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RIO/AVANT-PROG

A Progressive Rock Sub-genre


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RIO/Avant-Prog definition

Avant-Prog

Avant-prog is an umbrella term which refers to any progressive rock artist with a strong leaning towards avant-garde and highly experimental approaches to music. Therefore, it includes the sub-genres of Rock In Opposition (see below) and Zeuhl in addition to general avant-prog artists.

Avant-prog is generally considered to be more extreme and 'difficult' than other forms of progressive rock, though these terms are naturally subjective and open to interpretation. Common elements that may or may not be displayed by specific avant-prog artists include:

- Regular use of dissonance and atonality.
- Extremely complex and unpredictable song arrangements.
- Free or experimental improvisation.
- Fusion of disparate musical genres.
- Polyrhythms and highly complex time signatures.

Most avant-prog artists are highly unique and eclectic in sound and consequently tend to resist easy comparisons. However, Frank Zappa is often cited as a major influence on many avant-prog artists due to his early adoption of avant-garde and experimental attitudes within a predominantly rock/jazz context.


Rock In Opposition

Rock In Opposition (RIO for short) is the name of a short-lived movement that has gone on to define a sub-genre of progressive rock, and which is now sometimes applied to musicians whose careers hadn't even started by the time the movement had ceased to exist in any official capacity. It is not synonymous with the term avant-prog, for whilst bands associated with RIO are (generally speaking) avant-prog in nature, most avant-prog bands are not associated with RIO.

The roots of RIO can be traced to Henry Cow, a UK progressive rock band with a distinctly avant-garde sound and left wing political ideology. Henry Cow toured extensively in Europe throughout much of the 1970s and came into contact with a few similarly inclined bands, in an ideological sense as much, if not more, than a musical one. These groups did not always have much in common stylistically, apart from a basic leaning towards fusing avant-garde qualities with elements of rock. Most of these bands were working independently at the time and had no distribution or realistic opportunity of touring outside their native countries. The idea of Rock In Opposition was to create an independent network of like-minded performers that would not be dependent on the largesse of major record companies for their survival.

Henry Cow invited four of these bands to play alongside them at the first Rock in Opposition festival on 12th March 1978, at the New London Theatre, Drury Lane in London. The British Arts Council helped the funding of the festival with a ú1000 grant. The Rock in Opposition slogan "The music the record companies don't want you to hear" was altered very slightly for the flyer advertising the first Rock in Opposition concert.

The five initial Rock in Opposition bands were:

Henry Cow (England)
Univers Zero (Belgium)
Etron Fou Leloublan (France)
Samla Mammas Manna (Sweden)
Stormy Six (Italy)

Three additional bands were later officially elected to the movement:

Art Zoyd (France)
Art Bears (England)
Aksak Maboul (Belgium)

The involved bands had many disagreements in a meeting at Sunrise Studios in Kirchberg, Switzerland in December 1978 about the purpose of the group, and its meaning. They eventually came up with a plan to continue their joint concerts. They organised three more festivals and co-operative record distributions but eventually the RIO group dissolved. It left behind a legacy that would initially be picked up by later projects from the many musicians involved with the original movement, and later on by artists inspired by the original RIO groups. Miriodor and Ensemble Nimbus are often said to be influenced by Samla Mammas Manna, for example, and are consequently sometimes referred to as RIO bands.

Since 2007, a contemporary RIO festival has been held most years in Carmaux, France. This festival has included artists closely associated with the original RIO movement alongside bands from the wider world of avant-prog and experimental music.

Dates of the original RIO festivals

12 March 1978 at New London Theatre, Drury Lane, London, England (set up by Henry Cow)
26 April 1979 to 1 May 1979 at Teatro dell'Elfo, Milano, Italia (set up by Stormy Six)
28/29 September 1979 in Uppsala, Sweden (set up by Samla Mammas Manna)
Bruxelles, Belgium (set up by Univers Zero)

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

Written/Compiled/Edited by past and present members of the RIO/Avant-Prog team

Current team members:
as at 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 | 1786 ratings
HOT RATS
Zappa, Frank
4.47 | 107 ratings
H─XAN
Art Zoyd
4.32 | 1080 ratings
THE GRAND WAZOO
Zappa, Frank
4.38 | 173 ratings
ON LAND AND IN THE SEA
Cardiacs
4.31 | 1087 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.30 | 371 ratings
SING TO GOD
Cardiacs
4.29 | 304 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.27 | 385 ratings
UZED
Univers Zero
4.28 | 301 ratings
WESTERN CULTURE
Henry Cow
4.35 | 102 ratings
N║ 6
Present
4.41 | 70 ratings
LETTERS HOME
News From Babel
4.40 | 72 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.33 | 123 ratings
DECEIT
This Heat
4.30 | 165 ratings
HUONO PARTURI
H÷yry-Kone
4.33 | 109 ratings
BOOK M
Secret Chiefs 3
4.25 | 337 ratings
HERESIE
Univers Zero
4.28 | 195 ratings
IN EXTREMIS
Thinking Plague
4.30 | 135 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.24 | 332 ratings
M┼LTID
Samla Mammas Manna
4.61 | 29 ratings
PLAYS STANDARDS
Ground Zero

