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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 £1000 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

4.35 | 1771 ratings
HOT RATS
Zappa, Frank
4.47 | 106 ratings
HÄXAN
Art Zoyd
4.32 | 1071 ratings
THE GRAND WAZOO
Zappa, Frank
4.38 | 168 ratings
ON LAND AND IN THE SEA
Cardiacs
4.30 | 1074 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.30 | 365 ratings
SING TO GOD
Cardiacs
4.30 | 301 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.28 | 383 ratings
UZED
Univers Zero
4.28 | 299 ratings
WESTERN CULTURE
Henry Cow
4.42 | 68 ratings
LETTERS HOME
News From Babel
4.41 | 69 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.33 | 118 ratings
DECEIT
This Heat
4.35 | 101 ratings
Nº 6
Present
4.30 | 164 ratings
HUONO PARTURI
Höyry-Kone
4.33 | 109 ratings
BOOK M
Secret Chiefs 3
4.26 | 336 ratings
HERESIE
Univers Zero
4.27 | 195 ratings
IN EXTREMIS
Thinking Plague
4.30 | 133 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.25 | 329 ratings
MÅLTID
Samla Mammas Manna
4.29 | 131 ratings
TRISKAÏDÉKAPHOBIE
Present

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

ZAAR
Zaar
KNEBNAGÄUJE
Pocket Orchestra
VEUILLEZ PROCÉDER
Rouge Ciel
ENSEMBLE HAVADIÀ
Ensemble Havadià

Latest RIO/Avant-Prog Music Reviews


 5uu's & Dave Kerman: The Quiet in Your Bones by 5UU'S album cover Studio Album, 2022
4.00 | 3 ratings

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5uu's & Dave Kerman: The Quiet in Your Bones
5uu's RIO/Avant-Prog

Review by kurtrongey

4 stars Kerman thankfully carries on the thread of endlessly intriguing music under the 5uu's moniker. Kerman's approach to arrangement, like his compatriot Bob Drake, draws from a vast kitchen sink overflowing with dirty stuff. So it's hard to give a sense of the overall feel of the album. Because of the repeating power riffs that happen on much of The Quiet in Your Bones, it maybe more approachable/recallable than other 5uu's. The low alto voice of Michelle Fuchs (of Basel-based collective Les Reines Prochaines) is a defining feature. In an avant-garde prog setting, it's impossible to avoid comparisons with Dagmar Krause. But Fuchs' voice is lower and earthier, never quite screeching. The album often has a ragged, homebrew quality. That's not a bad thing necessarily. Avant-prog has maybe gotten a little too genteel in the last 10 or 15 years. This album gets it back to being kind of a nasty bitch.
 Sonar & David Torn: Tranceportation Vol.2 by SONAR album cover Studio Album, 2020
3.89 | 9 ratings

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Sonar & David Torn: Tranceportation Vol.2
Sonar RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. My kind of music. I can't get over how the tritone guitars and bass changes their sound. Reminds me of KING GIZZARD and their microtonal drums, bass and guitars that they have used on some albums and how it changes their sound as well, and in both cases for the better. And having the legendary David Torn on here doesn't hurt does it? A match made in heaven is SONAR and David Torn. David plays his usual guitar and adds live looping. By the way SONAR always record live in studio with a lot of improvising. I'm going to quote Stephan Thelan in this review a lot because the best review I've seen is his in the liner notes.

Love the grainy and blurry picture of this band under the actual cd, so cool. Thelan talks about how throughout his life music has been the vehicle to take him places as he wears those headphones. Of course the title "Tranceportation" is fitting. For me music has always been about being the soundscape for where I am going whether walking, running, biking or mostly driving. Since I was a teenager actually. Post-Rock and Electronic are awesome for these treks but this album with it's precise beats, pulses and string sounds works very well for this. It sounds dark because of the tritone and then Torn comes in soloing as he does. Love this!

Thelan mentions "This time, we wanted to bring the raw emotional aspect of David's playing even more forward than on the last album "Vortex", so we consciously chose to keep the compositions as open as possible. This left space for improvisations and spontaneous surges of power, knowing that David's ability to improvise, his otherworldly atmospheres and infectious energy would inspire and ignite all kinds of group interplay".

We get four long tracks adding up to 42 minutes. There is a guest adding as Thelan says "his glitchy and granular electronics" to "Cloud Chamber" the closer. By the way the man's name is Werner Hasler and while he plays electronics in bands he's also a trumpet player and how good would the trumpet sound in this music? I mean distasteful, dissonant and experimental. Come on! So we get three guitarists, a bass player and drummer. I have to mention "Slowburn" my favourite track. Thelan says "It started with a line in 9 Bernard came up with while exploring his echoplex. I asked David to play something similar in mood to what he did on David Sylvian's "The Boy With A Gun", a track I deeply admire." I love that Sylvian song as well.

Anyway I'm a huge fan of this record, love every track.

