| Canterbury Scene | Crossover Prog | Eclectic Prog | Extreme Prog Metal | Folk Rock | Heavy Prog | Jazz-Rock Fusion | Krautrock | Neo Prog | NON PROG | Northern Prog | Post Metal | Post Rock | Prog Related | Progressive Electronic | Progressive Metal | Psychedelic Rock | Rock Progressivo Italiano | Space Rock | Symphonic Rock | Zeuhl |

P r o g r e s s i v e   R o c k   W o r l d

• Home
• Contact me
• Artists A-Z
• Profiles
• Genres
• Years
• Search

• Essential
• Excellent
• Great
• Good
• For Fan
• Best of 2025
• 2026
• Meteore

| Canterbury Scene | Crossover Prog | Eclectic Prog | Extreme Prog Metal | Folk Rock | Heavy Prog | Jazz-Rock Fusion | Krautrock | Neo Prog | NON PROG | Northern Prog | Post Metal | Post Rock | Prog Related | Progressive Electronic | Progressive Metal | Psychedelic Rock | RIO-Avant-Prog | Rock Progressivo Italiano | Space Rock | Symphonic Rock | Zeuhl |

The Rock In Opposition (RIO) movement, its creator Chris Cutler, his relationship with the Canterbury scene and its demise due to its ethical success.

(Note: All links to the musicians' works are in the articles at the bottom of this page or on the "Artists" page)

The Rock in Opposition (RIO) movement wasn't just a musical genre but a political and economic revolt against the music industry, a group of bands united by their opposition to the commercial logic of the recording industry. The RIO Movement aimed to support independent musicians creating complex ("avant-progressive") music that defied the logic of the market.

It wasn't about musical aesthetics, but about economic resistance.

The trans-European musical-political collective was founded in the late 1970s by drummer Chris Cutler and the British band Henry Cow. 

It officially began in March 1978, when Henry Cow invited four other European bands to perform at London's Drury Lane Theatre with the slogan: "Music the record companies don't want you to hear."

The movement didn't impose a single style, but the groups shared an experimental and avant-garde approach. Their sound blended progressive rock, jazz, contemporary art music, and free improvisation, with a commitment to pushing the boundaries of rock by incorporating modern classical music, avant-garde jazz, and folk.

Cutler and his associates argued that the value of a work should not be measured by sales. Music should be free to be complex, difficult, and experimental, without having to compromise to appeal to the masses.

Music was not entertainment, but a tool for political awareness. This was reflected in their lyrics (often explicitly socialist) and their choice to perform in popular settings, student festivals, or occupied factories.

Although there was no imposed style, their philosophy promoted linguistic exploration. R.I.O. rejected the clichés of commercial rock, drawing on art music and jazz because they considered these languages ​​more capable of describing the complexity of contemporary reality.

For R.I.O. members, music was an act of political expression against the commodification of art.

Total independence was a cornerstone of the movement, with the goal of creating an independent distribution and promotion system, refusing to compromise with major labels that demanded "radio-friendly" hits.

The initial collective consisted of bands who shared a common "outsider" status:
- Henry Cow (UK): organizers and intellectual heart of the movement.
- Stormy Six (Italy): brought a strong folk-political and "combat rock" element to the group.
- Univers Zero (Belgium): known for their "dark chamber rock" influenced by Stravinsky and Magma.
- Etron Fou Leloublan (France): a chaotic Dadaist punk-jazz ensemble.
- Samla Mammas Manna (Sweden): masters of folk-prog mixed with absurdist humor.

The movement aimed to create a European support network. If a R.I.O. group played in Italy, Stormy Six provided logistics and instruments; In exchange, Henry Cow did the same in London. It was a mutual aid system to bypass the costs of commercial promoters.

In 1979, the group met in Milan (hosted by Stormy Six) to formalize the collective. They added three more members: Art Zoyd (France), Art Bears (Henry Cow's successor), and Aksak Maboul (Belgium).

The figure of Chris Cutler
At the center of this project was Chris Cutler, who was not only the drummer for Henry Cow, but the true ideological architect of Rock in Opposition. His vision transformed a handful of experimental bands into a structured political movement.

Cutler was the theoretician of "Music as Resistance," in which music could not be separated from its mode of production. In his essay, "File Under Popular" (1985), he theorized that the record is not a copy of the concert, but a new tool that allows musicians to escape the control of academia and the markets. The avant-garde musician must act as a cultural worker, resisting the "standardization" imposed by the pop industry.
Cutler was the promoter of the cooperative model called "Practical Collectivism." He:
- Wrote and distributed the R.I.O. manifesto in 1978.
- Created the international network that allowed bands to tour Europe without managers, based on equal exchanges (accommodation, instruments, and mutual promotion).
- When the R.I.O. movement as a formal entity dissolved, Cutler institutionalized its philosophy by founding ReR Megacorp (Recommended Records). The label did not sign contracts based on sales potential, but "recommended" (hence the name) music that Cutler deemed honest and innovative.

Cutler also ensured that the works of groups like Art Zoyd and Cassiber did not disappear, creating a catalog of cultural resistance that endures to this day.

The Relationship Between the Canterbury Scene and Rock in Opposition (RIO)
The connection between the two genres is epitomized by Henry Cow, who began as a "Canterbury-style" band (influenced by Soft Machine and Matching Mole) but found the scene too "polite."

Both styles utilize jazz-influenced harmonies, complex timing, and a "chamber music" approach to rock instruments (oboe, bassoon, cello).

Robert Wyatt served as a bridge, fusing Canterbury's surrealist humor with the radical political stance that would define RIO.

The Canterbury sound, known for its warm, enveloping, and psychedelic quality, features organ distortion, wordless vocals (introduced by the Northettes), and a sense of English eccentricity and "silliness."
The RIO Sound strips away the fuzz for a crisp, cool, and dissonant sound. Replacing Canterbury's eccentricity with folk-industrial elements.

Canterbury often oriented itself toward jazz-fusion jams, while RIO oriented itself toward modern classical music (Stravinsky, Bartók) and "Free Improvisation," intentionally avoiding traditional rock grooves or grooviness.
Canterbury focused on musical freedom, exploring sounds without commercial pressure. RIO focused on institutional freedom; it was a formal collective created to circumvent the "tyranny of the music industry," and this political urgency made the music more austere and urgent.

The End of the Movement
The movement paradoxically died because of its ethical success: once independent distribution networks (such as ReR Megacorp) were established, the collective's bureaucratic structure was no longer necessary, and its DNA survived through Recommended Records (ReR), the label founded by Chris Cutler to distribute avant-garde music globally, and the "Avant-Prog" genre. Modern bands such as Guapo, Thinking Plague, and Present are considered direct descendants of the RIO sound.

Today, the term "RIO" is often used incorrectly to describe a subgenre of avant-prog.

Despite its short formal lifespan, the movement left an indelible mark, still celebrated today by thematic festivals such as Carmaux in France, relaunched in 2007 with Cutler's blessing.

RIO-Avant-Prog

Articoli in ordine di pubblicazione