Back catalogue: Progressive Rock

Review: Fresh from delivering killer dancefloor jazz covers of classics cuts by Galaxy 2 Galaxy and Avicii (really), Japanese trio Polyplus deliver a fine sequel to last year's Good Luck Sound Tracks EP. They go for the dancefloor jugular from the off, wrapping snaking sax solos, fuzzy guitar licks and elongated solos around a breathlessly rapid punk-funk groove on 'Massive', before fusing Brit-Funk and sweat-soaked jazz-rock on 'Speedy Gold'. This hybrid jazz-funk/rock sound continues on 'Ranki 2025' (whose heavy beats and memorable piano riffs nods to classic house). Elsewhere, 'Ocean Breeze' re-frames wide-eyed city-pop as jaunty jazz-funk and 'Natural Born' is a drum solo-sporting slab of jazz-rock/jazz-fusion insanity straight from the top drawer.

Review: Former Porcupine Tree founder member Steven Wilson has packed a lot into his career since the early 1990s - not least being a leading light of the post-progressive movement - but until last year he had never written or recorded a Christmas song. He was challenged to do that by a friend and, with a little help from collaborator Randy McStine, conjured up 'December Skies' - a suitably nostalgic, dreamy, progressive rock-tinged affair that touches on some of the usual Christmas single tropes while steadfastly refusing to revert to cliches. It has a pleasingly timeless feel, sounding like a largely cheese-free echo of the mid 1970s. On this limited-edition 'deluxe' CD single, you get both vocal and instrumental versions and a trio of Christmas cards based on the song's animated video.

Review: Bristol trio Beak>, like their co-founder Geoff Barrow, have always had a tendency towards the obtuse, choosing to go where they please musically with an air of disenchanted veterans whose faith in the world is waning all the time. This dystopian streak was evident on their 2009 full-length debut, where they consciously avoided overdubs and studio trickery, and it has returned to the fore on their widely acclaimed fourth studio set - a collection of 'head music' that they insist should only be listened to in its entirety. If you do that - and you should - you'll be treated to a delightfully cosmic, psychedelic and otherworldly journey through organ-heavy dream pop ('Strawberry Line'), wide-eyed krautrock-influenced funkiness ('The Seal'), acid-fried soundtrack weirdness ('Windmill Hill'), gentler and more intergalactic excursions ('Bloody Miles') and much more besides.

Review: Frequently compared to Black Sabbath thanks to their love of satanic and occult imagery and heavy, proto-metal sound, Black Widow were a band that burned brightly, briefly. This excellent six-disc set tells the story of the Leicester outfit's career from start to finish. It begins with two discs dedicated to their origins: the band's sole LP as Pesky Gee, 1969's psychedelic rock and blues-rock influenced 'Exclamation Mark', and a CD showcasing the group's earliest Black Widow demos. The rest of the collection showcases the evolution of their sound between 1970 and 73 via lightly expanded versions of the albums Sacrifice (1970), Black Widow (1970), Black Widow III (1972) and Black Widow IV (1973). The definitive anthology of one of British rock's genuine cult bands.

Review: Following their triumphant 50th Anniversary celebration, Blue Oyster Cult is set to release 50th Anniversary Live - Second Night on CD and DVD. This highly anticipated performance features the band's second album, Tyranny and Mutation, performed in its entirety. Recorded during their historic three-night run at Sony Hall in NYC, the show in September 2022 captivated fans with a trilogy of sold-out performances, each dedicated to one of their first three albums. Founding member Albert Bouchard made special appearances, adding nostalgia to the event. For nearly three hours each night, the band delivered a mesmerising set, performing their classic trilogy and treating fans to a mix of favorites, deep cuts, and hits. The atmosphere was electrifying, and the Frontiers label captured the magic, releasing each night as a special package. Blue Oyster Cult's legacy spans five decades, influencing acts like Metallica with their intelligent hard rock. With a timeless catalogue including '(Don't Fear) The Reaper,' the band remains a force in the rock scene, continuing to create vibrant work and tour relentlessly.

Review: Recorded in October 1997, but lost and rediscovered two decades later by digital artist Gvoon Arthur Schmidt, GVoon: Brennung 1 is one of countless gems nestling in the sound archives of the late, great Holger Czukay. Described as a "futuristic sound meditation" by remastering engineer Dirk Dresselhaus (better known as experimental electronica producer Scheider TM), the single, expansive piece was created by Czukay at a point in time when he was happily working with German techno and electronica producers (Westbam included) while exploring the potential of digital music-making and production technology. The results are typically immersive, enveloping and off-kilter, sounding as far-sighted and ahead-of-their-time as they no doubt did when the piece was originally recorded in 1997.

