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RIO/AVANT-PROG

A Progressive Rock Sub-genre


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RIO/Avant-Prog definition

Avant-Prog

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

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

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

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


Rock In Opposition

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

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

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

The five initial Rock in Opposition bands were:

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

Three additional bands were later officially elected to the movement:

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

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

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

Dates of the original RIO festivals

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

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

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

Current team members:
as at 27/8/2014

Steve (HolyMoly) ... team leader
Luca (octopus-4)
Ori (frippism)
Ian (Nogbad_The_Bad)

RIO/Avant-Prog Top Albums


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

4.33 | 1171 ratings
HOT RATS
Zappa, Frank
4.66 | 35 ratings
H─XAN
Art Zoyd
4.30 | 669 ratings
THE GRAND WAZOO
Zappa, Frank
4.30 | 651 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.29 | 209 ratings
SING TO GOD
Cardiacs
4.27 | 295 ratings
CHOIRS OF THE EYE
Kayo Dot
4.28 | 227 ratings
UZED
Univers Zero
4.31 | 126 ratings
IN EXTREMIS
Thinking Plague
4.42 | 53 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.27 | 191 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.25 | 208 ratings
M┼LTID
Samla Mammas Manna
4.35 | 68 ratings
JEAN LOUIS
Jean Louis
4.25 | 204 ratings
HERESIE
Univers Zero
4.40 | 49 ratings
BOOK M
Secret Chiefs 3
4.25 | 163 ratings
WESTERN CULTURE
Henry Cow
4.45 | 38 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.45 | 37 ratings
SIRENS AND SILENCES/WORK RESUMED ON THE TOWER
News From Babel
4.30 | 71 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.55 | 25 ratings
LETTERS HOME
News From Babel
4.25 | 99 ratings
BARBARO (MA NON TROPPO)
Present

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

ZAAR
Zaar
FARLIG VANDRING
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Combo FH
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Myrbein

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Latest RIO/Avant-Prog Music Reviews


 Lavoro D'Amore by ROZ VITALIS album cover Studio Album, 2015
3.89 | 23 ratings

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Lavoro D'Amore
Roz Vitalis RIO/Avant-Prog

Review by Guillermo
Prog Reviewer

4 stars As other reviewers in Prog Archives, I was asked to listen to this Russian band in their Bandcamp website. In fact, i think that this is the first time that I listen to a Prog Rock band from Russia. As the information says, the band is led by keyboard player Ivan Rozmainsky but the music in this all instrumental album was composed and arranged by the band as a whole. But there are some specific "conception" credits for the creation of each song.

Despite being an all-instrumental music album, it seems that there is a implicit concept described by the title of the album ("Lavoro D┤Amore", that means "Labor of Love" in the English language), being explained by the band (in a few words) as "... a metaphor of a person's spiritual way. It is like a path from superficial knowledge to deepest insight. " They say that their music is difficult to classify under just one musical category. I agree with them. In fact, I listened to the album three times to write a review about it.

Well. I found some musical influences in their very elaborated music. It obviously is very Progressive, but even with some Folk-Rock , Classical Music and Jazz-Rock music influences. The use of the flute brought me memories from JETHRO TULL, PFM and FOCUS. I also found some influences from BANCO DEL MUTUO SOCCORSO (particularly from the use of the trumpet in their "Di Terra" album) and in the heaviest parts in the album from KING CRIMSON (from the seventies `s line-ups only, in the last case). But despite all these influences they have their own musical style. One could expect that the keyboards could take a central role in this album. Well. This is true in most parts of the album. But they also give space to other musical instruments like guitars, trumpet and flute, giving some variety to the musical arrangements.

The music in this album is very interesting and varied, with a lot of melodies and rhythm changes. They also used some vintage keyboards, sometimes giving to the album a "seventies" sound. The recording and mixing is very good, and I also like the cover art.

