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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 26/10/2019

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

RIO/Avant-Prog Top Albums


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

4.35 | 1706 ratings
HOT RATS
Zappa, Frank
4.32 | 1029 ratings
THE GRAND WAZOO
Zappa, Frank
4.30 | 1027 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.38 | 92 ratings
HÄXAN
Art Zoyd
4.28 | 332 ratings
SING TO GOD
Cardiacs
4.28 | 281 ratings
WESTERN CULTURE
Henry Cow
4.27 | 360 ratings
UZED
Univers Zero
4.32 | 139 ratings
ON LAND AND IN THE SEA
Cardiacs
4.44 | 60 ratings
LETTERS HOME
News From Babel
4.35 | 100 ratings
BOOK M
Secret Chiefs 3
4.43 | 62 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.30 | 158 ratings
HUONO PARTURI
Höyry-Kone
4.26 | 313 ratings
HERESIE
Univers Zero
4.34 | 105 ratings
DECEIT
This Heat
4.35 | 93 ratings
Nº 6
Present
4.26 | 275 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.27 | 188 ratings
IN EXTREMIS
Thinking Plague
4.24 | 308 ratings
MÅLTID
Samla Mammas Manna
4.22 | 388 ratings
CHOIRS OF THE EYE
Kayo Dot
4.71 | 23 ratings
PLAYS STANDARDS
Ground Zero

RIO/Avant-Prog overlooked and obscure gems albums new


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

PLAGUE MASS
Galás, Diamanda
LACRYMOSA [AKA: BUGBEAR]
Lacrymosa
LETTERS HOME
News From Babel
DOOR FLOOR SOMETHING WINDOW: LOOPING HOME ORCHESTRA LIVE 92-93
Hollmer, Lars

Latest RIO/Avant-Prog Music Reviews


 Schlagenheim by BLACK MIDI album cover Studio Album, 2019
3.72 | 15 ratings

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Schlagenheim
black midi RIO/Avant-Prog

Review by koresea

3 stars Black midi debut is a good release but with lack of polishment and solidness that is expected of a great album.

Here we see a group of young musicians who are extremely talented in their respective intruments, if you skip to any moment of the album in almost any part of it there is someone playing in a fast, loud and probably odd time signature, all in a good shape. Overall we can already perceive some of the identity the band is trying to create to themselves, they make some mix of math-rock and post-punk around a "noisy" atmosphere, this elements can work very well when put together with a coherent songwritting, because all these sub-genres originates from punk and are nice combinations.

My problem with this album is not the way the songs are played but the manner that they are written, that most of the time don't made me "feel" the music, let me explain.

The band fails in most of the songs to create something with a structure which makes sense as a unity. I am not saying that the album are bad, I consider it to be good, basically all the songs have their "segments" of geniality but some of them don't have a sense of direction, of goal, for me this is a problem because i picked up myself really impressed by the techniques of the members but don't feeling emotionally involved in most part of the album because the lack of atmosphere creation.

There are some songs with cool concepts that don't fall into this trap, "bmbmbm" is a song with simple lyrics and almost no vocal technique, the trick is that as the singer "say" the lyrcs (that are like something written by Frank Zappa) the instruments dance around him and the chaos of the track slowly increases untill you are immersed in the mess of the last seconds. "953", the opener of the album is very good too, throwing you in the middle of the noise punk and only letting you go out for a few seconds of breathe untill start the mayhem that lasts to a point that this same mayhem loses his strength and the beats become more sparses near the end.

The two songs above can easily make to a playlist, some of the others too depending of your music taste, but overall this record is nothing revolutionary. I recommend this for people who are into music with noisy experimentation but i must say that "Cavalcade", the second album of the band, is a much better work where all the problems off these are fixed, so you must start there then come here if you want more matterial of the band. 3 Stars.

 Cavalcade by BLACK MIDI album cover Studio Album, 2021
4.18 | 35 ratings

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Cavalcade
black midi RIO/Avant-Prog

Review by koresea

4 stars Black Midi's second album is definitely one of the finnest releases in the prog-rock niche for the year of 2021, it is a bit strange to say this because is kinda hard to say that this is a prog-rock album because of the HUGE ammount of influences that this album have, wich makes sense since their description on this site is as an "experimental post-punk avant jazz math rock band", whatever this long sentence means.

All the influences cited earlier can be perceveid in this album but this is not what surprises because is because anyone can just imitates the greater ones and consider themselves good for this, what is awesome about this band its the way they put this altogether and creates something very unique that could be easily identified as "black midi style". This is accomplished mainlybecause the great talent that all musicians show here not only as a technician players but as songwritters.

Talking about the general feeling of the album, is sort of a a "organized generalized chaos", you have what you would expect of a math-rock record, weird tempos and dissonant intruments but they never let the music became "too avant-garde" to the point that turns to be hard to appreciate, this same strange sounds are packed together in a cool post-punk vibe that mantains the listener involved.

The instrumental is awesome and not a single note seem out of place. There is various parts where the album is raided by jazzist saxophones, drums and bass who add's a nice variation to the album,

Variations it's one of the words that can be most used to describe this album because it's constantly show how versatile this band is and how is musicians know the importance of this to create a good record, in sumary the songs can be break in two types, the more "Chaotic experimental" and the "Calm and etheral" ones (this is a oversimplification, but is useful). There is 2 songs I could say are the most "math-rockey" and experimental who are Chondromalacia Patella and Dethroned, 3 songs who are more "ethereal" and psychdelic but still have their break to gain lot of energy (Marlene Dietrich, Slow, Ascending Forth) and the rest of the album kinda mix this two styles but always surprising the listener in the way that this is incorporated.

