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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 26/10/2019

Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)

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

4.34 | 1602 ratings
HOT RATS
Zappa, Frank
4.32 | 955 ratings
THE GRAND WAZOO
Zappa, Frank
4.31 | 948 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.30 | 339 ratings
UZED
Univers Zero
4.42 | 81 ratings
HÄXAN
Art Zoyd
4.30 | 265 ratings
WESTERN CULTURE
Henry Cow
4.39 | 92 ratings
DECEIT
This Heat
4.39 | 91 ratings
BOOK M
Secret Chiefs 3
4.31 | 185 ratings
IN EXTREMIS
Thinking Plague
4.42 | 66 ratings
TAIGA
OOIOO
4.26 | 300 ratings
HERESIE
Univers Zero
4.47 | 52 ratings
LETTERS HOME
News From Babel
4.25 | 306 ratings
SING TO GOD
Cardiacs
4.31 | 125 ratings
ON LAND AND IN THE SEA
Cardiacs
4.35 | 87 ratings
Nş 6
Present
4.24 | 385 ratings
CHOIRS OF THE EYE
Kayo Dot
4.25 | 289 ratings
MĹLTID
Samla Mammas Manna
4.41 | 59 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.28 | 142 ratings
RISK
Far Corner
4.53 | 37 ratings
JACKSON
Korekyojinn

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

DOOR FLOOR SOMETHING WINDOW: LOOPING HOME ORCHESTRA LIVE 92-93
Hollmer, Lars
SECONDE ERE
Xaal
THE VIOLENCE OF AMATEURS
French TV
ENSEMBLE HAVADIŔ
Ensemble Havadiŕ

Latest RIO/Avant-Prog Music Reviews


 Ship Arriving Too Late To Save A Drowning Witch by ZAPPA, FRANK album cover Studio Album, 1982
3.58 | 253 ratings

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Ship Arriving Too Late To Save A Drowning Witch
Frank Zappa RIO/Avant-Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

5 stars One of the most intriguing things about Frank Zappa was the unpredictable ways he would take his music. It always seemed he found a certain sound or style and then he would take that style and work it until he bled it dry of any possibilities. During the early 80s, while all the 70s bands were adjusting their sound to try to fit in with the new sound, Zappa was pushing that sound to the extreme limit and then throwing it into a blender and making it sound like something completely different by mixing it with other forms and styles. His 1982 'studio' album 'Ship Arriving Too Late to Save a Drowning Witch' is a perfect example of taking a style and stretching it to its boundaries so it comes out as something completely different when its done. It ended up being one of the most unpredictable albums he did.

The interesting thing about the entire album is, he knew it was going to be a single album, and he also knew what material was going to be on one half of it. It ended up being side two of the album with 'Drowning Witch', 'Envelopes' and 'Teenage Prostitute'. The other three songs got worked out later, but made up side one. I imagine that the first two 'pop' songs were chosen to start off the record in order to help boost sales and also to get the younger crowd interested so that they would listen to the rest of the record which had Frank's more complex compositions on it. Frank used humor and pop music to lure people into listening to his 'serious' music.

Starting with what was inspired by an actual Mongolian song, 'No Not Now' is the first of the pop songs. Roy Estrada does the vocals on it, and Zappa layered Estrada's vocals to sound like he's singing with a goofy male choir with harmonies and all. The song ends up feeling rather thick with the layered vocals, but it has a really nice, catchy bass line. Arthur Barrow plays the bass, and learned the bass line 8 measures at a time. Zappa would hum it to him and he would play it, and they would record it as they went. The problem I have with some of Zappa's songs from this period is that the lyrics can be overly repetitive, especially at the close of the track, and they seem to go on to infinity with that obnoxious falsetto and melody. There is a good element of humor in there though, especially poking fun at Donnie and Marie Osmond, their Hawiian Punch commercials and Utahan's love for string beans. (Fun fact #1: Utah consumes more string beans per capita than any other state.) 'Valley Girl' is Zappa's biggest hit single of course, with his daughter Moon Unit Zappa singing lead vocals. Yep, it's hilarious and in '82, the radio stations played endlessly, so it did tend to get annoying. The end of this track also utilizes over- repetition at the end, but Moon's characterization is spot on. Both songs could have been shortened down a minute though to cut out the repetition. But why would I question Zappa? Moon's monologue makes the track though, and also gave Frank a huge hit. (Fun fact #2: 5 different monologues were recorded and Frank took out the best parts of each and melded them together for the final product.)

'I Come From Nowhere', according to Frank, is about people who smile too much. Roy Estrada is singing the vocals with the odd lounge-jazz style that totally contrasts the heavy rock sound of the track. Of course, the vocals are in a different meter than the rest of the instruments, that's what give it the strange sound. This is definitely a world of difference between the pop songs and the rest of the album. The track was created mostly one track at a time, starting with a drum track, and everything else added on top of it all. Same this with the wild guitar solo. (Fun fact #3: Frank hardly ever likes to put studio guitar solos on his albums, and usually uses solos from live concerts when he adds a solo on his studio songs. However, this solo was recorded in studio.) Frank took two hours of soloing material that was done in-studio before he finally got a sound he liked. The track eventually fades out on the solo.

'Drowning Witch' and the rest of the album is taken from several live performances all added together. The track starts with a standard sounding chorus, but soon Frank slips into a improvised sounding sing-song, narration style, again almost with a lounge-jazz style during the singing, with several meters and varying tempos working against each other. After a jazzy interlude with the band, Frank slips into a long guitar solo. (Fun fact #4: Frank claims that this track comes from fifteen different live shows.) The crazy thing with this one is, that it goes totally against the usual formula for improvised solos, even for Frank, in that the foundation that supports the solo is almost as complex as the solo. The several edits factor in key and modal changes. It's no wonder that Frank says this song is difficult to play correctly on stage. About halfway through, there is another instrumental interlude that bridges the track to a second guitar solo, with a completely different feel, but also very complex.