 Hot Rats by ZAPPA, FRANK album cover Studio Album, 1969
4.33 | 1171 ratings

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Hot Rats
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

5 stars Those interested in the jazz fusion side of Frank Zappa need to invest in this album and be familiar with it. Most people know there are many sides to Frank Zappa and his music, some are turned off by his humor and others are turned off by his eclectic jazz or classical works, and yet others love his doo wop music. How does one tell which album has which kind of music on it? You have to explore because his discography is so immense. But let it be known that this album "Hot Rats" is a necessary album, especially for jazz fusion lovers. This was FZ's first official, complete (well almost) jazz record and it is essential.

This is also the first studio recording by Zappa after the breakup of The Mothers (though not necessarily the first solo album because he released solo projects while The Mothers were formed). The album itself is completely jazz fusion and instrumental, that is all except for one track, which is a straightforward rocker, which has vocals by Captain Beefheart. That track is "Willie the Pimp". The vocals are not very long though, and most of the track is devoted to an electrifying guitar solo.

As far as the rest of the album, it starts off with FZ's most recognizable jazz fusion work "Peaches en Regalia", which is a short structured jazz work recorded at a faster than normal speed, but when it is performed live, is performed at this speed. This little gem is a quick study in jazz fusion progressive with tricky rhythms and quite a complex melody which is Zappa's trademark. This track works as a great introduction to the album and prepares you for what is ahead. Following this is the aforementioned "Willie the Pimp". This is one of FZs best straightforward guitar solos which stands out on the album since it isn't really jazz oriented as the other tracks. Next is another long track called "Son of Mr. Green Genes" which returns us back to the great jazz fusion that makes up most of the album. This track is based on the melody from "Mr. Green Genes" from the Uncle Meat album. FZ fans will definitely recognize the melody played as a jazz band and the melody acts as the basis for the mostly improvised piece. Zappa solos again but the feeling is different this time. Also, a rarity in Zappa tracks that feature his guitar, he returns to a clear variation of the melody in the middle of the improvisation. Other instruments are acting not only as support but also do improvisations. These things make this track unique among the many improvised solos in Zappa's repretoire.

The second half of this album starts out with another short structured piece called 'Little Umbrellas' which is similar to the structure of 'Peaches en Regalia'. This is followed by an epic fusion piece called 'The Gumbo Variations' which is over 16 minutes on the CD re-issue which had originally been trimmed down to just under 13 minutes on the vinyl version. The longer version starts with some instructions from FZ to the band for starting the track. This is a perfect improvisation piece which features a brass solo followed by an amazing and quite excellent violin solo and followed by another Zappa guitar solo. There are short interludes between each solo involving different sections of the band, including a short percussion solo. Excellent music. The album ends with the 5 minute track called 'Must Be a Camel' which is mostly structured and involves the entire band. Apparently, the title for this track comes from the large melodic jumps that are in the main melody and how this made the notes on the written manuscript look like camel humps. Again, this is an example of Zappa's 'not-so-apparent' humor in his music.

This album remains a staple in the Zappa catalog and is a great introduction to his fusion music. It should be in every progressive rock library and it sets a lot of standards for this style of music. People can't say they don't usually like Zappa music based on a single facet or style of his music. His style would change from one album to the next. You can be a fan of a style of his music and not so much of a fan of another style. The man, overall, is a musical genius, and anyone with a love or an understanding of music will recognize this. That is why Zappa's music is studied in universities and institutions alongside the music of Bach, Bartok, Gerswin and other music geniuses. Of course, Zappa had some not so great endeavors, but that doesn't take away from the fact that the man understood music and had a desire to make his music known to all people, hence the reason for so many different styles and also for his off-color humor. This album is a great representation of the jazz-fusion style of his music and is an essential album. 5 stars.

