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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 | 1460 ratings
HOT RATS
Zappa, Frank
4.32 | 846 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.31 | 862 ratings
THE GRAND WAZOO
Zappa, Frank
4.33 | 220 ratings
WESTERN CULTURE
Henry Cow
4.34 | 167 ratings
IN EXTREMIS
Thinking Plague
4.53 | 50 ratings
TAIGA
OOIOO
4.47 | 63 ratings
HÄXAN
Art Zoyd
4.29 | 272 ratings
SING TO GOD
Cardiacs
4.27 | 304 ratings
UZED
Univers Zero
4.39 | 74 ratings
Nş 6
Present
4.25 | 361 ratings
CHOIRS OF THE EYE
Kayo Dot
4.26 | 268 ratings
HERESIE
Univers Zero
4.25 | 268 ratings
MĹLTID
Samla Mammas Manna
4.50 | 41 ratings
LETTERS HOME
News From Babel
4.59 | 31 ratings
JACKSON
Korekyojinn
4.35 | 79 ratings
DECEIT
This Heat
4.35 | 75 ratings
BOOK M
Secret Chiefs 3
4.24 | 235 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.30 | 106 ratings
ON LAND AND IN THE SEA
Cardiacs
4.27 | 123 ratings
BARBARO (MA NON TROPPO)
Present
4.41 | 50 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.35 | 63 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.28 | 100 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.26 | 105 ratings
TRISKAĎDÉKAPHOBIE
Present
4.19 | 218 ratings
UNIVERS ZERO [AKA: 1313]
Univers Zero
4.55 | 27 ratings
ERROR
Orejas Y La Lengua, Las
4.21 | 143 ratings
HUONO PARTURI
Höyry-Kone
4.25 | 84 ratings
U TOTEM
U Totem
4.31 | 57 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.36 | 44 ratings
VISION CREATION NEWSUN
Boredoms
4.21 | 100 ratings
AVANTI !
Miriodor
4.20 | 103 ratings
FAMILJESPRICKOR
Zamla Mammaz Manna
4.12 | 471 ratings
JOE'S GARAGE, ACT I
Zappa, Frank
4.12 | 618 ratings
THE MOTHERS OF INVENTION: WE'RE ONLY IN IT FOR THE MONEY
Zappa, Frank
4.20 | 107 ratings
SHINY BEAST (BAT CHAIN PULLER)
Captain Beefheart
4.53 | 24 ratings
JOSÉ LUIS FERNÁNDEZ LEDESMA & MARGARITA BOTELLO: SOL CENTRAL
Ledesma, José Luis Fernández
4.22 | 79 ratings
JEAN LOUIS
Jean Louis
4.19 | 107 ratings
LE POISON QUI REND FOU
Present
4.13 | 219 ratings
THE HENRY COW LEGEND [AKA: LEGEND OR LEG END]
Henry Cow
4.48 | 26 ratings
CLARA CROCODILO
Barnabé, Arrigo
4.24 | 66 ratings
BERLIN
Art Zoyd
4.12 | 221 ratings
OF NATURAL HISTORY
Sleepytime Gorilla Museum
4.26 | 56 ratings
RENCONTRES
Miriodor
4.23 | 62 ratings
SYMPHONIE POUR LE JOUR OŮ BRŰLERONT LES CITÉS
Art Zoyd
4.19 | 83 ratings
THE VIOLENCE OF AMATEURS
French TV
4.58 | 19 ratings
PLAYS STANDARDS
Ground Zero
4.17 | 94 ratings
PALACE OF MIRRORS
Estradasphere
4.33 | 35 ratings
CERTAIN UNDISCOVERIES
Taylor's Universe
4.07 | 489 ratings
THE MOTHERS OF INVENTION: ABSOLUTELY FREE
Zappa, Frank
4.41 | 26 ratings
STARS & HANK
Residents, The
4.07 | 479 ratings
THE MOTHERS OF INVENTION: UNCLE MEAT
Zappa, Frank
4.17 | 80 ratings
EVIDENCE
Taylor's Universe
4.76 | 13 ratings
INTERZONE
Zorn, John
4.30 | 36 ratings
SCAMBOT 1
Keneally, Mike
4.12 | 118 ratings
LICK MY DECALS OFF, BABY
Captain Beefheart
4.19 | 62 ratings
JONGLERIES ÉLASTIQUES
Miriodor
4.23 | 48 ratings
POLYGLÖT
Volapük
4.32 | 33 ratings
THE HIDDEN MAN OF THE HEART
Roz Vitalis
4.18 | 63 ratings
PARADE
Miriodor
4.21 | 53 ratings
PERILS
Miasma & The Carousel Of Headless Horses
4.13 | 98 ratings
THE THIRD REICH 'N ROLL
Residents, The
4.19 | 58 ratings
BROSSAKLITT
PoiL
4.25 | 41 ratings
PLJUNI ISTINI U OCI
Buldozer
4.73 | 13 ratings
CUATRO VISIONES
Arteria
4.15 | 77 ratings
A HISTORY OF MADNESS
Thinking Plague
4.22 | 47 ratings
VORTEX
Vortex
4.13 | 85 ratings
GREGORY ALLAN FITZPATRICK'S SNORUNGARNAS SYMFONI
Samla Mammas Manna
4.13 | 90 ratings
DOC AT THE RADAR STATION
Captain Beefheart
4.32 | 30 ratings
CARTOON
Cartoon
4.26 | 38 ratings
GARMONBOZIA
Ensemble Nimbus
4.33 | 29 ratings
MIKE KENEALLY & METROPOLE ORKEST: THE UNIVERSE WILL PROVIDE
Keneally, Mike
4.58 | 16 ratings
THE LETTER
Cosa Brava
4.16 | 64 ratings
HUNGER'S TEETH
5uu's
4.45 | 20 ratings
TUBARŐES VOADORES
Barnabé, Arrigo
4.03 | 618 ratings
APOSTROPHE (')
Zappa, Frank
4.51 | 17 ratings
THE CIRCLE MAKER
Masada String Trio / Bar Kokhba Sextet
4.23 | 38 ratings
GRAND GUIGNOL
Naked City
4.46 | 19 ratings
BOOK OF SOULS - FOLIO A
Secret Chiefs 3
4.43 | 20 ratings
CHRIS CUTLER & LUTZ GLANDIEN: DOMESTIC STORIES
Cutler, Chris
4.07 | 135 ratings
KLOSSA KNAPITATET
Samla Mammas Manna
4.25 | 34 ratings
8.8
Silo, Le
4.27 | 31 ratings
VORTEX (WITH DAVID TORN)
Sonar
4.02 | 561 ratings
THE MOTHERS OF INVENTION: OVER-NITE SENSATION
Zappa, Frank
4.05 | 185 ratings
CALIFORNIA
Mr. Bungle
4.13 | 64 ratings
NOVA EXPRESS
NeBeLNeST
4.48 | 17 ratings
AN A-BOMB TO WAKE UP
I Am Above On The Left
4.07 | 106 ratings
NAKED CITY
Naked City
4.07 | 113 ratings
SAMLA MAMMAS MANNA
Samla Mammas Manna
4.03 | 198 ratings
CLIVAGES
Univers Zero
4.46 | 17 ratings
FLOATING OPERA
Tipographica
4.70 | 11 ratings
SANGROU
Satanique Samba Trio
4.12 | 57 ratings
LES CYCLES DE THANATOS
Vortex
4.14 | 49 ratings
ENDANGERED
Far Corner
4.04 | 125 ratings
FIVE SUNS
Guapo
4.25 | 29 ratings
DEMONS DANCE ALONE
Residents, The
4.04 | 131 ratings
HEATWAVE
Univers Zero
4.27 | 27 ratings
CARNIVAL DETOURNEMENT
Hamster Theatre
4.30 | 24 ratings
ELÄINTEN FANFAARI
Kauhukakara
4.10 | 61 ratings
GRINDSTONE
Shining
4.05 | 107 ratings
IMPLOSION
Univers Zero