The preceeding track goes right into the next track 'Envelopes', a two minute atonal instrumental that was originally intended to be played by two amplified keyboards with rhythm section accompaniment, but as with most of Zappa's music, it was too difficult to play, and the original version was never released. (Fan fact #?: The original recording was done with Mark and Howard, [the Flo and Eddie team from the Mothers of Invention in the late 60s] along with George Duke, but they couldn't get it right according to Frank, so it was never released.) The album has the rock band version of this complex composition. The original also had lyrics, but this version doesn't. It is being played live here and is not edited or cut, so what you are hearing is the unbelievable performance of this difficult track. The album ends with 'Teen-age Prostitute' performed at Santan Monica Civic Auditorium in Dec of 1981. It features a rare performance where Lisa Popeil sings the operatic lead vocals. Again, this is a complex track sounding like a wild opera about the title character, with a James Bond style instrumental interlude. Expect the crazy Zappa hyjinx.

Many people didn't know what to make of this album when it came out. Remember, many of the purchasers of the album were probably expecting more songs like 'Valley Girl', and ended up getting this very avant-garde album instead. That must have been some surprise to a lot of virgin ears at the time. Anyway, annoying repetition aside, if you pay attention to 98% of the album, you have a real complex recording here that really showcases Frank's talent, not just as a guitar player, but more as a composer. This music may sound quite alien to most people, but you are hearing Zappa at his inventive best. The 2nd half of the album seems to go by in a chaotic whirlwind, and you definitely won't catch much of the genius behind it all until you listen to it several times and seek to understand what an amazing musician Frank Zappa was. Once you understand what goes into Frank's music, and the amazing talent of his band, you can't help but give this 5 stars, even with the annoying repetition at the end of the first 2 tracks.

 Halloween 73 by ZAPPA, FRANK album cover Live, 2019
3.00 | 2 ratings

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Halloween 73
Frank Zappa RIO/Avant-Prog

Review by kurtrongey

3 stars Two full Zappa shows with the crazy-greatest line-up he ever had. Then there's a rehearsal disc taped a week before that's a great microscope into how this configuration worked together to stuff Zappa's musical frameworks full of funny and fascinating detail. Most of this material with this band is already well-served, but there are really cool highlights like the 20+ minute Farther O'Blivion suite with Greggery Peccary segments incorporated in. For as great as this is, I find myself being conservative with the rating. There are several tracks here that I'll file away in the memory banks to listen to again, but with such quantities of quality Zappa live material at our fingertips, this release as a whole can be hesitantly filed in the non-essentials.
 Shifts by DISPLAY TEAM, THE album cover Studio Album, 2016
5.00 | 1 ratings

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Shifts
The Display Team RIO/Avant-Prog

Review by ImpressiveLad1597

— First review of this album —
5 stars Really really brilliant stuff.

This is a band that manages to combine the humour and vibe of Frank Zappa with the avant garde musical escapades of seminal avant rock act Cardiacs. What The Display Team provides here is a sonically satisfying contrast between brass instrumentation and prog-metal riffs as well excellent vocal performances by more or less the entire band. I do believe that this band are exceptionally skilled song-writers, able to bring together various musical sections and transition between them with ease. Flashy solos one minute, heartfelt vocals and soft strumming the next. This is most exemplified by the track Epitaph which is, absolute gold. But rest assured every song is very well written and a very satisfying listen. The Indecision Prism and I Am House are the only two songs I don't fully enjoy, but even then I still think they have moments that make them worth listening to.

So in summary, heavy riffs, harmonic vocals, erratic yet well structured songs, BRASS, what more could you ask for?

 Shut Up 'N Play Yer Guitar Some More by ZAPPA, FRANK album cover Boxset/Compilation, 1981
4.15 | 53 ratings

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Shut Up 'N Play Yer Guitar Some More
Frank Zappa RIO/Avant-Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

5 stars When Frank Zappa put together the guitar solos that would appear on the 3 LP series, he never thought they were going to be as well received as they were, so they were originally only available through mail order. What ended up happening was that they were so popular with the critics and fans, that it would eventually lead to the separate LPs to be released together in a box set and also inspired several other guitar-solo albums in the years to come. These are all showcases of Frank's guitar talent, not for humorous purposes or to show off the talents of other band members. People that come into this listening for funny moments will be disappointed, but they will also not be people who understand the depth of Zappa's talent, that there is more than just crude humor in his music. There is also a serious side, and that side has a lot of heart and soul. You can be a fan of his humorous music without being a fan of his serious music, classical or rock, and that goes both ways, but you can't be a Frank Zappa fan unless you understand and appreciate all sides, like them or not.

Collection #2 in this original series was called "Shut Up 'n Play Yer Guitar Some More". There really isn't anything that separates the second collection from the first except for the actual solos. It's just a continuation of the same idea, most of the tracks were guitar solos that were edited out of a longer live performance. Frank would improvise a different way each time, even when the same song was played in a different concert, so each time you would get a unique performance. He took what he thought was some of his best performances and segued them all together into these collections. Unfortunately, due to a printing error, the early copies mixed up the titles so that the first two albums titles were switched, which ended up causing some confusion.

