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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 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 | 1357 ratings
HOT RATS
Zappa, Frank
4.32 | 799 ratings
THE GRAND WAZOO
Zappa, Frank
4.32 | 773 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.61 | 38 ratings
TAIGA
OOIOO
4.49 | 52 ratings
H─XAN
Art Zoyd
4.34 | 148 ratings
IN EXTREMIS
Thinking Plague
4.30 | 242 ratings
SING TO GOD
Cardiacs
4.44 | 62 ratings
N║ 6
Present
4.31 | 196 ratings
WESTERN CULTURE
Henry Cow
4.44 | 61 ratings
BOOK M
Secret Chiefs 3
4.29 | 281 ratings
UZED
Univers Zero
4.26 | 337 ratings
CHOIRS OF THE EYE
Kayo Dot
4.39 | 63 ratings
DECEIT
This Heat
4.26 | 244 ratings
HERESIE
Univers Zero
4.25 | 240 ratings
M┼LTID
Samla Mammas Manna
4.29 | 114 ratings
BARBARO (MA NON TROPPO)
Present
4.38 | 58 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.31 | 90 ratings
ON LAND AND IN THE SEA
Cardiacs
4.52 | 32 ratings
LETTERS HOME
News From Babel
4.23 | 212 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

PLAYS STANDARDS
Ground Zero
8.8
Silo, Le
KOTEGARDA
Gargantua
THE LITANIES OF SATAN
Galas, Diamanda

Latest RIO/Avant-Prog Music Reviews


 Nosferatu by ZORN, JOHN album cover Studio Album, 2012
3.85 | 12 ratings

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Nosferatu
John Zorn RIO/Avant-Prog

Review by Lewa

3 stars Works perhaps better as a soundtrack than as an album.

As one can deduce from the subject matter this is one of John Zorn's dark jazz albums and in my opinion also one of his better ones. Parts of it are insanely dark and aggressive and all are mesmorizing. Consistent rhythm or melodies are not very present on the album. Interestingly, the metal influence that's often part of his darker works, mostly takes the form of industrial metal here. That's new and took me by surprise, especially considering that this is a work celebrating a 100th anniversary.

While there is light there is also some shadow in my opinion. The vast majority of the songs are very short and it is my impression that musical ideas are seldomly really explored. The changes from song to song are pretty aprupt and there is not much gradual evolution. In the end, I find that this hearts the album as a whole. It works quite good as a soundtrack or soundscape, though.

The stalking is the one track that stands out on this album. It is the only longer composition and follows a more traditional song structure. In this case a dub bass line that really grooves is repeated ad infinitum and the other instruments scream or wail over it. It is quite recommended as a song, though seven something minutes are enough of that bass line.

In the end this is recommeded to proggers who like dark jazz and appreciate soundscapes. A fondness for lots of variety and left turns also helps.

 Cinemanemico by NICHELODEON album cover Live, 2008
3.47 | 8 ratings

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Cinemanemico
Nichelodeon RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Take a strong melody, surround it with noises coming from an electric guitar in the likes of the modern composer Rominetti (Claudio Milano has introduced me to his music), add very raw and harsh lyrics. The album opener "Fame" (Hunger) makes immediately clear which kind of music this album contains. What I think i s the principal characteristic of Nichelodeon, other than the great skill of the band members plus the great voice of Claudio Milano, is the mixture of strong melodies and Avantgarde arrangements. With RIO and Avant music it doesn't happen frequently to find melodies able to fix in your mind and resound for hours and hours. "Fame" is an excellent opener. Piano and voice are the melodic instruments while the others make the noise. "La Mosca Stregata" (The haunted fly) starts instrumental in a sort of chamber rock intro. Art Zoyd is what comes to mind, but after the intro Claudio and the piano go classical. It's incredible how a composition by haendel (from Rinaldo if I'm not wrong) is totally transformed into a psychedelic noisy improvisation which fades into what I personally consider the best song ever released by Nichelodeon.

"Malamore e la Luna" (Badlove and the Moon) is exactly what I was thinking about when i have mentioned melodies which remain in your mind and resounds for days. Try to listen to it just a couple of time and it won't leave your mind.