RIO/Avant-Prog overlooked and obscure gems albums new


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

KOTEGARDA
Gargantua
PLAYS STANDARDS
Ground Zero
VOIX DE SURFACE
Nimal
KILLED BY CHARITY
X-Legged Sally

Latest RIO/Avant-Prog Music Reviews


 Roxy & Elsewhere by ZAPPA, FRANK album cover Live, 1974
4.38 | 308 ratings

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Roxy & Elsewhere
Frank Zappa RIO/Avant-Prog

Review by SonomaComa1999

4 stars REVIEW #3 - "Roxy & Elsewhere" by Frank Zappa (1973). 5/20/2018

Continuing on the theme of the music of Frank Zappa, I felt it was necessary to review one of his live albums. Following my reviews of his 1974 album "Apostrophe" and his keyboardist George Duke's "The Aura Will Prevail", I decided to choose an album where both musicians were present. While Zappa has a myriad of live albums, and a never-ending sea of live bootlegs, his 1973 offering at the Roxy in Hollywood is considered to be his best. A compilation of songs played at the club over three concerts, fans consider this album to be an absolute masterpiece, containing the feel of Zappa's concerts at the time. It is important to realize that prior to the internet, live performances could only be heard two ways - by going to a performance or purchasing a live album. It was not as easy to hear a musician playing live material as it is today, so therefore it is always crucial that the atmosphere of a musician's live show can transition and be contained into a live album.

The lineup that plays behind Zappa is quite possibly the best of his career. Several names, including the saxophonist/vocalist Napoleon Murphy Brock, trombonist Bruce Fowler, the aforementioned Duke on keyboards, and Zappa himself, appear on this double LP. Perhaps one of the best traits that this album has to offer is its intercalary monologues by Zappa, where he interacts with the crowd, introducing and explaining the songs to the crowd. Most of the music on "Roxy" is new material with the exception of one song. We begin with the humorously titled "Penguin in Bondage", which while having a sexually suggestive title, does not contain the crude sexual humor which Zappa is best-known for; we are not yet to the period where it is going to be right in our faces. While the opener is a rather average piece, we get our first taste of the jazz-fusion/prog tendencies of this lineup. As I mentioned, this is considered to be one of the best lineups backing Zappa in his discography, and you can see how tight this band is as a unit. We get everything from a guitar solo, to some cheeky humor all contained in a rather mellow and sometimes slow song. Things begin to get groovy as we segue into "Pygmy Twylyte", which is a shorter yet much more active piece where Jeff Simmons takes over on lead vocals. At just above two minutes long, I consider it almost as an interlude, but I am totally digging the rhythm on this one; it makes great use of harmonics and captures a very electric musical atmosphere. I tend to prefer the more conventional songs on this album as opposed to the longer improvised and more proggy instrumentals, but there is still value in those, especially for the hardcore prog listener. Side one is wrapped up quite poorly with the skit "Dummy Up", which is a humorous improv piece where Zappa can take jabs at higher education. It is well-known that Zappa had a strong dislike for college; he attended a two-year school in Rancho Cucamonga but left after only one semester, and refused to pay for his kids' college education. In this song, a seedy "dope pushing" Simmons tries to convince Murphy Brock to smoke his high school diploma with a dirty gym sock on the inside. Afterwards, Simmons has him smoke a college diploma "with nothing at all", referring to the perceived uselessness of a college degree. While this sentiment may be more true today thanks to degree inflation, Zappa obviously had very strong feelings about higher education. Unfortunately for the song, it really does not offer much beyond a humorous skit, and in many ways it breaks the barreling flow that "Pygmy" had built up.