This collection begins with the humorously named "Variations on the Carlos Santana Secret Chord Progression". The story behind the title on this one comes from an idea by Arthur Barrow (bass player for Zappa during this time) during a show where Santana was the opening act. Barrow said maybe they should do a "Santana" take off using the riff from "Evil Ways" that goes from a G minor to C chord, and Zappa thought they should do it in "City of Tiny Lights". Much to everyone's surprise, Frank did that the same night. He was so impressed with that idea and the solo, that he put that solo as the opening track on this collection. The show that it comes from is at Santa Monica Civic Auditorium during the late show on December 11, 1980. On this solo, Zappa uses a technique where you fret the notes with your left hand and fret them with the pick in your right hand, which he learned from Jim Gordon. He ended up calling it the Bulgarian Bagpipe technique, which he also uses in the next track "Gee, I Like Your Pants", which is a solo from the performance of "Inca Roads" at London on February 18, 1979. In this solo, Frank suddenly decides to play the melody to Wooly Bully except a quarter note off played at half the speed of the band's foundation.

The basic idea for "Canarsie" comes from a jam session at Warren Cuccurullo's (plays the electric sitar on this track) house with some friends. This performance comes from Hammersmith Odeon in London on February 19, 1979 with overdubs done in studio. The sitar and Zappa's technique makes for a unique sound and style, one that only could be done in a Zappa solo. "Ship Ahoy" is a name that Zappa used for a unique sounding solo that he did in many venues, each time sounding different, but always using a voltage control filter. This give the guitar an echoing and almost "nasal" effect that sounds really great. This track is taken from an extended coda from "Zoot Allures" at Osaka Japan on February 3, 1976. He uses this solo on the "Lather" album for the track "A Little Green Rosetta" and also under the same name with some overdubs on the album "Quaudiophiliac". Dweezil also used in on the collection he put together "Frank Zappa Plays the Music of Frank Zappa".

"The Deathless Horsie" is one of Zappa's more beautiful solos which uses a consistent yet complex vibe riff which he solos over in a different meter. This performance is again from the Hammersmith Odeon on February 19, 1979. Similar sounding solos under the same name are also on the "Halloween" and "You Can't Do That On Stage Anymore Vol. 1" live albums, but are different performances, the former being added on to the performance of "Black Napkins". This is a personal favorite of mine. The next track is the title track "Shut Up 'n Play Yer Guitar Some More". This one is a guitar solo taken from the performance of "Inca Roads" at the same venue one day earlier during the early show. Once you know the source of this guitar solo, you can easily pick out the "Inca Roads" theme that Zappa builds off of at the beginning of this track and alludes to throughout the solo.

The last track on this collection is "Pink Napkins", taken from the guitar solo of "Black Napkins", again at the Hammersmith Odeon, but this time a few years earlier on February 17, 1977. The engineer on this track was listed only as Alan P. who many thought was Alan Parsons for several years. Even though Alan Parsons did take outside engineering gigs at the time, he couldn't remember this particular concert. Later, it was determined it was actually Alan Perkins, who worked for the studio at the time (just an interesting side note). Again, knowing the source of the guitar solo gives a point of reference, and makes it all more interesting in my opinion. This is a nice, mellow sounding track, and you can hear the vamp from "Black Napkins" through it all.

I find that these guitar albums become much more interesting when you know the source. The tracks start to sound more individual giving them a personality. I also feel there is a lot more of this individuality in this collection than the first. Writing these reviews, I hope that it will also help shed some light on these albums, making them easier to listen to and appreciate. Bringing back the history of each track of this album gives it a new life, and learning these things helped me enjoy it much more in that the album is not just "one solo after another", but are actually individual songs with different personalities. Then you start to understand how amazing Frank Zappa was not only in his musicianship, but in his versatility, even in his guitar solos. Out of all of his guitar solo albums, this one is my favorite.

 Shut Up 'N Play Yer Guitar by ZAPPA, FRANK album cover Boxset/Compilation, 1981
3.73 | 60 ratings

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Shut Up 'N Play Yer Guitar
Frank Zappa RIO/Avant-Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Frank Zappa had this crazy idea that he wanted to create an album of just guitar solos taken from some of his favorite performances. He ended up culling enough material that he thought was great enough for 3 albums. The first of these albums was called "Shut Up 'n Play Yer Guitar" which contains 7 tracks that, in the end, were mixed so that they flow from one track to another. Yet, it is still easy to discern one track from another mostly because of the changes in rhythm and texture of the song. Zappa wanted these albums to be for guitar-fetishists, no words, no tune, no lyrics, just one guitar solo after another.

These solos are not "stand-alone" tracks, at least not originally. Each one is edited out of a longer performance, usually of a song that Zappa fans would be familiar with if they heard the entire performance. For example, the first track on this album is called "five-five-FIVE", but it is just the guitar solo edited out from a performance of "Conehead" performed at Hammersmith Odeon in London on February 19, 1979. The title of the track as it appears on this collection comes from the fact that the meter that it is played in is 5/8, 5/8, 5/4. Zappa suggests that you count it like this: "One two one two three, one two one two three, one-and two-and three-and four-and five-and" repeat.

Continuing on with the album, the next track is called "Hog Heaven" which is the guitar solos from performances of "Easy Meat", the first part in Tulsa, OK on October 18, 1980 and the 2nd part from an unidentified place. At the end of this track, you can hear conversation, and you will hear that from time to time. When asked about that, Zappa said that he decided to add those little exchanges because he felt the record felt too flat without them. The title track "Shut Up 'n Play Yer Guitar" is the solo from "Inca Roads" performed at Hammersmith Odeon in London of February 17, 1979.

