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RIO/AVANT-PROG

A Progressive Rock Sub-genre


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RIO/Avant-Prog definition

Avant-Prog

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

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

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

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


Rock In Opposition

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

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

Henry Cow invited four of these bands to play alongside them at the first Rock in Opposition festival on 12th March 1978, at the New London Theatre, Drury Lane in London. The British Arts Council helped the funding of the festival with a Ł1000 grant. The Rock in Opposition slogan "The music the record companies don't want you to hear" was altered very slightly for the flyer advertising the first Rock in Opposition concert.

The five initial Rock in Opposition bands were:

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

Three additional bands were later officially elected to the movement:

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

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

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

Dates of the original RIO festivals

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

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

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

Current team members:
as at 20/05/2016

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

RIO/Avant-Prog Top Albums


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

4.33 | 1503 ratings
HOT RATS
Zappa, Frank
4.33 | 888 ratings
THE GRAND WAZOO
Zappa, Frank
4.32 | 873 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.33 | 235 ratings
WESTERN CULTURE
Henry Cow
4.50 | 55 ratings
TAIGA
OOIOO
4.33 | 173 ratings
IN EXTREMIS
Thinking Plague
4.28 | 279 ratings
HERESIE
Univers Zero
4.28 | 283 ratings
SING TO GOD
Cardiacs
4.27 | 310 ratings
UZED
Univers Zero
4.42 | 69 ratings
HÄXAN
Art Zoyd
4.25 | 367 ratings
CHOIRS OF THE EYE
Kayo Dot
4.57 | 35 ratings
JACKSON
Korekyojinn
4.37 | 80 ratings
Nş 6
Present
4.25 | 273 ratings
MĹLTID
Samla Mammas Manna
4.48 | 44 ratings
LETTERS HOME
News From Babel
4.35 | 82 ratings
DECEIT
This Heat
4.35 | 77 ratings
BOOK M
Secret Chiefs 3
4.42 | 53 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.30 | 110 ratings
ON LAND AND IN THE SEA
Cardiacs
4.23 | 240 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs

RIO/Avant-Prog overlooked and obscure gems albums new


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

THE LITANIES OF SATAN
Galas, Diamanda
LACRYMOSA (AKA BUGBEAR)
Lacrymosa
CRASHING ICONS
Absolute Zero
LETTERS HOME
News From Babel

Latest RIO/Avant-Prog Music Reviews


 The Ughs by RESIDENTS, THE album cover Studio Album, 2009
3.37 | 18 ratings

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The Ughs
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars Some years ago, The Residents put together some music that was supposed to be part of a new project similar to 'Eskimo' which was released way back in the 70s. This new project was called 'The Ughs!' and The Residents were going to dress up like the characters this was based on. For some reason, that idea was dropped and the basis of the music was used for a new project called 'The Voice of Midnight'. That particular project was used and released in 2007. When 2009 came around, The Residents needed some new ideas, so they revisited the original recordings and found they sounded completely different than the finished product for The Voice of Midnight, so they though, why not go back to the original 'Ughs!' Project. Thus this mostly instrumental album was released. I say mostly instrumental because, as in 'Eskimo', the vocals are done in the made- up language of the Ughs.

So, what can you expect from another release from the oddball eyeballs? Well, the unexpected is the usual answer. This unusual is made up of 10 interesting tracks, that are definitely off-kilter if you know not what you are getting into. But, now you have some idea. The music is definitely avant-ish in the same way as 'Eskimo' was. The starting track 'The Ughs' gives you a pretty good idea of what you will be hearing. People saying Ugh and other interesting noises going on is what this introductory track gives you.

'The Dancing Duck' has some quasi-chanting sounds and noises, plus a metallic instrumental sound which I have no idea how it was produced. You have flutes, chimes, and synth going on in there too, but the sound is quite tribal, and not really that bad. Where 'Eskimo' seemed almost to be an unintentional masterpiece, The Ughs gives you the feeling The Residents know what they are doing now. All of these unconventional instruments and sounds (including a processed quacking duck or something) play around a melody delivered by a flute and some other sort of tribal instrument accompanied also by tribal percussion.

'Floating Down the Nile, Pt. 2' uses a cool guitar sound that gives a sliding effect. A percussive bell rings in the background as a more traditional sounding guitar repeats the melody, and this is again repeated with both guitar styles and a violin. The tempo is dirge-like, or a slow processional march. Later, there is more tribal percussion as interesting sounds and textures are used coaxed out of traditional instruments and what-not. A tribal vocal chanting follows the percussion pattern.

'Squeaky Wheels' sounds like a melody made from . . . well, squeaky wheels. That's how it starts, but it quiets quickly with a throbbing beat and a melody from a reed instrument, a sitar and atmospheric synths. Grumbling vocals stay somewhat subdued.

'The Lonely Lotus' establishes itself with a 'hooting' sound pattern and a shrieking guitar is played. Later, other tribal sounding instruments are used, but things are kept somewhat ambient as interesting instrumental sounds take turns. After a few minutes, a rhythm is established and all of the sounds come together in a melodic theme. Then the hooting melody comes back accompanied by timpani and piano. This establishes a base for other interesting things to occur around, the influence of oriental or Indian music is obvious.