 Narrow Is the Road by COMPASSIONIZER album cover Studio Album, 2022
4.11 | 33 ratings

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Narrow Is the Road
Compassionizer RIO/Avant-Prog

Review by Kempokid
Collaborator Prog Metal Team

4 stars Another fantastic album from Compassionizer that really represents the sheer versatility on display from them. Rather than the more brooding atmosphere and cold, alien quality that would often shine through with the stronger use of electronics on past albums, Narrow Is The Road takes on a far warmer, more uplifting tone while maintaining a lot of the moodiness that make them so compelling. The range of instruments, while being about as diverse as before, still sound very different as a result. You'll find a lot more symphonic elements especially, with the assortment of woodwind and brass being utilised to craft an atmosphere just as compelling as past output has been. The compositions themselves feel like a bit of a step up as well, still focusing far more strongly on crafting a mood and soundscape that evokes a range of emotions that often feel rather hard to define entirely, but this time around, everything sounds that touch more dynamic and impactful. This is especially true with the way that everything flows together as smoothly as it does, to the point where you'll end up hearing certain passages and ideas being reused later on but under a different context which ends up further expanding upon and refining what was already there, positively contributing to each rendition that's performed.

The electric guitar is another favourite aspect of this to me with the way that it's almost always implemented in such unconventional ways without entirely derailing the experience. The way that The Invasion of a Crying Shame uses it is especially powerful, breaking through the rather subtle, layered composition with a wave of roaring distortion that then gets played around smoothly and almost instantly, providing a certain intensity that I am a huge fan of when used in smaller doses in the context of an album such as this. The way that Narrow Is The Road is able to have such left turns while maintaining a practically unbreakable sense of momentum is rather impressive and sophisticated, essentially hiding its more avant-garde tendencies in plain sight time and time again and making for a fantastic experience to full absorb and break down all the nuances of. I basically always feel rather excited about seeing this band make a new album since they're so consistently great and interesting in how differently they're approached. In this case, I'd say that Narrow is the Road marks the band's most conventionally prog album in how it's structured, but that doesn't make it any less great at what it does. While An Ambassador In Bonds remains my favourite album Ivan Rozmainsky is involved with at this point, fans of atmospheric prog should not ignore this one either, as it's more fantastic music that makes full use of a wide range of instrumentation to craft another album that sounds rather unique and exciting.

 With a Little Hell from My Friends by BASTIÁN, GRECO album cover Studio Album, 2022
4.27 | 22 ratings

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With a Little Hell from My Friends
Greco Bastián RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars A diverse collection of modern Avant Garde/RIO songs from a collaboration of a veritable who's who of RIO, Zeuhl, and Avant Jazz artists under the leadership Mexican Greco Bastien--an artist who was hitherto unknown to me. (Is the album title a reference to the 2006 film of the same title from Suzanne Shepherd? If so, it would explain some of the cinematic moods and themes expressed in Greco's music.)

1. "Proteo Revampirizado" (6:30) I don't like the hollow and plastic drum-machine sounding sounds coming from Tatsuya Yoshida's drums but the weave of dobro/banjo and tuned percussives (including piano) is pretty engaging. The electric guitar solo at the end of the second minute is harsh while the weave that follows almost sounds like Flim and the BBs. The bass, up front and center, is great to hear but it's a little repetitious--and the banjo/dobro is also quite forward while the saxophone(s) are mixed behind. Interesting. I'm not sure I'm picking up on the vampire reference despite the horror movie plodding and chaos. Any relation to early Bondage Fruit? (8.75/10)

2. "Zidane Racist" (6:29) I've never been able to find much like/tolerance for a klezmer-type of music--even when it is trying to be Peter Gunn-like. Also, though the collective pace and cohesive synchronization of the instrumentalists' melody lines is impressive, much of it feels either auto-aligned or MIDI(VST)ed. I wonder if the "band" could perform this tightly live. And the bass sounds so isolated, even weirdly compressed. A stop and left turn at 4:20 feels NIL-ish. Interesting. There is, of course, a lot of Zeuhlishness to the music as well. (Love the BEATLES reference with the final piano hit and long hold!) (8.75/10)

3. "Zeuhlito Lindo" (5:27) I hate these plastic-sounding tom-tom heads that Tatsuya Yoshida is using. (They remind me so much of Markus Pajakkala's Brutopianisti album from 2017.) Yech! Again, the klezmer freneticism of the opening pace and whole-band weave is not my favorite style to listen to, but, luckily, some spacious isolation of various instruments (over the very busy drums, bass, and piano) occurs enough to let me relax. Matt Lebofsky's bass play is right up front and center but not chunky enough to be Zeuhlish and not creative enough for my expectations. Again I am very much reminded of the music of Markus Pajakkala--especially in his Brutopianisti release--though there are also motifs reminding me of black midi's Cavalcade. The musicianship is excellent--so tight and so precise. I wish the drums didn't drive me to distraction. (8.75/10)