On the flip side, we pick up with another introductory monologue by Zappa. This time, Zappa sets up the song "Village of the Sun", an infectiously good tune about the small town of Sun Village in Northern Los Angeles County, near Lancaster, where Zappa went to high school. This is much more of a tongue-in-cheek tune, poking fun at the desert climate's tendency to peel paint off cars and "wreck their windshields too." I absolutely love this tune; it is conventional and catchy, boosted by the strong vocals by Murphy Brock. I still prefer Ike Willis over him, but he is a very good vocalist in his own regard. While there is not much of a strong prog influence on this piece, we get an instrumental showcase in "Echidna's Arf (Of You)", which directly segues out of "Sun Village." While it is a rather short piece, the listener will almost certainly be blown away by the musical abilities of this band as they play at a breakneck and heavily choreographed pace that only the most talented groups can accomplish It is not catchy, but it makes up for that by being a very musically challenging piece. I came across a cover of this tune on Duke's "The Aura Will Prevail" but it omitted much of what made this version great - opting rather to be a synth showcase. Fortunately this rendition is much better, and culminates in an absolutely insane climax which leaves the listener's head spinning. Next up is the near ten-minute instrumental "Don't You Ever Wash That Thing?" which brings us towards a strictly jazz fusion perspective. It cruising along very succinctly, and covers a lot of bases in terms of musical themes and the use of a strong brass section which this lineup expresses. There are a little bit of vocals by Zappa somewhere in the middle of the song, but this piece still qualifies as an instrumental altogether. Every member of the lineup gets their opportunity to shine, from the brass to a dual drum solo near the tail end of the piece - a very strong statement by the band regarding musical virtuosity. Overall I am pretty exhausted by the time all is said and done with this one, and we are only halfway through the album! There is still one LP to go, and so far this is a very solid showing by Zappa.

As per the album, the second LP opens up with another humorous monologue by Zappa. This time the theme is monster movies, preferably cheap and poorly written ones. He makes a reference to the corny 50's horror film "It Conquered the World" and its theme as inspiration to the upcoming piece "Cheepnis." This is another one of the more catchy tunes off the album, with frequent references to B-movies which precedes the main story, which concerns a giant poodle named Frunobulax that is wreaking havoc across the countryside. The military shows up to bring up the recurring "Here Fido!" theme which is found on numerous Zappa tunes, including the song "Stink-Foot" which I reviewed on the Apostrophe album. I would not say that this tune is particularly impressive, but I do enjoy the humor and the unique theme of the music. Next up is the slow and bluesy "Son of Orange County" which returns to a mellow tempo. There really is not much more to be said about this one except that there is a strong brass section and a nice chorus. At this point in the album it is a bit of a push-over, but fortunately we get a reprieve with a fiery reprisal of Zappa's "More Trouble Every Day", which was featured on the Mothers of Invention debut album "Freak Out" in 1966. This is one of more serious songs in Zappa's canon, dealing with the Watts Riots and segregation - however the political references have been castrated in this version, leaving a much more ambiguous theme. We know that Zappa looked back upon the sexual revolution which he supported at the time with disdain, but could his emotions regarding the civil rights struggles of the late-60's have tapered down over half a decade? Likely not, considering the subject matter of 1974's "Uncle Remus" on the Apostrophe album, but maybe there was some sort of retrospective decision which caused Zappa to alter the lyrics on this rendition. Nevertheless, this is one of the highlights of the album; it is an extremely brutal variant of this piece, and it comes off very good to wrap up the third side. Interestingly enough this is the ONLY song on the album that is old material, with the rest of the songs being newly released at the time, which is something you do not normally see with live concerts. Zappa never refrained from being a prolific songwriter, with it being the guitarist's personal hobby while on tour.

At this point I am more than exhausted, and we still have the fourth side, which is made up of just one sixteen- minute extended improv piece titled "Be-Bop Tango (Of the Old Jazzmen's Church)". Going back to the concept of capturing a live atmosphere in an album, this tune captures just that, as Zappa personally invites some of the audience on stage to dance to the scat vocals of George Duke. The entire concept of this piece revolves around dance, and Zappa is not hesitant to allow some ladies and gentlemen to enhance the live experience as the concert comes to a close. Musically there is a lot going here, and there is not necessarily a structure which the band goes along except when Zappa wants to have the guests dance their hearts out to some real abstract passages. Bruce Fowler improvises a trombone solo which mimics the rhythm of a tempo. While the music will not blow your socks off, this song definitely shines a light into the atmosphere and electricity of a Zappa live show, something which a live album should most certainly do.