 Mutopia by NUCLEAR RABBIT album cover Studio Album, 2003
4.62 | 4 ratings

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Mutopia
Nuclear Rabbit RIO/Avant-Prog

Review by VOTOMS

5 stars Review n░ 223

Nuclear Rabbit - Mutopia

These guys music is pretty much as any Mike Patton masterpiece. Mr. Bungle/Faith No More experimental era fans will find love with this band. So on, after a little change in the line-up, we have Mutopia. Different from the past material, but same level of creativity and enjoyment. Overall, this is the less avant-garde Nuclear Rabbit album. I would call it a progressive/technical melodic hardcore album with some death metal influence. As the technical metal shines brighter, mainly with Jean's monsterpieceful 11 string bass, Nuclear Rabbit sounds more alternative too. There's an incredible increase of melodic passages, and even emotive riffs and vocals like those from "Alone With My Clone" and "Truth's Ugly Head". The ska & funk side of the band was almost totally exchanged by a hardcore/rapcore/grindcore beat, some tracks even reminds me of Biohazard and their kind of band. Double bass pedals became usual, and together with the fusion of guitar and bass riffage, sometimes seems a modern post-hardcore band. Unfortunatelly, this is the last known release of the band. The guys stated they're writing new tunes on 2008, and since then, only played together once (2011). If they are planning to put something out, better think twice. Their short all-star catalogue shouldn't be ruined in my opinion.

 Intestinal Fortitude by NUCLEAR RABBIT album cover Studio Album, 1998
4.57 | 5 ratings

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Intestinal Fortitude
Nuclear Rabbit RIO/Avant-Prog

Review by VOTOMS

5 stars Review n░ 222

Nuclear Rabbit -Fortitude

So, here's the first official album by the californian avant rocker group Nuclear Rabbit. Intestinal Fortitude speaks to you at first sight through another genial gruesome cover art. It defines the sound and lyrics pretty well. Yet a total nonsensical bad taste humor. Far heavier than before and much more focused on technical/avant-prog metal, the bass player Jean Baudin is clearly the highlight of the album. There are groovy and street tendencies, Greg Parrish crazy vocals and Jason Branyan guitars still bearing Mike Patton's ugliest works, jumping from experimental deathgrind to a smooth melodic random circumstance without losing coherence (maybe not). This album grabs me from the start, "My Girl's Got Guts", where the band presents a catchy unique melodic technical death funk vibe adding even some country and middle- eastern riffs in between sections. The drums adds to the technical metal mood, and here the band started using double bass pedals here and there (something that became more frequent with the next release). Brilliant and dope. An album to listen while frying casino's paper advertisements hidden from your sons and daughters.

 Vicuna by NUCLEAR RABBIT album cover Studio Album, 1997
5.00 | 1 ratings

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Vicuna
Nuclear Rabbit RIO/Avant-Prog

Review by VOTOMS

— First review of this album —
5 stars Review n░ 221

Nuclear Rabbit - Vicuna

Maybe you have noticed I'm only rating the medium - low quality albums and writing reviews mainly for stuff I would be really glad reccomending to you. So, this is the next step. Nuclear Rabbit is a top notch american avant-garde metal band, a gem of the underground. Raised together in the 90s California scene with Primus, Red Hot Chilli Peppers, Mr. Bungle and Tool, they got this funky metal groove and that experimental shapeshiftin' style I love so much , very close to Mr. Bungle bizarre song structure, but unfortunattely there's no wind or brass. Vicuna is their first full lenght CD, and actually, it's a collection of demos and early years recording, concluding a 27 short-medium lenght tracks powerful demented album. Like an unexpected rotating helter skelter of riffs bending between death metal, children melodies, funk and just plain weirdness, this record can't get boring, shooting out a shower of surprises. The natural awesomeness starts with the creative cover art. The Pattonesque vocals are bloody well made, I could say it reflecs the pure lost of mental sanity. Lyrics and song titles leads the album with an acid humor and nonsense. Guitar and bass did an excelent job, intelligent psycho ecletic riffs and technically well done, sounding catchy, leaving the listener alert, interested for the next passage, wondering what the hell will happen out of a sudden. Finally, you will find any leftover after the hyperactive drums found here. Terrific men playing freak music with good taste and a sick random sense of humor. Thanks god there are other people like this.