'Rendering the Bacon' begins with a low drone and soon a juice harp (or something similar) is used. Beastly sounds come in and percussion and more interesting instruments are used to establish a theme that recurs throughout the track. Towards the middle, things get more odd and minimal as odd vocal sounds and thumping come in. The thematic elements come back later with more intensity.

'The Horns of Haynesville' comes in with tribal percussion again and a high Tarzan-like squeal. More odd vocal noises are emitted. At this point, the novelty is starting to wear off as this goes on for a while, but then some unique instrumental sounds are introduced, but things remain peaceful as you hear crickets and birds in the background. A more succinct vocal melody comes in and is repeated between two vocalists, then more vocalists join and the raspy blare of a metallic sounding instrument repeats. Other chants and singing come in, but the overall feel is still somewhat peaceful even with some of the harshness of the instruments. This one meanders on too long at over 10 minutes though without much change in overall style.

'The Wondering Jew' starts out with soft atmospherics, but a sudden crash of percussion made my cat jump just as she was settling into the music. After peeling her claws out of my leg, the music starts to feel more dramatic with a synth led crescendo. But this soon quiets down to tropical sounds and a lute sounding instrument establishes a chord pattern while reeds play. Finally after 3:30, an interesting percussion pattern and mellotron take things over keeping the dramatic feel of the music.

'Charlie Chan' is an out-of-place title for this one, as it starts with a mid-eastern vibe. What is surprising is how they make layers of this strange instrument into harmonies. Processed vocals stay in the background of this mostly well-orchestrated percussive track. Processed chanting and weird vocals continue.

My cat left the room giving me an odd glare.

The last track is the 10 minute 'In the Dark'. It starts with an upbeat percussive pattern and low ebbing drones. More interesting and odd noises and textures continue. After a while, an orchestral vibe is introduced, probably produced by synths. Ominous drones and sounds of thunder follow with subdued percussion. As things continue, so do the tribal sounds and textures.

It is good to hear The Residents actually taking things seriously in the album, and it seems a lot of work and effort went into this one with the nice orchestration and use of different instruments and sounds. There is a problem in this album with some passages lasting too long, and things do sag a bit in the middle of the album. But, for the most part, interest in what is going on does tend to come back in the end. The album is surprisingly good, seriously experimental, and well produced. Yeah the sounds at times can be comical, but there is a personality to this album and to the 'culture' the band has made up that makes you feel like they really came close to another masterpiece like 'Eskimo'. Like I said though, it is easy to let your interest slip on some of the longer passages, and in places where not much happens in the music. But I have to say that this is one of The Residents better albums that is more on the serious side of music and makes you think that maybe they really did know what they were doing all along.

 The Opposite by REDFEARN AND THE EYESORES, ALEC K.  album cover Studio Album, 2018
4.00 | 1 ratings

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The Opposite
Alec K. Redfearn and the Eyesores RIO/Avant-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Six years on from 'Sister Death', and Redfearn is back with his latest album with The Eyesores. Just one look at the line-up lets know that this is quite a different approach to many. Here we have Alec K. Redfearn (electrified accordion, vocals, Realistic MG-1, loops, ceremonial bell, combo organ), Ann Schattle (French horn), Christopher Sadlers (contrabass, loops, vocals) and Matt McLaren (drums, cymbals, riq, maracas, frikywa, giraffe bells, ring of edges). It comes across as Zappa playing RIO, mixing Art Zoyd with Krautrock to make music which is both intensely challenging and ( to me) incredibly compelling. The use of an accordion as often the main lead instrument, and the horn providing back-up melody, is both different but somehow totally natural.

This is a much stripped down version of the band that appeared on the last album, as not only is the core band much smaller but there are also no guests. I was rather surprised to see Orion Rigel Dommisse is no longer involved, given how important her vocals were to that release, but version appears far more focussed and edgy, while somehow managing to maintain accessibility as they continue to push boundaries. Very solid and intriguing indeed.

 The Mothers Of Invention: Uncle Meat by ZAPPA, FRANK album cover Studio Album, 1969
4.07 | 492 ratings

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The Mothers Of Invention: Uncle Meat
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars 'Uncle Meat' was part of a project by Frank Zappa and the Mothers called 'No Commercial Potential'. The other albums in this project were 'We're Only In It For the Money', 'Cruisin' with Ruben and the Jets', and 'Lumpy Gravy'. These 4 albums share a conceptual connection. Uncle Meat was also supposed to be a movie about the exploits of the band, but it never really got finished and the unfinished film finally got released in 1987. This album has a lot of the material and music that was going to be used in the final film, so this is why it is so varied in its style. Most of the album centers not so much on the lyrics, but on the instrumentals. There are also a lot of conversations amongst the band and etc that were going to be used in the movie.

One of the things that the critics were raving about on the album was the way it was edited and mixed. FZ used many interesting techniques to splice and edit the flow of the album together and these techniques and the equipment used was quite state-of-the-art. FZ wanted a cinematic sound on this album to match a movie soundtrack, which is partly what he was trying to achieve here, so he used his current group of musicians and hired some new ones, including Ruth Underwood, the amazing percussionist, who he hired on a whim. He utilized the equipment they had, including instruments, to mix the sound to make it sound like a full orchestra. There are even times when you can swear you are listening to a brass section, and it turns out it is just a few reed instruments processed through a mixer with adjusted speed. These things produce a much fuller sounding music.