"Amanti in Guerra" (Lovers in War) is again based mainly on piano and voice. A slow and melodic song with dramatic lyrics. Less noise than on the other tracks.

"La Torre Piu' Alta"(The Highest Tower) is opened by Claudio's vocalizations reminding of Demetrio Stratos. A difficult track which has also been performed live with Walter Calloni (Area). The dark atmospheres like those of Art Bears permeate the track until the vocals stop. The instrumental part is quiet and sad with a strong RIO flavor, especially when it "wakes up" and Claudio is back in a sort of reprise. Funny...he then reads receipts like a chef and tells a story about "gnocchi" disappeared from the pan...to end in a coda made of electronic noise and vocals. The reason is that this song was part of a multemedial performance written by Pellegrino Artusi:

"Cio' Che Rimane"(What's left) brings the melody back to change into a piano riff remainding of Keith Emerson which backgrounds the track with bass notes while the synth takes the lead. Try to separate the melody from the other instruments. Anyway any little piece has its place. The noisy and the melodic parts are very well integrated. I just wonder how much of it is improvised.

"Flower Of Innocence" gives more room to the guitar which here reminds to Fripp and the early King Crimson. It's a short evocative track which can feature in a movie or a documentary soundtrack.

"Disegnando cattedrali di cellule Pt.II" (Drawing Cathedrals of cells Part II) is back to chamber rock. One of the most experimental tracks of an experimental album. A very dark track in the vein of Art Zoyd. In particular I think to Generation Sans Future. Again a menu is read and the final features a jazz vocal solo backed by the crazy arrangements which are omnipresent in this album.

"Il Ladro di Giochi" (The toys thief) Despite the Italian title is sung in English. another crazy set of lyrics on an excellent melody supported by piano while synth and guitar make some noise around. It includes a ghost track which is noisy and chaotic. Perfect for who loves the genre.

An album that I personally love, Inparticular the mentioned Malamore e la Luna which I consider a little masterpiece.

4 solid stars with the temptation for the 5th.

 The Gift by ZORN, JOHN album cover Studio Album, 2001
3.84 | 12 ratings

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The Gift
John Zorn RIO/Avant-Prog

Review by Neu!mann
Prog Reviewer

4 stars Browsing through John Zorn's mammoth catalogue is like being a kid with a sweet tooth in the world's largest candy store: it's hard to know what to sample next. Not all the merchandise will be to your liking (coconut! ugh...) but there's something for every taste, and this 2001 release is one of the composer's more mouth-watering confections.

It's easily the most accessible and purely enjoyable album I've yet heard from such an otherwise provocative artist: fifty-one minutes of sunshine, sea breezes, and tropical exotica circa 1960. Zorn has of course sailed these occasional temperate zones elsewhere in his varied career, typically cued by the jangling roots-rock guitar of Marc Ribot, and by Cyro Baptista's esoteric percussion accents.

But there's a sinister undertow to the surf music here, as heard in the nervous repetition of "Cutting Stone", or the aptly named "Bridge to the Beyond", the latter an eerie subconscious night gaunt featuring Zorn himself on theremin and piano. Immediately after that last mysterious digression is a welcome reprise of the album opener "Makahaa": upbeat musical bookends suitable for your next luau, with optional grass skirt.

The album marked the third and final entry in Zorn's 'Music Romance Series', but judging from the subtext (made explicit in the somewhat disturbing inner sleeve art) his idea of romance can be a little kinky at times. It's meant to be subversive of course: Exotica was always an ersatz style of music, expressing a Post-War suburban daydream of South Seas enchantment. Zorn simply exploited that counterfeit innocence in the underhanded manner of CAN and their Krautrock 'ethnological forgeries', in effect redeeming a bogus musical trend with a harsh sense of self-awareness.

The same insight applies to the album's obvious sore thumb: "Mao's Moon": an incongruous film-noir score not so out of place in this collection as you might think. The world-weary late-night trumpet, the tinkling lounge piano, and the lush orchestral undercurrents are all reflections of another Post-War fantasy, populated by cynical gumshoes and sultry femme fatales.

