 ratings
MÅLTID
Samla Mammas Manna
4.54 | 25 ratings
HÄXAN
Art Zoyd
4.15 | 454 ratings
WE'RE ONLY IN IT FOR THE MONEY
Zappa, Frank
4.25 | 74 ratings
JEAN LOUIS
Jean Louis
4.19 | 148 ratings
WESTERN CULTURE
Henry Cow
4.65 | 18 ratings
THE UNIVERSE WILL PROVIDE
Keneally, Mike
4.51 | 24 ratings
SCAMBOT 1
Keneally, Mike
4.69 | 16 ratings
FACTOR BURZACO
Factor Burzaco
4.14 | 354 ratings
UNCLE MEAT
Zappa, Frank

RIO/Avant-Prog overlooked and obscure gems albums new


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

KOTEGARDA
Gargantua
AHVAK
Ahvak
8.8
Silo, Le
VOIX DE SURFACE
Nimal

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Latest RIO/Avant-Prog Music Reviews


 Vol. 33 (Mantra) by INFONIE, L' album cover Studio Album, 1970
3.23 | 4 ratings

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Vol. 33 (Mantra)
L' Infonie RIO/Avant-Prog

Review by Dobermensch

3 stars This is album number two by that wacky assortment of Canadian oddballs and reprobates.

'Vol 3' reminds me quite a lot of the soundtrack from Jodorowsky's 'El Topo' film, with it's repetitive one note bass, sputtering horns and continuously crashing percussion.

Comprising just two long tracks - each one is very hypnotic and trance inducing. I can easily visualise this horde of musicians, bedecked in those dodgy togas and funny hats, performing this free-form orchestrated rabble rousing cacophony. Some may find it repetitive and annoying, but personally I really like this nonsense. It pushes all the right buttons with me. It's so self indulgent, without a care as to how many of the public were going to purchase a copy.

The longer it progresses, the more shimmering and interwoven all the sounds become. All stemming from the premise of a couple of notes at the outset which pretty much continue throughout.

It's all very acceptable to my weird ears and brain which has been infiltrated for decades by strange and wonderful music.

 Fillmore East, June 1971 by ZAPPA, FRANK album cover Live, 1971
3.21 | 110 ratings

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Fillmore East, June 1971
Frank Zappa RIO/Avant-Prog

Review by Dax52

2 stars It had too many Flo & Eddie jokes about "The Road" and "Crew Sluts" to be anything appealing past the age of say 15? I first bought this LP back in the mid 70's when I was 15 and thought it was the best album he ever did. Now, after hearing this as a middle aged adult, and got past the Woo Hoo stuff that was sooooo funny back then, I listened to it to hear it on just it's musical merits. Only two tracks really jumped out one being "Loneome Electric Turkey", and Peaches. The rest I call forgettable.
 Ancestors' Tale by UT GRET album cover Studio Album, 2014
3.50 | 19 ratings

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Ancestors' Tale
Ut Gret RIO/Avant-Prog

Review by BrufordFreak

5 stars Another stellar release thanks to AltrOck Productions. Melodic, at times Canterburian, Bruford/Annette Peacock/Earthworksish, King Crimsonesque, UZedish, Zeuhlish, and, always, perfectly AltrOck. Wonderful vocals. Wonderful presence up front of woodwinds (including didgeridoo!). Awesome interweaving of electric keys and mellotrons. From the album's opening a cappella vocal notes and ensuing woodwind weave I knew I was going to love this music.

Album highlights: "The Raw, The Cooked, and The Over-easy" (5:27) which sounds like it came from some classic Latin-influenced jazz album from the 1960s--at least until the amazing KING CRIMSONian shifts at the 2:50 mark and again later at the 4:45 mark (10/10); the COS/ANNETTE PEACOCK-like Avant-Canterbury-ish title song (5:24) (10/10); the mesmerizingly beautiful multi-instrumental weave of "Walk the Plank" (7:37) (9/10); the fun hyper-weave of "Hopperknockity Tune" (4:00) an instrumental which sounds like it could come from an EARTHWORKS or FIVE-STOREY ENSEMBLE album (9/10); the mesmerizing minimalist OCEANSIZE-like magic of "The Grotesque Pageantry of Fading Empires" (9:17) (9/10), and; the FOCUS-like piano and electric guitar duet work and John Wetton-like bass play of "Zodiac" (8/10).