4. "Oniontown" (5:44) released in 2019, this is virtually the same MIDI(VST)ed composition performed and recorded by Greco back then with friends and members of his old band, Cobalto Circus. The stop-and-go format is more spacious than the other stuff on this new album. (8.5/10)

5. "Aclowntrenós" (4:44) rolling bas line, grating saw-guitar chord strums, xylophone and piano and, later, VST (Virtual Studio Technology) horns. Sounds like an exercise in math rock. (8.5/10)

6. "My First Metal Swing Set" (2:09) lower octave piano arpeggio starts this one before ATOMIC APE-like cinematic chase music takes over. Lead electric guitar and xylophone stand out with wailing guitar playing in a Robert Fripp/KING CRIMSON style and sound palette--which is cool, except ? it's been done before. (Think: instrumental sections between Adrian Belew's vocals on "Indiscipline"). Hard driving and brief. (4.25/5)

7. "D.A.S" (1:42) rolling bass, syncopated drums, and screeching saw guitar gives this a very MIDI(VST) sound. (4.25/5)

8. "Don't Open Til Xmas" (3:13) a variation/play upon the "Jingle Bells" melody line, though the sound palette has changed quite a bit--with some fuzzy sax and synths playing the crazy lead weave with the piano--but it all sounds too tight--like it's MIDIed. (8.5/10)

9. "Exit Filming for a Muse" (4:59) quite a cinematic song--and fit for the soundtrack to a slow processional in a carnival or small town parade. Besides the drums, this one is all computer created, all Greco solo. It's actually pretty good--pretty easy to access and sync with--especially the searing "guitar" soloing over the top over everything. (8.75/10)

Total Time 40:57

My main complaint with much of this album is the frenetic pace, the use of "cold" plastic tom heads (when used), and the often too-precise synchrony of the herd of stampeding instruments--which makes me second guess the engineering: whether instruments are interlocked by engineering "auto-tune" like computer mechanisms or by being MIDIed (here called "Virtual Studio Technology") to Bastián's keyboard.

B/four stars; a nice, though perhaps challenging, addition to any prog lover's music collection.

 With a Little Hell from My Friends by BASTIÁN, GRECO album cover Studio Album, 2022
4.27 | 22 ratings

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With a Little Hell from My Friends
Greco Bastián RIO/Avant-Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

5 stars This is a blast!

Some decades ago Zappa asked: "does humor belong in music?", and the answer at least to the talented Mexican mind named Greco Bastián, is a big YES.

Since the first time I approached his music I realized he´s got something different to offer, something unique that is not commonly shared in Mexican musicians, because while the sounds he produces are powerful and eccentric, in the vein of zeuhl and RIO music (or avant-garde, if you prefer), he always adds a bit of humor which is clearly noticed in the mind-games he does with his album titles, just like he does with this magnificent 2022 released entitled 'With a Little Hell From My Friends'.

I love the title, and I don't really care about that old song it might refer to, but I care about that sense of gratitude he has with the different musicians that collaborated and help him to finish this album, musicians from Mexico and from all over the world, whose grain of sand was essential to approach what he was aiming to. Names such as the almighty Tatsuya Yoshida (legendary Ruins drummer) and the lovely Patrick Shirohishi who I saw once playing with Corima are included in this album, so go figure.

The explosion starts with 'Proteo revampirizado', and since the first seconds we will find a vertiginous road, so much energy and power that is unleashed through complex time signatures and a precise yet elegant execution. The piano rhythm is very zeuhl-esque, and I love that powerful drumming that is also wonderfully complemented by bass, crazy guitar riffs and of course, the sax that appears here and there. Welcome to my music, says Bastián with this amazing opening track.

I follow Bastián on Twitter and know he is a soccer fan, haha, which maybe led him to name this second track as 'Zidane Racist'. The humor is not only present in the title, but also in the music, because the song starts with a kind of gypsy and funny tune, then it becomes more serious and adds that raw zeuhl sound, but I love there are some moments that it also reminds me of some Zappa moments. At half the song it slows down and shares a darker, horror-like passage, and then the song starts to be rebuilt.

There is a traditional Mexican chant called 'Cielito Lindo' (it is the song Mexican soccer fans sing in every World Cup), and here Greco Bastián took inspiration of it to give this third track the fabulous name of 'Zeuhlito lindo', quite curious and original. Despite the soft and kind sound of that traditional song, here the music is completely opposite to it, because since the very first seconds it explodes, creating that Ruins-like sound with powerful drums, a raw bass and a wonderful addition of xylophone and sax. Then odd-time signatures appear once again, taking us to a multifaceted trip full of sensations, colours and textures. I also love the use of keyboards here, because it produces a dark atmosphere that may remind you of Goblin. Love it.