The entire package is easy on the ears, but hardly easy listening. And the title itself was certainly appropriate. But of course John Zorn's entire, vast discography is like an endless series of artfully packaged gifts, and you never know what to expect until the wrapping comes off.

 Nimal by NIMAL album cover Studio Album, 1987
3.33 | 8 ratings

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Nimal
Nimal RIO/Avant-Prog

Review by Finnforest
Special Collaborator Honorary Collaborator

3 stars Swiss Avant-Rio misadventures

Nimal are described in our Bio as something of a Rio supergroup whose member's various groups were influenced by older bands like Samla Mammas, Univers Zero, and Henry Cow. They were together only about five years but managed to tour and release three acclaimed albums. This debut, which was apparently not released on CD, is said to be not quite as fully realized as the latter two. If true, it blows my mind, because this is some intensely creative music.

"Nimal" is like walking into a snowstorm. At first jarring as the freezing wind blown snow hits your face. But later as you acclimate to it, walking in the winter becomes serene, a little bit of contemplative despite the chaos.

The cacophony of standard rock instruments and exotic ones are seemingly being crashed randomly by children, but as with other good avant releases, a little patience and a few more plays will pay off. The most ambitious track is the 10-minute opener entitled "La semaine des quatre jeudis" which is all over the map, sometimes it feels like an insane wedding soundtrack, very cinematic. The odd feel is courtesy of the hurdy-gurdy and the bouzouki employed by Rossel. Equal measures menacing, exhilarating, confusing, and dramatic, the piece feels like a great drunk one moment and the hangover the next.

I also enjoyed "Animal Triste" where there are wordless choral vocals sampled over the intense noise. It's like a life boat. The same with the cello on the closer "Maligne" which is quite the departure. Its calming strokes and deliberate pace nicely bring one in from the snowstorm and allow you to sink in front of the fireplace.

While not my favorite album by any means, "Nimal" is the kind of discovery I still enjoy. It's wonderful something so rare can now be heard online by the next generation. Avant and Rio fans will love this group.

 Coffins On Io by KAYO DOT album cover Studio Album, 2014
3.85 | 74 ratings

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Coffins On Io
Kayo Dot RIO/Avant-Prog

Review by Warthur
Prog Reviewer

3 stars Possibly the most accessible Kayo Dot album of them all, with some sections of the selections here almost sounding like comparatively conventional gothic-leaning alternative rock given an eccentric production treatment. As usual, I find Kayo Dot's approach rather hit and miss, and whilst I appreciate the extra clarity they have attained by allowing themselves to prune back their sound and resist the temptation to turn the experimentalism up to 11 all the time, at the same time that selfsame clarity doesn't reveal much to write home about, at least to my ears. I never feel like I can mark Kayo Dot too far down, because they're always technically proficient, but I do think the album is enough of a love-it-or-hate-it deal that I can't honestly rate it as highly as Hubardo.
 The Painted Bird by ZORN, JOHN album cover Studio Album, 2016
3.98 | 4 ratings

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The Painted Bird
John Zorn RIO/Avant-Prog

Review by Neu!mann
Prog Reviewer

4 stars The music of John Zorn's umpteenth 2016 album (that's only a slight exaggeration) describes the point of impact where Jazz and Rock not only intersect, but totally obliterate each other in a matter/anti-matter annihilation of sound. If you're looking for one of his more polite neo-classical fusions, be warned: this ain't it.

The album instead presents a near-literal instrumental holocaust, and I don't choose that loaded word lightly. Zorn was (possibly) inspired by the notorious 1965 Jerzy Kosinski novel of the same name, which follows a Jewish orphan in the early days of World War II across "a Bosch-like world of harrowing excess", according to one source. Zorn extends the simile to his album cover illustration, likewise borrowed from Hieronymus Bosch: a detail from his sprawling triptych "The Last Judgement" (center panel, lower right).