In the vein of last year's stunning AltrOck releases from FIVE-STOREY ENSEMBLE and EMPTY DAYS we have another adventurous and yet entirely accessible collection of fresh music.

A 4.5 star album I'm bumping up for its diversity, daring, and freshness.

 Dernier Cri by SIX CYLINDRES EN V album cover Studio Album, 1984
3.39 | 8 ratings

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Dernier Cri
Six Cylindres En V RIO/Avant-Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Six Cylindres En V was a short-lived combo from Reims, France, found in 1980.After some live performances they recorded an album for the RIO-oriented Ayaa label at the Bresse-sur-Gosne Studio in November 84' with Jacky Barbier as a producer.The line-up at the time was Yves Colombain on trombone, Patrick Cuisance on saxophone/flute, Marin Favre on vocals and multiple instruments, Yves Menut on vocals/trumpet/flugelhorn, Antoine Prawerman on clarinet/bass/vocals, Jean-Marc Sohier on tuba and Benoit Proust on drums.

A weird band indeed, in ''Dernier cri'' Six Cylindres En V produced out of fashion RIO music in commercial running times regarding the tracks' duration, influenced mainly by Jazz and even Classical Music, with their style being dominated by unusual rhythms and twisting lines.With a huge section of wind instruments their sound was basically driven by the trombone, sax, clarinet and tuba, offered in a classic 70's RIO style with some light atmospheres throw in for good measure.The music is quirky and usually dense with multiple wind-instrumental operations and little vocals, passing through melodic lines ala MIRIODOR and frenetic patterns with a sharp sax, a tricky trombone and a crying clarinet.There are some discreet Latin and Funk influences to be found, but the bulk of the album follows the marching sections and naughty exercises of the RIO movement.The one and only track flirting with the 10-min. mark, ''Midi a 14 heures'', is quite an epitome of the RIO fundamentals and propably very hard to be swallowed by the public at the time, full of inventive breaks and solos on wind instruments and some strong Jazz Rock tendencies due to a pronounced rhythm section.

Little info can be found around the band members after Six Cylindres En V disbanded in mid-80's.Menut propably remained within the jazz circles due to some youtube videos, Favre pursued a personal music career, while Prawerman played with the Jazz groups ''H'' Septet and La Grande Formation and worked as a producer.

Well-played RIO, more surprising is the fact that the band sounded totally uncommercial in a hard period.Nice little gem for fans of the style and lovers of wind instruments.Recommended.

 Victoria And The Haruspex by RED MASQUE, THE album cover Studio Album, 2002
2.14 | 6 ratings

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Victoria And The Haruspex
The Red Masque RIO/Avant-Prog

Review by apps79
Special Collaborator Neo Prog Team

1 stars The Red Masque's activity would expand also in organizing music events entering year 2002 and one of these was the Philadelphia Underground Music and Culture Festival.The same year Kevin Kelly would leave his place to drummer Brian Van Korn (aka Vonorn) with the band recording the first-full length album during the spring 2002 at The Underground Studio in Philly.The title would be ''Victoria and the Haruspex''.

''Haruspex'', which is the centerpiece of the album with a running time over 24 minutes, refers to the ancient method by a person trained to practice a form of divination called haruspicy, but stylistically it is not close to what you should imagine The Red Masque would developed to.This one borders between experimental forms and loose structures, based on guitar dissonances, sinister drumming, low-key moments and KING CRIMSON-ian experimentations, including vintage keyboards, dark chord scratching, dreamy synths, electronic or instrumental, distorted manifests and haunting female voices by Lynnette Shelley.Nowhere near to what the band offered in the previous EP and practically directionless with a mood towards abstract music palettes.With ''Birdbrain'' things will be back on track for a nice seminar of old and modern prog sounds, this is good female-fronted Prog Rock with occasional keyboard flashes and slightly symphonic undertones, while the changes in tempos are present and eventually some nice melodic guitar lines will sit next to Shelley's deep voice.The next two tracks, ''Afterloss'' and ''Cenotaph'', are primarly acoustic-oriented numbers with a minimalistic atmosphere and lots of harp lines, ending up to be rather boring and monotonous with only a good performance by Shelley on vocals.The second of these cuts was dedicated to Nathan-Andrew Dewin's brother Alan.

