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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 | 1488 ratings
HOT RATS
Zappa, Frank
4.32 | 877 ratings
THE GRAND WAZOO
Zappa, Frank
4.31 | 866 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.35 | 230 ratings
WESTERN CULTURE
Henry Cow
4.33 | 170 ratings
IN EXTREMIS
Thinking Plague
4.50 | 53 ratings
TAIGA
OOIOO
4.28 | 276 ratings
HERESIE
Univers Zero
4.28 | 279 ratings
SING TO GOD
Cardiacs
4.27 | 308 ratings
UZED
Univers Zero
4.41 | 68 ratings
HÄXAN
Art Zoyd
4.59 | 34 ratings
JACKSON
Korekyojinn
4.24 | 364 ratings
CHOIRS OF THE EYE
Kayo Dot
4.37 | 80 ratings
Nş 6
Present
4.26 | 270 ratings
MĹLTID
Samla Mammas Manna
4.49 | 43 ratings
LETTERS HOME
News From Babel
4.35 | 79 ratings
DECEIT
This Heat
4.35 | 75 ratings
BOOK M
Secret Chiefs 3
4.30 | 108 ratings
ON LAND AND IN THE SEA
Cardiacs
4.24 | 237 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.41 | 52 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.27 | 126 ratings
BARBARO (MA NON TROPPO)
Present
4.27 | 109 ratings
TRISKAĎDÉKAPHOBIE
Present
4.35 | 63 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.27 | 102 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.21 | 143 ratings
HUONO PARTURI
Höyry-Kone
4.18 | 224 ratings
UNIVERS ZERO [AKA: 1313]
Univers Zero
4.52 | 28 ratings
ERROR
Orejas Y La Lengua, Las
4.25 | 84 ratings
U TOTEM
U Totem
4.31 | 57 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.21 | 103 ratings
AVANTI !
Miriodor
4.21 | 105 ratings
FAMILJESPRICKOR
Zamla Mammaz Manna
4.13 | 483 ratings
JOE'S GARAGE, ACT I
Zappa, Frank
4.20 | 110 ratings
LE POISON QUI REND FOU
Present
4.20 | 107 ratings
SHINY BEAST (BAT CHAIN PULLER)
Captain Beefheart
4.32 | 47 ratings
VISION CREATION NEWSUN
Boredoms
4.53 | 24 ratings
JOSÉ LUIS FERNÁNDEZ LEDESMA & MARGARITA BOTELLO: SOL CENTRAL
Ledesma, José Luis Fernández
4.11 | 627 ratings
THE MOTHERS OF INVENTION: WE'RE ONLY IN IT FOR THE MONEY
Zappa, Frank
4.14 | 223 ratings
THE HENRY COW LEGEND [AKA: LEGEND OR LEG END]
Henry Cow
4.22 | 79 ratings
JEAN LOUIS
Jean Louis
4.24 | 63 ratings
SYMPHONIE POUR LE JOUR OŮ BRŰLERONT LES CITÉS
Art Zoyd
4.24 | 59 ratings
RENCONTRES
Miriodor
4.12 | 222 ratings
OF NATURAL HISTORY
Sleepytime Gorilla Museum
4.58 | 19 ratings
PLAYS STANDARDS
Ground Zero
4.17 | 94 ratings
PALACE OF MIRRORS
Estradasphere
4.18 | 85 ratings
THE VIOLENCE OF AMATEURS
French TV
4.20 | 69 ratings
BERLIN
Art Zoyd
4.33 | 35 ratings
CERTAIN UNDISCOVERIES
Taylor's Universe
4.39 | 28 ratings
CLARA CROCODILO
Barnabé, Arrigo
4.17 | 81 ratings
EVIDENCE
Taylor's Universe
4.22 | 57 ratings
PERILS
Miasma & The Carousel Of Headless Horses
4.20 | 63 ratings
BROSSAKLITT
PoiL
4.41 | 26 ratings
STARS & HANK
Residents, The
4.07 | 486 ratings
THE MOTHERS OF INVENTION: UNCLE MEAT
Zappa, Frank
4.76 | 13 ratings
INTERZONE
Zorn, John
4.71 | 14 ratings
CUATRO VISIONES
Arteria
4.19 | 65 ratings
JONGLERIES ÉLASTIQUES
Miriodor
4.29 | 38 ratings
SCAMBOT 1
Keneally, Mike
4.23 | 48 ratings
POLYGLÖT
Volapük
4.23 | 49 ratings
VORTEX
Vortex
4.11 | 122 ratings
LICK MY DECALS OFF, BABY
Captain Beefheart
4.17 | 67 ratings
PARADE
Miriodor
4.13 | 99 ratings
THE THIRD REICH 'N ROLL
Residents, The
4.25 | 41 ratings
PLJUNI ISTINI U OCI
Buldozer
4.13 | 90 ratings
DOC AT THE RADAR STATION
Captain Beefheart
4.32 | 31 ratings
CARTOON
Cartoon
4.13 | 85 ratings
GREGORY ALLAN FITZPATRICK'S SNORUNGARNAS SYMFONI
Samla Mammas Manna
4.05 | 499 ratings
THE MOTHERS OF INVENTION: ABSOLUTELY FREE
Zappa, Frank
4.30 | 32 ratings
MIKE KENEALLY & METROPOLE ORKEST: THE UNIVERSE WILL PROVIDE
Keneally, Mike
4.14 | 81 ratings
A HISTORY OF MADNESS
Thinking Plague
4.58 | 16 ratings
THE LETTER
Cosa Brava
4.24 | 39 ratings
GARMONBOZIA
Ensemble Nimbus
4.15 | 67 ratings
HUNGER'S TEETH
5uu's
4.03 | 635 ratings
APOSTROPHE (')
Zappa, Frank
4.51 | 17 ratings
THE CIRCLE MAKER
Masada String Trio / Bar Kokhba Sextet
4.46 | 19 ratings
BOOK OF SOULS - FOLIO A
Secret Chiefs 3
4.43 | 20 ratings
CHRIS CUTLER & LUTZ GLANDIEN: DOMESTIC STORIES
Cutler, Chris
4.22 | 40 ratings
GRAND GUIGNOL
Naked City
4.47 | 18 ratings
AN A-BOMB TO WAKE UP
I Am Above On The Left
4.07 | 137 ratings
KLOSSA KNAPITATET
Samla Mammas Manna
4.02 | 573 ratings
THE MOTHERS OF INVENTION: OVER-NITE SENSATION
Zappa, Frank
4.05 | 189 ratings
CALIFORNIA
Mr. Bungle
4.22 | 37 ratings
8.8
Silo, Le
4.08 | 109 ratings
NAKED CITY
Naked City
4.73 | 11 ratings
PASSING THROUGH THE WALL
Zevious
4.07 | 113 ratings
SAMLA MAMMAS MANNA
Samla Mammas Manna
4.44 | 18 ratings
THE GHOST TRADE
Camberwell Now, The
4.09 | 84 ratings
THE HIDDEN MAN OF THE HEART
Roz Vitalis
4.12 | 66 ratings
NOVA EXPRESS
NeBeLNeST
4.03 | 200 ratings
CLIVAGES
Univers Zero
4.46 | 17 ratings
FLOATING OPERA
Tipographica
4.37 | 21 ratings
TUBARŐES VOADORES
Barnabé, Arrigo
4.05 | 134 ratings
HEATWAVE
Univers Zero
4.29 | 26 ratings
FACTOR BURZACO
Factor Burzaco
4.14 | 52 ratings
SONAR & DAVID TORN: VORTEX
Sonar
4.70 | 11 ratings
SANGROU
Satanique Samba Trio
4.77 | 10 ratings
STRANGERS FROM THE UNIVERSE
Thinking Fellers Union Local 282
4.12 | 58 ratings
LES CYCLES DE THANATOS
Vortex
4.05 | 127 ratings
FIVE SUNS
Guapo
4.14 | 49 ratings
ENDANGERED
Far Corner
4.25 | 29 ratings
DEMONS DANCE ALONE
Residents, The