RIO/Avant-Prog overlooked and obscure gems albums new


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

ZAAR
Zaar
CARTOON
Cartoon
LETTERS HOME
News From Babel
DOOR FLOOR SOMETHING WINDOW: LOOPING HOME ORCHESTRA LIVE 92-93
Hollmer, Lars

Latest RIO/Avant-Prog Music Reviews


 J G Thirlwell & Simon Steensland: Oscillospira by STEENSLAND, SIMON album cover Studio Album, 2020
3.92 | 27 ratings

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J G Thirlwell & Simon Steensland: Oscillospira
Simon Steensland RIO/Avant-Prog

Review by TheEliteExtremophile

4 stars JG Thirlwell is an Australian-born, Brooklyn-based multi-instrumentalist best known as the man behind the industrial act Foetus. He also acts the composer for the TV shows Archer and The Venture Bros, the latter of which is one of my absolute favorite shows. (It also made progressive rock a central plot element in one episode.) Simon Steensland is a Swedish multi-instrumentalist and composer with a long history in modern avant-garde rock music.

In addition to avant-garde and progressive rock influences, this duo makes extensive use of orchestral music. Much of this album sounds like it could have been the score for a creepy arthouse film. Atonal strings and minor key woodwinds dominate on this record, filling up most of the space not occupied by traditional rock instrumentation.

The opening "Catholic Deceit" demonstrates this approach, with its spooky chamber-music orchestration and rolling, propulsive percussion below stretched-out distorted guitar. Later in the song, a marching rhythm takes over, augmented by low brass and a distorted, pulsing synth. The song's final minutes come to a climax with speedy marimba lines and chaotic, yet deft, drumming.

The second song, "Heron", starts off slower than the opener, but by the time it reaches its midpoint, it's brimming with dramatic guitar, synth, and choral parts. "Night Shift" has huge, metallic guitar parts and plodding, powerful drums. That song also features another march consisting of low brass and marimba that sounds like it was originally written for The Venture Bros before being retooled for this project instead.

"Papal Stain" is one of the most consistently urgent compositions on Oscillospira. There are the usual tempo and dynamic variations that mark all these sprawling pieces, but the mood of this song is especially tense. "Heresy Flank" has some distinct textural qualities. There's this hurried scratching sound which I can only guess is muted acoustic guitar strings. Contrasted against bassy, heavy piano, it makes everything feel askew. "Heresy Flank" is also the most consistently Venture Bros-ish composition here.

The album closes on "Redbug", which has some apparent Magma allusions. Mantra-like vocal chants, jazzy drumming, and insistent basslines build in intensity. Synths warble in the background, and electric guitar notes stretch and distend over the top. Once the intensity crests, the mood shifts to one of doom and despair.

Oscillospira is a long album that demands a lot of attention. The instrumental compositions morph gradually over runtimes which regularly cross the 8-minute threshold. Atonality can be a tricky tool to deploy, but Thirlwell and Steensland have used it masterfully on this record.

Review originally posted here: theeliteextremophile.com/2020/05/25/album-review-jg-thirlwell-simon-steensland-oscillospira/

 Blasphemy by KAYO DOT album cover Studio Album, 2019
3.61 | 89 ratings

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Blasphemy
Kayo Dot RIO/Avant-Prog

Review by TheEliteExtremophile

3 stars Kayo Dot have long been one of the more amorphous acts in the progressive rock and metal scene. There's often a great deal of variation between their individual albums, with their last couple releases being relatively soft and synth-heavy. Compare that to their vaunted debut, Choirs of the Eye, where the band started off as an avant-garde metal act. Of late, though, they've been incorporating more and more influences from the 1980s, particularly post-punk and gothic rock.

This fusion continues on Blasphemy, the band's ninth studio album. This release also sees Kayo Dot reviving a bit of their metal roots. I would not call this a metal album, but it's their most aggressive record in a while. Those heavier tones complement the coldness of the goth influences, and bandleader Toby Driver has managed to write another distinct album.

"Ocean Cumulonimbus" opens the album in a way that sets the tone for the entire album. After a quiet, ominous opening, the song explodes into slightly-dissonant chords under impassioned vocals. Synthesizers swell and buzz, adding a sense of urgency of it all. The sequenced synthesizers of "The Something Opal" provide strong forward momentum and allow this track to immediately engage the listener. The whispered vocals which briefly appear were probably meant to sound sinister, but in they wound up coming off as somewhat silly and campy. It's a rare stumble.