As I said before this is one of the best albums of the year (maybe THE best) and show us the enormous talent that this guys have (especially because they are only in their 20s), not only I think this is a great start from a fresh new band but that they have the clear potential to deliver us one of the "Essential" records of the site. The band not only quote the references, but works toward become one.

 Confortate gli Abbattuti Live by ROZ VITALIS album cover Live, 2021
4.17 | 5 ratings

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Confortate gli Abbattuti Live
Roz Vitalis RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Good for mental and physical health under such a terrible pandemic situation. ROZ VITALIS have got started as a chamber rock project at first, but in this creation they play complete 'vital' rock on the stage. Their performance is filled with energetic eclecticism and diversity (heavy, jazzy, or artistic) seasoned with delicate symphonic flavour and edgy avantgarde spice. It's a pity there might be less audience in the venue than in the pre-pandemic era, but it sounds like the audience should get immersed in their vitality and vivacity. Russian fans could not wait for the day VITALIS appeared on the stage ? we can notice it without any suspicion really.

Very insightful this album takes the departure with one of their masterpieces "Premonition" that involves delightful opening matured with soft but tragic flute texture and grand earthy keyboard-oriented turf.  A mystic opening act calls for serious heavy rock movements stabilizing our inner minds. The latter moment has pretty calm but sticky melodic streams and modulating vibes. Quite theatrical. As the title says, in "Escaping From Myself" we enjoy a sensational sound trip especially in the middle part, leaning towards "Portable Madness" by Sensation's Fix. The very last synthesizer-based echoic lesion is awesome really. "Walking" has an atmosphere like we walk on a lane after the rain. This reminds me that we would be in the fresh air under the clear sky. Yes it refreshes us so clearly. The former part of "Child Song" is a kind of clean, pure song like children's heart but they have various emotions deeply in mind ? from the middle until the end slightly unsettled, disquieting air flows. Wondering if they would have a similar emotional situation.

Anyway they are using repetitive (and impressive) phrases so effectively here and there. "Donor" is one of my favourite songs, where kinda sensitive, charming phrase comes up repeatedly to us. This mysterious sound-touch reminds me of the similarity to Japanese nursery songs (they have no intention like this though). Uptempo, lively rhythmic bases and slightly ethnic melody lines ring our bells. The shortest track "Confortate Gli Abbattuti" is fantastic and elegant. The moment the elegance strings the upcoming song "Passing Over" is my love really. "Psalm 6" another iconic stuff of VITALIS is a great mixture of heavy minutes and lyrical feelings in the similar vein to Szentendre. Launches us sorta wondrous spurt. We are sure this gig held in March 2021 should produce a great day.

 Cavalcade by BLACK MIDI album cover Studio Album, 2021
4.18 | 35 ratings

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Cavalcade
black midi RIO/Avant-Prog

Review by Kempokid
Collaborator Prog Metal Team

3 stars Well, if my interest in Black Midi wasn't piqued before (it was), then it sure is now after seeing what they did here. Obviously not content with boxing themselves into one particular sound, the band straight up ditches a lot of the core elements of their debut and instead decides to make a completely full-on avant-prog album. What makes this even better is that despite leaving most of the post hardcore and punk influence and having a few other huge differences, the core identity here feels very much in line with their other output. This is especially true in how frantic and anxious it still manages to sound at times, less being chaotic for the sake of it, and more using that to heighten the almost panicked vibe that the crazier moments of this tend to have. This is not to say that I think this is an amazing album either however, as I actually prefer Schlagenheim for reasons I'll shortly get into, it's just that even so, it's really cool what they did here and ends up making the band even more fascinating.

The album immediately shows that this direction can be something truly special with John L, the band's best song so far. Everything about this is frankly insane, with the dense, repetitive string arrangements regularly falling apart as layers upon layers of insanity are added to the mix. This really doesn't sit still for even a moment, whether it's moments of atonal piano being thrown around, the tempo rapidly increasing, or the tense breakdown that leads back into the driving force of the song, and it all serves to throw the listener for a loop time and time again. Marlene Dietrich is unfortunately nothing too special, but represents the versatility brought to the table with the vastly different sound palette here. Hearing such a soft, lush track hits the point of being a bit surreal when you consider basically everything the band did before this, even if the song itself feels rather underdeveloped. These first 2 tracks also demonstrate another huge change this album presents, Greep's vocals performance. The intense, crazy stuff feels considerably more subdued and restrained without losing that goofy character of such a performance, preventing it all from getting annoying and having the classic Black Midi charm. His softer singing is also interesting in how soothing, melodic and expressive it is, really lovely stuff, with both styles overall creating a wonderful contrast and contributing further to the unique flavour of Cavalcade.

For as unique and interesting as I find the changes made here, I can't really say that I'm too sold on some of this even after a handful of listens, especially the quieter moments. Both Diamond Stuff and Ascending Forth totally miss the mark for me, and this is largely due to the fact that they start going in interesting directions too little too late. While both of these have some gorgeous, passionate sections in them, to get there you'll need to listen to a lot of repetition until things suddenly pick up. This is a similar issue that I had at times with Schlagenheim, but the key difference is that in the case of Cavalcade, these bits don't really carry any sort of drive on their own, making it just feel as if it's meandering and just waiting around for something else to swoop in and pick things up. The repetition unfortunately also finds itself on one of the other fast paced, chaotic songs, Hogwash and Balderdash as well. While the first 30 seconds or so throw a lot at the wall and go all over the place in some fun ways, before long these components keep getting repeated in such a way that its sense of spontaneous energy gets killed and makes it feel quite predictable.