 Lavoro D'Amore by ROZ VITALIS album cover Studio Album, 2015
3.89 | 23 ratings

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Lavoro D'Amore
Roz Vitalis RIO/Avant-Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars I was also approached by the Russian band to look over their most recent release, truth is that I was not in any way sonically familiar with the group though I recognize the name. The benefit of such a situation is that I have absolutely no preconceived judgment or bias one way or another and therefore I can enter with open mind and open ears. First of all, the cover is quite appealing, a sort of Split Enz-like take on non-obvious weirdness, a dark haired beauty in drab farm clothing in a seemingly wheat laden field , contrasting with azure skies above, a strange anchor in the lower left-hand corner that must convey something odd, but what? This is all instrumental music composed by keyboardist Ivan Rozmainsky, set in a traditional romantic mode with occasional romps into slight dissonance and experimentation, staying away from any prog by number attitudes that may plague instrumental works from time to time. Bassist Ruslan Kirilov likes to be heard and his prosperous rumble is there to behold , well supported by a couple of athletic drummers , while additional soloing is provided by some delectable and dependable flute, somber trumpet phases and finally, some jazz- influenced electric guitar playing by Vladimir Efimov. Just like with the Gourishankar, another talented Russian band that is due for another release we hope, the unknown instrumentalists are first-rate and highly talented. Nothing of epic proportions, most tracks are in the 3 to 6 minute range, save the eighth track that is a tad longer, clocking in at 8 minutes and change. An overt Italian romanticism influence is startling on a couple of pieces that have Italian titles, a rather innocuous nod at fellow romantics that populate the 'boot', with flowing piano leading the charge. 'Il Vento Ritorna' and the title track make this impression quite clear, sounding more RPI than anything else, as the flute takes the center stage and ushers in the delicate breeze that caresses the soul, adding some piano, bass and harpsichord support. The romantic Russian style of melancholic artistry is their most appealing trait and it's in abundance here.

'The Acknowledgement Day' sets the adequate mood from the onset, solid yet brittle, adventurous yet somehow familiar. The pied-piping flute beckons one forward, playfully into some pre-set comfort zone where everything sounds just right but different. Nice guitar phrasings that have a Jukka Tolonen jazzy feel that is most pleasant though not exactly modern. Each track has this rather overt melodic dissonance that is engaging, infusing occasional blasts of trumpet to pack some punch, as well as slick use of the underused harpsichord, an instrument that should be further showcased. The two in question are prominently featured on the delightful 'There Are the Workers of Inequity Fallen' (whatever that means!). There are enough melodies here to keep stubborn classicist like yours truly hooked, lined and sunk. Occasional visits into outright symphonic, careening into dizzying space rock as well as various other forms of edgy progressive , touches of medieval and even jazz (especially the clean 70s styled electric guitar). There are plenty of quirks, twists and turns, occasional harder pieces like 'Need for Someone Else' where the stirring axe riffs really take over the stage, chugging, churning and charming all in one. The space whispered finale is amazing! Seguing nicely into the dark and the murky, the harrowing 'Invisible Animals' seeks out deep space realms, sizzling asteroids nimbly zooming past in synthesized glory and propulsive bass motoring the rhythmic engine. The piano also retains its place of glory, as Ivan Rozmainsky is a truly gifted player, caressing his ivories with infinite taste and style, overtly so on the ornate 'Every Branch That Beareth Fruit', flute following right behind like some obedient disciple. Simple and beautiful.

The highlight piece may just well be the longest track here, the hyper-quirky 'What Are You Thinking About?' which seeks to assemble all these interests into one convenient vessel, the mouthy bass leading the charge with choppy guitars in tow, moody and grandiose , like some MIG fighter doing aerial acrobatics, amid a canopy of symphonic bombast.

Highly original and infusing fresh ideas into a powerful mass is no mean feat and I am mighty impressed. Lot of love went into this work, hence the title!