I have not listened to enough of Zappa's live albums to truly and definitively name "Roxy" as his best, but I was impressed by the musicianship on this album. The Mothers tow a fine line between conventional catchy music and expanded improvisational and jazzy journeys, giving the listener the best of both worlds. I am extremely hesitant to hand out a 5-star rating, and unfortunately this album just has a little bit too many uninspiring tunes such as "Dummy Up" or "Son of Orange County" which will cause it to barely miss that rating. Nevertheless, it made it very close - my biggest takeaways from the album are "More Trouble", "Village", and "Pygmy", all of which are great tunes that have received multiple listens from myself. I recommend that you at least give this album a try - maybe you'll like it more than I do! I give it 4-stars (88% - B+), which makes it my highest rated album to date! Great for Zappa and jazz fans!

"Jazz is not dead, it just smells funny..." -Frank Zappa

 The Hidden Man of the Heart by ROZ VITALIS album cover Studio Album, 2018
4.32 | 33 ratings

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The Hidden Man of the Heart
Roz Vitalis RIO/Avant-Prog

Review by Naida Regent

5 stars In the cold Spring time I was very sad. I felt blue due to the dominance of musical culture promoted by mass media. I had made decision to listen to new album of the band which is known and loved by me for a long time because of the originality. The album "The Hidden Man of the Heart" is much darker than previous, "Lavoro d'Amore", but in the process of listening to the feeling of depression does not appear. If to take technical sides that this album sounds more professionally than previous ones. If to make comparisons with other artists then it the band "combines in one flacon" early Pink Floyd, King Crimson, and ELP. It also reminds exercises of Robert Fripp and Brian Eno. If to give characteristics of the style then it is progressive-psychedelic-electronic format with elements of German classical music, for example, Wagner. Recommended to listen to for those who want quickly to move from the state of sadness to the state of joy.
 Les Insurgés de Romilly by NI album cover Studio Album, 2015
3.88 | 6 ratings

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Les Insurgés de Romilly
ni RIO/Avant-Prog

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

4 stars Noise / math rock / avant-prog / experimental and bona fide freaks of French underground, ni (emphatically NOT capitalized) can add one more tag to their already eclectic musical palette on their first full-length release debut LE INSURGÉS DE ROMILLY ( The Iinsurgents of Romilly) and that is the tag of avant-garde metal as this quartet of ear abusing misfits ramp up the heaviness after two brief EPs (both eponymously titled have ya) that already utilized an extreme blender style of all kinds of head spinning musical mischief. And instead of chillin' out and headin' for the pop charts (do they even exist any more?), ni (emphatically NOT capitalized) go for the jugular and take all the extremities to new levels of well?. extremeness. Only nearly forty minutes of it instead of half that.

While mostly instrumental like the two preceding EPs, vocals do occur in short bursts whether they be silly, screamed or possessed by demons shouting in agony. This is obviously a band that relishes the most unrelenting and brutal elements of music that are humanly possible. Once again we are treated to an intense session that in this case consists of eight bombastic tracks that revolve around hyper syncopated groove rhythms on the bass the proceed with unthinkable time signature deviations in every crazed and looney way possible with unexpected passages into psychedelia or placid moments that belie the true schizophrenic nature of this most disharmonic festival of earache music.

In terms of intensity and bombast, ni (emphatically NOT capitalized) reminds me a lot of the Japanese bombast band Ruins with unrelenting brutal prog sensibilities that include time signatures run amok, jagged compositional procedures and staccato rich stop / start math rock nerdiness. All these elements are present on the eponymous EPs but ni (emphatically NOT capitalized) was obviously not satiated by these procedures and turned the spigot ALL the way on to let the craziness flow in gushers. Once again fellow countrymen PoiL seem to have had an influence on their latest diversification project into myriad directions outside their usual "brutal at all costs" methodology as heard on tracks like "Torfessor" that use the brutal math rock meets avant-prog playbook to creating grindingly "normal" atmospheres.

As with most avant-prog of this magnitude that fuse a whole host of disparate elements together at a breakneck pace, this stuff is not for the faint of heart and only enjoyable by the hard skinned headbangers who love heavily bombastic music doubly bombastified with every prog element stuffed into every cadence and measure. While ni (emphatically NOT capitalized) may seem like a recipe for robotic desensitized music that is completely devoid of emotional connection and soul, these guys really know how to caress and pacify these chunks of brutality into logical patterns that while by no means qualify as easy listening are somehow neutered from their alienating effect with silly vocal utterances and quirky stylistic juxtapositions. ni (emphatically NOT capitalized) certainly are not poised to become the next Radiohead by any means but within their tightly knit underworld culture of crazy brutal avant-prog, they will surely please.

 ni by NI album cover Singles/EPs/Fan Club/Promo, 2012
4.00 | 3 ratings

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ni
ni RIO/Avant-Prog

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

4 stars The 2nd eponymously titled EP by ni (emphatically NOT capitalized) came out two years after the debut and continues their frenetic avant-prog zaniness and takes it to new levels. While the first EP established the freaks from the Rhône-Alpes region of France as a seriously dangerous proggy noise band that is sure to please all connoisseurs of complex yumminess, this second EP takes all those elements and adds a heightened sense of daring experimentation with vocals and more stylized compositions that break free from the all-bombast-all-the-time mostly present on EP #1. While there is over-the-top bombast in ample doses throughout this slightly longer offering that hosts an additional track over the debut, this one too has more placid, even hypnotic segments that spring up when least expected.