I personally also take issue with the production and mixing of the album, because there's a sense of inconsistency to it, but with the common thread of elements sounding totally buried in the mix to the point where things can often be indistinguishable. While this sometimes leads to making the album feels chaotic and dense, such as with John L, but it often makes things sound far less intense than they by all rights should. This is especially problematic with Dethroned, which has a lot of stuff going on, but all the vocal-oriented parts in it are so horribly muted by the fact that you can barely hear the vocals underneath the 80 layers of other stuff going on, despite the fact that the song still manages to be quite entertaining despite this. The production also prevents a lot of the nuances and intricacies in these compositions from coming through, a problem that plagues even most of the best material here, such as Slow. While I still find this song to be excellent, a lot of the more technical moments never feel as if they have enough emphasis placed on them due to the way they're often barely audible unless you're paying close attention, the focus often being drawn to everything else going on and making it feel a bit directionless. With a couple of tweaks along with making a couple more of these crazier moments stand out that bit more, this would be an album with 2 perfect masterpieces on it instead of just the 1. Either way it's a fantastic song, but it's also a testament to the fact that even most of the best tracks here have some issues that feel difficult to overlook. Another problem is how quite a few of these songs just end in a fairly unceremonious or sudden way, which makes a lot of this disappointing just due to the way that they can almost sound incomplete.

Despite these complaints, one big thing I'll give the album a lot of credit for is the way that almost every song has some moments that are ridiculously good, which ends up giving the majority of them some appeal even if they're often marred by my aforementioned problems. This also sums up my feelings about Cavalcade as a whole, definitely has some appeal despite having numerous qualities of it that I feel are extremely flawed. Black Midi with their current output essentially represent vast potential to me, I haven't fallen in love with either of their albums, and yet, I still consider them to be an extremely promising band that I'll continue to intently follow. If anything, despite liking it less, Cavalcade solidifies a lot of these thoughts on the band for me, as it hasn't just brought another masterpiece song to the table, it also demonstrates remarkable versatility and the ability to retain the band's identity even with such a left turn being brought to the table. Cannot wait to see where the band goes from here, I have confidence that it will be great.

Best tracks: John L, Chondromalacia Patella, Slow

Weakest tracks: Marlene Deitrich, Diamond Stuff, Hogwash and Balderdash

 Schlagenheim by BLACK MIDI album cover Studio Album, 2019
3.72 | 15 ratings

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Schlagenheim
black midi RIO/Avant-Prog

Review by Kempokid
Collaborator Prog Metal Team

4 stars As of late there seems to be an up and coming scene of British art/post punk bands that have an anxious, manic tone to them that also take on a range of influences to create a rather quirky, distinctive sound. Of these bands, Black Midi is definitely one of, if not the most popular of them all. On paper they also happen to be as close to ideal music as you could get for me, or at least one branch of it, blending noise and math rock with that post punk and post hardcore edge to end up with an album that would both be complex, yet have a ton of character to go along with it. In practice, this proves to be mostly true, but with a couple of issues that stop it from reaching its full potential to me. I feel like part of the problem could potentially stem from the band still finding their feet, as while they manage to remarkably craft a distinctive sound right out of the gate, there definitely feels like there's something missing from the composition of quite a few tracks here.

Schlagenheim starts off strong with 953, kicking things off with frantic energy across the board, both the guitar and drums sounding as if they're trying to rush ahead of something in a panicked state. I like the way this intro teases the slower, steady riff to come in later by slowing down, feeling as if it's about to change, before jumping back up at the same pace as before for a while longer before eventually settling down into it. The main riff the song is based around plays repetitively throughout, having a strange groove to it and giving everything a sense of grounding. My one issue with the song is the way it erupts into a more aggressive, fast paced version of this riff near the end feels quite abrupt, everything falling apart just moments before, only to suddenly cut back in. It's pretty cool in concept, but it ends up disrupting the flow to me due to feeling as if it's not sufficiently built up to such a moment. Speedway proves to be far more tightly written and is incredibly effective at creating a sense of tension. It stays consistently quiet as Geordie Greep is more or less just speaking the lyrics, but the way certain phrases are repeated while the instrumentation gradually intensifies creates a really strong, menacing atmosphere. It may not really get insane at any point, but it really doesn't need it, it's perfect in the way it keeps cutting out right before these climactic moments. Reggae almost feels as if it continues straight from Speedway, also sounding like the softer side of math rock, but quickly ends up setting itself apart. The way the song progresses is utterly fantastic, sounding like the leadup to some huge, cataclysmic event with the way it reaches such dramatic heights. This is further supported by Greep's vocals being very close to their absolute best, being insanely expressive and adding to the grandiose nature of the song.

Near DT, MI is the reason why I can only say that Reggae has the 2nd best vocals on the album, because wow, talk about intense. This song contains such a panicked mood to it, even the soft bits sound as if they're on the cusp of losing all control, which makes it all the more satisfying when everything bursts into barely coherent screams and a profound sense of desperation. So much happens within these 2 minutes and literally none of it feels wasted or anything less than amazing, practically perfect song. And straight from one best song to another with Western, which feels intent on taking the listener on a journey and does so quite effectively. The bit of country twang added into the mix further makes this stand out from everything else, with the math rock riffs working surprisingly well with this sound. The song doesn't really reach any insane climaxes or anything that noisy, but it feels clear that that isn't really the point, the point is just to tell a story and pair it with something a bit prettier, more majestic sounding, and it all culminates in a very enjoyable and unique standout track.