"Vanishing Act in Blinding Gray" is another strong point. It's a sprawling, slow-building piece that begins as a gentle bit of melancholia. As it progresses, the synthesizers become more dominant, and the drumming becomes more aggressive. Atonal arpeggios are artfully applied to transition the song to a more menacing movement. Cascading keys and palm-muted guitar riffs bring this song to a crushing, majestic climax.

Unfortunately, much of the album's second half isn't as enthralling as its first. The music is still good and enjoyable, but aside from the closing track, I don't feel there's much I can really say about it. Avant-garde influences mesh with goth flavors, but the tempo of the songs does not vary much. Combined with their similar timbre, this can make the second half feel tedious.

Blasphemy closes on a high note, though. The title track begins with sounds I'd almost expect from Peter Gabriel. Springy bass, warm synths, and cymbal-less percussion imbue some good kinetic energy into the music as jagged guitar cuts through the mix to generate contrast.

On this album, Toby Driver continues to put more stock into the gothic rock sounds of the 1980s while adding a touch more heaviness than the band's last couple releases. It's mostly successful, but there are moments where it sounds like they're wallowing a bit. Some of the second half could have used a bit of tightening up, but strong ideas are present throughout Blasphemy's full runtime. I'd definitely call this a good album, but I think their 2014 album, Coffins on Io, did a better job of pulling off the same general sound.

Review originally posted here: theeliteextremophile.com/2019/10/07/album-review-kayo-dot-blasphemy/

 Sus by POIL album cover Studio Album, 2019
4.00 | 62 ratings

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Sus
PoiL RIO/Avant-Prog

Review by TheEliteExtremophile

5 stars I've written before of France's unique place in the world of progressive rock. Of the countries with distinct national sounds, theirs has always been the most unashamedly weird, fusing progressive rock with jazz and avant-garde music. Zeuhl was an almost-exclusively-French genre for the first twenty or so years of its existence, and two of the five founders of the Rock in Opposition (RIO) scene were Francophone. (Univers Zero were from the French-speaking Wallonia region of Belgium.) PoiL, the experimental Lyonnais trio, are one of the most prominent contemporary bands carrying on this tradition.

Last year, PoiL fused with the band Ni to become three-sevenths of the supergroup PinioL. Ni's particular brand of experimental rock music has frequently bordered on metal, and on Sus, it sounds as if some of that may have rubbed off on the guys in PoiL. PoiL lacks a guitar player, but that doesn't stop the band from laying down their heaviest music to date. The bass on this album crunches and snarls; the electric piano pounds out weird, dissonant chords; and the drumming is downright virtuosic.

Sus is nominally split into five songs, but functionally, it is more accurately described as a pair of 20-minute suites. "Sus la peýra" opens the first of these two suites with thundering bass and squealing synthesizer while the drums and a steady electric piano arpeggio keep the intro from devolving into an unfocused morass. The lyrics, sung delicately in contrast to the instrumental bombast, draw from Occitan poetry. The gentle vocals eventually become more of a somber chant in between moments of instrumental weirdness that almost sounds like a bizarre, jazzy version of Rage Against the Machine with its sudden starts, stops, and octave-wide oscillations.

After that 12-minute salvo, the brief "Lo potz" acts as breather. It's barely a minute long and a cappella. It's a nice glimpse into just how pretty the Occitan language is, sounding closer to Italian or Spanish than to French. This opening suite ends on "Luses Fadas" and showcases PoiL's most obvious Magma influences. Ostinato bass and hypnotic piano lines undergird chanting vocals. The bass and piano lines gradually grow more complex in the instrumental moments, and the vocals alternate between Spanish-flavored chanting and rapidfire, funky, babbling syllabics.

"GrŔu Martire" opens the second suite with off-kilter instrumental interplay. It's something I'd expect from a daring math rock band, with its uneven, jerky rhythm and atonality. That song acts as a setup to the real meat of this suite, "Chin f˛u". The vocals are dramatic and once more tinged with Spanish/Moorish influences. Despite a continually-odd rhythm, the song flows well, with the vocals trading the spotlight with some impressive soloing.

With Sus, PoiL have released a challenging, yet engaging, work. The music here lurches and roars in fits and stops, and the harmonized vocals contrast and complement it. They've channeled France's long history of artistic experimentalism and avant-garde leanings in rock music. To that history, they've added a modern, metallic edge, and that intensity is what really makes this such an enthralling album.