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

VEUILLEZ PROCEDER
Rouge Ciel
8.8
Silo, Le
CARTOON
Cartoon
ZYPRESSEN
Zypressen

Latest RIO/Avant-Prog Music Reviews


 WB:RMX by RESIDENTS, THE album cover Studio Album, 2004
4.02 | 19 ratings

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WB:RMX
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

5 stars The Residents.

Usually that would pretty much say everything.

But this album is something that worked, and I think that was totally unintentional. Way back before The Residents were just a glitter in the eye of their eyeball mother, they sent in a demo tape to Warner Brothers. It got rejected. You all know how bad their music can be right? Well this was worse. The WB exec sent the demo back in an envelope marked to "Residents" and that is where the band got their name. As a trivial side fact here, the executive included a note that said that at least he gave them an "A for Ariginality".

So, since the band was embarrassed (? I know, right?), they hid this demo tape from the public for years and years. Of course, as these cult-ish things tend to do, it started to circulate in bootlegged form. So The Residents gave a collective sigh and collectively said, let's take these awful demos and make a remix album out of them. Thus, you have this album. The problem is, there really aren't that many tracks on here that use those demos as source material. (Ha, ha, ha, aren't those Residents funny?) What you do get however, is a bunch of tracks that use different sources as original material and layer a bunch of sounds and bad singing on top of them (usually redneck accent style singing), do some rearranging, and, viola, an album.

The funniest thing about this is it turned out to be quite good. There is a lot of variety, which is something that is usually missing on any single individual Residents album. You get some danceable beats from time to time, but the music is really odd, so you won't be hearing any of this in your local Rave Hall or Roller Skating Rink any time soon.

Now, The Residents, when they make a joke, they go out of their way to completely milk it for all that it's worth. You end up getting an album with something that seems funny on paper, but at the end of the album, you are ready to poke out an eyeball (see what "eye" did there?). But this time, these stupid remixes are quite hilarious, all the way through the album. If you are familiar with remixes at all, you should understand this humor. With memorable songs like "Snot and Feces", "Ohm is Where the Heart is", and "Baby Skeletons and Dogs", you just know that you are in quality territory when it comes to remixing something so it sounds nothing at all like it's source material.

The album still manages to be Avant Prog as you get some interesting things going on here that are anything but typical. It's not very often that The Residents sound like they know what they are doing, but this is one of their albums that proves that they are not as dumb as they think they are. You get so used to hearing their weirdness, that when they do something that is good, you suspect it was on accident.

You might think that an album of almost 1 hour play time (including bonus tracks when applicable) would wear out it's welcome with this satirical look at remix albums. But it doesn't because there is enough variety here to keep things interesting. And, if you listen to this as simply an art rock album, you might not think that it was supposed to be satirizing remix albums. That might be a stretch, I suppose, but regardless, I still enjoy this album that doesn't wear out it's welcome as some of the other many Residents albums do. Not all of them, mind you, but they have so many albums, EPs, and so on, that you can still say "wear out its welcome as some of the other many Residents albums do" and still be right, and yet still come out of it with a better discography than some other bands could come up with. Anyway, search this one out. Chances are that, if nothing else, you will come out with at least a segment of this album that you will like. As for me, I'll add this one to the bands five star albums like "Eskimo" and "Duck Stab" and some others.