One of the exceptions to the formula of editing the guitar solos out of existing performances is on the track "While You Were Out". Zappa always said it was hard to play a guitar solo in studio because he doesn't feel inspired so much in that setting. This particular track was however, recorded in studio with Warren Cucurullo on rhythm guitar and a drum track that already existed, recorded by Vinnie Colaiuta. Strangely enough, I find this one the best track on the album because it seems to be the most diverse from the others. It definitely has a unique sound and feel to it. The track titles "While You Were Art II" from the "Jazz from Hell" album was supposed to be a transcribed version of this track made for orchestra, but it didn't quite work out right, so the title was changed on the Jazz from Hell album.

"Treacherous Cretins" probably comes from a performance of "Inca Roads" though it most definitely comes from the concert at Hammersmith Odeon on February 17, 1979 and also contains overdubs recorded in studio on May of the same year. It has a definite reggae beat to it all the way through, which lays a great foundation for Zappa to solo over. "Heavy Duty Judy" was the inspiration for the jam of the same name from the album "The Best Band You Never Heard in Your Life". However, the performance heard here is recorded at Berkeley Community Theater on December 5, 1980, so this was recorded 8 years before the version heard on "The Best Band?.". I'm not sure if this came from the performance of another track or if it is just a jam. The last track (and longest one) is called "Soup 'n Old Clothes" and comes from the guitar solo that was part of the performance of "Illinois Enema Bandit" at the Santa Monica Civic Auditorium on December 11, 1980.

Out of this album came two other follow up albums based on the same formula. There are plenty of Zappa-philes that want to just hear nothing but the amazing guitar solos by their hero. Frank got that one right, and always seemed to know what kept his fans going. Some may think these guitar heavy albums are a bit too much, too technical and heavy, but the more you listen, the more you appreciate them. The fact that Frank kept this album down to 35 minutes probably meant that in the back of his mind that sometimes too much of a good thing can be too much. Anyway, there is no denying his talent, and he is definitely one of the best. I prefer the albums with more variety on them, especially the ones more influenced by jazz and the inclusion of other players, but sometimes, you are just in the mood for Zappa's guitar. There is also the fact that this album is very well edited and mixed, without that choppy feeling that some of his heavily edited albums can have.

 Acre Thrills by U.S. MAPLE album cover Studio Album, 2001
4.00 | 1 ratings

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Acre Thrills
U.S. Maple RIO/Avant-Prog

Review by Mortte

— First review of this album —
4 stars After making great debut U.S. Maple was a little bit lost in it's next two albums. But in this their fourth album they really found the 'clue'. In this album they went much more melodic direction, maybe also little bit more math direction. This album was produced by Brian Paulson, who has produced albums from the eighties, but probably is mostly known from Wilco's albums. This is the most produced from these four first albums, there is even echo used in some vocal tracks. But I believe it's still played live in the studio.

'Ma, Digital' has very melodic guitars, but very typical chaotic drums. Al is almost singing. Towards the end drums start to play rhythm. In 'Babe' there is rhythm almost the whole song, guitars are quite tickling but have also melodies. 'Rice Ain't Afraid Of Nothing' is really melodic, drums just hit simple hits. In previous album there was one 'Untitled' song, here's is two. First one is really Beefheart style, quite melodic instrumental with amp noise ending. 'Obey Your Concert' reminds really much Beefhearts 'Ice Cream for Crow'-album. 'Total Fruit Warning' continues in very same mood, but has also some Hendrix-style guitar playing. 'Open a Rose' has really great tom-tom drumplaying, but other guitar is really disturbing in this while other is again melodic. In 'Make Your Bedroom Great' direction goes calmer. 'Chang, You're Attractive' it's even calmer, it's kind of love song in U.S: Maple, don't really know was Chang impressed. 'Troop & Trouple' has marching drums and really great melodic guitars again. Another 'Untitled' has amp noise in the beginning, but changes into quite math instumental.

If Beefheart had sung this album, it would have been he's last album after 'Ice Cream for Crow'. This album is really good starter, if you want to listen U.S. Maple. It's MUST to all Beefheart-fans, but I believe all RIO/Avant fans will like this! I think at the moment this is their best album, but anyway I don't think it's masterpiece. Really wait to hear their final album!

 Last by CTHULHU RISE album cover Singles/EPs/Fan Club/Promo, 2020
3.05 | 2 ratings

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Last
Cthulhu Rise RIO/Avant-Prog

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

3 stars The Ukranian band "Cthulu Rise" is an instrumental and experimental band that formed in the 2000s, however, after changing their original sound, they didn't release their first album until 2012, and their 2nd in 2016. It wasn't until January 2020 that the band reemerged with a 3 track EP that continues the long song cycle that tries to explain a fictional underwater signal transmitted from the ocean.

The whole premise revolves around a short story written by H.P Lovecraft called "The Call from Cthulu". Cthulu is buried and trapped inside of the sunken city of R'lyeh in the South Pacific. Lovecraft even gave the coordinates of the city which is 47°9′S 126°43′W somewhere near what is actually known as the Pacific pole of inaccessibility (Nemo Point), a point in the ocean that is further away from any land mass in the Pacific. Interestingly enough, this location was not identified until after 66 years after the story was printed (cue the "Twilight Zone" theme). It is said that when the International Space Station passes overhead that it is often the closest that humans get to that point.

Anyway, back to this EP. The three tracks are named as the same format as the two previous albums: "Opus (#)". The band claims that this is the last of the recordings that strive to decipher the signal because they have all experienced so much suffering that they had to stop. So this EP is entitled "Last" supposedly because it will be the last time the band tries to experiment with it, not necessarily their last album.

So the question is, is the music as intriguing as the story around it?