Review originally posted here: theeliteextremophile.com/2019/05/19/album-review-poil-sus/

 PoiL Ueda (as PoiL Ueda) by POIL album cover Studio Album, 2023
3.96 | 11 ratings

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PoiL Ueda (as PoiL Ueda)
PoiL RIO/Avant-Prog

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

4 stars One of the most unexpected collaborative efforts of 2023 so far has to be the hyperactive avant-prog band PoiL who comes from Lyon, France teaming up with the traditional Japanese musical arts master and Tokyo based Junko Ueda who together have released an album simply titled POIL / UEDA. How one of the most spazzed out modern-day brutal prog bands could collaborate with a transcendental medieval Japanese version of a troubadour was something i could not fathom until i finally pushed play and let it all roll out!

PoiL has carved out a unique niche in the world of avant-prog with a zany zolo-esque hyperactivity fortified with Zappa-like quirkiness. Add some heavy brutal bombast and psychedelic excesses and PoiL has taken things to extremes. Each and every album adopts a different approach but there is no denying it is PoiL. Junko Ueda on the other hand is a classical artist who brings the medieval Japanese art forms of heikyoku and shōmyō to the modern world. Heikyoku is one of the oldest Japanese traditional music forms that features a bard who narrates a tale whereas the shōmyō is a type of Buddhist chant used primarily in the Tendai and Shingon sects.

Perhaps nothing should surprise fans regarding PoiL's next musical adventures as the band seems more open-minded than the average prog band but i'd bet no one saw this one coming! The album is on the short side only slinking over the 31-minute mark and basically features two themes with multiple parts. "Kuj˘ shakuj˘" is a three part build up of musical mojo which is based on a Buddhist shōmyō that is practiced to ward off evil spirits. The two-part "Dan no ura" shifts gears completely and narrates a naval battle which led to the decline of the imperial Heike clan after facing off with the Genji clan. Lyrics are exclusively in the Japanese language.

While PoiL has traditionally been an unhinged untamable and unapologetically wild prog band, on this collaborative effort they seem utterly hypnotized by the soft spoken Japanese lyrics that remind me of European yodeling at times. Likewise Junko Ueda performs on the traditional Japanese instrument called the satsuma biwa which is a short-necked lute used in narrative storytelling in the Japanese culture. Ueda is the star of the show here with PoiL's rock instrumentation firmly adhering to the melodic developments suavely propelled by the chants and accompanying Japanese musical scales. Although confined on a leash so to speak, PoiL still has plenty of room to strut their proggy stuff much like a post-rock band improvises around a cyclical groove.

While such collaborations are not unheard of, it seems that the cross-pollination of cultures continues as do the mixing of the spiritual with the profane much like Ray Charles fusing gospel with American soul back in the 1950s although more of this is happening on a global scale with ever greater complexities. For anyone longing for a frenetic avant-prog display as heard on "Brossaklitt," this is not the album for you. This is an avant-garde take on ancient Japanese musical traditionals unlike anything done before. The music is relaxing and mesmerizing and even when PoiL is allowed to add the rock heft to build up deafening crescendoes, the musical flow is still very much strictly adhered to. An anomaly in the canon of both artists, this one is an amazingly satisfying of the ancient meeting the modern day developments in prog. Brilliant.

 Hand That Takes by THROWAWAY album cover Studio Album, 2022
4.05 | 2 ratings

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Hand That Takes
Throwaway RIO/Avant-Prog

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

4 stars Coming from the heartland of the USA in Detroit, Michigan, the modern hardcore band THROWAWAY is keeping the dream of prog infused punk alive well into the 21st century. This trio is led by the charismatic Kirsten Carey (guitar, vocal) who has channeled her inner Lydia Lunch meets Dimanda Galas and launched a rather boisterous career with energetic live performances and so far two releases. Known mainly as the mystery punk goddess who performs with a paper bag over her head, she and her partners in crime Oliver Dobrian and Jonathon Taylor who are both drummers make THROWAWAY a strange little musical entity.

HAND THAT TAKES is the second release emerging in 2022 with eight tracks that only add up to 22 minutes but what a punch this little noisy musical experience is! Despite the term pronk (prog + punk) clearly applying here, this is no Cardiacs worship band but rather derives more inspiration from NYC's skronky no wave movement that existed in the grimy underground in the late 70s and early 80s. Add to that the band delves into the complex angularities of avant-prog offering jittery time signature attacks and highly unanticipated hairpin turns in musical direction. Ironically there is no bass to be heard! Just guitar, two drummers and Carey screaming her heart out!

The music is quite varied actually. The band is quite capable of holding a steady groove to lull you in before unleashing an unexpected attack of sheer music terror that results in chaotic outbursts of youthful angst run amok. The music skirts on that precipice of easily accessible punk rock albeit with extreme dissonance and atonality and the sheer free form experimentation of the most extreme cases of the prog universe. The band cites its influences as a nasty mix of the Japanese punk band Otobke Beaver along with the sludge metal of the Melvins along with the chaotic avant-weirdness of Deerhoof. Add to that a few grooves from Primus and the zaniness of Frank Zappa and you sorta get the picture.