'Oniontown' starts with cadence, a soft piano and then drums, bass, mellotron and other instruments join and create a horror-theme ambient, once again I remembered Goblin for some reason. Well, this track is wonderful, it perfectly flows in spite its challeging changes, and no matter how avant-garde or zeuhl it sounds, I believe it could be enjoyable to any prog rock fan.

'Aclowntrenos' is like saying "between us" haha, is another word game made by Greco Bastian's restless mind. Also, the term "clown" included hidden in the title reflects a bit of the song's sound, because it might take you to a circus, an obscure circus, of course.

'My First Metal Swing Set' is a fast and short song full of guitars, so if you are into speed sports, fasten your seatbelt and let the music take you.

The shortest track comes next with 'D.A.S.' which work as a sort of intermission. Jazzy and zeulh-esque, it reminds me a bit of Soft Machine.

Well, Christmas time is also present here with 'Don't Open til Xmas', a funny track that has that december flavor, even the rhythm keeps the Xmas essence, but the adaptation to Greco Bastian's sound is amazing. He is really a talented composer and knows how to make things work; of course, the help he received from the different musicians is priceless, but he put the first stone.

'Exit Filming for a Muse' is the last song and I love how it sounds sooo different from the previous ones. It has some classical arrangements, it really works as a film-score, reminding me of some Western films. After all the vertigo and the storm and energy provided in the previous tracks, they delight us with a soft goodbye, letting us know they can change the mood, the sound and the result, if the want to, because they are capable of reinventing themselves.

Of course, as I mentioned earlier, there are 5 bonus tracks, which are actually alternate versions of some of the songs I previously described. A worthy material for those who already loved the album.

And yes, I loved it, and I really thank Greco Bastián for daring to create this kind of music that is hardly listened in Mexico, and also for daring to contact all the musicians featured in this album, musicians he actually admire, so it is great to achieve something with people you appreciate. Congrats!

RIO / Avant-prog / Zeuhl album of the year? Why not!

 Narrow Is the Road by COMPASSIONIZER album cover Studio Album, 2022
4.11 | 33 ratings

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Narrow Is the Road
Compassionizer RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Prolific and ambitiously adventurous composer/musician Ivan Rozmainsky (of Roz Vitalis fame) is back with his new collective of virtuoso collaborators for a third album release since 2020. And it's a good one!

1. "Only One Road for the Wayward" (7:20) Ivan & co. here move more into the discordant world of avant jazz artists like JOHN ZORN and YUGEN. I think this one succeeds because of its slow, spacious pacing and "conscientious" note-making. (13.25/15)

2. "The Invasion of a Crying Shame" (3:53) starts off as if picking up where the first song left off, but then quickly becomes something different--a kind of middle school band practice session for the horn section. Interesting for how loose and sloppy the timing is for the instrumentalists engaging in the weave. (Yes, I can tell it's done intentionally.) The grating electric guitar injected into the final quarter is surprising and a little off-putting. It's as if a 2:00 AM jam of rather tired and, probably, drunk musicians is being recorded. Not quite sure of the reason or motivation for this song to be included on a publicly-released album. (8.5/10)

3. "Black Sky White" (5:25) there's a bit of a Celtic or even Acadian folk feel to this one. (It reminds me very much of the music from the Québecois band, CONVENTUM's 1979 album, Le bureau central des utopies.) I like it for the predominance of acoustic instrumentation. Very nice finish. A top three song for me. (9.25/10)

4. "I Need You to Help" (5:50) built around weave of comparatively sappy melodies, Serghei Liubcenco's choice for guitar sound once again mystifies me: like using a kitchen appliance, he can sure make some noise! The scaled down interlude in the middle reminds me of MASSIVE ATTACK's "Teardrop" but then we move into Asian-infused, cheesy drum-machine-led, mediæval weave while the wildest collection of disparate instruments somehow move forward together, as a rag-tag ensemble. Adventurous and laughable yet admirable! My final top three song. (9/10)

5. "Narrow Is the Road" (5:14) again Ivan & company bring together an ensemble of classical and jazz instruments to create a pathway that is somehow moving forward while taking turns giving up the leadership position, this causing some uncertain movement and moment--this despite the definitive title. Perhaps the road is old, less traveled, and poorly maintained. Anyway, against all odds, the band somehow pulls it together for the final quarter of the song to reveal some beautiful teamwork. The weave then turns to avant chamber jazz sounding quite similar to the work of Belarusian bands Rational Diet, Five-Storey Ensemble, and Archestra. Here are some quite lovely "traveling" melodies conveyed in the second half of the song. This is certainly one post-apocalyptic (or pre-industrial) band of road travelers that I would enjoy being with or encountering. My favorite song on the album. (9.5/10)