The tracks are made up of quite a variety of Frank's styles including jazz, classical, r&b, doo wop, and rock, plus some field recordings of the band. All of these elements are melded together in an almost continual running bunch of tracks that run and segue into each other almost seamlessly. There are studio recordings and live recordings, sometimes it is very hard to tell which is which, and, like many of FZ's albums, sometimes switching back and forth from studio to live in the same track. This album is an excellent example of Frank's ability to manipulate sound and music in order to get the kind of end product that he felt was perfect.

So, there are so many tracks on this album to really do a track by track analysis. But the highlights here are mostly the instrumentals. There are vocal tracks here, but many of them are just snippets of songs, or they have been taken out of context, so they don't have the same effect as they would in their original form. But, that really doesn't take away from this album as much as it does in other instances, because, going into this knowing that it is supposed to be sort of a document of the band's history makes it all make more sense. Plus the fact that it runs so seamlessly makes it seem like these tracks were meant to be together. Frank said that if he took a knife to the tapes and spliced them together in a different order, that the finished result would still be the same, and he was meaning that by all of the albums in the 'No Commercial Potential' project.

So, if you have the vinyl copy, then the first 3 sides are a bunch of tracks that run the gamut of the band's style, from avant- garde jazz to classical to humorous novelty songs. Most of these tracks are all melded together with short snippets of audience participation and recorded conversations. It's left up to the listener to translate these tracks however they want. There are studio recordings and live recordings, some of these taken from long instrumental jams based off of the familiar themes that fans of the band know and love, like 'Dog Breath', 'King Kong', 'A Pound For a Brown' and the 'Uncle Meat Themes'. You also get a look into the band satirizing 'Louie Louie' as they often did, where an audience member jumped up onto the stage and wanted to play trumpet with the band. The fan thought it would be easy just to play anything avant-garde, but when Zappa had Don Preston climb up to the organ in the Royal Albert Hall (the organ was supposed to be off limits to the band, so Don had to literally climb up to it) and start playing Louie Louie, the fan couldn't keep up. You also hear FZ speeding up many recordings and manipulating sound through his favorite toy that he called the Apostolic Blurch Injector. This is pretty much what the album is made up of.

So what I just described is on the first 3 sides of the record, or the first disc of the CD release. The fourth side of the vinyl has several versions and solos taken from different recordings of 'King Kong' which is a popular theme used by Zappa on which he lets his band do improvisation and solos off of. The CD version, in contrast, starts off with an over 30 minute excerpt from the 'Uncle Meat' movie, followed by the track 'Tengo Na Minchia Tanta', and Italian song which literally means 'I Got A Big Bunch of Dick' sung by Italian rock journalist Massimo Bassoli and place here for some humorous reason, followed by another 3 minute excerpt from the movie. Those three tracks are not something that you would want to listen to too many times, so I actually prefer the vinyl version simply for the fact that those tracks are not on there. After that, the King Kong variations follow as on the vinyl.

So this album can be a good introduction to Frank Zappa in that you get a little taste of everything here. Listening to it without knowing what it is about can be confusing and frustrating, but if you understand a little better what is going on here, then it makes everything more enjoyable. There is probably a bit more avant-prog music on here than a lot of people would like, but that doesn't bother me, and a lot of the humor is in the music itself here more than in the lyrics. But, if nothing else, the album should be recognized for the editing and mixing techniques that were used during a time when this type of recording was very difficult to make. In that respect, it is an innovative recording, at least for the time that it was made. It's not a perfect album, but it is entertaining and has a lot of great performances on it.

 Bran Coucou by PINIOL album cover Studio Album, 2018
4.23 | 66 ratings

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Bran Coucou
PinioL RIO/Avant-Prog

Review by Nogbad_The_Bad
Special Collaborator RIO/Avant/Zeuhl & Eclectic Team

5 stars PinioL have been one of the most anticipated new bands to appear out of the hugely entertaining Lyon scene. There are so many bands combining the same pool of musicians its often dizzying to keep up but even within that when it was heard that PoiL & ni had combined to produce a 'supergroup' the avant scene got quite giddy to say the least.

As you would expect with type of combination you get two guitarists, two bassist, two drummers to go with one keyboardist. This line up produces a much more groove based sound compared to their parent groups who are more punky and vocal based. They tend to focus on getting into a groove and driving it with increasing and reducing energy levels.

Loads of fun and one of the most addictive albums of the year.

 Meet The Residents by RESIDENTS, THE album cover Studio Album, 1974
4.02 | 106 ratings

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Meet The Residents
The Residents RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Well this is where it all started for THE RESIDENTS, releasing their strange music on an unexpecting World back in 1974. Fractured song structures, twisted melodies, funny vocals, plenty of noise and oh... that album cover? Yeah these guys were sort of the anti-THE BEATLES weren't they? Captain Beefheart even sings on one track and yes Frank Zappa might come to mind once in a while but this all sounds pretty original.