Basically a riff based band with a catchy albeit obnoxiously jazz-fueled caustic guitar grooves leading the way, THROWAWAY truly delivers the goods from an anarcho-punk sorta way with the icing on the cake coming from the experimental and progressive accoutrements that always threaten to derail the entire shebang and plunging into sheer sonic noise terror. The star of the show is no doubt Kirsten Carey whose charismatic bravado ranges from contemplative soft semi-spoken lyrical deliveries to true irreverent outrage. While certain parts such as the short "(News Bulletin)" offer nothing but sheer noise rock, others like "DINOSAUR" are quite hilarious with well established meaty hooks that don't deviate from accessibility.

An interesting band to watch out for as all the ingredients for a classic act are in the making. HAND THAT TAKES may be short and to the point but provides a diverse palette of distinct hardcore flavors that mine the world of no wave, punk rock, indie rock, avant-prog, noise pop and the never-ending wellspring of the experimental. This is one of those really fun albums that makes you want to see the band live because as animated as Carey is on these recordings is probably only a controlled allowance of what she is like on stage fully fueled by an audience. Overall a really cool modern example of progressive punk that doesn't sacrifice the immediacy of the punk world for getting overly complex.

 The Thing That Knowledge Can't Eat by KENEALLY, MIKE album cover Studio Album, 2023
3.97 | 12 ratings

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The Thing That Knowledge Can't Eat
Mike Keneally RIO/Avant-Prog

Review by runciblemoon

4 stars A new Mike Keneally album is always a cause for celebration in my opinion, and this one is no exception. Seasoned fans will know what to expect, at least to some extent - off-kilter songwriting, killer guitar work and Keneally's uncanny ability to maintain a sort of magnanimous, mellow vibe no matter how out-there his compositions can get.

'The Thing That Knowledge Can't Eat' is textbook Keneally in that sense. It's eclectic almost to a fault; veering from straight-ahead pop rock (Both Sides of the Street) to Zappa-esque big band jazz (Ack) and full-blown wacked-out experimentalism (Lana), and all points in between. As always, there are times when Mike's tongue appears to be firmly in his cheek and others where his heart's just as firmly on his sleeve, but no matter whether he's feeling playful or serious, the album exudes a welcoming warmth throughout.

Longtime fans will be delighted by another excellent addition to his already impressive discography, and newcomers could do a lot worse than to start here.

Track Highlights: Celery, Lana, The Carousel of Progress

 PoiL Ueda (as PoiL Ueda) by POIL album cover Studio Album, 2023
3.96 | 11 ratings

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PoiL Ueda (as PoiL Ueda)
PoiL RIO/Avant-Prog

Review by runciblemoon

4 stars On this collaborative album PoiL joins forces with Japanese vocalist and satsuma-biwa player Junko Ueda. Is avant- prog and traditional Japanese court music an awkward mix? In lesser hands, maybe, but somehow PoiL and Ueda seem to make it work seamlessly from the off. For their part, PoiL pull no punches here, serving up an instrumental backdrop that veers between sinister, abstracted soundscapes and the kind of gutsy, gleefully contorted avant-rock we've come to expect from them. Meanwhile Ueda's powerful, throaty vocals and biwa seem to glide over and seep into every nook and cranny left by the band. The result is music that is at times ethereal and enchanting, at others aggressive and alien, but consistently engaging and bursting with detail.

At barely over 30 minutes, you'd be forgiven for feeling a little shortchanged, but there is so much densely packed music within that runtime that I'm personally quite thankful that this album doesn't push its luck and risk tipping over from exhilarating to exhausting. Mind you, a second release from this collaboration would certainly not be unwelcome.

 Tinsel Town Rebellion by ZAPPA, FRANK album cover Live, 1981
3.17 | 196 ratings

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Tinsel Town Rebellion
Frank Zappa RIO/Avant-Prog