6. "In Things Too High for Me" (8:40) the solo kalimba in this song's opening does not fool me for a minute. The music quickly shifts into an electrically-founded trapse of troubadours--which occasionally turns space alien (minute #2) and Asian (minute #3). This one sounds as if it could come from some of DAVE NEWHOUSE's zany collaborations--the Moon Men or Moon X projects. In the final third the structure becomes tight, organized, almost classical, this despite the odd mix of instruments. It's a very Paolo "SKE" Botta-like sound. Not my favorite piece but interesting. (17/20)

7. "Looking from the Dome" (5:37) concertina/organ and rock electric guitar open this one before winds and cymbals join in to create a near-klezmer weave. Banjo and strings join before wah-ed guitar takes the lead. the percussion-driven rhythm and pacing remind me very much of parts of MIKE OLDFIELD's 1979 masterpiece of four "Incantations." The final stripped down minute feels more African tribal with they now-typical odd assortment of collaborating instruments. (8.75/10)

8. "Kramatorsk" (14:32) violin announces the Russian melody theme before low winds take over. Then drums This could very much be a piece by Markus Pajakkala's UTOPIANISTI--except for the fact that it doesn't change, progress, shift, or develop as dynamically as Markus' compositions. This one drags on--rather like a New Orleans funeral procession. The addtion of heavily distorted guitar strumming in the second half does little to enhance the (lack of) interesting or pleasurable development of the song. The Psycho-like violin (and, later, synthesizer) screams in the eleventh minute are surprising and, once again, do little to enhance the likeability of the song (except if you're a lover of King Crimson or Art Zoyd at their most angular/dissonant). Again, I know not the intent or message the band was trying to convey here, but it is one that is, unfortunately, totally lost to me. I understand and appreciate the adventurousness, skill, and vision it takes to compose and perform something like this, it's just not my cup of tea. (25/30)

9. "Road" (3:42) this sounds like a cute little Baroque chamber piece--something being performed for a small private audience or as background music for a museum opening. (8.5/10)

Total Time 60:13

With this album I think Ivan and his intrepid collaborators have put together their finest effort. The sound engineering and production is excellent with great clarity of each and every single instrument. My favorite selections on the album are, of course, the more chamber-oriented pieces dominated by acoustic instruments and mediæval-like folk sounds and weaves.

B/four stars; an excellent addition to any lover of truly adventurous progressive rock music.

 Narrow Is the Road by COMPASSIONIZER album cover Studio Album, 2022
4.11 | 33 ratings

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Narrow Is the Road
Compassionizer RIO/Avant-Prog

Review by mhskey

5 stars I definitely estimate this work as a great one, however, as i see, some reviewers consider the album as Intended for a narrow circle of listeners. This music is proper to get contact with your conscience and to stop realizing and feeling time and all the things around. If you do not might me saying, for me personally the album is sated by such a spiritualistic energy, which makes me barely breathe. Especially it concerns the following three compositions: "Looking from the Dome", "In Things Too High for Me" and "Black Sky White". By the way, the last one is my favorite.
 Narrow Is the Road by COMPASSIONIZER album cover Studio Album, 2022
4.11 | 33 ratings

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Narrow Is the Road
Compassionizer RIO/Avant-Prog

Review by Vanamonde

5 stars Once I said many of melodies created by this talented team can act as a perfect soundtrack to a movie. I would say this album is a new stage in the artistic development of Ivan and his peers because any theme in this work IS a movie with real plot twists, suspense moments, climaxes, and endings, happy or not. All the themes are inventive, expressive, and I would highly visual. Using only the power of the sound Ivan literally paints a dynamic series of pictures (always very personal and subjective of course) like in cartoons. By its free flow of an artist's thought and impetuous and continuous change of surrealistic images this collection looks like a third season of Shivering Truth by Vernon Chapman expressed in the language of music, though more diverse in its moods and genres. Every theme is like a story. It can a fairy tale like I need you to help, or a ballad like Narrow in the Road, or sometimes even a detailed documentary, though full of cry and tragedy, like Kramatorsk. And every one is a real gem and masterpiece. A great deal of effort is felt in every component of this work. One of the best if not the best album of Ivan and his team. My congratulations!
 With a Little Hell from My Friends by BASTIÁN, GRECO album cover Studio Album, 2022
4.27 | 22 ratings

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With a Little Hell from My Friends
Greco Bastián RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars This is not the first album of the Mexican Greco Bastian that I have listened to. The previous ones showed a talented composer, but were lacking, as Greco himself says, of skilled musicians on instruments different from piano and keyboards. Greco, in fact, declares that he is not a multi-instrumentist, and listening to the complexity of his compositions it's quite unbelievable. How can one invent bass lines, guitar solos, drums on odd signatures, if not able to play them? Probably the artist doesn't feel confident enough, but I don't think that he can't play anything but keys.

Anyway, thank to this "low self-confidence", Greco has been able to have some big names of today's avant scene playing in this album, together with his own band, a quintet of skilled musicians.

Describing track-by-track an album of this kind is not possible because there so much stuff going on that it would take ages, so I'll just point to the most peculiar elements:

- Zeuhl like repetitions - RIO flavor in the arrangements. - Unpredictability in the structures. - Time signatures that require differential equations to be computed...