I have to say I had no idea this was the Nancy Sinatra song that's how much they deconstructed this piece. The first six songs are all short and blend into each other often making this feel like one piece of music. We even get female vocals on "Breath And Length". During this first section we get lots of horns, electronics, beats and piano all made to sound anything but melodic. "Rest Aria" is fairly melodic and clocks in at over 5 minutes the first song to hit over 2 minutes so far. Piano and horns stand out in this one.

"Skratz" will be the last short tune as we get four more tracks to end it with nothing less than 5 minutes long. "Spotted Pinto Bean" has these operatic male and female vocals and the male vocals make me laugh. "Infant Tango" is too catchy with Captain Beefheart singing. It's all instrumental from one minute to the end. "Seasoned Greetings" is perfect for this time of year. Oh man those hilarious vocals on "N-Er-Gee(Crisis Blues)" is the icing on the cake. They appear before 6 1/2 minutes.

So not their best in my opinion but a great start to their careers which I understand still continues.

 The Blowoff by RESIDENTS, THE album cover Singles/EPs/Fan Club/Promo, 1992
2.00 | 2 ratings

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The Blowoff
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

2 stars The Blowoff is a single CD that was available originally only as a bonus CD that was attached to the back cover of the "Freak Show" graphic novel released back in 1992 by Dark Horse Comics. It was later made available through the Ralph America catalog. It consists of 1 track just over 13 minutes long. The book was released as a companion to the "Freak Show" album.

In circus freak shows, a blowoff is a deeper part of the show which people usually needed to pay more money to see. The track itself is a piece that collects ideas and themes from the band's recording sessions for the Freak Show album. It is mostly instrumental, but there are also a few processed vocals which are high pitched and layered to make harmonics. There is also some spoken words of a carny announcing the side show. There are also crowd noises presumably inserted to represent the audience to this freak show. There is also a section with some moaning and groaning, you know, of an adult nature.

The music itself consists of synthesized themes done electronically, and some percussion. The music has got that circus feel to it, and even though it is joyful, it has a dark undertone to it. I'm not sure if the percussion is on real drums, but it does sound like it. All of the rest of the music is produced by synthesizers, but it is a bit more complex than the more synthesized simple music the band put out in the 80s. At the 11 minute mark, there are actually some sung lyrics, by the usual Residents vocalist, which tells a story that was probably written for the Freak Show album.

The CD also included an advertisement and membership for the UWEB fan club site, which went defunct shortly after the book/CDs release.

Admittedly, it is one of the band's more interesting synthesized songs, but it is questionable if it is something that would be of interest to anyone other than fans. Of course, collectors will have to have it, but I can't see it being of interest to any other people.

 Undestroyed by FREE SALAMANDER EXHIBIT album cover Studio Album, 2016
4.22 | 54 ratings

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Undestroyed
Free Salamander Exhibit RIO/Avant-Prog

Review by TCat
Prog Reviewer

5 stars After almost 10 years with no more 'Sleepytime Gorilla Museum', and what is this? A new band with a similar name, 'Free Salamander Exhibit' . . . hmmm sounds interesting. That's how I stumbled across this band in Prog Archives, and imagine my delight to find out that 4 of the 5 SGM members are in this band. FSE is only missing Carla Kihlstedt, which is a shame, but I had to find this album. Well find it I did. And I am happy to have the eclectic, wild music of 'Idiot Flesh' and SGM once again.

So far, Free Salamander Exhibit has only released this one album, but hopefully there will be more to come. If you have heard the previous incarnations of this band, then you know what to expect. The music is correctly placed under the RIO/Avant Prog category, but it also has elements of Progressive Metal, but with the effective use of dynamics. It is closer to the music of SGM than Idiot Flesh, in that it is heavier, but if you don't like the heaviness of metal, you shouldn't shy away from this. There is nothing like this music out there, it is complex, heavy, funny, and brilliant. The other difference from Prog Metal is the fact that it is totally unpredictable, and has a very complex sound with changing meters, non-standard structures, and the use of various instruments not found in Prog Metal.

This starts out with 'Unreliable Narrator' which begins with a dirty, somewhat growly vocal, which you will get once in a while. It is heavy, so be warned. But also know, I am usually turned off from these kinds of vocals unless the music is interesting enough that the vocals don't diminish the quality of the instrumental parts. But you will notice that the vocals are more melodic in the 2nd track 'The Keep' and you will also notice the complexity and the absolutely unique song structure which makes this a heavy avant-prog production.

'The Gift' continues this complexity as this song stretches to 10 minutes, and in this one you will get both dirty and clean vocals, but you will also notice that the vocals are also dramatic and sometimes quite crazy. It's because the songs are more story-like than what you normally hear in heavier music. The complexity of the music and the lyrics is what makes this music so excellent. The different vocalists also create different characters in each track.

'Time Master' moves away from the heaviness a bit, but continues with the lunacy. The guitars are more jangly in this one, there is some cowbell, and some brass in there too. This is also a lighter track, but not in complexity, more in tone, with a comedic edge to it. It is more similar to the Idiot Flesh sound, but with the dark and dissonant harmonics of SGM. There is some similarity to the oddness of some of Frank Zappa's more eclectic music.