Review: This concept album is a sonic odyssey into the depths of an acid trip, capturing a multitude of states of consciousness and profound internal emotions. It's a rich experience, best appreciated in different mind states and with full presence. The album is rooted in psychedelic/space tock and Krautrock, with touches of psych folk and electronic elements. It features acoustic guitar, delicate flute, harp-like instruments, bells, and assorted percussion, creating a lush and textured soundscape. The music is mostly instrumental, peppered with occasional vocals and spoken word, reminiscent of early Pink Floyd, Tangerine Dream and Popol Vuh. The standout track 'Silence' exemplifies the album's excellence, though all tracks are commendable. The album delivers a dark, atmospheric, and hypnotic sound. Percussion, flute, organ, guitars, and early electronics create proto-industrial sound collages that captivate the listener. DOM, consisting of Gabor and Laszlo Baksay, Rainer Puzalowski, and Hans-Georg Stopka, evolved from the beat/psychedelic band Set Mind. Regulars at Dusseldorf's underground clubs like Creamcheese, they shared the stage with early Kraftwerk and Can, cementing their place in the Krautrock pantheon. This mostly looked over album is a great find for those into progressive rock music.

Review: Family's final studio album, It's Only a Movie, celebrated its 50th birthday in late 2023. To mark the occasion, Esoteric has offered up this remastered, expanded edition. Disc one boats the original album, an extended fusion of blues, psychedelic rock, string-laden progressive rock and Country & Western-influenced Americana, as well as a handful of single B-sides, alternate takes and early versions of LP cuts. Over on disc two, we're treated to a mixture of BBC 'in concert' recordings (where their roots in the British blues explosion of the late 1960s are far more evident) and performances captured for BBC Radio One's legendary 'Top Gear' programme (which did much in the 1960s to bring Beatles performances to the masses).

Review: An extensive jaunt through the earliest years of prog giants Genesis, with tracks culled from their debut From Genesis to Revelation - the band reportedly having been advised by producer Jonathan King to imitate The Bee Gees - and their breakthrough album, Nursery Cryme, figuring among the extensive tracklisting. The period is much loved by hardcore prog fans, and Peter Gabriel's idiosyncratic vocals remain era-defining, a far cry from the slcik pop crew they eventually evolved into. 'The Musical Box', included here, did however remain in the band's live set for several decades after, proof of its enduring nature as well as the special part it plays in the heart of the Genesis massive.

Review: Swedish multi-instrumentalist Kristoffer Gildenlow is a veteran of the nation's progressive hard rock and metal scene. His track record charts formative years with bands such as Pain Of Salvation, Neal Morse and Kayak, but more recent years have heard him move into increasingly solo, daimonic and personally-expressive directions. Empty is his latest masterpiece; a haunting album of loss, heartbreak, existentialism and grief, centring on the concept of walking wounded, whether in the abstract or concrete. Spoken word segments and softer downturns provide ample contrast, without which the albums more gushing moments, such as 'Down We Go', would not hit as hard.

Review: Gong's Unending Ascending represents the third album from the current lineup, handpicked by Daevid Allen before his passing. Following Rejoice! I'm Dead! and The Universe Also Collapses, this release continues to explore the boundaries of psychedelic space rock while carving out its own identity. This album shifts away from the Canterbury sound and Daevid Allen's trademark whimsy, focusing instead on a spacey, progressive rock journey. With a runtime of less than 40 minutes, it maintains a brisk pace, offering a series of well-crafted tracks that blend modern influences with echoes of Gong's classic era. Tracks like 'Tiny Galaxies' and 'My Guitar Is A Spaceship' highlight the band's ability to merge catchy hooks with cosmic themes. 'All Clock's Reset' evokes the spirit of Gong's past while integrating new elements, and 'Choose Your Goddess' delivers a funky, riff-driven groove. The band's musicianship is commendable, and their dedication to continuing Gong's legacy is evident. Though the absence of a dynamic frontman leaves a slight void, the album's blend of innovation and homage to Gong's roots provides a compelling listen. Unending Ascending is a worthy continuation of their evolving legacy - even for the most discerning Gong fans.

Review: A three-disc celebration of Hawkwind's thrilling live energy, capturing their September 2023 performance at London's legendary venue. The set blends tracks from their recent 2023 album, The Future Never Waits, with space rock classics spanning decades, proving the band's timeless appeal. Fans can expect explosive renditions of favorites like 'Levitation', 'Spirit of the Age', 'Master of the Universe' and 'Assault and Battery'. Disc three features exclusive rehearsal recordings of tracks like 'Mask of Morning' and 'Frozen In Time', that is a unique glimpse into the band's creative process. Founding member Dave Brock is joined on stage by longtime members Richard Chadwick, Magnus Martin, Doug MacKinnon and Thighpaulsandra. Arthur Brown's surprise guest appearance adds a cosmic flair, delivering spoken-word poetry between songs. This release is a testament to Hawkwind's enduring ability to push the boundaries of space rock. With There Is No Space For Us, their next studio album, slated for 2025, the band shows no signs of slowing down.