But most of all, a great sensibility. Let me also add that the music is not as dark and depressive as RIO music can sometimes be. It has also some melodic moments.

A special mention is deserved by "Zeuhlito Lindo" (to be noted the humour in the titles): This track has a strong MAGMA flavor, and I must give my compliments to the drummer and the bassist. On this track they don't have anything less than Vander and Yannick Top.

The album is extremely enjoyable even by those who are not used to Avant and Zeuhl. They may start with track 4 (Oniontown) and the unexpected classical guitar that opens it followed by a guitar solo with some RPI flavor. It makes me think to the Goblin's debut.

What else to say: I remember when Greco Bastian asked to be added to progarchives, I had the impression that he was a little presumptuous, but he is simply correctly aware of his skill. "With A Little Hell From My Friends" makes the pair with "Monster Master" by SOT: the two best Avant albums that I've listened to this year.

 Monster Master by SOT album cover Studio Album, 2022
4.00 | 7 ratings

BUY
Monster Master
SOT RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars Maybe it has been a SOTanic influence to drive my pc crazy when I have added this new SOT release to the site, which resulted in adding it 10 TIMES!!! Ok, it's a great album but one time is enough...

The Norwegian trio is back with a full album release after six years with their mixture of Jazz, Avant and, most of all, lot of fun. I personally love the use of the tuba (called "tubmarine" by Lars) istead of the usual bass guitar, and the album contains also some exciting tuba solos. Let's now speak about the tracks:

"Draugner" is a good start: I'm not good at counting the beats, but I think it's in 7/4. The tempo is very catchy, the chord progression is vaguely dark in the Crimsonian sense ,and in these three minutes and half there's space for a drum solo, a slowed section with electronic noises, like dj scratching, and a dialogue between guitar and tuba. It fades into "Saga Siglar", a short newagey interlude featuring a melodic tuba played over slow percussion and keyboards.

Then comes the title track: the longest of the album scoring about 13 minutes. If you consider that in SOT's music there's usually a lot of stuff going on, you can barely imagine how many things happen on this track. It starts uptime with a dialogue between guitar and tuba playing the same notes while the drummer takes a fast tempo. Then it slows down with an oriental vibe and some jazz appearing in between this interlude, then the coming back to the initial theme, and it's when the variations start. A tuba solo sustained by guitar chord and a keyboard carpet while the drummer is like a metronome. There's also some speech in the tuba, the kind of things that Ian Anderson does with the flute, but without exhibitionism. after about 5 minutes it becomes unexpectedly jazzy. It's like being suddenly teleported into a night club between the two world wars, then the teleport restarts working and everything changes again. A guitar solo on a chord sequence reminding of the YES of the early 80s. and...ok, some spanish flavor and the main theme as the glue between the sections, including some spacey sounds and and avant section with drums and distorted tuba. I don't know how those sounds are obtained, but if this band is classified Avant, there must be a reason. In few words, this is a track I don't think I'll ever get tired of, including the newagey melodic section.

Another surprise: Tilstander features a very melodic guitar arpeggio, later joined by the tuba while the drummer adds atmosphere with the percussion.Great track.

The dialogue between guitar and tuba opens "Mann med Yacht". there's an alternance between this sequence of notes on an impossible signature and a melodic progression sustained y keyboards, then the track enters a rock section including an eciting guitar riff followed by an amazing performance of the tuba. It's also possible to hear some voices speaking, I assume in Norse, but it's quite unnitelliigible.

Again an unusual notes progression on an odd signature. Transcribing this music on a sheet should be a nightmare, but it's worth the effort. Also o this track there's really a lot going on, including a YES like coda.

Didgeridoo...in Norway? With somebody singing an "Aum"? "Rolig Ørken" has an oriental flavor, between middle and far East. It starts like a mantra. I'm used to enjoy ambient and folk, I love Kitaro and Yungchen Lhamo, so these first two minutes are a very pleasant moment. Then guitar and tuba play a strange melody with, I think to hear, Arabic and also Indian influences. The notes played by the tuba are incredibly low-pitched. This track is a trip!! It ends suddenly and is replaced by the heavy drums of "Barals Grav" The guitar riff in some parts is similar to AREA's "Cometa Rossa". This makes me think that a vocalist like Demetrio Stratos would have fit very well in the SOT's music. Hint for the band: should you ever decide to have lyrics, give a listen to Claudio Milano and his 7 octaves vocal range.

As in most of the album tracks, guitar and tuba sometimes play in unison. Suddenly a gong introduces a different session, quite newagey that passing through a YES like intrerlude after a minute turns into a sort of uptime rock and roll before coming back to this guitar lead newagey melody. There are also some mute vocals sung by a choir.