 Babyfingers by RESIDENTS, THE album cover Singles/EPs/Fan Club/Promo, 1979
2.38 | 10 ratings

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Babyfingers
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

2 stars Since The Residents release everything they have ever recorded, whether it's good or not, here is another EP full of songs that were meant to be on the "Fingerprince" album, but weren't quite ready yet. As if that ever made a difference to The Residents before. What did they have to get ready, I wonder. Anyway, "Fingerprince" was originally supposed to be a 3 sided album, but since these songs weren't ready in 1977, they held on to them until 1979 and released this EP. The original release was limited to 40 copies, and were sent out to those who ordered "The Third Reich and Roll" Box Sets. Later, a reprinting was made available to members of the W.E.I.R.D. club in 1981. Then a 3rd reprinting was done on pink vinyl in 1985. Eventually, it was added to CD copies of "Fingerprince" after 1988. The question to ask yourself is...."Why?" This question will remain unanswered in order to protect the innocent.

"Monstrous Intro" is a short instrumental with no point. "Death in Barstow" is a good example of where Les Claypool was inspired when he listened to The Residents music. No, it doesn't have any cool bass lines, but you can definitely hear Primus' inspiration in the goofy song with a weird lilting waltz-like non-waltz. It can't be a waltz silly, it's not in 3 / 4 time. "Melon Collie Lassie" is a dark song with stupid preprogrammed percussion and a fake accordion. Talk about tacky, but that's the whole point, right? Again, I must ask, what wasn't ready? If this is finished, I can only imagine what the unfinished version sounded like. Then you get the "Flight of the Bumble Roach". This is definite Avant Prog with the obvious sarcastic wink at the classical classic song "Flight of the Bumblebee", and lots of delirious non-harmony. "Walter Westinghouse" is the only track that cracks the 3 minute mark, approaching 8 minutes of awful poetry and tacky accompaniment. The two obnoxious voices just get more obnoxious as the redneck reader and another reader that sounds like Grover on acid get louder and more obnoxious.

Yes this is bad music at it's finest. It's like your stupid cousins got together, broke out your grandmothers Wurlitzer and made a tape recording 50 years ago. Unless you are a collector, there is no point in looking for this EP, you are better off picking up a copy of "Fingerprince" that has this attached to it. For tacky and awful music, it just doesn't get much better than this. But this EP is not worth the trouble since it has been made obsolete.

 Baby Snakes by ZAPPA, FRANK album cover Live, 1983
3.26 | 95 ratings

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Baby Snakes
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

2 stars This 'Baby Snakes' album is really a partial soundtrack of the DVD recording of the concert that this music comes from. Even though the concert is great, full of energy and great and hilarious music and other antics, and the music on this CD reflects that, the CD is not even 40 minutes long. Yeah, it's a good reflection of the concert, but you would be better off either getting the DVD, which is excellent, by the way, or getting the 2012 CD release which contains the music from the entire DVD. So, this CD is now pretty much obsolete, but collectors will still be interested in it.

So anyway, the CD is well produced and recorded, the music is great, but it is now pretty much obsolete. Also, the CD version has an Intro Rap which is not available on the LP version. The Intro Rap relives the story of how Warren Cuccurillo got to be introduced to FZ and eventually be part of the band. It segues right into 'Baby Snakes', which happens to be the exact same version as the one on the 'Shiek Yerbouti' album, just in an edited version. However, the 'Intro Rap' is not on the 'Shiek Yerbouti' album, so there you go. Confused yet?

Anyway, the antics and music continue on after this, reflecting a very enthusiastic and well done show, which is much better reflected in the DVD version. The CD does include the part of the devil played by Terry Bozzio in the hilarious adaptation of 'T*tties and Beer', the outstanding and nearly impossible to perform performance of 'Black Page #2' which is a song that was originally a drum solo that FZ rearranged for the full band, resulting in a manuscript page that was nearly black from all of the notes on it, hence the name, you also get to hear Adrian Belew (later from King Crimson) in action along with Patrick O'Hearn, Terry Bozzio, Peter Wolf and all of the other excellent band members. This is one of FZ's tightest band line-ups, which makes this performance that much more enjoyable and exciting to watch.

So, yes it's a good performance, but you would be better off getting the DVD or the newly reissued full performance on audio. This particular CD is obsolete and short, let alone the fact that it is only partial. So unfortunately, I can only give this one a rating for collectors only, but you should get yourself hooked up with one of the other available releases because this is an excellent performance, essential for any Zappa fan or anyone curious about his performances as it is a great example of Zappa in a live setting.

 The Mothers Of Invention: Weasels Ripped My Flesh by ZAPPA, FRANK album cover Studio Album, 1970
3.77 | 395 ratings

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The Mothers Of Invention: Weasels Ripped My Flesh
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars 'Weasels Ripped My Flesh' is a potpourri of sounds and styles from Frank Zappa and the Mothers, and was the 2nd album from The Mothers released after the band broke up (it is their 7th overall and FZ's 10th overall). The first album released after The Mothers break up was 'Burnt Weiny Sandwich' which consisted of outtakes and other songs that didn't make any album cuts, and was made up of rather structured songs. This one was also made up of outtakes and etc., but this one consists of more free form or improvised tracks, most of which are recorded live. But there are a couple of straightforward tracks too. Because of this, you get quite a sampling of different styles of FZ's music on this album.

FZ said that he wanted to put together a 12 record set of leftover music, but then decided it would cost a quarter of a million dollars, so trashed that idea. He said that 80% of this album is made up of group improvisations where he conducted spontaneous music and that some of those songs that were intended for that huge project. The interesting cover and title of the album was inspired by a magazine cover of 'Man's Life' with the tag line 'Weasels Ripped My Flesh'. FZ saw the magazine and decided it doesn't get any worse than that. The studio didn't want to use the cover illustration which was based on a shaving ad, but released it anyway.