I think The Red Masque were unfair to themselves with such a release, because the talent is there.''Victoria and the Haruspex'' is more likely to please fans of Experimental Rock and Acoustic Music than any Prog Rock fan.One decent piece over a running time of 48 minutes is not enough to save this work...1.5 stars.

 Phosphorescent Dreams by UNIVERS ZERO album cover Studio Album, 2014
3.73 | 89 ratings

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Phosphorescent Dreams
Univers Zero RIO/Avant-Prog

Review by DrömmarenAdrian

3 stars This is actually my first meeting with the Belgian band Univers Zero which is a part of the Rock in opposition movement. It released its first album 1977 and "Phosphorescent Dreams" is the band's tenth one. It has been possible to hear the record since january but I have heard it recently some times and my thoughts about it are rather devided.

The band uses a lot of wind instruments such as clarinet and saxophones(Kurt Budé), trumpet(guest Hugues Tahon) and trombone(guest Adrien Lambinet) beside drums(Daniel Denis), bass(Dimitri Evers), guitars(Nicolas Dechêne) and keyboards(Antoine Guenet).

It is clear this band has high thoughts of their music and want it to reach high levels of musicality and I think they manage to do that too. In the way they create their music it feels they don't feel so many borders and walls. In my opinion though are the songs on the album perhaps too similar and I am not sure I like the massive darkness that is present. I want to laugh and feel joy. The music attacks the listener with this bombastic rock and hits him with the fanfares.

I'd say the music here is powerful and there are a lot of great and create ideas that the band tries to establish. My favourite track is perhaps a little lighter: "L'Espoir Perdu" and I also like the opener: "Shaking hats". My concluding opinion would regard this album too sad, but yet inspiring and I will give it three stars.

 Kind Of Saltz by SOT album cover Studio Album, 2011
3.99 | 21 ratings

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Kind Of Saltz
SOT RIO/Avant-Prog

Review by admireArt

4 stars If Porcupine Tree dreamed a Tuba in Zeuhl and met Metallica along the way.....

An eclectic Avant Garde effort by Oslo's trio SOT. "Kind Of Saltz" 2011, is masterfully performed in all the extension of the word, yet composition wise it is a bit short of being that unique.

After all, the Tuba as such is usually considered and underestimated, as an "odd" and "cheap/humor" instrument in all kind of music environments.

But here in the open-minded RiO/AV prog sub-genre, it is as always, quiet welcomed, as any other kind of "misfit" instrument in the maistream music world.

OK!, After the thrill of listening to Of's Tuba counterpointing to perfection every rhythm of Tusj's drumming, and especially to the riffs and licks of the low-keyed but masterful Salt, the electric guitar player, I can not help but make some music associations and in fact I am not the only one as far as other SOT reviewers.

Yet I chose the "Porcupiners" because SOT's musical language is quiet "refined", as opposed to early Zappa or Robert Fripp's King Crimson (or even Mahavishnu O.), who were more focused on perfection through less Post/Math clean-cut manners and through rougher and more natural ways , like the kind of refinement Steven Wilson and company did later with those same influences.

Metallica because this kind of electric guitar full chords reminds me of them and finally Zeuhl, because the few singing is unintelligible.

All in all a highly promising first record which blends Jazz with Metal, in a very Rock in Opposition syncopated rhythm language, but also in electric guitar post/math's space/psychedelia atmospheres. With touches of angry riffs and delicate melodies (or both), which contrasts and enhances the perfect-pitch performances.

Adding to that a precise dossage of humor, this effort is well worth ****4 PA stars.

 Redwings Nest by SOT album cover Studio Album, 2014
3.64 | 11 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by Andy Webb
Forum & Site Admin Group Admin / Heavy Prog Team

3 stars Dynamism in music is perhaps my favorite aspect of listening to progressive rock. The breadth of the human imagination is boundless, especially when it comes to the creation of music. Avant garde music, in its various forms, is perhaps the best at this, as musicians who play this genre purposefully take the accepted norms of music and transform them into either beasts or beauties or musical creations. This experimentation does not come without its share of risk, however, as the composition and performance of music that has not already been tested and reviewed before can often lead to harsh ridicule or simply a lack of listeners.