While the funk guitar plays a role as on the debut, it doesn't dominate quite as much with more metal sounding riffs cranking out as well as pure avant-prog angularities and Ruins-esque type heavy zeuhl madness. The vocals take on various shades including blood- curdling screams to more smooth utterances as well as playful "dolphin chirps". As far as i can tell, the lyrics are totally nonsensicle. Somewhere between the two self-titled releases i do believe that ni (emphatically NOT capitalized) discovered the zany wacky world of fellow countrymen PoiL as they begin to delve into some of the same silliness that those guys are known for. It is a welcome advancement as it makes the musical approach much more diverse than on the debut which i already found exhilaratingly exciting.

EP #2 is also graced with psycho-grooves which would be perfect for a totally schizoid dance floor as it's quite rhythmic albeit in odd time signature bundles that somehow form musical chains of noise that simultaneously straddle the angular otherworldly adventurism of avant-prog while coalescing into digestible punk infused chunks that crank out as pockets of rhythm. As with the debut, #2 is chock full of nerdy math rock start / stop staccato riffs as well as the sudden breaks into bizarre meanderings into psychedelia or just plain experimental weirdness. ni (emphatically NOT capitalized) display a firm sense of command of their carefully calculated journey into the quantum level of musical creation and seem to have birdlike honing talents to navigate in unison like a swarm of locusts. As with the debut, this one teeters on the tightrope act of complete noisy chaos and accessible grooves. Recommended.

 ni by NI album cover Singles/EPs/Fan Club/Promo, 2010
4.00 | 2 ratings

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ni
ni RIO/Avant-Prog

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

4 stars The 2000s have been delivering an explosive abundance of nerdy math rockers offering up tasty dishes of off-kilter time signature staccato packed avant-prog in full heavy distorted regalia blurring the lines between noise rock, metal, prog, zeuhl and beyond. French math rockers ni (emphatically NOT capitalized) are just one of many from this fertile avant-rich country with this quartet emerging from the Rhône-Alpes region. While these guys have recently joined forces with fellow countrymen PoiL to create the lovable but terrifying supergroup PiNioL, things took off in 2010 with their 1st self-titled debut ni (also emphatically NOT capitalized). Yes, the 1st part of the statement means that they indeed had a 2nd EP titled ni (emphatically NOT capitalized)a in 2012. Orthodoxy is just not a part of their DNA apparently.

EP #1 is a collection of four tracks that are in excellent introduction to the noisy chaotic soundscapes that ni (emphatically NOT capitalized) dish out in punishing doses except they have this underlying current of logic that somehow keeps it in the fun zone. Yeah, this is not for the faint of heart but there's something really grounding beneath the frenetic noisy abundance of angular dissonance, distorted bombast and explosive start / stop staccato abuse. Under it all revolves a surprisingly catchy funk bass groove that allows the trade off of soaring guitar riffs, mutilated riffs and jazzy drum patterns to sail away smoothly not to mention the unexpected breaks into psychedelic dreamy passages that emerge from nowhere that are fortified with nerdy math rock stop / start staccato aggressiveness.

While noise rock can vary in degrees of noisiness, ni (emphatically NOT capitalized) manage to pull off some brilliant circus act juggling by not only keeping the musical elements well balanced in a tightrope act of tension, chaos and accessibility. Purely instrumental, these four guys dish out well constructed compositions that utilize all the noise rock and avant-prog check list elements but add a pacifying sophistication to smooth it all out. Perhaps it's the polished production that allows every instrument to find its niche within the chaosphere or perhaps it's just the skill of the musicians to weave their musical tapestry into a fine high-art craft but something works quite well here. With this much noisy chaos, the album is unrelenting and the short running time suits it well. EP #1 is a keeper.

 Bran Coucou by PINIOL album cover Studio Album, 2018
4.46 | 8 ratings

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Bran Coucou
PiNioL RIO/Avant-Prog

Review by Tapfret
Special Collaborator Eclectic Prog Team

5 stars This writer usually tries to curb his enthusiasm when it comes to rating and reviewing new releases to allow for a cooling off period. It's not unusual to find myself coming to a slightly different conclusion about an album months, or even as short as weeks down the road . But the 2018 release of Piniol's debut album, Bran Coucou, demands attention. It has been eagerly anticipated by many in the RIO community. Unfortunately, I found myself in the dark regarding this release until quite recently. What a pleasant surprise to find out that this project was in the works.