Review by Per Kohler

5 stars T.R. was the first Zappa album I ever bought. Same year as release on vinyl double-Lp. It was issued during the early stages of what should be defined as phase two of Zappas career (which started shortly before with the equally excellent Sheik Yerbouti). As with quite a few other acts that appeared in the second half/late sixties this was an era that was dispised by the purists (late seventies/early eigthies). I don't know how many hesitant, so-so or even direct negative reviews I've encountered about this exquisite recording. Let's have a look at some of them; first book I read about Zappa didn't utter one negative word about his music until, you guessed it, T.R. Complaining about 'reshodded' material and content. Of the album's 16 titles only five of them are taken from previous releases. Most or almost all live albums are completly made up of old material. Here you find 2/3 of premiere recordings. Next one British music paper; similary dreadful. Mutual from people I've met and talked to; medium disc, belly splash, non-essential...I spoke to a record store owner and huge Zappa fan; up to -77, became the answer. No further! I was on the verge to implicate that Zappa had done an insurmountable amount of top music after that, but I kept quiet. This is far from unique for Mr. Zappa. Several other albums belonging to pure elite class like Genesis 'A.T.T.W.T.', Uriah Heep 'Fallen Angel', Allman Brothers 'Reach For the Sky', Caravan 'Back to Front'; were planed off in the same manner. Had Zappa's and the other mentioned here been released in -71 instead they had all in one way or another been much more admired by the pundits. It seems that if you're a fan of T.R. then you're lost in an arid desert, with water hole as mirage. Aside from one single studio track, T.R. is regarded as a live album and technically there's nothing to argue about that. It's even admitted in the album texts. Personally though, I don't consider it as such. The endless flow of new material from the composer means that you encounter it for the first time. There are no other versions to compare with. Add to this the ability from Zappa to transform it into, when wanted to, a musical piece free from either definition. It's simply a new Frank Zappa album. The studiotrack 'Fine Girl' opens the record; It's nothing but magic! It proves that the conjurer is the true master of simplicity. This wisdom appears when you imbibe 'Drowning Witch' and 'Big Swifty' at the other end of the spectrum. The midsection break is repeated eight times. There's never a dull nanosecond. The lyrical content won't nominate it's originator for a grammy nomination from The Coalition of Labor Union Women. Reggae tinged as you may detect, and if so the finest offering you've ever encountered in this genre. It's Zappa's rendition of 'No woman, No cry' in a more stylish manner. A wall of vocal parts flows over you from Zappa himself and his incredible co-operators.

If 'Fine Girl' theorizes with the taste buds of the family tyrant you are, then 'Panty Rap' goes into full action. All female private parts out in the fresh air. Even for a music professor, this is not a bad thing. If you want to go into privacy, then you'll come to the conclusion that Zappa must have had a well tought out escape route in front of his own wife Gail Zappa. As I reckon, they lived happily together through prolonged decades. An ignorant women's libber had unavoidably been chasing Frank up and down the stairs; with rolling pin in one hand, and signed divorce form in the other...Gail Zappa was at the same bright level as her spouse and grasped the dividing line between fiction and what we call reality. As it happens, you won't find a more daring collection of this magnitude from an equally established artist. At the same time, all done with tongue in cheek. The collected lyrical content on T.R. easily outgoes 150 normal main stream albums at your local record store. It only adds to the confusion why it's held so low by observers. The upcoming 'Easy Meat' becomes, in the context, as innocent as a white lamb. It says it all. Strategically put as second track it is definately a highlight on the record. Maybe the highlight. You've never heard a more meaningful and purposive guitar burst from F. Zappa. Not to mention the massive keyboard cascades delivered by a highly inspired Tommy Mars. A decade old composition with parts recorded in the mid seventies. A few lucky buggers have already encounterd it along the way, but for most folks it's a brand new experience. There are three major sections in the song, somehow very independent both in time/space but all melt together as one trophy. The longest track of the album. 'For the Young Sophisticate' offers an uninhibited bare layed xylophone. We're solely talking music terms. When all is said and done, this is what's it's all about. A relaxed and pleasant mid-tempo rocker. Even if not the most challenging cut on the record, it's not without merits. If you find the cover of Patti Smith album Easter repulsive then you'll find support from the young sophisticator. An overgrown armpit is just gradations below other unmentionable body parts.

With a to say the least comprehensive catalogue under his belt it is tempting to sort up and find some breathing space. 1979 had been a phenomenally high productive year with multiple releases. For the adventitious visitor at the record shop there was one new Zappa long play out at every occasion. Almost everything at highest standard to boot. How many artists reach this incredible level? -80 empty due to contractual reasons then it kicks off again with a vengeance 1981. T.R. was released simultanously with the voluminous 'Shut Up and Play Yer Guitar' (albeit through different channels. The latter via mailorder). Only four footling months later massive double-Lp 'You Are What You Is'. A burning conglomeration 79-81, for the normal artist enough to fill out an entire career. 'Sheik Yerbouti' was the start for something new and fresh; sound, production, package, attitude, whatever...Tinseltown Rebellion follows in the same direction. 'Roxy & Elsewhere' didn't bother with any radio friendly opening cuts. For my money at least, this is a milestone in music history in itself. Even though it's a limted slice in Zappa's career it's so full of musical enrichment. It becomes clear that you can't engulf in one bite but slice it up. Zappa's production can be difficult to overview even for the initiated, then imagine the ignorant. One true story; a Swedish acquaintence of mine lived with his host family in Florida for whom he intruduced the music world of Zappa. That is his lighter, approachable side. Encouraged by this, the family went out and bought album at random. It became 'F.Z. in N.Y'. They were, to put it mildly, perplexed.