4 passion crafts

 Onze Danses Pour Combattre La Migraine by AKSAK MABOUL album cover Studio Album, 1977
3.78 | 54 ratings

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Onze Danses Pour Combattre La Migraine
Aksak Maboul RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars AKSAK MABOUL was formed in 1977 Belgium by Marc Hollander (keyboards, reeds, percussion) and Vincent Kenis (guitar, bass, keyboards, percussion). ONZE DANSES POUR COMBATTRE LA MIGRAINE (Eleven Dances For Fighting Migraines) is the debut album and delivers a seriously healthy dose of RIO / Avant Prog and sounds a bit like Zappa collaborating with the Art Bears and Univers Zero. This album also takes a few cues from the 19th Century French avant-garde pianist Erik Satie who was known for his minimalism as well as his screen plays of absurdist fiction called "Theatre Of The Absurd." Originally the first two AKSAK MABOUL albums were released on the independent Belgian label Kamikaze Records, but in 1980 Hollander created his own Crammed Discs label where the albums have since been reissued and remastered. The sound quality and production is outstanding for the time.

ONZE DANSE... is a collection of nicely played avant-prog with, in addition to Hollander and Kenis, has seven other musicians contributing everything from sax, violin and more guitar to lots of vocal contributions. The music is nowhere as out there and alienating as lots of RIO can be. There is enough melody to reel in the casual listener and enough avant-prog to engage the serious addict of the bizarre. This album has been described as a playful mix of musical forms, cultures and genres and i would have to agree with that. While the "typical" RIO / avant-prog sound of the chamber rock sort of such bands as Henry Cow, Univers Zero and The Art Bears can clearly be heard throughout the disc's run, there are also African drum bits, Zappa-esque spastic outbreaks and plenty of attention to electronic effects and classical music. There are also lots of jazz elements sewn into the tapestry. The sound here is quite distinct from any contemporaries.

I find this to be a really intriguing and captivating debut that is the perfect place to dive into the world of AKSAK MABOUL because the band really takes off into the world of the avant-garde with their second release "Un Peu de l'┬me des Bandits" with the addition of Henry Cow veterans Fred Frith and Chris Cutler making it a more dynamic and bizarre experience. ONZE DANSES... contains on the other hand a nice mix of the accessible and bizarre and would sit nicely next to the albums by News From Babel in that regard. Highly recommended for anyone who finds RIO and avant-prog a bit too weird but also for those who don't mind their RIO on the medium spicy side. I personally like it all and find AKSAK MABOUL to be one of the more interesting bands of this movement at this time in the small country that has produced more than its share of strange music.

 Lavoro D'Amore by ROZ VITALIS album cover Studio Album, 2015
3.89 | 23 ratings

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Lavoro D'Amore
Roz Vitalis RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars As I write this review i'm listening to the latest from ANEKDOTEN as I drink my Tim Horton's coffee on this beautiful sunny morning. Yeah i'm in a very good mood. This is the latest from Russian band ROZ VITALIS called "Lavoro D'Amore"(Labour Of Love) a 2015 release. Once again Ivan the band's leader gives a very big thanks to THE UNAPPROACHABLE LIGHT. I reviewed an earlier album by this band last weekend called "Patience Of Hope" that I felt was really good, often reminding me of Mike Oldfield. This one is more to my tastes as we get a much more dynamic work that has more of a "Rock" feel to it but it continues in that Eclectic vein with that Avant vibe pretty much non-existent.

"The Acknowledgement Day" is a top three for me. Flute, drums and bass lead the way early on until the flute stops around a minute in as piano, guitar and more replace it. It settles back 2 minutes in with piano leading then it turns fuller. A powerful soundscape before 4 minutes with the guitar lighting it up. Nice. "Lavoro D'Amore" opens with a beautiful guitar melody as other sounds join in including flute and later piano. A gorgeous tune. "Unanticipated" is dark with piano notes and a heavy undercurrent. A horn comes in after a minute. Love the mood here and the trumpet is a nice touch on this one. It turns powerful 4 1/2 minutes in. "Il Vento Ritorna" is a bright and uptempo song with the flute playing over top. Catchy stuff with so much going on. It turns more dynamic at times especially during the second half of this tune. "There Are The Workers Of Iniquity Fallen" is led by harpsichord and trumpet early on then piano and what sounds like vibes standout. The trumpet is back after 2 minutes then the piano leads once again. It changes 3 1/2 minutes in to a bass heavy groove that is so good! I'm reminded of LE ORME here. Fantastic!