The opening track 'Didja Get Any Onya?' has a reading from Lowell George (who would go on to form 'Little Feat'). This is a person recounting his time as a German boy in Baltimore who's father made poison gas for the government for WWII. The name of the track comes from a Lenny Bruce routine. The track was recorded live at the Philadelphia Arena. The original CD was 3 minutes longer than the LP. The track starts right off with an improvised trumpet and sax with funny vocal sounds. You can hear how tight the band was to the changes that FZ was directing throughout the track. This is what makes it all amazing in the way the band reacts to FZ's direction. Remember, this is all pretty much spontaneous. The Lowell George part comes in quite early and is hard to hear with another band member doing operatic sounds. After some more goofing around, the band breaks into another sax improvisation with a repeating riff in the background. Then it goes into a start/stop style, again as directed by FZ. Since it is improvised, you get a lot of dissonance, but that is what FZ was looking for. It is all based on 20th Century classical styles.

'Directly From My Heart to Yours' is a studio outtake from the 'Hot Rats' session and is a cover of a Little Richard song. It is a straightforward blues/rock track sung by Don Harris who also plays the electric violin in the song. It is a surprising contrast from the previous track, but that is what give the album it's charm. 'Prelude to the Afternoon of a Sexually Aroused Gas Mask' is a sarcastical take on a title from a Debussy composition. Frank based it on a space helmet that he made out of a gas mask and mustard gas container that his father had brought home from work. He opened it with a can opener and rendered it useless, which his father was upset about. But FZ used it as a space helmet. The track is again a group improvisation based on FZ's direction. It has an avant garde feel and also some strange improvised vocals from the band, including laughter and so on. It was recorded live in London and partially in Miami Beach Florida.

'Toads of the Short Forest' was also recorded live in 2 different places, the first half in Glendale, California and the second half in Miami Beach, Florida. It starts out rather straightforward with a nice melody and then suddenly switches to improvisation where nothing is straightforward. In the recording FZ announces all of the different meters the band members are playing in at the same time. Improv continues.

'Get a Little' comes next. This is a short improve featuring FZ's guitar recorded when they were opening for 'Vanilla Fudge'. This was recorded in The Bronx, and apparently the audience wasn't very receptive because FZ said in an interview that a member of the audience said 'You guys stink! Bring on the Fudge!'

Next is another group improvisation called 'The Eric Dolphy Memorial Barbeque' recorded in studio. This was titled as homage to Eric Dolphy who was a jazz instrumentalist that died in 1964. The song itself is not anything like Dolphy's music, though it does include a sax improvisation throughout the song, along with improv from the band. FZ admired Dolphy, however and there are credits as to his inspiration on the 'Freak Out!' album. This track changes meter and style several times through it's nearly 7 minute time frame and is very much a free form jazz composition.

'Dwarf Nebula' is based on a piano exercise done by FZ with other instruments added in. This doesn't last long though and soon we get a processed sound collage with FZ using his famous gadget 'The Apostolic Blurch Injector'. After this is a straightforward blues/rock track called 'My Guitar Wants to Kill Your Mama'. This one is composed, as Frank says, for stupid teenagers and record company executives. This track is used many times in Frank's concerts. Both of the previous tracks were recorded in studio, with the latter one being quite polished, contrasted from the previous track which is improvisation.

'Oh No' is another vocal track which acts as a satirical response to The Beatles 'All You Need is Love'. The track isn't as straightforward as the previous track and has some tricky meters. The vocals follow the instrumentals which is quite difficult. This track was actually written as an instrumental during the 'Freak Out!' sessions and the lyrics were added later. It has an extended instrumental section at the end, and even though is is not your average rock song, it is a more structured track. The melody is one of FZ's more familiar melodies as it is used as a basis for individual improvisational numbers. This track goes directly into 'Orange County Lumber Truck' which is the improvised jazz track featuring FZ's guitar . This is cut short all of a sudden with a laugh, and then the title track, which is the last track. All this is, is the band all playing at the same time any random note they wanted at full volume'.2 minutes of straight noise improvisation, which FZ said sounds like your average vacuum cleaner improvisation.

That's all of the tracks on this conglomeration of an album. Yet, with all of this editing and pasting of songs from unreleased Mothers tracks, it is still surprisingly good. The variety of the album only adds to the enjoyment, because you not only get a good sampling of the different types of Zappa music, but you get a fun album too. It's not one of the 5 star Zappa albums, but it is one I enjoy nonetheless. It is full of progressive styles throughout, there is still plenty of humor and plenty of 'serious' music. Hopefully, some of the short explanations of the tracks will help with the understanding as to why it is so varied in it's style, because usually Frank wouldn't mix styles like this so much on a single album. Anyway, each track has it's own story and not only Zappa-philes should appreciate this one, but also your average art rock listener too.

 The Hidden Man Of The Heart by ROZ VITALIS album cover Studio Album, 2018
4.09 | 84 ratings

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The Hidden Man Of The Heart
Roz Vitalis RIO/Avant-Prog

Review by IceAngel

5 stars These sounds seem to be very familiar to you. But if you try to find something unusual in music, something, that will take your brain away, the 'Roz Vitalis' new album 'The Hidden Man of the Heart' (2018) is the particular thing that you need. Elegant oriental motives will charm your ears during the process of listening 'The Hidden Man of the Heart', the leading composition of the album. Melancholy and anxiety will steal your heart in the melodies 'Wounded by the Lion and Adder' and 'Amaryllis'. Sometimes tracks sound alike you are playing computer game or travel in a very exotic country, for example 'Rhapsody of Refugees'. There are some religious allusions in the 'Psalm 6'. And it seems to me, that the whole album is dedicated to some path to the higher power. How the man moves, fears, changes, finds out something important about life and death. The album at all has something similar with 'Apocaliptica', but it brings more light in the heart of the listener. And is contains more complicated musical structures. I recommend this album for all who is longing for really talented, intriguing and special music.
 Lightworks by STOP MOTION ORCHESTRA album cover Studio Album, 2018
4.09 | 4 ratings

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Lightworks
Stop Motion Orchestra RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Brilliant instrumental chamber prog from Austin, Texas, some very melodic and beautiful, all very abrasive and technically sophisticated. Composer/leader Mohadev is an absolutely brilliant guitarist!