'Undestroyed' is the 10 + minute title track. It starts out in a pastoral mood with bells, bass and flute. You actually think there might be some sanity in this music, that is until vocals start, sung softly but in a high register, and sounding quite paranoid. The vocals become more normal and the pastoral sound continues, but becomes more intense. Both singing and spoken vocals continue, then a nice flute/reed melody plays over the nervous vocals. The 6/8 meter is the most conventional meter played on this entire album, and also the most consistent, since in all the other tracks the meter is always changing. Things get more intense as it continues and vocals get harsher. Then at 7 minutes, the inevitable happens, the consistency of the song falls apart as it gets more progressive and heavier. A minute later, it finally falls into a standard 4/4 meter, but by this time, everything has gone nutty, so it doesn't matter. Then we return to the pastoral beginning, but somehow, everything isn't okay anymore.

'Athiests' Potluck' is a great instrumental, that starts out sounding like it might be accessible, but as it continues, it becomes more progressive.

'Oxen of the Sun' is the closer of the album and it goes over 9 minutes. Distant sounds of horses and an army trumpet starts off, but is quickly interrupted by dissonant power chords. The track is carried by a slower tempo, but with an odd meter. Crazy, nervous vocals start along with some strange guitar effects. There is a great progressive riff that pops up every so often as the unconventional singing continues. A sudden change in tempo at around 3:30 turns the song quite frantic. Several different vocal styles are present, some growling, some more dramatic. Then a wild guitar solo starts at 5:30. Awesomeness follows with some extreme prog.

Ahhhh it's so great to have these guys back again. I do miss the influence that Carla had on the band, but the complexity, the avant-proginess, the drama, the insanity is all still there. I just love this music, it is so unique, so dynamic and so untraditional. You just have to hear it to believe it. I only expected maybe a four star debut for this new incarnation of SGM, but the music is just as great as before. Easily a 5 star album. I can't believe they are not as popular on this site as they should be.

 Univers Zero [Aka: 1313] by UNIVERS ZERO album cover Studio Album, 1977
4.22 | 227 ratings

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Univers Zero [Aka: 1313]
Univers Zero RIO/Avant-Prog

Review by TCat
Prog Reviewer

5 stars If you ever really wonder what Rock in Opposition sounds like, or if someone asks you what it is, then you put on an album by Univers Zero. That's about as good of an introduction as you can get. Of course, it branches out in all kinds of sounds and styles from there, but it's still a good start.

This album is all about traditional, orchestral style instruments, only not in an orchestra as much as in a chamber ensemble. But even then, you don't want to make the mistake of thinking you are going to be listening to baroque style music, think more along the lines of impressionistic music. Seeing as how the band cites Bartok and Stravinski as influences, then that should give you an idea of what you are going to get here, but with more contemporary percussion than with orchestral style. Throw in different string instruments like violin and cello, harmonium and some brass, then an occasional guitar and bass, and you got the idea.

This is definitely not rock or pop in any regular sense. If you are familiar with RIO or Avant-prog, then this sound is something that you are used to hearing. But, as this band is one of the pioneers of the sound, they are the ones that helped establish the genre. Expect complex melodies and time signatures with a lot of dissonance. Also, on this album at least, things are more raw then they would be in some future albums.

Many compare Univers Zero with Art Zoyd, and the comparision makes sense, at least in AZ's early stages. UZ is a lot more tight sounding as the music is more structured where AZ is more improvised. This album, called 1313 for the catalogue number, is not as dynamic and a bit rougher than their future releases would be. But it is still top notch quality music, much of it inspired by works of Lovecraft and other dark artistry. The music definitely fits that niche. But, some may also think because of this that the music is soundtrack style music. That is a mistake. It's much more complex and is not tied down to imagery, but much better composed with a structure.

Of course, this isn't music for everyone, but mostly those that have a love for avant-garde style classical music or for those that love adventurous music of any genre. Highly recommended to RIO/Avant Prog lovers as an essential album.

 Live At Moods by SONAR album cover Live, 2018
4.00 | 2 ratings

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Live At Moods
Sonar RIO/Avant-Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars The swiss music ensemble SONAR recently have produced the studio album 'Vortex' in collaboration with guitarist and composer David Torn. This corresponding live performance was recorded at the Moods Jazz Club, Zürich, in May 2018. They have taken over half of the songs here, the others are earlier band compositions, respectively For Lost Sailors eventually turns out to be a David Torn solo piece. On the stage the fivesome generates an atmospheric vibe beyond comparison. Which basically comes from an intriguing virtuoso triple guitar work, partially King Crimson inspired. This supported by the prolific rhythm branch comprised of Christian Kuntner (bass) as well as drummer Manuel Pasquinelli.

The band name by the way results from the conjunction of the terms SONic and ARchitecture. Well chosen! Polyrhythm is the name of the game. As one might expect the interplay of both regular guitarists Stephan Thelen and Bernhard Wagner is well-functioning, furthermore though Torn fits in like a longtime member with ease. The sound quality leaves nothing to be desired. A must hear, any other try regarding a proper description will fail, I'm quite sure. This was completely filmed too, so I would not be surprised if there will be a DVD available sooner or later, possibly depends on a growing attention. Well deserved in any case. Fantastic experience, highly recommended!