Review: Blu Ray Audio.

Over the past half century, Tony Levin has been a prolific session player and one of the most active live performers on the planet. He's contributed his talents to over five hundred albums amongst which include 15 with Peter Gabriel and 18 with King Crimson (counting live, studio, and compilations). Alongside contributions to the work of John Lennon, Alice Cooper, Lou Reed, Herbie Mann, Paul Simon and many others. On tour, he's travelled The World many times over with the aforementioned King Crimson, Peter Gabriel, and several of his own bands including Stick Men. This Fall, he'll stage 65 performances in North America as a member of BEAT, celebrating King Crimson's 80's repertoire alongside Adrian Belew, Steve Vai and Danny Carey interpreting Discipline, Beat and Three of a Perfect Pair."

Levin's seventh solo album, and his first since 2007, is an autobiography of sorts, with the themes drawn from Levin's musical life. It features a myriad of collaborators from his half-century-plus on the road and in the studio with Peter Gabriel, King Crimson and many, many others.

"It could have been done a long time ago, frankly," Levin says, of Bringing It Down to the Bass, "but it's because of a problem I have, which is a very good problem to have. And that's that I have a lot of touring and that's what I love to do, playing live. It just didn't give me much time at home to work on finishing the album that I've been working on for five or six years."

"I had pieces very much in the prog-rock vein and I had pieces that were based on the bass," Levin says, "and somewhere around the middle of the record I made the difficult decision to toss the prog stuff - well, not toss it exactly, save it for another album - and the more I focused, I chose the kind of pieces that had to me a sense of unity to it in that it's about the bass. Not songs with singing about the bass, but each song is either based on a bass riff or a bass technique that I then invited some great rhythm sections to play on.

Region code: 0 (universal)

Review: Has any band undergone such a radical musical evolution as Martin Circus? The French band, formed in 1969, initially explored psychedelia, heavy rhythm and blues and formative progressive rock, before pivoting to Cerrone style disco, new wave and eventually, synth-pop. Evolution Francaise 1969-85 does a great job in charting this sonic journey on one action-packed compilation, chronologically serving up such heady musical highs as 'Annie, Christine ou Partricia' (a heavy rock-meets-The Rolling Stones workout), 'Les Indiens De Demier Matin' (psychedelic disco-rock), 'Mon Premier Hold Up' (their most Cerrone-esque number), 'Disco Circus' (their most famous cut, here re-edited by Francous Kevorkian) and 'J'Tai Vu Dans Le Canoe?' (quirky synth-pop).

Review: Nektar were never your average progressive rock band. For starters, it was made up of British musicians based in Germany, and it was that country (or West Germany at least) where they earned their reputation for combining loud but pristine sound with genuinely psychedelic visuals. While they eventually rose to international fame, their earliest music was self-released. This album, their 1971 debut, was amongst that list and despite prior reissues, is still hard to find on CD. This edition pairs the fully remastered original studio album - a conceptual musical meditation on the potential for nuclear war with added sci-fi flourishes - comes paired with a second CD containing one the best-known bootleg recordings of the band. This was captured on tape a year or so before the album came out in 1970.

Review: P'Cock are perhaps not as celebrated as you might expect given Klaus Schulze's suggestion that their catalogue contains some of "the best fusions of electronics and rock music". This double disc set offers up remastered versions of their first two albums, which were released in 1980 and 1981 respectively. On Prophet (CD1), the German band outlines their take on post-krautrock progressive rock - all synth-heavy instrumental, soaring songs, surprisingly funky workouts (see the excellent 'Silver Swallow') and proto-Balearic ('N1, 4'). Its sequel, In'Cognito, is an altogether mellower and more jazz-fusion influenced affair, with nods towards the kind of music Todd Rundgren made with his Utopia project, guitar-solo laden space rock, and intergalactic, ambient-leaning soundscapes ('My Pollution').

Review: A treat for Pink Floyd fans, as recordings of two legendary concerts from 1969 - sneakily captured by members of the audience - are bundled together on one must-check CD. The first seven tracks showcase a portion of the legendary band's distinctively psychedelic performance at Plumpton Racecourse, Sussex (then host to the 'National Jazz and Blues Festival'), offering up twisted, elongated takes on early material (including 'Set The Controls for the Heart of the Sun' and a fine medley known as 'The Journey'. The final four tracks were recorded in Port Talbot and include breathtakingly brilliant, jammed-out interpretations of 'Careful With That Axe Eugene' and the pinnacle of psychedelic-era Floyd, 'Interstellar Overdrive'.