While I've been mostly extremely positive about the album so far, I do think that its 2nd side is quite a large step down that focuses a bit too much on being overly quirky and loses a lot of its charm in the process. Of Schlagenheim embodies this issue most clearly to me, with its mix of amazing aspects and stuff that frankly doesn't work. The way the first couple of minutes develop, gradually intensifying along with having this amazing, scratchy riff is quickly brought down once everything shifts gears into sounding more like inane ramblings. What makes it worse is the way it just keeps repeating itself from this point, not really going anywhere, especially after the climax happens halfway into the song and just doesn't even manage to work well in its own right. The reason why I feel that the climactic moment where the song briefly descends into atonal guitars and screaming doesn't land at all is because I don't think Greep can convincingly sound unhinged in the way he clearly was trying to, instead being insanely annoying, and tanking the song in the process of this. My issues with this continue into Bmbmbm, easily my least favourite here, which is a shame considering it might be the coolest from an instrumental standpoint. The rhythmic interplay is so cool to listen to, especially with such a prominent bassline. The way it progresses definitely leaves a bit to be desired however, essentially sounding as if it's trying to create tension by repeating the same part a lot and then suddenly getting louder out of nowhere, but at the very least, the individual components are cool. The huge issue with the song comes from the terrible vocals more than anything else. Most of it is just mindless rambling of the same couple of phrases in "wacky and quirky" ways but it all just sounds nonsensical and downright aggravating, making for a borderline agonising experience that's amplified by my disappointment in how the instrumental had such potential. Years Ago is rather insignificant overall, a little song that sounds a lot like something from a Mike Patton project but just not as good to me, in one ear, out the other. Ducter feels somewhat similar to me in terms of just not leaving too much of an impression. There are some cool aspects of it that harken back to the musical storytelling of Western, albeit not quite as well, but for the most part this is an alright, unmemorable song with an ending that yet again tries too hard to be wacky but just ends up being kinda obnoxious instead.

Overall, I find this album to have a very interesting sound and can easily see why there are a lot of people going absolutely nuts over it, but it really doesn't appeal to me often enough for me to say that it's something I personally and consistently adore in the same way. Some issues regarding the way the band tries to build tension through repetition with few changes until everything seems to happen at once in massively abrupt ways proves to me that Black Midi still have room to grow in the songwriting department to me, some room to further refine their music. Furthermore, the massive decline in the 2nd half of this almost kills my enjoyment, with the way it leans extra hard on being so silly quickly losing its novelty and just being annoying, with the wonky pacing further sinking things. Despite these criticisms, I still think that this album is rather cool in all it manages to do right, with the first half being packed with expertly written, anxious music full of exciting instrumentation and a clear drive to make something that really stands out. The amount of potential here is crazy, and I'm looking very forward to seeing what Black Midi has in store for the future.

Best tracks: Speedway, Near DT MI, Western

Weakest tracks: Of Schlagenheim, Bmbmbm, Years Ago

I gave this one a bit of a higher score than I normally would, both because I truly do think that half of this album is utterly masterful, and I also feel like this is an interesting enough album to warrant being added to most collections, despite its flaws.

 Cavalcade by BLACK MIDI album cover Studio Album, 2021
4.18 | 35 ratings

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Cavalcade
black midi RIO/Avant-Prog

Review by dougmcauliffe

5 stars This album has honestly sent a shockwave through my listening rotation. When it surprise released on streaming two days early, I listened to it three times in a row with no sort of break in between the repeats. In fact, I only stopped because I had to go to work. I couldn't tell you a single new release in my time as a music fan that has mesmerized and grabbed me right from the get go like Cavalcade did. And with each successive listen, I've only grown to love it more and more. To really drive the point home, it's made me reconsider the albums I've given 5 stars to in the past few years. Because honestly, this is the first time since Wobbler's 'From Silence to Somewhere' in 2017 I've been 100% confident giving out an elusive 5 star rating. I had one last year, but the incredibly high bar this has set has handedly bumped that down to 4 stars. This album just has everything, it's somewhat of an off the wall melting pot of everything that has made prog cool in the last 50 years. However, this is by no means a retro prog album. This is an album that could only have come out in the 2020s, and furthermore, this is distinctly a black midi album. You have these chaotic, abrasive and schizophrenic sections of music where everyone is perfectly in tune with one another. But on the other hand, you'll have these gorgeously textured and melodic softer passages that offer a nice contrast within the music and somewhat of a moment of clarity to the constant wall of mayhem black midi often fires at you. I think RIO/Avant Prog is the best fit for this style of music, but you're also going to find elements of Math Rock, Post Rock, Noise Rock and even Jazz Rock in the mix. I also have to give a special nod to the vocals. The singer uses so many vocal deliveries and uses his considerably deep voice to its fullest potential. Whether he's speaking, whispering, singing, or even shouting, it's indistinguishably him. For the first time as a fan of the genre, I feel like I'm actually present for the release of a milestone album, one of the greats even. I cannot recommend this album enough for those of you who want a greater emphasis on the "progressive" part of the progressive rock label. Especially those of you with a knack for bands like King Crimson, Henry Cow and Magma. This album has such a masterful flow between songs as well. All the songs in one way or another fade or transition into the next. Yet, all the songs standalone as great works even without the context of what came before or after it. Now, let's get into the music.