1. "Serafini's Cat" (6:10) angular and irregularly rhythmed in an avant/RIO way. Like Spirogyra with an attitude. Nice weave in the third minute followed by some delightfully melodic whole-group chord ascensions--which is then followed by the descent. Charming and simpler interplay for the following minute. These guys can really play! They're really working hard to be together--and it's working masterfully! I am truly impressed. Great stuff! (9.5/10)

2. "Way To Sarov" (8:45) opens with a similar sound palette and style, rhythm and even melody to the previous song, but then things get a little heavy/abrasive and then alternating with banjo (banjitar?) sections. Impressive instrumentalism, timing, and cohesion, but there are lacking melodic hooks and other accessible elements. The wordless vocalizations added in the fourth minute are one such attempt. It almost works. (8.5/10)

3. "Nerve Hurdle" (4:56) Wow! this guy can play guitar! And the drummer can lay down some interesting, amazing beats. All instruments seem to be playing the subsidiary support role to the drum and bass--in order to set up the foundation for the seething guitar in the second minute and the seering guitar for the rest of the song. (10/10)

4. "Metal Pants" (2:28) violin and sax playing off the bass and drums--as if they are playing in each others' spaces-- for the first minute. Then the band gels and fills the spaces together--guitar and bass stepping in to help this. Could use more melody (more than Middle Eastern/klezmer twang). (8.5/10)

5. "Oceano De Leche" (7:00) gorgeous neo-classical chamber post rock for seven minutes (not "11:26" as posted), except for brief passages, the instruments are all gelling and melding for the smoothest, most melodic run of the album. Nice piece--especially the smooth second half. (9.5/10)

Thus, this album is not 33 minutes long, as posted, but 29 1/2 an EP's worth of songs. Too bad: This is definitely one of the best albums I've heard this year!

Five stars; a masterpiece of progressive rock music downgraded for unacceptable brevity.

 The Hidden Man Of The Heart by ROZ VITALIS album cover Studio Album, 2018
4.09 | 84 ratings

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The Hidden Man Of The Heart
Roz Vitalis RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars Another Roz Vitalis release, another rollercoaster ride. The eclectic and diverse choice of songs to represent this band's recent work is, as usual, surprising. There are gorgeously performed and recorded neo-classical pieces (of varying degrees of compositional complexity) set next to songs that sound as if they were intended for or belong in a local bar. This is a trend that I've seen from Roz Vitalis from the start--though I have to admit that this album is the best recorded and engineered album I've heard from this band. My complaint of Roz Vitalis material remains the same: inconsistent quality, inconsistent complexity (some songs feel like they're classical compositions while others feel as simple as child's play), and inconsistent audience targeting (exactly who is the audience that they see their music attracting?).

1. "Someone Passed Over" (2:18) a somber, not-quite-sad cello theme which is then augmented and developed by each of a string quartet to form a weave of high quality and maturity. (8.5/10)

2. "Passing Over" (LP Version) (6:43) a piano, bass, and electrified acoustic guitar version of the previous song upon which layers are added to include drums and flute, heavy electric guitars and synths. At the midpoint the song breaks down into "drunken brass and woodwinds" while drums and bass support, but then steady drum beat, rolling bass line, and picked acoustic guitar establish a variation over which piano, electric guitar, and horns join in. Nice play on that album-opening theme. (9/10)

3. "Rhapsody Of Refugees" (5:43) What the heck! Where are we? At the circus? Nice sound and performances of a rather child-like song but so shockingly out of character with the previous two songs that I just can't go there. (7/10)

4. "Blurred" (2:58) fast strumming acoustic guitar with keys, bass, and drums while flute, electric jazz guitar, trumpet take turns deploying the melody. Turns more Spanish in sound and feel as the song develops. Just a little to straightforward and lacking variety in the development. (8.5/10)

5. "Trampled By The Lion And Adder" (1:35) classical composition for chamber strings. Gorgeous. Definitely the band's strength. (5/5)

6. "Thou Shalt Tread Upon The Lion And Adder" (6:44) a weave of percussive drum parts, muted guitars and harpsichord open this one before 1/4 spaced strums from a heavily distorted electric guitar join in. The guitar then starts to riff and solo before the band steps up into a full rock "march." In the third minute everything slows down and spreads out into a more spacious, folk jazz weave. Nice. This is followed by an eerie carnival-esque section which flows and works very well with the previous sections. Now this is progressive rock music! A slow build and amplification sees the addition of horns and more guitar work. (9/10)

7. "Passing On The Line" (2:02) seems a piano version or variation on previous two songs' themes. Quite oversimplified. (3.5/5)

8. "Disturbed By Jungle" (1:56) continued Satie-esque piano experimentations or 'tudes. (4/5)

9. "Jungle Waltz" (5:02) a simple foundational weave within which electrified acoustic guitar, bass, drums, piano, and, later, organ and trumpet play. Competent but nothing very innovative or special here. (8/10)

10. "Wounded By The Lion And Adder" (3:55) violin solo with chamber strings supporting. Again, gorgeous and, again, the band's true strength. (9/10)

11. "Fret Not Thyself Because Of Evildoers" (6:58) opens with avery eerie xylophone riff over which some very heavy, scary electric guitar, bass and cymbols play. Then, suddenly, we're lifted out of the scary scenario and brought into a comic-pop Halloween party. Not up to speed for top notch progressive rock compositionally or performance-wise. (7.5/10)

12. "The Hidden Man Of The Heart" (5:13) band with acoustic guitars over which flute, electric guitar and trumpet take turns soloing or enhancing the musical themes. Though based on some pretty simple constructs, this one works due to the melodic expressions of the soloists. (8.5/10)

13. "Some Refugee Passed Over" (3:44) another composition for strings that opens with solo cello before viola joins in for the second pass through of the main theme. Third time through violin is added. The harmonic weave is quite nice. Fourth time adds a second viola with accenting notes gradually taking over the lead. At the two minute mark things break down and more staccato play comes from two of the quartet with more echoing and merging of themes. Nice piece. Why don't Roz Vitalis just stick to neo-classical chamber music? They're so good at it! (9/10)