Well, it sounds nothing like a transmitted radio signal, if that's what you are wondering. "Opus 43" (9:03) is quite upbeat with a complex meter and an eclectic, almost fusion sound. Keys and guitars lay down an almost tropical vibe, but in a repeating riff that follows the complex meter. The sections when the piano is the most prevelant is when the sound is more of a fusion style, but when the guitar dominates, it's more of a heavy prog sound. Somewhere in the 3rd minute, the tempo slows and evens out as a gruff sounding sax comes in. The complex pattern returns about a minute later and soon it veers away from the piano to a combination of organ and vibes and then an interesting effect with the synth. Just before 7 minutes, it takes a sudden left turn and introduces a chunky bass and a dissonant, noisy sax as the rhythm changes again.

"Opus 44" (6:37) goes for an even more progressive sound and once again introduces an up beat but complex rhythm with staccato notes played by the guitar which trades back and forth with organ or piano. Again, you get shades of fusion, but the complexity of it all keeps it progressive, and the mathcore sound keeps the sound veering off into the more avant prog territory. More dissonance and less accessibility gives this track more credence with the heavy art rock style.

"Opus 45" (7:59) starts with a leaner sound, but retaining a level of complexity. It is based around a theme that is a bit easier to pick out than the last track since it seems to be less noisy. Stop/start sections keep things in the progressive realm, this time not quite tipping the scales into the avant-prog style, but keeping it somewhere between heavy prog and fusion again, probably more in the eclectic genre. The complexity of the tracks can make it a little tough to listen to for too long of a time, but repeated listens will tend to help the listener distinguish between each track a bit better.

There is not doubt that the band is talented and they work together extremely well. They would have to in order to produce music this complex and not have it end up sounding messy and directionless. The combination of math core and fusion can wear you out quickly on the first few listens even with there only being the 3 tracks. There really isn't much in the way of a let up through the tracks. The music is great enough, but not the easiest to listen to for too long. It's well performed, but not diverse enough, or experimental enough to keep my interest. And it definitely doesn't fit the expectation generated from the title or the "concept". I have to give it 3 stars, but some might find it to be more enjoyable then that.

 Nijimusi by OOIOO album cover Studio Album, 2019
4.00 | 2 ratings

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Nijimusi
OOIOO RIO/Avant-Prog

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

4 stars When it comes to putting the GRRRR in GRRRRL rock, nobody has quite done it as well as the Japanese group OOIOO whose moniker is basically code for giving the middle finger! If that's not punk ass bad enough for ya then the bizarre mixtures of sound that these gals crank out should convince you. OOIOO has been the off and on again side project of Boredoms drummer YoshimiO but after nine albums that date as far back as 1997, perhaps this should qualify more as YoshimO's main gig since Boredoms hasn't released any new material since the early naughts. One of the reasons for the six year delay in a new OOIOO album is because guitarist Kyoko died in 2015. RIP :(

Following in the footsteps of the Boredoms trajectory, YoshimiO has steered her OOIOO project into very similar arenas that incorporate the wildest aspects of noise rock and punk attitude with cosmic streams of psychedelia, jittery math rock angularities and experimental adventurism however OOIOO somehow has drifted into its own little nook of the musical world where it has sit snuggly alone since its inception despite each album taking on its own distinct personality. It's been six long years since this group has released anything new and with 2013's venture into Indonesian gamelan prospects on "Gamel" it has been speculated by true fans if any new OOIOO product would emerge after Kyoko's early demise but finally in 2020 it is so.

n i j i m u s i / に じ む し ( i n - English / b l e e d i n g ) finds this unconventional project breaking the silence with another slice of avant-rock that drops the pretense of ethnic flavors in favor of returning to the guitar roots of its past. Starting with " n i j m u s i " which sounds like a short snippet of a murder scene from a John Zorn soundtrack, we get screams, pummeling percussion and guitar chaos but with " n i j i m u " OOIOO of yore emerges with a Boredoms styled psychedelic groove along with a hypnotic beat, Japanese cheerleading chants and freaky swirls of noise flittering all about. Yeah, the girls are back! It's also apparent that the interesting stylistic approach of past albums like "Gold & Green," YoshimiO and friends are back to that classic layering effect where all the parts seemingly exist in their own universe but cosmically connect to create a greater sum of the parts.

Always following the band's already established traditions are the zigzagging effects of maintaining a groove while improvisational chaos is somehow tightly controlled into order but then set free and thus allowing a new development to emerge. Whether it's the funky guitar rhythms of " n i j i m u " in flight with stubbornly independent bass lines and busy jazzy drum rolls or the bizarre avant-garde freeform jazz-rock of " j i b u n " which disperses interesting delayed guitar effects along with a bass and a plethora of percussive sophistication, n i j i m u s i / に じ む し shows a back to basics approach where it eschews the overly rich production that has been more present on the more psychedelic albums and lets the girls showcase their math rock sensibilities with plenty of stop / start freneticism and angular abstractness somehow kept on a leash.

Never leaving their sense of humor far behind, my vote for one of the most hilarious track names in rock history has to go to the teeheehee eleven minute " Walk for "345" MInutes, While Saying "Ah Yeah!" with a "Mountain Book" in One Hand, Until a Shower of Light Pours Down" which takes the entire album's ideas and allows them to unfold at a casual pace rather than the punk infused freneticism that the shorter tracks unleash. This one starts out math rocky of course with off-kilter time signature and polyrhythms slowing unfolding into ever greater intensity and the type of track that allows the hypnotic effects build at a snail's pace until crescendo glory is allowed to explode like Tokyo when Godzilla is having a really bad day.