This is a very good album, I have the temptation to say that it' SOT's best release, but I should relisten to the other three albums before saying it for sure. Fact is that I have listened to it several times since when Skjalg has gifted me with a downloadable copy and I've never got tired of it, also the melodic newagey final of the album leaves me with the will of starting again. Question: is this or the last Greco Bastian's the best Avant album of the year?

Data cached

RIO/Avant-Prog bands/artists list

Bands/Artists Country
16-17 Switzerland
1870 (MIL OCHOCIENTOS SETENTA) Mexico
LA 1919 Italy
3 MICE Multi-National
3 PRIMATES France
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AD NAUSEAM United Kingdom
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
TOM ALDRICH / ZOLDER ELLIPSIS Netherlands
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC ENSEMBLE United States
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
ANTHROPODS Austria
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 / RED FICTION United States
AUKTYON Russia
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
GRECO BASTIÁN Mexico
LES BATTERIES France
ROMAIN BAUDOIN 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
BIRTHDAY ASS United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
BLACK MIDI United Kingdom
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
BLUEPRINT HUMAN BEING Finland
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
DOS CAFUNDOS Brazil
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
CHAINSAW JAZZ United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHÊNE NOIR France
GUIGOU CHENEVIER France
CHOCLAT FROG Germany
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
COMPASSIONIZER Russia
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CAIO CSIZMAR Brazil
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CUDÙ Italy
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
DARRIFOURCQ HERMIA CECCALDI Various
DAS RAD United Kingdom
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEADLY ORGONE RADIATION Various
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
DESERTION TRIO United States
DETAILS AT ELEVEN United States
DETIETI Russia
DEUS NUVEM Brazil
DIER Netherlands
DIRECTION SURVET France
DISCUS Indonesia
THE DISPLAY TEAM United Kingdom
DOCTOR NERVE United States
DON SALSA United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
JONATAN PIÑA DULUC Dominican Republic
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-MÈRE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
DYING GROUND Multi-National
EARDANCE United States
EBU GOGO United States
L' EFFET DEFEE France
ELECTRIC MASADA United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADIÀ 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
FAIR WIND PLEASES Russia
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FALLING INTO BIRDS United States
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
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FORTRANGT HUSHALLSARBETE Sweden
FOTE / THE TRUTH CLUB United Kingdom
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THE FOURTH WORLD QUARTET 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
GIANT HEDGEHOG Germany
MICHAEL GILES MAD BAND United Kingdom
GLINTSHAKE Russia
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THE GORDON GRDINA TRIO Canada
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HARDSCORE Belgium
HARPY Japan
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CHARLES HAYWARD United Kingdom
HELLEBORE France
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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
HORSE LORDS United States
HOT FUR Israel
HÖYRY-KONE Finland
HUMBLE GRUMBLE Belgium
HUNK AI Denmark
HUNUNHUM Japan
HYRROKKIN United States
I AM ABOVE ON THE LEFT Russia
LES I France
ICSIS France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
IN LOVE WITH France
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
LARS JONSSON Sweden
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
KOUTUS Finland
KRALDJURSANSTALTEN Sweden
DAGMAR KRAUSE Germany
KROKO Finland
KRUZENSHTERN & PAROHOD Israel
KSIEZYC Poland
KUHA. Finland
KULTUR SHOCK Multi-National
KULU HATHA MAMNUA Switzerland
KURUSHIMI Australia
THE KURWS Poland
LACRYMOSA Japan
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
LEFTYFISH Indonesia
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
MEZZ GACANO Italy
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
MOSAÏC 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
MULA Colombia
MUSEO HETERODOXO Peru
MUSICA D'REPUESTO Cuba
MUSICA TRANSONIC Japan
MYRBEIN Sweden
N.O.R.M.A. Italy
NAKED CITY United States
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NATIONAL DIET United States
NAZCA Mexico
NE ZHDALI Estonia
NEBELNEST France
NEBULOUS SUN France
NEO Italy
NEPTUNIAN MAXIMALISM Belgium
NEWS FROM BABEL United Kingdom
NI Austria
NI. France
NICHELODEON Italy
NICOTINA ES PRIMAVERA Argentina
NIEW HIP STILEN Netherlands
NIMAL Switzerland
NINE TOBS Netherlands
NITRAM ET LES SEPT GRAMMES Canada
NO BASE TRIO Puerto Rico
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