John L takes off running from the get-go with a frantic violin riff somewhat reminiscent of Gentle Giant, perhaps with a little more noise than our gentle brethren would typically produce. The disorienting spoken word vocals come in telling the story of John Fifty, L is the roman numeral for fifty, as it turns out. This track makes a very interesting use of stop-and-go mechanics and silence. The music will come to a screeching stop at multiple points and suddenly turn back on like a light as if nothing ever happened. The whole track grows more and more unsettling as it goes on with multiple dissonant guitar leads coming. My favorite shift of which has to be at 2:18 where it introduces this cool off-kilter groove, it's not entirely clear where exactly it's taking you but they just roll with it and somehow, a sweet drum groove kicks in and the story continues. The track actually fakes you out in the end, making you think its come to its finish just for it to kick back into dissonant black midi hell. Marlene Dietrich actually caught me off guard after the opening track as well as some of the other singles that were released before the album. It's a very heartfelt and pretty track with a much more dramatic and comparatively melodic vocal delivery. The strings add a nice texture and delicate atmosphere to what's already a considerably laid back song. The next track, Chondromalacia Patella, is in contention for my favorite on the album and it strongly emphasizes everything I love about this album in a single song. It opens with a high energy and eccentric groove with this sleek saxophone part over it. After some screaming, it abruptly kicks into another equally driving groove with some really well developed drumming, which is a bit of a constant throughout this album. I love some of the soft piano flourishes in here, something I only picked up on upon repeated listens. The vocals start out very light here, at 1:40 it's like the song hits a smooth landing as it transitions into this outrageously gorgeous passage of music that comes back again around 2:25. Some of these softer moments make up my favorite sections of the album, this one in particular is such a refreshing moment to take a breath or stretch your legs before the intensity kicks back in, now coming through even stronger and noisier than before. The final 90 seconds of this track is just perfection, ending with a simply powerful playout properly leading into the track 'Slow,' which I think goes quite hand in hand with Chondromalacia Patella.

On both Slow and the following track Diamond Stuff, the bands mastery of build-ups and subtleties are on full display. Not only in the vocals which grow from a mere whisper to a mighty shout, but also in the actual dynamics of the instruments which show off a brilliant range. Sometimes the band will come through very quietly as a collective like they do at 2:20 giving off somewhat of a lukewarm introspective vibe. However, they never fail to contrast that with an equally harsh and fierce passage like they do with the unnerving main hook at 3:24. I love the saxophone solo that comes through at the end of this track as well. This track is interesting in the fact that it keeps up a similar tempo and cadence throughout. However, through its use of dynamics and rhythmic variation, it never comes off as one note or disinteresting. Diamond Stuff is one of the lengthier tracks as well as one of the more Post-Rock sounding songs on the album. It has an eerie starless like build-up for the first few minutes with these bass notes that are getting detuned as they're played as the band throws in all sorts of small but engaging details around this base they've laid out. This is a real slow burner of a track that ultimately reaches one of the highest peaks on this record. Around the halfway mark, these jazzy drums begin to introduce themselves not long before some stunning and uplifting strings do the same. The production really shines here, as many of the sounds that come through can only be described by myself as transcending. This is another one of those softer moments on the album that almost get me pretty emotional with it's sheer beauty.

The next two tracks once again go hand-in-hand with each other and display some of the heaviest moments on the album. Dethroned leads it off with one of my favorite drum grooves across the whole record acting as the backbone for this song. I love the use of distortion as well as the rhythmic use of palm muting in the first chunk of this song. At 2:45 things settle down as the band introduces this really unique and energetic guitar riff that properly builds us right back into a real headbanging and heavy passage of music. It's just so sick start to finish. It brings us right into Hogwash and Balderdash with its alarming percussive intro. Despite being the shortest track on the album, it stands tall once again as one of the heaviest and perhaps most immediate songs on the record bringing back some of that John L energy in the vocals. I love the dark and quirky acoustic guitar breaks they interject into the song. This song ends with one of the loudest and most crushing finales of any of the songs here, and that makes its transition into Ascending Forth all the more satisfying. Ascending Forth is the other track in contention for my favorite on the record. It's the longest track at just shy of 10-minutes, and I'd argue it's the most different and stylistically removed from the other songs. Much of the track is acoustic and clean guitar led, and I almost get some Genesis vibes in the first parts of the song. The chord progressions and actual playing is jaw-droppingly gorgeous. The vocalist brings back that intimate, expressive and somewhat dramatic delivery once more on this track using it to an even greater extent if you ask me. The band really breathes so much life into this track, the individual playing is so organic and in-tune with each other instrument. The band takes you through many peaks and valleys, it's really the vocals that are leading the charge many times. There's just so much replay value especially on this track as for the entirety of the runtime there's small little details, whether it be strings, a random clean guitar part, harmonics, piano, there's just so much to cling on to and pay your attention to at any given moment. The climax of this track is massive and it sends chills throughout my whole body. You really just have to listen to it, Ascending Forth takes you on a journey and the payoff in the final couple minutes is pure emotional bliss.

There's not even any glimpse of a shadow of a doubt that this is anything less than 5 stars. I'd give this 6 stars if I could. I've been over the moon with how many really good releases 2021 has had already. However, this has come in and pretty easily stomped on everything else I've listened to this year. This is a masterpiece, one of the best new albums I've heard in years. There's no semblance of dull moment to be found here, this band is the future of the genre.