The secret of OOIOO is in how they manage to unleash the greatest noise and chaos factors that they can muster up but somehow corral it into manageable chunks that are well digestible however OOIOO states it best in their own words that they create sounds for no reason. These sounds come and go and disappear into the air like a sent as soon as they materialize and that atonal phrase that hold the meaning of words that existed before the advent of language are wonders of a vortex pulsing with life. Well, how could one possibly come up with a better description than that? All i can say is that i've been a fan of this band for many years now and while i consider the over-the-top percussion rich masterpiece "Taiga" to be the pinnacle of this band's creative charm, the truth is that these GRRRRLs continue to charm the pants off of me with creative twisted illogical musical constructs that somehow add just enough smooth operating elements to make it all work.

 Daybreaking Live by ROZ VITALIS album cover Live, 2020
3.97 | 13 ratings

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Daybreaking Live
Roz Vitalis RIO/Avant-Prog

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

4 stars Continuing to deliver a steady stream of excellent prog albums from St Petersburg, Russia, the avant-prog band ROZ VITALIS continues on with still more new material only this time much of it is delivered for the first time in the form of a live album in the first month of 2020. DAYBREAKING LIVE was recorded at Babooinumfest, the progressive rock festival organized by Sergey Gorchaninov and his band OT&DO but despite being a live release primarily consists of unheard musical bliss not yet available as studio recordings. Most of the material stems back to the years 2018-19 and was written after the release of "The Hidden Man Of The Heart" but pretty much continues the legacy of mixing disparate styles of classical prog elements into a hypnotic display of excellent musicianship.

Despite the primarily new material, DAYBREAKING LIVE does contain three classic tracks from previous albums. This includes "Mother of All Rain" (from "Patience of Hope' album), "Fret Not Thyself Because of Evildoers" and "Psalm 6" (both from "The Hidden Man of the Heart" album). ROZ VITALIS centers its albums around a primary theme although nebulous in nature. This one is going for a spiritually distinguished vibe with driving progressive forces drifting into melodic constructs. The band excels at crafting knotty difficult listening music that exists somewhere in between the angular world of avant-prog and the more accessible reaches of the symphonic prog world.

Laced with classically infused piano runs as well as more abstract runs through the avant-prog wilderness with hairpin turns and dissonant counterpoints, ROZ VITALIS crafts a beautiful string of eight tracks that captures the essence of its unique Russified stance on contemporary progressive rock music that sounds like no other. As with most ROZ VITALIS music, this too is instrumental and a testament to how excellent the musicianship of this band comes through in a live setting. The setting is intimate with a warm cozy vibe flowing through a small but dedicated fanbase. While the main focus is on the interplay between the keyboard and guitar, the flute is omnipresent throughout and adds those classic warm pastoral retro sounds of classic 70s prog acts. The drumming style while mostly subordinate to the melodic flow also has its moments of branching out into its own.

Of the newer tracks, the album starts off with three strong prog behemoths. "WIdes" is a nice opener as it establishes a tight instrumental interplay that displays the band in mid tempo that focuses on varying melodic developments embellished with strong improvisational playfulness. In many ways the band excels at taking the spirit of classic jazz recordings and applying them into the world of symphonically driven avant-prog workouts. The drum rolls in particular bring out the jazzy vibe while the keys root the music to classical and the guitar channel Fred Frith angularities. The title track follows suit but the feisty "Nepsis" offers a stellar keyboard workout along with heavier guitar antics that focus on distortion and stronger drifts into what sounds like Krautrock territory but when all seems like it's ready to float into space, Ivan Rozmainsky reels the unwinding chaos back into classical piano led melodic marches. This favorite track runs the gamut from the most orderly style of prog to pure detachment. Love the church organ sounds in tandem with the filthy rock guitar grit. "

Loro Con Dolcezza E Cortesia (Piano & Synth Duet)" is basically a short intermission between the two halves of the album. It sounds a bit like chiptune video music in the synth department but offers some nice soft flute and some jittery off-kilter time signatures. "Fret Not Thyself Because Of Evildoers" offers some classic ROZ VITALIS sounds with its avant-swing and busy guitar licks. "Strangers And Pilgrims On The Earth" is the last new material but delivers some sizzling hot prog that is just shy of the 9 minute mark. It hits the ground running with nicely syncopated keys, bass and drums that are slightly timed differently and just out of sync at first but then the track shifts towards a synthesizer run in classical Baroque mode and then commences to change things up often by adding dark atmospheric backdrops, varying degrees of guitar intensity and different time signature shifts as well as tempo changes. This is a perfect example of how complex some of ROZ VITALIS' arrangements have become and an excellent example of how prog jams can retain all the sophistication of studio arrangements.

With the final performance of "Psalm 6," the band dishes out another classic from the past with alternations between pastoral and more upbeat sections before the album ends leaving another satisfying experience with seasoned prog veterans who can really take you to another dimension. ROZ VITALIS excels at cranking out pleasantly addictive instrumental workouts. This is certainly not the kind of music that sticks in your head. I can never remember what any ROZ VITALIS album sounds like exactly but yet once i put on their music i am sucked into its energetic vortex for the long haul which is exactly what i'm looking for when i want to experience a cerebral ride through a complex tapestry of sonic bliss.

This is the kind of stuff Aglagard and Anekdoten pulled of so well in the 90s with nicely woven instrumental interactions that focused on strong hooks and then improvised upon. ROZ VITALIS has put a Russian spin on this style of knotty musical workouts and delivers both on studio releases as well as on live ones. DAYBREAK LIVE is yet another excellent slice of nicely varied prog tunes that will please those who are seeking nicely packaged chunks of musical complexity that also offer beautiful melodic elements that are stitched into the over all fabric. Great performances! Wish i was there :) I'm hoping that these newer tracks will find their way onto a new studio album as it would be nice to hear some variations on these live renditions however in reality this is such a well played album that except for the audience interaction sounds, this pretty much sounds like it was crafted in a studio anyways.