14. "Psalm 6 (LP Version) (8:32) the attempt at a "heavy metal" (' la IRON BUTTERFLY or early BLACK SABBATH) version of the opening song's themes. Horns take up a theme in the second minute--over the simple "metal" foundation--giving the song a new Spanish flavor. Then, at 2:05, everybody drops out and a churchy organ enters performing some of the same themes in a softer, gentler fashion. Solo trumpet joins in with a plaintive voice. Drums and electrified acoustic guitar give it a 1970s MIKE OLDFIELD sound and feel to it. Nice (though hardly original). Bass, drums, and strumming acoustic guitars and mandolin give it a ALAN PARSONS PROJECT "Fall of the House of Usher" feel. Okay, they got me. Nice work. (9/10)

3.5 stars; a nice addition to modern instrumental progressive rock music. I'd love to see a Roz Vitalis album with all neo-classical chamber music.

 The Mothers Of Invention: We're Only In It For The Money by ZAPPA, FRANK album cover Studio Album, 1968
4.11 | 627 ratings

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The Mothers Of Invention: We're Only In It For The Money
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars 'We're Only In It For the Money' is definitely an interesting album, to say the least. The cover and title is a direct slam to The Beatles and their album 'Sgt. Pepper', who Zappa claimed was all done for the money, not the music. The album, however, is a statement to the condition of society at the time, police violence, the hippy movement (how everyone thought they could be a hippy because it was cool) and the music business. The album is full of music, noise collages and field recordings, sometimes a song is interrupted by whatever FZ wanted to put there. It is one of the most censored albums in rock history. It was also Zappa's way of saying that classical music was being held hostage by the old ladies that tell the concert halls and radio stations what classical music to play. So much to pack in 33 minutes and 19 tracks.

FZ always felt that the Mothers filled the gap between serious music and the mass public who were being denied access to good serious music. This is why his music was never 'normal' in the radio friendly sense. When someone listens to FZ (and especially this album) for the first time, they have certain expectations, that while it is known that FZ's music is complicated, that with his crazy and crass humor, they still expect it to be normal music, not Avant-prog or RIO. When the music doesn't reach that expectation, most people turn away from it. While it is true that there is a lot of humor in this album, it isn't always apparent laugh out loud humor as much as it is sarcasm and satire, with large doses of art rock mixed in. It is a rough album, not clean and polished. It is also pretty much a continuous suite more than it is a bunch of individual tracks. Keeping this in mind, it may make more sense when a person hears it for the first time.

The frustrating thing to Zappa, was that the music and it's purpose was misunderstood. People automatically thought that the Mothers were the ones that were only in it for the money, and they missed that it was all making fun of The Beatles, even though Frank wanted to make it obvious by copying the Sgt. Pepper cover. He was upset that people could not make the connection, that they never even looked at the similarities of the album covers, and that people just thought The Beatles were sent from heaven. He felt that they were plastic and commercial, but he knew that was an unpopular view among the public.

The album starts off with a field recording that Zappa was famous for making without telling anyone and then putting it on a record. The music starts on the 2nd track with 'Who Needs the Peace Corps?' which was meant to make fun of the hippy movement and not necessarily the Peace Corps. Why work for a government run organization built to help young adults make a difference in the world when you can just be lazy, join the Dead Heads and 'be a hippy'? Then comes another musical number (mostly) called 'Concentration Moon' about how San Francisco and it's citizens were being used for a government LSD experiment and also about police brutality and they feared the hippies. 'Mom & Dad' is one of the Mothers most heartfelt lyrical songs about how parents would ignore what was going on in their world with violence until they have to be told that their own child has died. 'Telephone Conversation' is an actual taped phone conversation which is tied into the song 'Bow Tie Daddy'

'Harry You're a Beast' is about the plastic society again, women specifically. This is one of the songs that got censored quite heavily, and there is a part that sounds like it is being played backwards. That is one of the censored sections of the song. 'What's the Ugliest Part of Your Body?' is a satirical take on a Steve Allen song written for children called from an album called 'How to Think'. 'Absolutely Free' starts off with a short routine involving Suzy Creamcheese (one of the Mother's recurring characters) and is another one of the songs that didn't get completely past the censors. 'Flower Punk' is a parody on the song 'Hey Joe' made popular by Jimi Hendrix, but the version they were basing it on was the version recorded by 'The Leaves'. It makes fun of the flower child movement. It turns into a sound collage during the last half with FZ saying different things through each speaker at a high speed, along with other people talking. 'Hot Poop' continues this collage with another backwards section that was censored. 'Nasal Retentive Calliope Music' continues with the sound collage, but this time with processed sounds and noises. The gizmo they used to make this collage was called an 'Apostolic Blurch Injector' (named by Zappa) that would take any source material put into it and mash it up into things that pretty much could not be understood. Some of the things put into this gizmo were police busts, censored sections, interviews with dope pushers trying to get FZ to use drugs and so on. Yes it's hard to listen to, but it's Zappa's way of experimenting.

This is followed by a song that was the creation of a theme that would be used by Zappa's band a lot and would become a very popular theme for Zappa fans. 'Let's Make the Water Turn Black' is that song, and this time you get the lyrics, which is based on actual events from Zappa's childhood, specifically certain disgusting habits by certain children he didn't care for much. I won't go into detail, but it's funny in a sick way. Quite a catchy melody though and one that's easy to recognize when Zappa's bands would be playing long improvisations. 'The Idiot Bastard's Son' is a continuation of this song and again, it didn't make it past the censors, so once again, we get it backwards. 'Lonely Little Girl' comes next followed by another familiar Zappa theme 'Take Your Clothes Off When You Dance' which was probably a parody possibly based on an old song. After that there is a reprise for 'What's the Ugliest Part of Your Body?' followed by 'Mother People', which would later become a sort of theme for The Mothers. Again, more censored nonsense here. 'The Chrome Plated Megaphone of Destiny' wraps up the album with a 6+ minute sound collage featuring that strange gizmo again.