 Risk by FAR CORNER album cover Studio Album, 2018
4.47 | 34 ratings

BUY
Risk
Far Corner RIO/Avant-Prog

Review by rdtprog
Special Collaborator RPI / Symphonic Prog Team

5 stars The band is back after a hiatus of 10 years with a new release. Their music is instrumental avant-garde, angular with some dissonance, and odd time signatures. The sound of this music is in part possible because of the presence of the violin and cello instead of the traditional guitar. But what strikes me on this album is the tasty and crisp bass sound of William Kopecky who's playing is flying over the music. The band enjoys mixing metal and rock with chamber music with some very intense dark atmosphere that takes your breath away. There is also lighter mood with classical tones, piano, and violin especially at the end of the album. When I compare this album with the previous one, I would say that this one is their most rigorous, structured album to date in this kind of style with less improvisation and more symphonic and melodic structures. It's definitely going to reach a wider audience and be a serious candidate to the best album of 2018.
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
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARKTIS/AIR Austria
ARMON KUILU Finland
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
THE ARTAUD BEATS United Kingdom
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
AUKTYON Russia
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
BEN LEVIN GROUP United States
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
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
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
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHĘNE 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
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
DETIETI Russia
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DISCUS Indonesia
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-MČRE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
L' EFFET DEFEE France
ELECTRIC MASADA United States
RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADIŔ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAYÉ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACEMEAT Australia
FACTOR BURZACO Argentina
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
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 GALAS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
GOD OF SHAMISEN United States
GODZIK PINK United States
GOLDBUG United States
GOLDEN AVANT-GARDE Japan
THE GORDON GRDINA TRIO Canada
GORGE TRIO United States
GRAMIGNA Italy
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
GROUND ZERO Japan
GRUPPO D'ALTERNATIVA Italy
GUAPO United Kingdom
GUARDIAN ALIEN United States
GUERILLA TOSS United States
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HAPPY 55 Russia
HARDSCORE Belgium
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
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
HOT FUR Israel
HÖYRY-KONE Finland
HUMBLE GRUMBLE Belgium
HUNUNHUM Japan
HYRROKKIN United States
I AM ABOVE ON THE LEFT Russia
LES I France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
LA INCREÍBLE FUGA DE TRIÁNGULOS Argentina
INFANTEPHANT United States
L' INFONIE Canada
INNER EAR BRIGADE United States
INSIDE//OUTSIDE United States
INSONAR Italy
INTERFERENCE SARDINES Canada
IVOR AXEGLOVITCH Denmark
JACK DUPON France
CATHERINE JAUNIAUX Belgium
JEAN LOUIS France
JIMI SUMÉN PROJEKT Finland
SCOTT JOHNSON United States
JONO EL GRANDE Norway
JORK Ireland
JAKOB JUHKAM Estonia
JULVERNE Belgium
JUMP FOR JOY! Multi-National
JUNGLE Japan
JUSTINE Canada
KAADA & PATTON United States
HENRY KAISER United States
KAM-PAS-NEL-LA Multi-National
HOPPY KAMIYAMA Japan
KAPELA LA CHATELIER Slovenia
KAREN COOPER COMPLEX United States
KARENAUTAS Argentina
KARMIC JUGGERNAUT United States
KATRA TURANA Japan
KATZEN KAPELL Sweden
KAUHUKAKARA Multi-National
KAYO DOT United States
MIKE KENEALLY United States
KILLING TIME Japan
KILLSONG Australia
KLAXON GUEULE Canada
KLETKA RED Multi-National