Side A of the record has already swung you in opposite directions. If you thought that Side B differed then you were wrong. A cluster of 50ies rendered tracks, all filtered through the writers cunning sense of humour. Already mentioned 'Panty Rap' plus a guitar instrumental. Three previously released songs all around two unbelievably short minutes. For the Zappa rescued they serve as satirical elements just joking around with its contemporaries, for the less knowledgable they're just as great as anything in its style. It takes an outsider, other than the average Zappa fan at least, to fully comprehend his genious here. No single individual has the ability to overview Zappa's enormous production from all angels. We're all amateurs. The inevitable question looms large; why are these three tracks included at all? All the way back to already existing debut album. Just to fill out empty spaces? To make it a more desirable sales item? The emphasis ends up on the latter alternative. Recent albums gave Zappa a flirt with a wider audience. Suddenly all your high school mates were in possesion of at least one or two Zappa albums. 'Now you see it, now you don't' (can you figure out the title's hidden implication...?) may be written off as a mere guitar improvisation for a cynic. I've never seen it that way. It's simply too interesting. Obviously, a part of something much bigger, namely 'King Kong'.

Not only does the title track belong to side C of the double vinyl, it also possesses a rare trait. There's nothing like the formula that floods all over the album. That is the ever present female/male disputes. Since we left the unicellular pond this has been the main drama here on mother earth. T.R. is no exception as we already have dealt with. Instead we find a fully believable and realistic story about what could be practically any band (with the exception of Zappa's own). Why is F.Z. satirical or parodic as always pointed out? Is it so? It could perfectly well be the contrary. It's him telling the plain unbeautifying truth where others beat about the bush. He doesn't mince words for sure but why should it be that way? The laugh is just nothing than an ad-on. 'The Blue Light' is an ineluctable piece that just flows all over you. An Ocean of syllables in talk song manner. Cinematic in its delivery it takes an audience above average pop level to give it full justice. 'Pick Me, I'm Clean' is another stunning masterpiece like 'Easy Meat' and one of the pillars of T.R. Very well structured I will say in a manner that reminds you of progressive bands in the more melodic vein. Echolyn/Yes come up as healthy frames of referenece. Somewhat vague in meaning before you'll figure out its content. A groupie in the audience came up with the titlewords; yelled them out. Zappa lend her a helping hand, used his quill to fill up the remainder of it. Enter Ike Willis. Which album can be inferior with a singer of his capacity? Paired with one of the other vocalists here they form an unbeatable singing team. He's not unknown the other; it is Frank himself. It's worth pointing out alas. When you have so many irons in the fire as Zappa people tend to ignore or forget about his supreme world class vocal capacity. Not to mention palpable orginality. In how many reviews have you encountered the subject? He is Frank Sinatra, Ivan Rebroff and Chuck Berry in one. Zappa/Willis in tandem, they met for the first time 1977 in St. Louis, the hometown of the latter. For understandable reasons, Willis was double-quick in the the backing group. All the way up to the very end. The moment you note the voice of Willis, you already know you're in Zappa land. Second to none in import. Just like his fellow Zappa, he seems to have the built-in ability to do a volte-face from the weighty to the light-hearted(and back) in no time. No wonder that Willis had a major position in the ensemble. Plus the fact that seven other fully capable vocalists are present in various formations like back-up, co-lead or harmonies.

The distance to next pillar is proximate. The cryptic title comes, 'Bamboozled by Love'. A warning text is imminent if you want your timorous at a distance. Perhaps you're prepared for any daring subject, this is still an ultra tough playback. Even for the hardened Zappa follower. 'Money' from Dark Side of the Moon feels like a good choise if you're on the hunt for similarities. Not even Zappa lives on a desert island, he listens to other peoples stuff like all of us. It becomes dark side of the lawn in this case. In any case, it's another masterstroke. It opens side D and is the one and only unheard track here. Follows 'Brown Shoes Don't Make It' it doesn't require any introduction to a fan. As it is a double-Lp close to 70 minutes I suppose it's allowed to have at least one song under par. While it starts out great in standard Zappa manner I normally skip the second half. Actually it reminds me of another Z, namely Led Zeppelin and song 'The Ocean' from '73. In both cases fabulous start but end up in mere jam sessions. Final track on Tinseltown is not even heard for the second but third time. This is the best version, but at the same time I'm biased because it's the first I listened to.

Which is well known to the ardent Zappa fan, the idea of T.R. replaced the earlier intended 'Crush All Boxes'/'Warts And All' projects. Massive releases in tradition with earlier Lńther. Just like Lńther it was split up and spread out in fewer units. You may still wonder to this day why the cosmetic brand 'Warts And All' was never picked up by neither Abba nor Boyzone.