So, yes this album really has no commercial appeal whatsoever, so go into it knowing that, and you won't be disappointed by your preconceived notions of what Frank would call Teen Age Music. This is Avant-prog music, and like I said previously, it is rough. Zappa's music would become more polished as time went on, of course. But this was the style of music he was making at the time.

There is a lot going on in this album, and the things I have pointed out in this review only brushes the surface. You literally need some kind of listener's guide to read while listening to this, it would be impossible to cover it all in this review. However, it is an important album, made before Prog music was a thing, but it would help open doors to musical exploration and was also an important movement against commercialism of music. Personally, I don't like it as much as 'Freak Out!', but I do understand it's importance and hopefully this will help shed some light on the album. And there are plenty of internet sites that explore this album quite thoroughly, and I suggest finding one that will help you listen to this crazy album. Things will make a lot more sense, believe me.

 Karyotypexplosion by XHOHX album cover Studio Album, 2007
4.23 | 6 ratings

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Karyotypexplosion
Xhohx RIO/Avant-Prog

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

5 stars Hey extreme prog metal addicts. Can you literally NOT get enough of all musical nooks and crannies filled with every prog trick in the book? Incessant mathcore time signatures on steroids and brutal dissonant chords forced to perform tricks that should be illegal by international law? Random tempos that will make your head explode? Ping pong prog taken to the most extreme levels imaginable? Hey! We got that too. While many a band seem to layer pop hooks in slick layer of production and suave compositional layout, some bands like Belgium's XHOHX just go for the jugular. Think of this mere duo of Ramon Ribas Coca (guitar, drum programming) and Oregolakatzor (bass) as the genetic lab experiment that mixes the DNA of Morbid Angel, Ruins, The Flying Luttenbachers and Sleepytime Gorilla Museum and then something goes terribly wrong.

This band had no intention of playing it even keel and stretching out all their ideas in a decade long career. None of that BS. This noise factory with the palindrome moniker just let it all out in one huge burst of freakifying mind[%*!#]ery in a 46 minute musical statement and then jumped back into the murky depths from whence they came and on their one and only release KARYOTYPEXPLOSION you can experience the entire history of prog attributes in this one listening experience. However, i guarantee you very well could lose your mind in the process. Well, the most chaotic and extreme moments of prog that is. No neo-prog or sweet melodies here at all.

There are literally a gazillion bands in the history of prog and metal that have branched out into a gazillion directions creating two of the wealthiest nooks of the entire rock universe, but even in this land of plenty, once in a while an artist occasionally manages to defy all the odds and create something utterly unique and virtually existing in its own little evolutionary branch of the musical universe. A scant few bands such as Mr Bungle, Unexpect, Henry Cow, Samla Mammas Manna and Frank Zappa literally went somewhere no one ever thought possible and thus charted whole new methodologies of musical construct. XHOHX follows suit but goes so far, so fast that it will takes decades for anyone to latch onto this one.

XHOHX engages in a newer form of progressive rock recently tagged brutal prog, the kind of avant-prog that Yugen took to new extremes by unapologetically increasing every aspect of the holy progginess oneness and then dialing it up to the eleventh power. This is music where chaotic dissonance runs supreme but like any really good music that delves in all the most extreme attributes you can throw into the boiling pot, XHOHX manages to smooth it all out with an underlying atmospheric presence that sort of streamlines the overall flow into an RIO / avant-prog paradigm that would be recognizable to fans of Univers Zero, Art Zoyd, Present or even Thinking Plague for that matter.

However, that's pretty much where any comparisons to other bands stop. The rest of the equation is pure brutality. Brutal metal delivery, brutal dissonance, brutal tempos, brutal vocals, brutal brutal prog to the friggin' max. This is truly technical music that is bleak and devoid of anything warm and fuzzy whatsoever. While the album primarily consists of bantering angular blasts of brutal metal riffs, schizoid vocals that range from insane asylum shrieks to growling grunts, this is truly a cacophonous maelstrom of the most deranged soundtrack of the insane you could EVER imagine and believe me, i've heard a lot of this insane maniac music. This one blows it all away. Even mathcore pigs like Psychopus and Behold?. The Arctopus would cower in fear in the shadow of XHOHX.

Point blank: XHOHX is without doubt THE MOST EXTREME MUSIC i've heard. EVER!!!! This is relentless and unforgiving. A tumultuous clamor and clatter of the ages. While the album generally runs on extreme mathcore mode for its first eleven tracks with the fastest and jagged angularities possible, the final track "Nukleark" breaks the trend of punkish shorter time lengths and stretches out to a proggifying near 15 minute time span, however despite remaining as unrelenting and earache inducing as the previous 30 minutes, this one actually engages in quieter moments without the heavily distorted guitar runs attacking like a bombed ammunition factory.

BE WARNED!!! This is brutal prog for brutality's sake, however if you absolutely crave THEEEEEEEE MOST extreme type of music possible, then you cannot go another day without hearing XHOHX and their monumental masterpiece KARYOTYPEPLOSION. There is method to this madness. Careful attentive listening is a must. What doesn't kill you makes you stronger. Listen at your own risk. Even the few piano runs are so scary that you'll want to duck under your covers and pray for your soul to escape permanent damnation for just hearing this bantering musical blasphemy. I'm in! And find this mess irresistible when i'm really in a VERY naughty mood ;)

 Western Culture by HENRY COW album cover Studio Album, 1979
4.35 | 230 ratings

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Western Culture
Henry Cow RIO/Avant-Prog

Review by TCat
Prog Reviewer

5 stars After some dissention in the band, this would become Henry Cow's last album. The attention of members of the group would now go towards the "Art Bears". It was then decided that this album would be an all instrumental album, thus staying away from any commercial appeal pretty much. What ended up happening, after all was said and done, is this excellent album of Rock in Opposition, probably the best of all of the Henry Cow albums.