 The Hidden Man Of The Heart by ROZ VITALIS album cover Studio Album, 2018
4.13 | 148 ratings

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

Review by Great1703

5 stars A very interesting album with beautiful and various music. The album is very well arranged as a classical symphony. But sometimes there is a similarity with a rock symphony. Several main themes "initiated" at the beginning of the album are developed further. The album combines, in my opinion, very well, several styles. The album is conceptual, filled with mysticism, which is amplified from beginning to end. The first track, "Someone Passed Over", which opens the album, is a dedication to classical music. This is the first track in a series of tracks in the style of classics. The second track "Passing Over (LP Version)" refers us to the 60s of the past century, it is like a small "symphony". The composition has an "introduction", then the theme "unfolds", a large set of solo instruments is used: an electric guitar, keyboards, wind instruments, and then a slow "disappearing" ending and again return to the main theme. Wind instruments add romanticism to the composition. The third composition, "Rhapsody of Refugees," probably refers us to the 70s. It sounds interesting electric organ and winds. The fourth song "Blurred" is romantic. Beautiful passages of solo guitar and winds. The theme, which at the beginning of the "romantic" guitar was picked up and developed by winds, the guitar returns in the epilogue. In the fifth piece "Trampled by the Lion And Adder" - a sad melody performed by stringed instruments sounds. Very "lyrical" violin. In the sixth composition "Thou Shalt Tread Upon the Lion and Adder" in the first part - rock sketch, then - keyboards and winds slightly change the initial theme, then rock guitar, space effects, and return to the rock theme, culmination again. In the seventh track "Passing on the Line" first solo the lyrical piano, then the melody loses its lyrical hue, it becomes more "hard" The eighth song "Disturbed by Jungle" continues the keyboard solo theme begun in the seventh, and the sound is slightly more uneven than in the previous song. The ninth song "Jungle Waltz" will justify its name - it is a waltz, but played in a modern musical interpretation, more technical, sounds like a technical melody. The tenth work "Wounded by the Lion and Adder" repeats and develops the theme begun in the fifth one. The violin is also lonely and magnificent. The eleventh composition "Fret Not Thyself Because of Evildoers" is an excellent development of instrumental rock works of famous groups of the late 60s and early 70s. The twelfth work "The Hidden Man of the Heart", which gave the name to the entire album, is an album in 1 composition: here the main theme of the symphony album is used, the beginning with an acoustic guitar, a romantic electric guitar replacing wind and keyboard. The thirteenth track "Some Refugee Passed Over" is the final track of several tracks in the style of classical music. The fourteenth song "Psalm 6 (LP Version)" is the culmination and epilogue of the entire album. All the main themes of the album are woven in it. The first part is rock, the second is romantic "organ", the third is winds and guitars, and the final part of the composition and album is again a romantic solo, then slightly changed by the distortion effect, rhythm change and the ending!
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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
LA 1919 Italy
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AIR CANDA Russia
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
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
ÁPOLÓK Hungary
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARIA PRIMITIVA France
ARKTIS / AIR Austria
ARMON KUILU Finland
ARS DE ER Belarus
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
GRECO BASTIÁN Mexico
LES BATTERIES France
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
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
BOAT DARES United States
BOLTZMANN BRAIN Germany
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
ÇA France
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
DETAILS AT ELEVEN United States
DETIETI Russia
DEUS NUVEM Brazil
DIRECTION SURVET France
DISCUS Indonesia
THE DISPLAY TEAM United Kingdom
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
JONATAN PIŃA DULUC Dominican Republic
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-MČRE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
L' EFFET DEFEE France
ELECTRIC MASADA United States
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 GALÁS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
MICHAEL GILES MAD BAND United Kingdom
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
LE GRAND SBAM France
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
THE GREAT TYRANT United States
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
ICSIS France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
LA INCREÍBLE FUGA DE TRIÁNGULOS Argentina
INFANTEPHANT United States