Piniol is the conglomeration of French trio Poil, and French quartet Ni. For those familiar with the two source bands that comprise this ensemble it would come as no surprise that the sound produced by this project is large-and-in-charge. Poil's most recent album Brossaklit, contains an absurd density of music considering it's coming from just three players. Being only human, I find it absolutely impossible to not put expectations on something that I'm about to listen to when I have a known variable involved. But knowing how much sound Poil can generate made it virtually impossible to anticipate what I was in for with Piniol and the addition of Ni's performers. As I listen to the first half of the album, I did not fully grasp everything that was going on. I suppose this should not have been unexpected. For all the complexities of the musicianship in the aforementioned Poil album, there was quite a bit of it that was vocal driven. Bran Coucou has far more texturized vocal background than the in-your-face nature of Poil's vocals.

The sound is big and loud in most sections, but contains an astounding number of subtleties, particularly in the department of interwoven rhythms. I had commented elsewhere, partially tongue-in-cheek, that this was the album I've been waiting 20 years for Meshuggah to produce. Usually a comparison to that particular band will scare most people away. But it should be made clear that there's absolutely no vocal similarity and the opacity of instrumental distortion is comparatively quite subdued to allow clarity of instrumental rhythm complexity. And this is absolutely essential considering there are two drummers two bass players and two guitarist to go along with keyboards. No, this album is heavy, complex, and bone jarring, without all the grating aspects (growling, screaming or impenetrable distortion) of the compared to Swedes.

Bran Coucou is easily the best album the first half of 2018 and will be really tough for anything else to beat for the remainder of the year. It's the kind of album that's likely to remain in my play rotation for years to come. And extra credit for being my retroactive gateway to the works of Ni. Highly recommended.

 Bran Coucou by PINIOL album cover Studio Album, 2018
4.46 | 8 ratings

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Bran Coucou
PiNioL RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars The PiNioL world flooded with confusion and revolution. Needless to say, a new combo PiNioL were founded as a joint venture project by two French avantgarde rock act PoiL and ni. We've waited for their debut creation "Bran Coucou", finally that was released officially upon April 27, 2018. Already via their bandcamp we could listen to their sample "Pilon Bran Coucou" full of PoiL's cynical soundscape and ni.'s speedy, violent sound attack, and the album "Bran Coucou" has never deceived our massive expectation. Firstly the sleeve with crazy psychedelia in the design of the pics should knock us out completely. And yes, their songs upon the album sound more and more avantgarde, complicated, and delicious, pleasant for us.

The first explosion "Pilon Bran Coucou" is deeply condensed, definitely essential without expression. In this track are lots of powerful, fruitful melodic / rhythmic phrases seasoned with mischievous, jokey flavour, and amazingly all of them should be harmonized and crystallized without any deviation. Even their words / voices full of meaningless madness can be addictive really. Repetitive psychedelic footsteps let us dance over and fall down. Painful sound dissonance is rather than enjoyable for the audience. Followed by "Pogne" that would be more and more flexible and dissected. We can feel of something dangerous, critical via the former part of this track. In the latter are much rhythmic voice percussion, quite danceable (it's a liar). Even dreamy, sensitive texture e.g. in "Mimolle" sounds a tad of another dimension. Such a creativity of theirs can ring our bell, obviously. On the other hand, "Sh' Shin" is sorta mysterious stuff. It has apparent magic all around, for every fan. Sorry I cannot hear precisely but they sing vaguely in Japanese, and this atmosphere swaying to and fro should be charming I guess.

Their sound development might be effective for release of our inner mind. We PiNioL lovers as surrealistic voyagers, would like departure from our customary music scene. For an hour, we can fly away from such a ceremonious turf. Do enjoy.

 The Hidden Man of the Heart by ROZ VITALIS album cover Studio Album, 2018
4.32 | 33 ratings

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The Hidden Man of the Heart
Roz Vitalis RIO/Avant-Prog

Review by Nikols

5 stars The new album by Roz Vitalis was an important milestone in the history of the band. This is the first album that the band funded through a crowdfunding campaign. From the very beginning, the musicians were aimed to do something special and outstanding. And, in my opinion, they succeeded. Many of the songs were already familiar to me in live performances, which are heard early. And it was nice to finally appreciate these works in the studio.

The first thing I would like to note is that the band finally managed to make a really high-quality recorded album. And this is a great merit of sound engineer Dmitry Chichagov. Records are pleasantly perceived when listening, mixing and mastering at a good level. Nothing cuts the ear, the instruments are clearly discernible, no porridge in the sound.

The next thing I'd like to point out is the integrity of the album. "The Hidden Man of the Heart" is not perceived as a collection of tracks, but as a truly holistic product. This, in my opinion, played a significant role, including participation in the recording of the string Quartet, namely those small musical interludes performed by the Quartet, which seem to be held by a connecting thread throughout the album.

Another advantage of the album "the Hidden Man of the Heart" is that in this work the band, I think, and how I felt, revealed more fully than before, their individuality and originality. If on the previous album "Lavoro d'amore" at me and then as if by themselves floated some correlation and Association with the music of other groups, now such a sensation there, or almost there. You can, of course, strain, and consciously try to find any similarities with other groups, but listening album and not stigmatizing before a such a task, I feel, that in this album group unfolded the most full of the.

And, of course, I would like to praise the musicians for the study of the compositions themselves, for the work on the structural content of the tracks, and for the beautiful melodies and music presented on the album.

New album by Roz Vitalis, I put in my personal list of top 10 Russian prog albums, and of course, it's definitely one of the best works of 2018 under any scenario, no matter how great albums in one year would not come out.