KLIMPEREI France
THE KNELLS United States
DIE KNÖDEL Austria
KNOMIGON United States
KOLKHÖZE PRINTANIUM France
KOMBINAT M Austria
KOMINTERN France
KOREKYOJINN Japan
KORMORANY Poland
KOROVA MILK BAR France
KRALDJURSANSTALTEN Sweden
DAGMAR KRAUSE Germany
KROKO Finland
KRUZENSHTERN & PAROHOD Israel
KUHA. Finland
KULTUR SHOCK Multi-National
KULU HATHA MAMNUA Switzerland
HARRI KUUSIJÄRVI KOUTUS Finland
LACRYMOSA Japan
LARS LACH'N JONSSON Sweden
LARSEN RUPIN Switzerland
LARVAL United States
LASK Germany
LAST EXIT United States
LEAN LEFT Multi-National
LED BIB United Kingdom
JOSÉ LUIS FERNÁNDEZ LEDESMA Mexico
JOHN DE LEO Italy
LIGEIA MARE United States
LIGHT COORPORATION Poland
LITAI Italy
LITTLE WOMEN United States
THE LOCALS Germany
LOOK DE BOUK France
LOOMINGS France
LOVELY LITTLE GIRLS United States
LUNAPARK ENSEMBLE Japan
LUZ DE RIADA Mexico
MACROMASSA Spain
MAESTRO TRYTONY Poland
THE MAGIC BAND United States
MAKE A RISING United States
MAMMA NON PIANGERE Italy
MAN MAN United States
MANY ARMS United States
ALBERT MARCOEUR France
MASADA United States
MASADA STRING TRIO / BAR KOKHBA SEXTET United States
LE MASCHERE DI CLARA Italy
MASSACRE United States
MESMERICO Italy
METABOLIST United Kingdom
METAL-O-PHONE France
METAMORPHOSIS Czech Republic
MIASMA & THE CAROUSEL OF HEADLESS HORSES United Kingdom
MICROKINGDOM United States
MIRIODOR Canada
MIRTHKON United States
MIZUTAMA SHOBODAN Japan
MMCIRCLE Canada
MOE! STAIANO/MOE!KESTRA! United States
MOMBU Italy
MONKEY PUZZLE TRIO United Kingdom
MONOGLOT Switzerland
MOONCHILD TRIO United States
MORKOBOT Italy
MORVISCOUS United Kingdom
MOSAĎC France
MOTEUR! France
MOTOR TOTEMIST GUILD United States
MPXXIV Switzerland
MR. BUNGLE United States
MUCHO TAPIOCA France
MUD MOTHS United States
THE MUFFIN MEN United Kingdom
LA MUJER BARBUDA Argentina
MUSEO HETERODOXO Peru
MUSICA D'REPUESTO Cuba
MUSICA TRANSONIC Japan
MYRBEIN Sweden
N.O.R.M.A. Italy
NAKED CITY United States
NAKED TRUTH United States
NAZCA Mexico
NE ZHDALI Estonia
NEBELNEST France
NEO Italy
NEWS FROM BABEL United States
NI France
NICHELODEON Italy
NICOTINA ES PRIMAVERA Argentina
NIEW HIP STILEN Netherlands
NIMAL Switzerland
NINE TOBS Netherlands
NO SAFETY United States
NO SECRETS IN THE FAMILY Switzerland
NON CREDO United States
NOODBAND Netherlands
NOOUMENA France
NORMAL LOVE United States
NOUVELLES ETHNOLOGIQUES DE L'OBSCUR MUSEUM France
NOW WE'VE GOT MEMBERS Norway
NOXAGT Norway
NUCLEAR RABBIT United States
THE (EC) NUDES Multi-National
OCTAFISH Germany
OCTAVO France
OCTOBER EQUUS Spain
OHO United States
OLD TIME RELIJUN United States
OLIVE MESS Latvia
OOIOO Japan
OPABINIA Japan
OPTICAL*8 Japan
OPUS AVANTRA Italy
ORANGE TULIP CONSPIRACY United States
ORCHESTRA NJERVUDAROV Italy
THE ORDINAIRES United States
LAS OREJAS Y LA LENGUA Argentina
ORQUESTA METAFÍSICA Argentina
THE ORTHOTONICS United States
OSSI DURI Italy
OTEME Italy
OTOLITHEN Multi-National
OTOMO YOSHIHIDE Japan
OXOMAXOMA Mexico
P.O.N. Japan
PABST Germany
PAINKILLER United States
PAK United States
PALINCKX Netherlands
PANZERPAPPA Norway
PAPER MICE United States
PATAPHONIE France
MIKE PATTON United States
PEARLS OF SWINES France
PERFUME DE MUJER Cuba
PERHAPS CONTRAPTION United Kingdom
LA PERRA Mexico
PFS United States
PIENZA ETHNORKESTRA France
PIG SOUL Brazil
PIKAPIKA TEART Russia
PINIOL France
PISSUK RACHAV Israel
PITOM United States
THE PLASTIC PEOPLE OF THE UNIVERSE Czech Republic
PLOZ Canada
POCHAKAITE MALKO Japan
POCKET ORCHESTRA United States
KIMMO POHJONEN Finland
POIL France
POKERFACE Sweden
POLYMORPHIE France
LES POULES Canada
PRESCOTT United Kingdom
PRESENT Belgium
NICK PROL AND THE PROLETARIANS United States
PROSESSOR BALTHAZAR Norway
PSUDOKU Norway
PSYCHOYOGI United Kingdom
PSYNKOPAT Sweden
PULSOPTIONAL United States
PUNGO Japan
PUSH THE TRIANGLE France
QUATEBRIGA Yugoslavia
QUINTORIGO Italy
RABBINICAL SCHOOL DROPOUTS United States
RADIATION10 France
RAMLOSA KVALLAR Sweden
THE RANCID YAK BUTTER TEA PARTY United States
RAPA NUI Peru
RASCAL REPORTERS United States
RATIONAL DIET Belarus
RATTLEMOUTH United States
RECREATION Belgium
RED BALUNE United Kingdom