SOT, a Norwegian avant-jazz rock band that has been around the avant scene for less than five years now, is no stranger to this risk. Their debut 2011 album Kind of Saltz was a hit amongst fans of experimental and adventurous music, myself included. The band blended a unique groovy rock backing with tuba-driven jazz riffs and motifs. The album was exciting, unpredictable, and fun to listen to. The disorganized mish-mash of riffs and styles combined for a unique, different, and altogether enjoyable album.

When I received the bands next album, Redwing's Nest, I was very excited. The band had not released an album since their debut three years prior, and I was hungry for more of the band's spicy blend of Norwegian avant jazz rock. After my first spin, however, I was confused. It felt, on first listen, that the band had lost their spark. Kind of Saltz had a ferocious yet restrained pep to them, giving a raw energy to both the melodic and not so melodic aspects of the album. From the outset, Redwing's Nest seemed to be the product of a couple of weekend jam sessions that produced a lot of great ideas that had little cohesion. But as a veteran of their first album, I was convinced I was missing something and refused to have my opinion shaped by a single listen.

I was right, to a degree. The twists and turns of SOT's music still had that element of defiance against musical norms, and a number of the songs on the album, such as "They Called Me Sotanic," "Jan Meyen," "Redwing's Nest," and "Second Row," had that element of careless abandon that made their last album so special. The instrumentation was tight and purposeful; the arrangement showed power where strength was needed and restraint where a gentler or more whimsical motif was played. This is showed best in "Second Row," which is easily the best song on the album, showing each of the band's many, many styles. The band, as they showed on their last album, can switch between a pulsating metal riff, a feathery alto sax melody, and a weaving guitar-driven avant garde riff.

Much of the rest of the album, however, felt hopelessly disorganized. I could easily tell what the band was doing with each song, and on their own, many of the riffs are brilliant, but together, there are too many songs that feel forced. The transitions are weakly formed, and the songs blend together in a less-than-appealing way. For some, this reckless song formation will be attractive, as the songs themselves are not bad in any way. The band members play with drive and passion, and the writing is a prime example of what avant garde music can be. For me, however, I was disappointed with how little it seemed the arrangement of the parts seemed to have been thought out. I'm sure the band spent a considerable amount of time on this, and I'm afraid that it didn't show as well as they had hoped.

In the end, this album is in no way bad. All in all, it's a very enjoyable album to listen to. While I would prefer to listen to "Schlatan" for Kind of Saltz compared to "Second Row," this album shows that SOT still has a strong muse and can belt out a killer riff when they want to. Redwing's Nest is a really good album, but it will only be excellent for those who enjoy the form of avant prog that is played by bands with a stronger emphasis on riff diversity than riff cohesion. 3+ stars.

 Taistelu Pahoja Kelloja Vastaan by KAUHUKAKARA album cover Studio Album, 2008
3.55 | 6 ratings

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Taistelu Pahoja Kelloja Vastaan
Kauhukakara RIO/Avant-Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars There's not much to be added to the excellent - and very warm - review by Eetu, who's also responsible of the artist biography. I had ordered this Finnish debut to the library (that I work in) years ago but haven't listened to it before now. Jazz is the main category in which this is eventually placed in libraries, but the acoustically oriented, very original and boundary-free music resembles also chamber music with some medieval flavour here and there. Avant-Prog is a good choice, but it's nevertheless quite easy music to get into, thanks to the light and joyful atmosphere. I agree with Eetu that children might enjoy it too. Most of it would work well as a soundtrack for some animation emphasized on non- verbal storytelling instead of dialogue. The main instruments are saxophones, cello, keyboards and acoustic bass. Also female voice is used as an instrument, but to some extent there are minor sections for worded vocals (for both sexes). Now that I think of it, the band's name (= Enfant terrible) and slightly disturbing cover art, together with the RIO/Avant subgenre, can raise some unjustified prejudice.

From the prog genre one might mention bands such as MANEIGE, FLAIRCK and MALICORNE that have soundwise some faint similarities. One track ends with a noisy laughter - an association to Frankie Goes To Hollywood's 'Welcome to the Pleasure Dome' finale which otherwise is naturally as far from this music as it can be! The 8th track (= Butterfly in Autumn Frost) is the calmest one, sorrowful as Eetu puts it. I got some associations towards serene, modern chamber jazz of the ECM label.

Perhaps the light naivety (with vocalise in unisono) is too present throughout the album. A nice acquaintance anyway, and I'll hopefully manage to listen to their second album soon. 3½ stars.