 Clivages by UNIVERS ZERO album cover Studio Album, 2010
4.03 | 198 ratings

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Clivages
Univers Zero RIO/Avant-Prog

Review by Warthur
Prog Reviewer

4 stars If anyone wanted to suggest that Univers Zero had lost any of their early darkness or intensity in their later years, Clivages stands as a firm rebuke to any such notion. Take, for instance, the 12 minute saga of Warrior, an all- instrumental RIO workout which excels at evoking an atmosphere of unfettered darkness and violence, with King Crimson-filtered jazz influences expertly incorporated into their chamber rock attack.

That said, whilst Clivages includes some of their most intense moments since their earliest albums, it also showcases the broader range they've attained in their mature era. Les Kobolds, for instance, is positively perky in its approach, a sunny prequel to the war crimes to come. On the whole, the album represents the modern incarnation of Univers Zero at the top of its game.

 Apostrophe (') by ZAPPA, FRANK album cover Studio Album, 1974
4.03 | 618 ratings

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Apostrophe (')
Frank Zappa RIO/Avant-Prog

Review by SonomaComa1999

4 stars REVIEW #1 - "Apostrophe" by Frank Zappa (1974). 5/4/2018

To preface my first review, I thought that covering a Zappa album would be a good way to begin. Given that this work is arguably his most commercially successful and accessible work, it seemed like a good starting point. Frank Zappa was one of the first artists that introduced me to progressive rock, even if at the time I was not aware of the genre's existence. A friend of mine suggested Zappa's work one night in 2015 as we were driving down Washington Boulevard in Petaluma, California - about 400 miles from where Zappa grew up in Lancaster. It would not be until 2016 that I got my hands on a copy of his 1979 album "Joe's Garage" that I got hooked onto his music. For those who have hardly listened to Zappa or not at all, his music is extremely abstract even by today's standards. An eccentric character, Zappa is surprisingly one of the few resonant prog acts to ever emerge from the United States, with a prolific catalog that includes his 1974 album "Apostrophe".

That brings me to "Apostrophe" the album, which is arguably Zappa's most accessible work from his leviathan of a discography. Running for only just over half an hour, this is a great album to test the waters for Zappa's extremely abstract and humorous style. The first side of the album is dominated by the "Yellow Snow Suite", which is a collection of four tracks that are loosely based on the same concept. The premier piece, "Don't Eat the Yellow Snow" was a commercial success, cracking the US Billboard Hot 100 and peaking at #86. While the single version of the song, which contains excerpts from all four songs of the suite, is radically different than the album version, a DJ in Pittsburgh edited his own version, which was popular unto itself and inspired Zappa to release the official single. While "Yellow Snow" is hardly a feat in Zappa's own musicianship, its relaxed tempo and abstract lyricism make for a good introduction to the album. In this piece we are introduced to the protagonist, an Eskimo named Nanook, which is likely a reference to the 1922 film "Nanook of the North." As Nanook's mama lets him off into the tundra, it breaks into the next song "Nanook Rubs It". The longest piece of the Suite, coming in at 4:38, we are now introduced to what I suppose is the story's primary conflict, where a "strictly commercial" fur trapper begins to whack one of Nanook's favorite baby seals with a lead-filled snow shoe. Offended by the egregious act of animal cruelty, Nanook begins throwing the "Yellow Snow" at the man, blinding him. Ultimately, the story shifts over to that of the fur trapper, who in order to heal his eyes, must travel to the parish of St. Alphonzo. This brings us into the next song of the suite, the aptly titled "St. Alphonzo's Pancake Breakfast." A very short piece, it is a intercalary between the fourth and final piece, "Father O'Blivion" - both these songs feature sexually ambiguous lyricism, a staple of Zappa's lyricism. By the end of the Suite, any semblance of the concept has been lost oddly enough, and there is a fade out to conclude it; altogether the "Yellow Snow Suite" comes in at 10:53.

"Cosmik Debris" concludes the first side of the original LP. A popular Zappa work that was played prolifically in his live shows, it completely abandons the themes of the first four songs, now concerning the story of a particular snake-oil salesman. This one was also quite popular on the Dr. Demento radio show in the 1970's, which only further spurred Zappa's success in the States. This is the first song on the album where we get some real high energy, largely in part to both a Zappa guitar solo and a fast-paced bridge.

The second side lacks a concept, but it does start off with another short piece that serves as an introduction. "Excentrifugal Forz" comes off as the primary throwaway track of the album, and is forgettable even though it isn't necessarily bad. It is tight, fast-paced, and contains all of Zappa's musical quirks of the time period. However, it is followed by the instrumental title track, which is an absolute masterpiece. Featuring Cream bassist Jack Bruce on bass guitar, this track is pure musical nastiness. A farty bass-line drives the music at a cool pace, reminiscent of a jam session. While this collaboration proves to have spawned a wonderful piece of music, it also seems to have spawned tension between both Zappa and Bruce. Zappa, who later in 1977 was asked about the collab in an interview with Guitar Player Magazine, remarked that he met Bruce through drummer Jim Gordon, and found him "difficult" to play with. Bruce had even harsher words for Zappa in 1992 in an interview for Tylko Rock, claiming that Zappa had invited him to appear on his album, and after listening to his "awful" music, had "made a sound" for Zappa's "most popular record". Bruce even denied that he played bass on the album, with him saying that he recorded cello parts for the album. However, given the audible similarities between the bass-line on "Apostrophe" and his work with Cream, it is obvious that Bruce was lying. Whatever tensions the two artists had, at least they were able to put together a very strong work - a take-away from this album.