10/10

 Cavalcade by BLACK MIDI album cover Studio Album, 2021
4.18 | 35 ratings

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Cavalcade
black midi RIO/Avant-Prog

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

5 stars Sometimes life just seems unfair, especially in the roughshod world of the music industry, even including its more modern indie niche markets . Bands come and go and some slog it out for decades hoping to hit their stride but never really gather more than a small loyal following. And then there are those bands that just seem to manifest a magic mojo that seems inhuman, the kind that exudes as a certain magnetism strong enough to overpower Magneto and like a rocket booster exhibit an uncanny ability to cut through the lines right out of the gate and strike a chord with the public in a seemingly instant connection with the world at large.

Such is the case of the London based BLACK MIDI who like many modern artists has a punctuation fetish and prefers to sport its moniker in the lower case and in such humility blurs the distinction between genres, fills the cracks in between and gleefully struts their idiosyncratic mashup of sounds without regard to the pigeonholing prospects of the music genre nazis. With a moniker that refers to a music genre that consists of compositions that use MIDI files to create scores containing a seemingly infinite number of notes all squished together like a rush hour subway train, BLACK MIDI in more than one way lives up to its moniker by adopting a similar approach with seemingly incompatible bed fellows existing in hitherto unthinkable cooperative efforts.

With genre defying leaps of faith BLACK MIDI burst onto the scene with 2019's "Schlagenheim" which displayed a seemingly distinct group of seasoned musicians who dexterously walked the razor's edge between the nonchalant detachment of no wave and the more intricate nerdy exhibitionism of math rock and post-hardcore. With virtuosic displays of frantic swells of distorted noise and irregular rhythmic oscillations, BLACK MIDI proved it was a cut above the grade with its abstract yet tangible emotive connective tissue that somehow latched onto that magic mojo that all artists strive to achieve but few actually succeed in conjuring into existence. And to top it off this was all the works of a group of wily teenagers barely out of high school. While all fine and dandy, nobody probably thought much about exactly where BLACK MIDI would go next in today's on again off again musical world.

Come 2021, a mere two years after the debut and BLACK MIDI are back with the jaw-dropping evolution that catapults the band's eccentricities into the stratosphere in the form of CAVALCADE, a densely packaged sonic attack that builds upon what came before but expands its tentacles in about every possible direction. Building upon the noisy math rock underpinnings of "Schagenheim," CAVALCADE injects a fiery infusion of jangled jazz sensibilities, ethereal post-rock and most importantly the jittery sonic terrain of avant-prog time signature workouts that would make classic prog stalwarts such as Yes or Gentle Giant gladly hand over the baton. Within this sonic maelstrom of a mere eight tracks BLACK MIDI unleashed one of the most intricately designed scores of the modern era that somehow simultaneously follows and breaks all the rules.

CAVALCADE seems to have everything going for it as it juggles technical wizardry, rhythmic opulence and cryptic psychedelic abstractness. Add to that a strong front man in the form of Geordie Greep whose grizzled vocal style belies his short time on the planet. Like many of these newer bands that have grown up in the on demand internet age, BLACK MIDI seems to have mastered the art of consciousness streaming where all the files of music samples tucked away in the gray matter just pour out in an organic flow of creativity in a place where such disparate musical experiences have fermented into a new elixir of sonic perspectives. It's utterly amazing how well CAVALCADE flows from the opening avant-prog infused "John L" through the surreal and psychedelic mid-section with tracks like "Diamond Stuff" to the orchestral grand finale of "Ascending Forth."

Even for hardened music lovers who have indulged in pretty much every genre under the sun, CAVALCADE will come as a slap in the face and a pleasant reprieve from the regularly scheduled program. Laced with everything from brutal prog angst to theatrical atmospheric orchestrations, CAVALCADE excels in its attention to detail laid out with an amazingly diverse soundscape including but not limited to the changing of vocal duties between guitarist Geordie Geep and bassist Cameron Picton. Imagine if you will, the rock in opposition sensibilities of Henry Cow, the early 70s jazz-fusion aspirations of Miles Davis and the post-rock steadiness of Tortoise all thrown in the cauldron with DNA inspired no wave and math rock vortexes of Slint or Ruins and you're on the right track. Gracefully indulgent and cleverly crafted, CAVALCADE is a truly amazingly unique album that showcases a wildly interesting band just getting warmed up! So far my pick for best album of 2021 bar none.

 Chaos Remains by KURUSHIMI album cover Singles/EPs/Fan Club/Promo, 2021
4.48 | 4 ratings

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Chaos Remains
Kurushimi RIO/Avant-Prog

Review by nick_h_nz
Collaborator Prog Metal Team

4 stars [Originally published at The Progressive Aspect]

I came to Australian band Kurushimi via label-mates, Instrumental (adj.) and their rather wonderful EP A Series of Disagreements which sounded just like that - a series of disagreements. Simon Dawes (guitar) and Chris Allison (drums) are members of both Instrumental (adj.) and Kurushimi. So given how much I enjoyed the music of the former, it seemed a dead cert I should like the music of the latter too. Unsurprisingly, this was the case. But while both bands play a noisy free jazz style, Instrumental (adj.) blends this with math rock, while Kurushimi take it far into the avant realms. As such, I found Kurushimi a little less accessible initially, but ultimately more satisfying.