Look at the canvas, listen to the music, and you'll discover parallel worlds of metaphysical chaos. The album mixes jazzy vibraphones (by Kenny Wollesen, as usual), grinding Hammond organ (from old pal John Medeski) and distorted electric guitars, with a crazed rhythm section adding drums, more drums, and a battery of congas...no bass guitar, because it wasn't necessary. And if you can't imagine the acoustic vibraphone as an essential tool of Heavy Metal, you obviously aren't familiar with the music of John Zorn.

Even the composer's own Tzadik record label describes it as "insane". Which would of course make it a perfect musical analogue of European history, circa 1940.

This was one of maybe a dozen albums released by Zorn in 2016, each in a different musical idiom (and with different sets of musicians), and none requiring the composer to wear a bucket on his head to get our attention. Over his decades-long career Zorn has done everything from classical chamber music to straight jazz to soundtracks and surf music. But sometimes he apparently just has to let all his demons off their collective tether, and crank up the volume.

 Film Works XIX: The Rain Horse by ZORN, JOHN album cover Studio Album, 2008
4.26 | 12 ratings

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Film Works XIX: The Rain Horse
John Zorn RIO/Avant-Prog

Review by Neu!mann
Prog Reviewer

4 stars No appreciation of John Zorn would be complete without a study of his many film scores, all of them for movies unlikely to ever open at your local multiplex: indie art projects, obscure documentaries, and so forth. Number nineteen in his Filmworks catalogue, released in 2008, was commissioned for an austere but often stunning piece of alt-animation by Russian artist Dimitri Geller: a wordless dream-parable of death and rebirth in the natural world.

Geller originally approached Zorn to borrow songs from his Book of Angels archive for the film. But Zorn, as always an incredibly prolific composer (scroll down his page in these Archives for proof), offered instead to write an original score, and in typical fashion recorded and mixed the entire album in a single day.

It's a thing of beauty too, and one of the few soundtrack albums able to stand apart from its parent film as a totally unique and equally worthwhile experience. Hardly surprising, since Geller's 15-minute movie used only a fraction of the music cues collected here, each one a miniature instrumental objet d'art all by itself.

The music couldn't be simpler: graceful yet haunting melodies, drawn from eastern European traditions and arranged for an uncluttered acoustic trio of cello, upright bass and piano, the latter sometimes gently muted by an application of (!) Silly Putty. Is it Jazz? Classical? Gypsy Folk-Art? Whatever the answer, the full album is a joy to hear, and in its own modest way remains one of the highlights of John Zorn's immense musical library.

 Make A Jazz Noise Here by ZAPPA, FRANK album cover Live, 1991
4.41 | 131 ratings

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Make A Jazz Noise Here
Frank Zappa RIO/Avant-Prog

Review by darkshade
Collaborator Jazz Rock/Fusion Team

5 stars This is one of Frank Zappa's best albums, period. The 1988 band was one of Frank's tightest groups, and they could play just about anything Frank desired them to. This album showcases the (mostly) instrumental side of the band (though I think the other 2 albums featuring this lineup have plenty of instrumental/complex stuff too) Most of the new songs from this tour were featured on Broadway the Hard Way, but there's a few on this album.

However, right off the bat we get to hear Frank speak, and the story of Ed Mann making a mistake in the song "Dickie's Such an Asshole" is humorous. Then we are thrown into unknown territory. "When Yuppies Go To Hell" is an original tune unique to this album, and combines jazz-fusion with electronic stuff and some Synclavier as well. A dense piece that took me a while to appreciate, but it gets better every time I hear it. Out of that we get Fire and Chains, another original tune, though this is mostly a guitar solo. The other original is Star Wars Won't Work, which is more of a goofy song.

The rest of the album consists of older material, but with rousing renditions due to the horns and the arrangements. This album focuses a lot on the big improv pieces, so tunes like Big Swifty, King Kong, and Dupree's Paradise go into all kinds of directions, so much that beyond the main themes, these are all new pieces (and Dupree's Paradise (along with T'Mershi Duween) never had an official release before this album, I believe.)

But seriously, the entire album is one big highlight. It's amazing how many 2 disc albums Frank made and released in the late 80s/early 90s and that hold my attention the entire time (which is most of them.)