L' INFONIE Canada
INNER EAR BRIGADE United States
INSIDE//OUTSIDE United States
INSONAR Italy
INTERFERENCE SARDINES Canada
INUS United States
IVOR AXEGLOVITCH Denmark
JACK DUPON France
CATHERINE JAUNIAUX Belgium
JEAN LOUIS France
JERSEYBAND United States
JIMI SUMÉN PROJEKT Finland
SCOTT JOHNSON United States
JONO EL GRANDE Norway
JORK Ireland
JAKOB JUHKAM Estonia
JULVERNE Belgium
JUMP FOR JOY! Multi-National
JUNGLE Japan
JUSTINE Canada
KAADA & PATTON United States
HENRY KAISER United States
KAM-PAS-NEL-LA Multi-National
HOPPY KAMIYAMA Japan
KAPELA LA CHATELIER Slovenia
KAREN COOPER COMPLEX United States
KARENAUTAS Argentina
KARMIC JUGGERNAUT United States
KATRA TURANA Japan
KATZEN KAPELL Sweden
KAUHUKAKARA Multi-National
KAYO DOT United States
MIKE KENEALLY United States
KILLING TIME Japan
KILLSONG Australia
KLAXON GUEULE Canada
KLETKA RED Multi-National
KLIMPEREI France
THE KNELLS United States
DIE KNÖDEL Austria
KNOMIGON United States
KOLKHÖZE PRINTANIUM France
KOMBINAT M Austria
KOMINTERN France
KOREKYOJINN Japan
KORMORANY Poland
KOROVA MILK BAR France
KOUMA France
KRALDJURSANSTALTEN Sweden
DAGMAR KRAUSE Germany
KROKO Finland
KRUZENSHTERN & PAROHOD Israel
KUHA. Finland
KULTUR SHOCK Multi-National
KULU HATHA MAMNUA Switzerland
HARRI KUUSIJÄRVI KOUTUS Finland
LACRYMOSA Japan
LARS LACH'N JONSSON Sweden
LARSEN RUPIN Switzerland
LARVAL United States
LASK Germany
LAST EXIT United States
LEAN LEFT Multi-National
LED BIB United Kingdom
JOSÉ LUIS FERNÁNDEZ LEDESMA Mexico
JOHN DE LEO Italy
BEN LEVIN GROUP United States
LIGEIA MARE United States
LIGHT COORPORATION Poland
A LIGHT SLEEPER United States
LITAI Italy
LITTLE WOMEN United States
THE LOCALS Germany
LOOK DE BOUK France
LOOMINGS France
LOST CROWNS United Kingdom
LOVELY LITTLE GIRLS United States
LUNAPARK ENSEMBLE Japan
LUZ DE RIADA Mexico
MACROMASSA Spain
MAESTRO TRYTONY Poland
THE MAGIC BAND United States
MAKE A RISING United States
MAMMA NON PIANGERE Italy
MAN MAN United States
MANY ARMS United States
ALBERT MARCOEUR France
MASADA United States
MASADA STRING TRIO / BAR KOKHBA SEXTET United States
LE MASCHERE DI CLARA Italy
MASSACRE United States
MESMERICO Italy
METABOLIST United Kingdom
METAL-O-PHONE France
METAMORPHOSIS Czech Republic
MIASMA & THE CAROUSEL OF HEADLESS HORSES United Kingdom
MICROKINGDOM United States
MIRIODOR Canada
MIRTHKON United States
MIZUTAMA SHOBODAN Japan
MMCIRCLE Canada
MOE! STAIANO/MOE!KESTRA! United States
MOMBU Italy
MONKEY PUZZLE TRIO United Kingdom
MONOGLOT Switzerland
MOONCHILD TRIO United States
MORKOBOT Italy
MORVISCOUS United Kingdom
MOSAĎC France
MOTEUR! France
MOTOR HUMMING Japan
MOTOR TOTEMIST GUILD United States
MPXXIV Switzerland
MR. BUNGLE United States
MUCHO TAPIOCA France
MUD MOTHS United States
THE MUFFIN MEN United Kingdom
LA MUJER BARBUDA Argentina
MUSEO HETERODOXO Peru
MUSICA D'REPUESTO Cuba
MUSICA TRANSONIC Japan
MYRBEIN Sweden
N.O.R.M.A. Italy
NAKED CITY United States
NAKED TRUTH United States
NAZCA Mexico
NE ZHDALI Estonia
NEBELNEST France
NEO Italy
NEWS FROM BABEL United States
NI France
NICHELODEON Italy
NICOTINA ES PRIMAVERA Argentina
NIEW HIP STILEN Netherlands
NIMAL Switzerland
NINE TOBS Netherlands
NO SAFETY United States
NO SECRETS IN THE FAMILY Switzerland
NOICE United States
NON CREDO United States
NOODBAND Netherlands
NOOUMENA France
NORMAL LOVE United States
NOUVELLES ETHNOLOGIQUES DE L'OBSCUR MUSEUM France
NOW WE'VE GOT MEMBERS Norway
NOXAGT Norway
NUCLEAR RABBIT United States
THE (EC) NUDES Multi-National
OCTAFISH Germany
OCTAVO France
OCTOBER EQUUS Spain
OHO United States
OLD TIME RELIJUN United States
OLIVE MESS Latvia
OOIOO Japan
OPABINIA Japan
OPTICAL*8 Japan
OPUS AVANTRA Italy
ORANGE TULIP CONSPIRACY United States
ORCHESTRA NJERVUDAROV Italy
THE ORDINAIRES United States
LAS OREJAS Y LA LENGUA Argentina
ORQUESTA METAFÍSICA Argentina
THE ORTHOTONICS United States
OSSI DURI Italy
OTEME Italy
OTOLITHEN Multi-National
OTOMO YOSHIHIDE Japan
OXOMAXOMA Mexico
P.O.N. Japan
PABST Germany
PAINKILLER United States
PAK United States
PALINCKX Netherlands
PANZERPAPPA Norway
PAPER MICE United States
PARDANS Denmark
PATAPHONIE France
MIKE PATTON United States
PEARLS OF SWINES France
PERFUME DE MUJER Cuba
PERHAPS CONTRAPTION United Kingdom
LA PERRA Mexico
PFS United States
EMME PHYZEMA United States
PIENZA ETHNORKESTRA France
PIG SOUL Brazil
PIKAPIKA TEART Russia
PINIOL France
PISSUK RACHAV Israel
PITOM United States
PLASTIC DOGS Japan
THE PLASTIC PEOPLE OF THE UNIVERSE Czech Republic
PLOZ Canada
POCHAKAITE MALKO Japan
POCKET ORCHESTRA United States
KIMMO POHJONEN Finland
POIL France
POKERFACE Sweden
POLYMORPHIE France
LES POULES Canada
PRESCOTT United Kingdom
PRESENT Belgium
NICK PROL AND THE PROLETARIANS United States
PROSESSOR BALTHAZAR Norway
PSUDOKU Norway
PSYCHOYOGI United Kingdom
PSYNKOPAT Sweden
PULSOPTIONAL United States
PUNGO Japan
PUSH THE TRIANGLE France
QUATEBRIGA Yugoslavia
QUINTORIGO Italy
RABBINICAL SCHOOL DROPOUTS United States
RADIATION10 France
RALE Czech Republic
RAMLOSA KVALLAR Sweden
THE RANCID YAK BUTTER TEA PARTY United States
RAPA NUI Peru
RASCAL REPORTERS United States
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