Yet somehow, it seems I failed to keep up with Kurushimi. I have their eponymous album and Shōtotsu EP, both from 2016, but nothing released subsequently. Upon receiving Chaos Remains for review, I checked out their Bandcamp page, and it would appear I have missed three releases, the last of which is titled What is Chaos?, so perhaps this year's album is a sequel or an answer to that, or maybe it is simply the remains from Chaos explored in a new way? Listening to the two albums together, there are definite similarities, and I can't help comparing these two albums to Radiohead's Kid A and Amnesiac. In no sense should the second album be considered lesser, and in both cases, I seem to have a preference for the second album of the pairings. Regardless of how Chaos Remains fits in relationship to its predecessor, 'chaos' is quite possibly how Kurushimi might sound to the initiated - an almost impenetrable wall of sound. Yet, to continue with the Radiohead theme, once I'm attuned to the sound then I find everything in its right place.

Perhaps the order in chaos comes from the conducting of Simeon Bartholomew, whom I know from SEIMS. Here Simeon is not playing, but conducting the improvisation of the Kurushimi musicians. Though it's probably not an original idea, it is certainly the first time I've ever come across it. As aforementioned, there are definitely similarities to the previous What is Chaos?, and upon further reading on Bandcamp as I listen, these have been "built up from tracks recorded during the sessions for their previous album", and it would appear Simeon took on the role of conductor for that album too. Without having heard the releases in between, it would seem to me that Simeon as conductor has given a structure to the improvisations that were not apparent on the album and EP I own. Despite still being grinding, noise-filled, dissonant, metal-edged avant free jazz, the two Chaos albums are considerably more approachable and enjoyable, arresting and engaging, from the very first listen. There's still a sense of improvisational anarchy, but it's more restrained. (Band leader Andre Mortensen shared conducting duties with Lachlan Kerr for the releases I own, so hopefully he doesn't take offence in the implications of the conclusion I've drawn here.)

Of course, while a different conductor is always going to bring out differences in the musicians, another reason for the greater sense of structure is that Andrew has created cut-ups of movie scores (hence the title of opening number, The Omen) and looped them. Thus, while the music is still 100 per cent improvised, the combination of a foundation of loops to improvise upon, and Simeon as conductor, if not exactly creating organisation out of chaos, nor necessarily any sense of direction, does create boundaries of a sort. That doesn't mean the music has no surprising turns or jump scares - they are simply more contained. Even within their relatively short lengths, the tracks contain a great deal of drama and tension, and every bit of the ugliness and malevolence Mortensen was looking for. He wanted something evil, and I'm not sure I'd go that far - but it is definitely menacing, sinister and foreboding.

If you put Brian Eno, Toby Driver, Robert Fripp, Ornette Coleman, Mats Gustafsson and John Zorn into a blender, you might just come up with something close to Kurushimi. It's warped, but wonderfully so. One of my favourite moments comes when the chaos suddenly takes on a dub tone. As I hadn't been paying attention to the track titles, I was unaware this was actually titled Chaos Dub, which drew a wry smile from me. You can't say the band aren't being upfront with what they're playing. Of course, like almost everything else on this album, its stay is short. In fact, the brevity and brutality of most of the tracks makes it easy to make a comparison with grindcore, which the band acknowledge when they describe themselves as "a violent instrumental assault of grindcore, free jazz, noise rock and everything in-between." These bite-sized slices of violent instrumentals are absolutely delicious, and very more-ish. Almost addictive, in fact, as I seem to keep coming back to this album, over and over again.

Given I've not (yet) listened to every Kurushimi release, I can't say it is their best thus far - but I can say, without any hesitation or doubt, that it is the best I've heard. It's still improvised, it's still pretty loose, it still has aggressive moments, but it sounds more upbeat. On the face of it Chaos Remains sounds like a bunch of musicians coming together from their main gigs (and in a way, they are almost a sort of supergroup of the Sydney underground scene) and simply having fun. Without meaning to demean their musical creations, they all show up and then improvise within some basic parameters, to churn out an album. But while it might not be so methodical, structured or conceptualised as the other bands the Kurushimi musicians play for, Chaos Remains was clearly a lot of fun to make ? and that makes it a lot of fun to listen to.

 Moonberry by PIKAPIKA TEART album cover Studio Album, 2010
3.74 | 29 ratings

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Moonberry
Pikapika TeArt RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars Avestin asked how many bands do you know from Siberia? Well for someone of my age it's a place where the Communist leaders would send people who actually thought they had rights. No you don't want to be a Christian in a lot of countries around the World including Russia. But this is about the music and we get an Avant band playing Classical, Academic music, Chamber music and Russian Folk. I'm glad I didn't see these descriptions or I would never have picked this up(haha). This is better than I thought, in fact those "Slavyanskaya" tracks make me glad to have actually spent some time with this. A seven piece and I'm surprised at how prominent the violin and viola are because they are the two guests on here. So if your into string led Chamber music step right up folks you won't be disappointed. For me this just isn't my scene on multiple levels.
 Hot Rats by ZAPPA, FRANK album cover Studio Album, 1969
4.35 | 1705 ratings

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Hot Rats
Frank Zappa RIO/Avant-Prog

Review by jamesbaldwin
Prog Reviewer

5 stars Released in 1969, Hot Rats is one of Frank Zappa's most famous early period albums. An almost entirely instrumental album, Dadaist, with zany titles, and sounds often bordering on farce. A great revelry where the high register is always together with the low register, and Zappa's irreverent fury is expressed in long and quite well elaborated compositions, which move between rock and jazz and blues. In reality, there is little of progressive, at least, as it was thought at the time: in 1969 it was progressive In The Court Of ... by KC, certainly not this contemporary of his, which at most was considered jazz-rock.

The first song is a catchy rockblues, with circus sounds, easy to listen, 1. Peaches en Regalia (3:39) rating 7.5 / 8.