 The Mothers of Invention: One Size Fits All by ZAPPA, FRANK album cover Studio Album, 1975
4.31 | 1087 ratings

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The Mothers of Invention: One Size Fits All
Frank Zappa RIO/Avant-Prog

Review by Boi_da_boi_124

5 stars Zappa (and The Mothers; I can't give only Frank credit) always had a way of both ruining and improving songs with their use of time-signature shifts and sudden changes of beat. For that reason (among many others), I respect Zappa and his goofy crew greatly. They are and never will be afraid to utterly destroy typical music criteria by stepping outside the box (it's really more like running a mile away from it), and 'One Size Fits All' is the perfect representation of that. Badass, yet random solos ('Inca Roads'), goofy lyrics('Andy'), and breaking out in German for unknown reasons('Sofa No. 2'). Truly, a masterpiece, and it is but more proof of Zappa's whopping IQ, no matter how he shows it.
 Bluewolf Bloodwalk by SNARLING ADJECTIVE CONVENTION album cover Studio Album, 2008
4.18 | 12 ratings

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Bluewolf Bloodwalk
Snarling Adjective Convention RIO/Avant-Prog

Review by Harold Needle

5 stars Wicked, wicked, wicked!

I've never heard such an amazing combination of avant-garde progressive rock and jazz fusion before. This album is a BOMBARDMENT of raw, bestial energy with mysterious atmosphere. Even though I value deliberate compositions more than improvisations, this record really felt right up my alley from the very beginning.

I really like the plethora of sounds here: the distorted/fretless bass, the raw drums, synths and organs, wind instruments; it all comes together perfectly to represent a fou beast spreading auditory destruction!

If you're familiar with the music of Far Corner, this album will definitely feel right at home. There's the same feeling of "raw bestiality" here, also indicated by the wonderfull cover art. If that doesn't tease you to take a listen, I don't know what will. Do it though - you won't regret it!

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
AKINETËN 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
┴POLËK 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
ASCETA Chile
ATHANOR France
AUKTYON Russia
BABLICON United States
BALUNGAN Various
BANDA EL┴STICA Mexico
ARRIGO BARNAB╔ Brazil
BARNACLED United States
BARRICADE France
GRECO BASTI┴N 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 BITTOV┴ 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
FRANăOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BRIAN! United States
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
ăA 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 CďNDOR Chile
THE CELLAR AND POINT United States
CERBERUS SHOAL United States
CHAINSAW JAZZ United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CH╩NE 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
CUD┘ 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 PIĐA DULUC Dominican Republic
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-M╚RE 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 HAVADI└ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAY╔ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACEMEAT Australia
FACTOR BURZACO Argentina
FAIR WIND PLEASES Russia
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FALLING INTO BIRDS United States
FAMILHA ART┌S France
FANTďMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FEST═N SAGITAL Chile
FILTHY HABITS ENSEMBLE Spain
FINNEGANS WAKE Belgium
FIRE! Sweden
FIVE-STOREY ENSEMBLE Belarus
THE FLYING LUTTENBACHERS United States
FOREVER EINSTEIN United States
FORTRANGT HUSHALLSARBETE Sweden
FOTE / EX THE TRUTH CLUB United Kingdom
FOTGJENGEREN United States
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 GAL┴S 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
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
HARPY Japan
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HELMUT RËBOT Argentina
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
HI-SPEED Japan
HIGH CASTLE TELEORKESTRA Multi-National
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
HÍYRY-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 INCRE═BLE FUGA DE TRI┴NGULOS 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 SUM╔N 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 KNÍDEL Austria
KNOMIGON United States
KOLKHÍZE 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
JOS╔ LUIS FERN┴NDEZ 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
MOSA¤C 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
NAKED TRUTH United States
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 METAF═SICA 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
EMME PHYZEMA United States
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
RED FICTION / EX ATOMIC APE United States
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
RESISTENCIA CHACO Argentina
R╩VE G╔N╔RAL Multi-National
LES RHINOC╔ROS United States
ALESSIO RICCIO Italy
RINNESYA Japan
HARRY ROESLI Indonesia
ROUGE CIEL Canada
ROZ VITALIS Russia
RUDOLF Russia
SAAL HARDALI Israel
SAJJANU Japan
SALES DE BAĐO Argentina
SALLE GAVEAU Japan
SALMAG▄NDI 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
SCISSOR SHOCK United States
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 SOCIET└ ANONIMA DECOSTRUZIONISMI ORGANICI Italy
LA SOCIETE DES TIMIDES └ LA PARADE DES OISEAUX France
SONAR Switzerland
SONS OF CEPHEIDS United States
SOT Norway
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