Next up, we get a much more light-hearted collaboration between Zappa and jazz pianist George Duke for the brief but powerful "Uncle Remus". A song which has a pretty clear-cut theme about race relations in the 1970's, the title is inspired by the controversial African-American cartoon character of the same name. This is another one of my personal favorites off the album, opening up in a balladic fashion with Duke's piano and Zappa's happy-go-lucky vocals backed by the uncredited Tina Turner and the Ikettes, who elevate this song to another level. Midway through the song, Zappa brings in the guitar, and we're in a jamming mood as the song hits a bridge and careens towards the coda, which is a wonderful Zappa solo - unequivocally the best on this album. Duke would record his own version of the song for his own 1975 solo album "The Aura Will Prevail" which is much more mellow and is also deserving of a listen. Closing out the album is the six-minute "Stink-Foot" which was inspired by a foot-spray commercial. The longest piece on the album if you don't consider the Yellow Snow Suite a full song, it is a continuation of the avant-garde jazz style featured on the album, and contains many allusions to previous Zappa lyrical themes, including the talking poodle Fido, "conceptual continuity", and even the boots from "Don't Eat the Yellow Snow" earlier in the album. This style cannot be considered musique concrete, but is more a rather unique concept that is exclusive to Zappa's music. Overall, while "Stink-Foot" is geared to close the album out with an extended guitar solo, it is a step down from the previous two pieces which arguably dominate the album.

"Apostrophe" is Zappa's most easily accessible albums. It features a roster of musicians, including not just Bruce, Duke, and Gordon, but also violinist Jean-Luc Ponty, Ian Underwood, and Napoleon Murphy Brock. The album gets its fair share of exposure in the prog rock community - while it is by no means one of Zappa's greatest works on a musical level, it has a role given its affinity to introduce a listener to his music. The greatest takeaways from "Apostrophe" are the title track and "Uncle Remus" - the former being an excellent bass showcase and the latter being one of Zappa's more emotional and serious works. There are no terrible pieces on the album, although I was not particularly struck by half of the Yellow Snow Suite, and I felt "Stink-Foot" fell flat following up the album highlights. I give this album four stars (83% B-); it is a succinct album with some takeaways that are worth being in your personal collection.

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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
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
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CARDBOARD AMANDA Multi-National
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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
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
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DUNAJ Czech Republic
TREVOR DUNN United States
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DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
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RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
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ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAYÉ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
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EX-P Italy
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FACTOR BURZACO Argentina
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
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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
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THE FRACTURED DIMENSION United States
LES FRAGMENTS DE LA NUIT France
FREE SALAMANDER EXHIBIT United States
FRENCH TV United States
FRESH! Japan
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FRED FRITH United Kingdom
FRANK-WILLIAM FROMY France
FUKKEDUK Belgium
DIAMANDA GALAS United States
GANNETS United Kingdom
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GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
GOD OF SHAMISEN United States
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GOLDEN AVANT-GARDE Japan
THE GORDON GRDINA TRIO Canada
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GRAMIGNA Italy
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LES GRANULES Canada
GRAVITSAPA Ukraine
GROUND ZERO Japan
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GUAPO United Kingdom
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LES HALMAS Switzerland
HAMSTER THEATRE United States
HAPPY 55 Russia
HARDSCORE Belgium
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THE HAT SHOES Multi-National
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HELLEBORE France
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HIKASHU Japan
ZACH HILL United States
TIM HODGKINSON United Kingdom
LARS HOLLMER Sweden
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HUNUNHUM Japan
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I AM ABOVE ON THE LEFT Russia
LES I France
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LA INCREÍBLE FUGA DE TRIÁNGULOS Argentina
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JUSTINE Canada
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KOMBINAT M Austria
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KORMORANY Poland
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KRALDJURSANSTALTEN Sweden
DAGMAR KRAUSE Germany
KROKO Finland
KRUZENSHTERN & PAROHOD Israel
KUHA. Finland
KULTUR SHOCK Multi-National
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HARRI KUUSIJÄRVI KOUTUS Finland
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LA 1919 Italy
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LARSEN RUPIN Switzerland
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LEAN LEFT Multi-National
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THE LOCALS Germany
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MAKE A RISING United States
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MAN MAN United States
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ALBERT MARCOEUR France
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LE MASCHERE DI CLARA Italy
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MESMERICO Italy
METABOLIST United Kingdom
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METAMORPHOSIS Czech Republic
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MMCIRCLE Canada
MOE! STAIANO/MOE!KESTRA! United States
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MONOGLOT Switzerland
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MORKOBOT Italy
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MPXXIV Switzerland
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NAZCA Mexico
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NI France
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NO SECRETS IN THE FAMILY Switzerland
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NOW WE'VE GOT MEMBERS Norway
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THE (EC) NUDES Multi-National
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OHO United States
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OLIVE MESS Latvia
OOIOO Japan
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OPTICAL*8 Japan
OPUS AVANTRA Italy
ORANGE TULIP CONSPIRACY United States
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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
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