This album is a top 5 Frank Zappa album, but should be checked out after you are familiar with a good chunk of Zappa's 60s and 70s albums first; mostly to understand how Frank modified the older tunes, but you could do a lot worse than making this one of your first Zappa albums, especially if you appreciate the horn-dominated, jazzier side of his music.

 Film Works XV: Protocols Of Zion by ZORN, JOHN album cover Studio Album, 2005
2.91 | 3 ratings

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Film Works XV: Protocols Of Zion
John Zorn RIO/Avant-Prog

Review by Neu!mann
Prog Reviewer

3 stars Volume fifteen of John Zorn's ongoing Filmworks project was the soundtrack to a documentary by Marc Levin, about the spike in anti-Semitism after the 2001 Al-Qaeda suicide attacks. The film's title is of course a reference to the notorious (and totally bogus) early 20th century manifesto outlining a secret Jewish conspiracy to control the world, still in print today and - more amazingly - still regarded as gospel by undereducated bigots hoping to validate their own stupidity.

(A quick side note...I haven't seen the film yet, but the synopsis on the user-edited IMDB web site consists of a single word: "Propaganda", which only serves to underline the director's point.)

Musically it's a very simple album, with Zorn himself playing electric piano (a rare performance credit for the renowned composer and conductor), accompanied by discreet percussion accents and the occasional oud. Like many film scores it offers several variations of the same few themes, in this case a nervous little melody teased by Zorn from his oscillating piano and set to some understated, serpentine World Music grooves.

The mood is tense, appropriate to the subject, but at the same time surprisingly light on its toes, thanks to all the supple rhythms (Latin American, Middle Eastern) provided by longtime collaborator Cyro Baptista. Zorn is not above using a plastic Whirly Tube for seriocomic effect, or adding ironic subtext to the music with a twanging Jew's Harp, in effect providing unspoken commentary to Levin's screen thesis.

I'm awarding the effort three stars only because of its limited scope: the entire session might have been realized in a single afternoon, performed in real time while the movie was playing. But in truth the album is one of Zorn's more compelling accomplishments.

 Guts Of A Virgin & Buried Secrets by PAINKILLER album cover Boxset/Compilation, 1998
4.00 | 1 ratings

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Guts Of A Virgin & Buried Secrets
Painkiller RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
4 stars This compilation contains the first two EP releases of PAINKILLLER on one CD. It has both "Guts Of A Virgin" and "Buried Secrets" in their entirety. Yes! No tracks have been left out. I hate it when they do that nonsense.

Since both EPs were short little creations both clocking in under 30 minutes, it was very practical to release a combo-CD that had both of them and so it was.

There are no bonus tracks so this is simply EP 1 "Guts Of A Virgin" plus EP 2 "Buried Secrets."

Sometimes this is listed as "Buried Secrets / Guts Of A Virgin." Like what? Homie be trippin'. List the first album first for bleep's sake! Lame, lame, LAME!

Me likey both albums enuff 2 giv 4 starz?..

Data cached

RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETËN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
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
BABLICON United States
BANDA EL┴STICA Mexico
ARRIGO BARNAB╔ 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 BITTOV┴ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANăOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BRIAN! United States
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
CALOMITO Italy
THE CAMBERWELL NOW United Kingdom
CAPILLARY ACTION United States
CAPTAIN BEEFHEART United States
CARDBOARD AMANDA Multi-National
CARDIACS United Kingdom
CARTEL CARNAGE France
CARTOON United States
CASSIBER Germany
CATERPILLARMEN Iceland
CAZUELA DE CďNDOR Chile
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CH╩NE NOIR France
GUIGOU CHENEVIER France
CHOU PAHROT United Kingdom
CHROMB! France
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
THE DESERTS OF TRAUN United States
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DIE KNODEL Austria
DISCUS Indonesia
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-M╚RE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
ELECTRIC MASADA United States
RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADI└ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAY╔ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
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 ART┌S France
FANTOMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FEST═N SAGITAL Chile
FILTHY HABITS ENSEMBLE Spain
FINNEGANS WAKE Belgium
FIRE! Sweden
THE FLYING LUTTENBACHERS United States
FOREVER EINSTEIN United States
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