"Need For Someone Else" is uptempo with intricate sounds coming and going. It's heavier a minute in and they are just killing it. Some angular guitar too around 3 minutes in. It settles with piano out front 5 minutes in, flute too. "Invisible Animals" is another top three for me. It's FLOYD-like to start as we get this heavy atmospheric soundscape before settling back to a calm 4 minutes in. "Every Branch That Beareth Fruit" opens with piano only as cymbals join in. Low whistle and more arrive 2 minutes in but it's still very laid back. Mellotron-like sounds too then trumpet 3 1/2 minutes in. "Ascension Dream(Peak Version)" starts out with flute and piano as it begins to build some. It picks up 1 1/2 minutes in with trumpet and piano taking turns leading. It's more powerful late. "What Are You Thinking About?" is my final top three and the longest song at 8 1/2 minutes. Atmosphere early on with guitar expressions and drums that come and go. What a great intro! It starts to pick up after 2 minutes then it settles into a groove at 3 minutes. It sounds like electronics that are added before the guitar starts to solo over top before 6 minutes. "Ending" features trumpet a minute in with acoustic guitar and an urgent rhythm. Harpsichord before 2 minutes then keyboards and flute.

For my tastes this is a definite improvement over their earlier albums and this instrumental recording is well worth a solid 4 stars.

 Lavoro D'Amore by ROZ VITALIS album cover Studio Album, 2015
3.89 | 23 ratings

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Lavoro D'Amore
Roz Vitalis RIO/Avant-Prog

Review by VOTOMS

4 stars Review n' 218

Roz Vitalis - Lavoro D'amore

A consistent, solid piece of symphonic and ecletic prog, not so avant-garde, but yes, it can be labeled like that sometimes. Shaking a bonanza hot crazy juice of things as acoustic folk and heavy rockin' passages, this multi-layered intriguing album deserves attention if you're looking for the real word "progressive rock" and how could it be nowadays. Fully instrumental, it carries a King Crimson touch in melodic organization format and sound. Very well worked, many instruments rising full of energy and skill to show up in neverending sequences of creative musical dreamscapes. The keys are the highlight of the album. Oh wait, everything sounds good. In fact, the album was based on keyboard compositions by Ivan Rozmainsky, the man behind Roz Vitalis curtains. The arrangement is pretty clever. Also, there's a trumpet which add a jazz feel sometimes for your listening pleasure. The album is already on their bandcamp, check it out!

 Holy Kiss Of Flesh by RESIDENTS, THE album cover Singles/EPs/Fan Club/Promo, 1988
2.39 | 5 ratings

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Holy Kiss Of Flesh
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

1 stars This is a remix of the track "Kiss of Flesh" from the "God in 3 Persons" album. It is a complete remix of the track made to a mostly steady beat. This short 15 minute record which consists only of the remix was released 5 years after the original album. It is the same idea that they had for "Eskimo" and turning it into "Discomo", it is pretty much in the same vein. The biggest difference here is that "Eskimo" was an excellent project and translated over well to the remix. This time, even though "God in 3 Persons" was somewhat highly reguarded especially by Residents fans, the remix just doesn't have as interesting source material to work with. There are snatches of the annoying narration heard throughout the remix, but at least it isn't as annoying because it isn't the main concentration of the remix. But, anyway, I don't find it worth the difficult search you will have trying to find it, unless you absolutely have to have every thing they have recorded, in which case, I wish you the best of luck. This is not one for the casual listener, or even for someone who is interested in their music. Bypass this one and spend your time trying to obtain The Residents better albums. 1 star only.
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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETËN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARKTIS/AIR Austria
ARMON KUILU Finland
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
BABLICON United States
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