What you get here is some of the best avant-prog out there with a huge dose of free form jazz. The album become "split in two" with one side being called "History and Prospects" and being completely composed by Tim Hodgkinson. This part of the album is made up of 3 tracks. Starting out with 'Industry' we get a more metallic sounding piece provided mostly by strings, but still with plenty of softer sounding passages that even it all out. All the aspects of free form avant-prog are there, but there is plenty of structure to know that the boundaries are there to form a certain sound. 'The Decay of Cities' is more centered on a brassy feel, with plenty of horns and dissonance among the instruments. Again, a bit of structure is there, just enough to keep things constant as far as the feel of the track. The side finishes up with a shorter track called 'On the Raft' which is again run by brass, though more as a structured whole than free form individual parts as on the previous track. The percussion is more rhythmic than the previous tracks, at least at first. Things do turn a little darker towards the middle of the track though. There is one wayward instrument providing the feeling of a cannon on the loose while the others play together.

The 2nd half of the album is called 'Day By Day' and is composed by Lindsay Cooper. There are 4 tracks on this half, but the last track is composed by both Cooper and Hodgkinson, so that is the only exception to the rest of the album concept. This side starts with 'Falling Away' which is a bit smoother sounding than the harshness of side 1. There is still plenty of dissonance, but you get the feel of more direction here, so maybe a tad less improvised, but not much. It seems that this is a more sectional piece than previous on the album. There is finally a lead by the guitar in the middle of this one, which is followed by an oboe. Next is 'Gretal's Take' which is headed over by reed instruments more so than brass, with a great jazz piano section reminiscent of King Crimson's 'Cat Food'. Again, there is the sectional aspect of the track, even though it is only 3 minutes, there seems to be a lot going on here. 'Look Back' is a short minimal piece with brass and woodwinds playing together, no percussion. The side winds up with '' the Sky' composed by both Hodgkinson and Cooper. This one is very free form with an organ and percussion providing a foundation for an improvised sax. Sudden structure forms halfway through with some great bass interplay and the instruments sometimes play 'insieme' and apart.

There are a few bonus tracks that were added, including 'Viva Pa Ubu' which actually has all four band members singing together (in a somewhat haphazard way) with some interplay with instruments. Suddenly the album wasn't an all- instrumental album anymore. There is also an alternative version of the short track 'Look Back' and another short track called 'Slice'.

This is an excellent avant-prog album and is a great example of the genre. It would serve well as an entry album for those wondering about the genre and whether it would be for them or not. There is plenty of free form improvisation here, with just enough structure to keep things more digestible to those who are not used to the sound. There is a lot of variety here too, which is not always an easy thing to find on many albums in this genre. This is definitely an album worth checking out and it is, in my opinion, a perfect and essential avant-prog album.

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
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARKTIS/AIR Austria
ARMON KUILU Finland
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
THE ARTAUD BEATS United Kingdom
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
AUKTYON Russia
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
BEN LEVIN GROUP United States
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANÇOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BRIAN! United States
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
CALOMITO Italy
THE CAMBERWELL NOW United Kingdom
CAPILLARY ACTION United States
CAPTAIN BEEFHEART United States
CARDBOARD AMANDA Multi-National
CARDIACS United Kingdom
CARTEL CARNAGE France
CARTOON United States
CASSIBER Germany
CATERPILLARMEN Iceland
CAZUELA DE CÔNDOR Chile
THE CELLAR AND POINT United States
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHĘNE NOIR France
GUIGOU CHENEVIER France
CHOU PAHROT United Kingdom
CHROMB! France
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
CLOUD BECOMES YOUR HAND United States
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
DETIETI Russia
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DISCUS Indonesia
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-MČRE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
ELECTRIC MASADA United States
RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADIŔ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAYÉ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACEMEAT Australia
FACTOR BURZACO Argentina
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FAMILHA ARTÚS France
FANTÔMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FESTÍN SAGITAL Chile
FILTHY HABITS ENSEMBLE Spain
FINNEGANS WAKE Belgium
FIRE! Sweden
THE FLYING LUTTENBACHERS United States
FOREVER EINSTEIN United States
FORTRANGT HUSHALLSARBETE Sweden
FOTE / THE TRUTH CLUB United Kingdom
FOTGJENGEREN United States
THE FRACTURED DIMENSION United States
LES FRAGMENTS DE LA NUIT France
FREE SALAMANDER EXHIBIT United States
FRENCH TV United States
FRESH! Japan
FRIENDLY BEARS United States
FRED FRITH United Kingdom
FRANK-WILLIAM FROMY France
FUKKEDUK Belgium
DIAMANDA GALAS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
GOD OF SHAMISEN United States
GODZIK PINK United States
GOLDBUG United States
GOLDEN AVANT-GARDE Japan
THE GORDON GRDINA TRIO Canada
GORGE TRIO United States
GRAMIGNA Italy
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
GROUND ZERO Japan
GRUPPO D'ALTERNATIVA Italy
GUAPO United Kingdom
GUARDIAN ALIEN United States
GUERILLA TOSS United States
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HAPPY 55 Russia
HARDSCORE Belgium
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HELMUT RÓBOT Argentina
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
HI-SPEED Japan
HIKASHU Japan
ZACH HILL United States
TIM HODGKINSON United Kingdom
LARS HOLLMER Sweden
HONEY RIDE ME A GOAT United Kingdom
HORDE CATALYTIQUE POUR LA FIN France
HORRIFIC CHILD France
HOT FUR Israel
HÖYRY-KONE Finland
HUMBLE GRUMBLE Belgium
HUNUNHUM Japan
HYRROKKIN United States
I AM ABOVE ON THE LEFT Russia
LES I France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
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