OORT SMOG United States
OPABINIA Japan
OPTICAL*8 Japan
OPUS AVANTRA Italy
ORANGE TULIP CONSPIRACY United States
ORCHESTRA NJERVUDAROV Italy
ORCHESTRA OF THE UPPER ATMOSPHERE United Kingdom
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
PANICSMILE Japan
PANZERPAPPA Norway
PAPER MICE United States
PARDANS Denmark
PARTNER United States
PATAPHONIE France
MIKE PATTON United States
PEARLS OF SWINES France
PERFUME DE MUJER Cuba
PERHAPS CONTRAPTION United Kingdom
LA PERRA Mexico
PFS United States
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PIENZA ETHNORKESTRA France
PIG SOUL Brazil
PIKAPIKA TEART Russia
PING Norway
PINIOL France
PISSUK RACHAV Israel
PITOM United States
PLASTIC DOGS Japan
THE PLASTIC PEOPLE OF THE UNIVERSE Czech Republic
PLOZ Canada
ANDREW PLUMMER & WORLD SANGUINE REPORT United Kingdom
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
QUEEN CRONY United States
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
RATIONAL DIET Belarus
RATTLEMOUTH United States
RECREATION Belgium
RED BALUNE United Kingdom
THE RED MASQUE United States
RED NOISE France
ALEC K. REDFEARN AND THE EYESORES United States
REDRICK SULTAN Canada
REFLECTIONS IN COSMO Norway
REPORTAZ Poland
THE RESIDENTS United States
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RÊVE GÉNÉRAL Multi-National
LES RHINOCÉROS United States
ALESSIO RICCIO Italy
RINNESYA Japan
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SAAL HARDALI Israel
SAJJANU Japan
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SALLE GAVEAU Japan
SALMAGÜNDI Italy
SALMO France
SAMLA MAMMAS MANNA Sweden
SARLO AKROBATA Yugoslavia
SATANIQUE SAMBA TRIO Brazil
MASAHIKO SATOH AND THE SOUNDBREAKERS Japan
DIONYSIS SAVVOPOULOS Greece
DANIEL SCHELL & KARO Belgium
SCHNELLERTOLLERMEIER Switzerland
THE SCIENCE GROUP Multi-National
SCORCH TRIO Multi-National
SCROOGE Austria
SEABROOK POWER PLANT United States
SEBKHA CHOTT France
SECRET CHIEFS 3 United States
SHINING Norway
SILENCIO United States
LE SILO Japan
SIR MILLARD MULCH United States
SIX CYLINDRES EN V France
SKELETON CREW United States
SLAPP HAPPY Multi-National
SLEEPYTIME GORILLA MUSEUM United States
FRANCISCO SLEPOY Argentina
SMEGMA United States
SNAKE OIL France
SNAKEFINGER United Kingdom
SNARLING ADJECTIVE CONVENTION United States
THE SOCIETÀ ANONIMA DECOSTRUZIONISMI ORGANICI Italy
LA SOCIETE DES TIMIDES À LA PARADE DES OISEAUX France
SONAR Switzerland
SONS OF CEPHEIDS United States
SOT Norway
SOTOS France
SPALTKLANG Switzerland
SPECIES BEING United States
SQUARTET Italy
STABAT AKISH France
MARK STANLEY United States
STARRING United States
STEAMBOAT SWITZERLAND Switzerland
SIMON STEENSLAND Sweden
STEPMOTHER Multi-National
STERBUS Italy
STOP MOTION ORCHESTRA United States
STORMY SIX Italy
STRANGE CHANGES United States
STRIPSEARCH United States
SUBTILIOR Italy
SUDOKU KILLER Italy
SUN CITY GIRLS United States
SUPERDENSECRUSHLOADFACTOR Australia
SWEET POTATO United Kingdom
SYNKOKE Norway
SZENTENDRE France
HERMANN SZOBEL Austria
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TALI TOKÉ Belgium
TAMANDUA United States
TANZ Italy
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TAYLOR'S FREE UNIVERSE Denmark
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TEDDYBJÖRN BAND Sweden
TENKO Japan
TEXTBOOK OF MODERN KARATE Italy
STEPHAN THELEN United States
THINKING FELLERS UNION LOCAL 282 United States
THINKING PLAGUE United States
THIS HEAT United Kingdom
JACQUES THOLLOT France
THONK Switzerland
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STEVAN KOVACS TICKMAYER Serbia
TIGRESS AND THE U-FRAIDEES United States
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TIME OF ORCHIDS United States
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TOM MOTO Italy
TONE DOGS United States
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TRACTEUR France
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TRAP United States
TRAUN United States
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TROOT United States
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U TOTEM United States
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UDUS Italy
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ULTRA ZOOK France
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UR KAOS Sweden
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VERTO France
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VIALKA France
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LES YEUX DE LA TÊTE France
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YOG SOTHOTH France
YOLK France
YOLK Switzerland
YONHOSAGO Chile
TATSUYA YOSHIDA Japan
YOWIE United States
YUGEN Italy
ZAAR France
THIERRY ZABOITZEFF France
ZAMLA MAMMAZ MANNA Sweden
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ZAUSS Multi-National
TOM ZÉ Brazil
ZENERIK Greece
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ZLETOVSKO Japan
ZNR France
ZOAMBO ZOET WORKESTRAO Slovenia
ZOOLIXO LIGO Greece
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ZS United States
ZU Italy
ZUT UN FEU ROUGE Sweden
ZYPRESSEN Japan

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