The second song completely changes mood thanks to the raucous voice of Captain Beefheart and the electric violin of Sugarcane Harris, here we are more on an improvised blues. It's a jam-blues masterpiece, similar to what Blind Faith did the same year, great work on Zappa's guitar. We are the antipodes of prog: it is an improvised jam 2. Willie the Pimp (9:23). Rated 8+

The fourth song starts with a strangely pompous beginning for Zappa, but always attenuated by the noisy disorder, we are at the variation on the theme that dominates everywhere, with a music that combines jazz with the sound of a village band, the result is always high, however. 3. Son of Mr. Green Genes (8:57) Rated 8.5

The second side opens with a short passage 4. Little Umbrellas (3:09) Rated 7,5 which seems to resume the previous one but here we have the multi-instrumentalist Undewood who begins to take over, however a nice song that, like the first of the first side, amuses with its catchiness.

5. The Gumbo Variations (12:54) we are in the border area between free-jazz and fiatistic blues at the Colosseum. Again, as the name implies, this is a constant variation, it is music for jazz listeners, and at best of jam blues, not prog rock listeners. A prog lover would define a 13-minute piece as a suite, but here it is only improvisation, there is no work on the musical score, on the composition. Underwood is the leader.

6. It Must Be a Camel (5:17) Final with a hybrid track, the least classifiable on the album. Rated 8.

This album, far removed from prog rock, is a small masterpiece, very compact in sound and setting, producing a farcical jazz-rock hybrid combined with easy-listening but very ambitious small town band music. It is high-level improvisation, which stimulates the senses (but not the heart), manages not to be difficult, but has the limit of the improvisation.

Rating 9. Small masterpiece. Five stars.

Data cached

RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
LA 1919 Italy
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
AD NAUSEAM United Kingdom
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AIR CANDA Russia
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
TOM ALDRICH Netherlands
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC ENSEMBLE United States
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
ÁPOLÓK Hungary
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARIA PRIMITIVA France
ARKTIS / AIR Austria
ARMON KUILU Finland
ARS DE ER Belarus
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
THE ARTAUD BEATS United Kingdom
ARTERIA Mexico
ATHANOR France
ATOMIC APE / RED FICTION United States
AUKTYON Russia
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
GRECO BASTIÁN Mexico
LES BATTERIES France
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
BLACK MIDI United Kingdom
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
BLUEPRINT HUMAN BEING Finland
BOAT DARES United States
BOLTZMANN BRAIN Germany
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANÇOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BRIAN! United States
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
ÇA France
DOS CAFUNDOS Brazil
CALOMITO Italy
THE CAMBERWELL NOW United Kingdom
CAPILLARY ACTION United States
CAPTAIN BEEFHEART United States
CARDBOARD AMANDA Multi-National
CARDIACS United Kingdom
CARTEL CARNAGE France
CARTOON United States
CASSIBER Germany
CATERPILLARMEN Iceland
CAZUELA DE CÔNDOR Chile
THE CELLAR AND POINT United States
CERBERUS SHOAL United States
CHAINSAW JAZZ United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHÊNE 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
CLOUD BECOMES YOUR HAND United States
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
COMPASSIONIZER Russia
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CAIO CSIZMAR Brazil
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CUDÙ Italy
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DARRIFOURCQ HERMIA CECCALDI Various
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
DESERTION TRIO United States
DETAILS AT ELEVEN United States
DETIETI Russia
DEUS NUVEM Brazil
DIRECTION SURVET France
DISCUS Indonesia
THE DISPLAY TEAM United Kingdom
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
JONATAN PIÑA DULUC Dominican Republic
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-MÈRE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
L' EFFET DEFEE France
ELECTRIC MASADA United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADIÀ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAYÉ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACEMEAT Australia
FACTOR BURZACO Argentina
FAIR WIND PLEASES Russia
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FALLING INTO BIRDS United States
FAMILHA ARTÚS France
FANTÔMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FESTÍN SAGITAL Chile
FILTHY HABITS ENSEMBLE Spain
FINNEGANS WAKE Belgium
FIRE! Sweden
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
FREE SALAMANDER EXHIBIT United States
FRENCH TV United States
FRESH! Japan
FRIENDLY BEARS United States
FRED FRITH United Kingdom
FRANK-WILLIAM FROMY France
FUKKEDUK Belgium
DIAMANDA GALÁS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
MICHAEL GILES MAD BAND United Kingdom
GLINTSHAKE Russia
GOD OF SHAMISEN United States
GODZIK PINK United States
GOLDBUG United States
GOLDEN AVANT-GARDE Japan
THE GORDON GRDINA TRIO Canada
GORGE TRIO United States
GRAMIGNA Italy
LE GRAND SBAM France
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
THE GREAT TYRANT United States
GROUND ZERO Japan
GRUPPO D'ALTERNATIVA Italy
GUAPO United Kingdom
GUARDIAN ALIEN United States
GUERILLA TOSS United States
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HAPPY 55 Russia
HARDSCORE Belgium
HARPY Japan
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HELMUT RÓBOT Argentina
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
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
HORSE LORDS United States
HOT FUR Israel
HÖYRY-KONE Finland
HUMBLE GRUMBLE Belgium
HUNUNHUM Japan
HYRROKKIN United States
I AM ABOVE ON THE LEFT Russia
LES I France
ICSIS France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
IN LOVE WITH France
LA INCREÍBLE FUGA DE TRIÁNGULOS Argentina
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