 Phosphorescent Dreams by UNIVERS ZERO album cover Studio Album, 2014
3.73 | 89 ratings

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Phosphorescent Dreams
Univers Zero RIO/Avant-Prog

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Wow, this could be disputably the band's longest album title to date after their Ceux Du Dehors. Does this spell a change of attitude? Well DD certainly changed a few things in his lifelong project and maybe the most shocking one is the change of label. I'm still at odds at guessing why Daniel thought that he would get a better support than Feigelbaum's Cuneiform label, but the resulting album is not only a very expensive album, but it is not well distributed and not available widely on the web? and not at all in brick & mortar record store. Past that first consideration, the band's line- up has been revamped, with ex-PaNoPTiCoN and present day Wrong Object keyboardist Antoine Guenet and on guitar Nicolas Duchêne. Elsewhere, Dimitri Evers (bass, and Budé (winds) are alongside Daniel, but we're also seeing a few guests, such as sonny Nicola on drums for a track, and a horn section comprising of Hugues Tahon (trumpet) and Adrien Lambinet (trombone) on three tracks. Recorded and mixed at Didier De Roos's installations in Braine and Soignies throughout the second part of 2013, PD was released in January of the following year, with a post- atomic (or stormy) artwork, courtesy of Thierry Moreau.

Well, the corridor noises were that UZ's sound was (finally?) going to change a fair bit with the line- up changes and an electric guitar in the fold. The leastr we can say is that the sonic changes are not immediately audible, and maybe the prime culprit is the unchanged songwriting. Indeed seven tracks, ranging from almost-5 to almost-13-minutes, composed by Daniel (4 of them) and Kurt Dubé (the remaining three) are not much of a change in the light of UZ's overall discography. Are we looking at Clivages' obvious successor or at an Implosion-like venture? Little doubt that from the first notes of the 10-mins Shaking Hats, you're looking more at the first option than a divergence from the Universal (and absolute) Zero. Despite DD's French and Japanese liner notes as to turn the band to a more "electric sound" to remedy to what he was seeing the band's stagnation (my words, not his).

Technically, the electric guitar and keyboards (Pierre Chevalier was playing on digital synths anyway), but it's not like it brings a major contribution or change the band's soundscapes a great deal. My guess is that DD's near-pathological perfectionism saw that the band's impetus was waning and thought a revamp was needed. For the audible results on the album, I find the changes so un-remarkable that the risk he took angering the "sacked" long-standing Chevalier and Berckmans not worth it. I'm sure the former got over it (he's a busy man), but not nearly as sure for the later. As with the preceding Clivages and the anterior Implosion, UZ's general mood is relatively lighter than it was in the 80's and 90's, and though I wouldn't qualify PD of light-hearted danceable music, there are moments where a certain warmth reaches your vicinity. Of course, this doesn't apply for the sinister title track.

The big debate around RIO-heads is whether the very-high price of the album (and its shipping from Japan) is worth the investment. Obviously, if you're an unconditional UZ fan, it will be worth the important hassle and costs, but if you're a little more objective, you'll think twice or thrice before doing so, especially if you know that, outside the slight line-up change, Phosphorescent Dream is yet another "normal" UZ album. As such, I don't find it essential per se (the last to date was Implosion, IMHO), but it's a very worthy album nevertheless.

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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARKTIS/AIR Austria
ARMON KUILU Finland
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BEGNAGRAD Yugoslavia
BOB BELL Canada
BIG BLOCK 454 United Kingdom
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
THE BLITZOIDS United States
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
FRANÇOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
HASSE BRUNIUSSON Sweden
BULDOZER Yugoslavia
BZ BZ UEU Italy
CALOMITO Italy
THE CAMBERWELL NOW United Kingdom
CAPILLARY ACTION United States
CAPTAIN BEEFHEART United States
CARDBOARD AMANDA Multi-National
CARDIACS United Kingdom
CARTEL CARNAGE France
CARTOON United States
CASSIBER Germany
CATERPILLARMEN Iceland
CAZUELA DE CÔNDOR Chile
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHÊNE NOIR France
GUIGOU CHENEVIER France
CHOU PAHROT United Kingdom
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEBILE MENTHOL Switzerland
DECIBEL Mexico
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