THE RED MASQUE United States
RED NOISE France
ALEC K. REDFEARN AND THE EYESORES United States
REDRICK SULTAN Canada
REFLECTIONS IN COSMO Norway
REPORTAZ Poland
THE RESIDENTS United States
RESISTENCIA CHACO Argentina
RĘVE GÉNÉRAL Multi-National
LES RHINOCÉROS United States
ALESSIO RICCIO Italy
RINNESYA Japan
HARRY ROESLI Indonesia
ROUGE CIEL Canada
ROZ VITALIS Russia
SAAL HARDALI Israel
SAJJANU Japan
SALES DE BAŃO Argentina
SALLE GAVEAU Japan
SALMAGÜNDI Italy
SAMLA MAMMAS MANNA Sweden
SARLO AKROBATA Yugoslavia
SATANIQUE SAMBA TRIO Brazil
MASAHIKO SATOH AND THE SOUNDBREAKERS Japan
DIONYSIS SAVVOPOULOS Greece
DANIEL SCHELL & KARO Belgium
SCHNELLERTOLLERMEIER Switzerland
THE SCIENCE GROUP Multi-National
SCORCH TRIO Multi-National
SEABROOK POWER PLANT United States
SEBKHA CHOTT France
SECRET CHIEFS 3 United States
SHINING Norway
SILENCIO United States
LE SILO Japan
SIR MILLARD MULCH United States
SIX CYLINDRES EN V France
SKELETON CREW United States
SLAPP HAPPY Multi-National
SLEEPYTIME GORILLA MUSEUM United States
FRANCISCO SLEPOY Argentina
SMEGMA United States
SNAKE OIL France
SNAKEFINGER United Kingdom
SNARLING ADJECTIVE CONVENTION United States
THE SOCIETŔ ANONIMA DECOSTRUZIONISMI ORGANICI Italy
LA SOCIETE DES TIMIDES Ŕ LA PARADE DES OISEAUX France
SONAR Switzerland
SONS OF CEPHEIDS United States
SOT Norway
SOTOS France
SPALTKLANG Switzerland
SPECIES BEING United States
STABAT AKISH France
MARK STANLEY United States
STARRING United States
STEAMBOAT SWITZERLAND Switzerland
SIMON STEENSLAND Sweden
STEPMOTHER Multi-National
STOP MOTION ORCHESTRA United States
STORMY SIX Italy
STRANGE CHANGES United States
STRIPSEARCH United States
SUBTILIOR Italy
SUDOKU KILLER Italy
SUN CITY GIRLS United States
SUPERDENSECRUSHLOADFACTOR Australia
SWEET POTATO United Kingdom
SYNKOKE Norway
SZENTENDRE France
HERMANN SZOBEL Austria
TACO Japan
TAIRIKUOTOKO VS SANMYAKUONNA Japan
TALI TOKÉ Belgium
TAMANDUA United States
TANZ Italy
TAPETTO TRACI France
TARTAR LAMB United States
TAYLOR'S FREE UNIVERSE Denmark
TAYLOR'S UNIVERSE Denmark
ROBIN TAYLOR Denmark
TENKO Japan
TEXTBOOK OF MODERN KARATE Italy
THINKING FELLERS UNION LOCAL 282 United States
THINKING PLAGUE United States
THIS HEAT United Kingdom
JACQUES THOLLOT France
THONK Switzerland
THRANGH Italy
STEVAN KOVACS TICKMAYER Serbia
TIGRESS AND THE U-FRAIDEES United States
TIGROVA MAST Croatia
TIME OF ORCHIDS United States
TIN HAT United States
TIPOGRAPHICA Japan
TOM MOTO Italy
TONE DOGS United States
TOUPIDEK LIMONADE France
TR-OND AND THE SUBURBAN SAVAGES Norway
TRANSELEMENT / ELEMENT United Kingdom
TRAP United States
TRAUN United States
TRAWLER BYCATCH United States
TRIBAL LOGIC Russia
TRIBRACO Italy
TRIPLE ZERO France
YASUTAKA TSUTSUI / KOHSUKE ICHIHARA / MASAHIKO SATOH Japan
U TOTEM United States
UBERBAND United States
UDUS Italy
UKANDANZ France
ULTRA ZOOK France
UNBELTIPO Japan
UNIVERS ZERO Belgium
UNREST WORK & PLAY United Kingdom
UPSILON ACRUX United States
UR KAOS Sweden
UT GRET United States
UZ JSME DOMA Czech Republic
VERTO France
PIERRE VERVLOESEM Belgium
VEZHLIVYJ OTKAZ Russia
VIALKA France
VIDEO-AVENTURES France
VIRGULE IV France
VLADIMIR BOZAR N ZE SHERAF ORKESTÄR France
THE VOID'S LAST STAND Germany
VOLAPÜK France
VOLCANO THE BEAR United Kingdom
VOLUNTARY MOTHER EARTH Japan
VON ZAMLA Sweden
VORTEX France
WAPASSOU France
WHA-HA-HA Japan
WHEN Norway
DAVE WILLEY United States
WONDEUR BRASS Canada
THE WORK United Kingdom
THE WORLD HERITAGE Japan
BRIAN WROTEN United States
X-LEGGED SALLY Belgium
XAAL France
XHOHX Belgium
YBO˛ Japan
YETI United States
LES YEUX DE LA TĘTE France
YOG SOTHOTH France
YOLK France
YOLK Switzerland
YONHOSAGO Chile
TATSUYA YOSHIDA Japan
YOWIE United States
YUGEN Italy
ZAAR France
THIERRY ZABOITZEFF France
ZAMLA MAMMAZ MANNA Sweden
FRANK ZAPPA United States
ZAUSS Multi-National
TOM ZÉ Brazil
ZENERIK Greece
ZEVIOUS United States
ZLETOVSKO Japan
ZNR France
ZOAMBO ZOET WORKESTRAO Slovenia
ZOOLIXO LIGO Greece
JOHN ZORN United States
ZS United States
ZU Italy
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ZYPRESSEN Japan

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