Review: Given that it is the fourth biggest selling artist album of all time, with some 45 million copies in circulation, you'd be forgiven for questioning the point of this 50th anniversary edition of Pink Floyd's most celebrated work. Yet, like the various Beatles albums that have been remastered and remixed in recent years, there is certainly a point to polishing the sound using modern technology. Put simply, 'Dark Side of the Moon', an album that's famously sonically detailed and was painstakingly recorded at the time, has never sounded better. With its mix of ambling progressive rock epics and memorable songs, it has always lent itself to listening on headphones; now, thanks to a sparkling and stunning 2023 mix, it's a more immersive and enveloping listening experience than ever (and that's before we get to the separately available surround sound and Dolby Atmos versions).

Review: In the post-Syd Barrett years, Pink Floyd spread their sound in a number of directions before settling on the pomp and splendour of Dark Side Of The Moon et al. Atom Heart Mother - their fifth record - finds them tinkering with sonic collage and suite-based songwriting executed with the cinematic scope and inescapable Britishness their music has always possessed. It's an album beloved by the Floyd faithful, and now it's being released as a Special Edition with the original album remastered and a Blu-Ray disc featuring the title track performed live at Hakone Aphrodite in 1971 and additional behind the scenes documentary footage. Throw in a 60-page booklet for good measure and you've got yourself a must-grab piece of Floyd archival material.

Review: Legendary prog rock icons Pink Floyd performed live at the KB Hallen, Copenhagen on November 10 ,1972 and this is a digitally remastered recording of that night. It's a great bit of musical history, capturing the band across two CDs that feature many highlights, not least the epic 24-minute rendition of 'Echoes' which is about as prog as prog can get. As well as that, the album takes in the entirety of The Dark Side Of The Moon plus extra tracks 'One Of These Days' and 'Careful With That Axe Eugene,' all of which make it a superb addition to the collection of any fan.

Review: In March 1972, Pink Floyd headed to Japan for a live tour debuting their then forthcoming album Dark Side of the Moon. The Travel Sequence presents one of those performances in full, with the legendary prog rock four-piece blending live versions of the as-yet-unreleased set with a smattering of fan favourites and elongated freak-outs. While the recording quality is undeniably fuzzy (the tapes the concert was recorded to had been in storage for over 50 years), the two-disc set captures the band at the peak of their powers. Highlights include still-in-development versions of 'On The Run' and 'The Great Gig in the Sky', a chaotic version of psychedelic fave 'Careful With That Axe Eugene' and a vast, 25-minute extension of 'Echoes' to close the concert.

Review: Celebrating its 50th anniversary, this iconic release - arguably one of if not THE msot famopus rock album of all time - gets an anniversary edition remastering, bringing its revolutionary sound into sharp focus while maintaining the spirit of its original recording. The remaster captures the depth and complexity of the band's vision, from the eerie pulses of 'Speak To Me' that lead into the tranquil yet ominous 'Breathe (In The Air),' to the iconic synth-driven chaos of 'On the Run.' The haunting 'Time' sounds even more immersive, its ticking clocks and swelling synths fully realised in this updated mix. And then there's the unparalleled vocal energy of 'The Great Gig in the Sky,' which now resonates with even greater emotional intensity. On the second side, 'Money' continues to provide that inescapable groove, its jazzy bassline never failing to captivate. 'Us and Them' brings with it a sense of melancholy and philosophical reflection, while 'Any Colour You Like' serves as an entrancing bridge before the chilling introspection of 'Brain Damage' leads into the album's climactic conclusion, 'Eclipse.' For both long-time fans and newcomers, this remaster offers an opportunity to hear the album as it was always meant to be heard, with every nuance and every note given the space it deserves.

Review: The newly re-mastered release of Pink Floyd's legendary Pompeii performance from 1972 - released as a film initially and recorded without an audience - immerses the listener in the eerie grandeur of the ancient Roman amphitheatre. Steven Wilson, in charge of reworking the audio, breathes fresh life into the familiar, giving tracks like 'Echoes Part 1' and 'Careful With That Axe, Eugene' a heightened sense of space and detail. The alternate take of 'Careful With That Axe, Eugene' and the unedited 'A Saucerful of Secrets' show the band's ever-evolving approach at this most productive stage in their career. A raw, expansive reflection of Pink Floyd's creative journey as they morphed from psychedelic garage stars to prog rock giants.

Review: Outside of jazz-fusion circles, violinist and composer Jean-Luc Ponty is best known for two things: embracing synthesizers and electronic instruments (including electric violin) earlier than his peers, and playing a small but significant role in inspiring some of Detroit techno's earliest innovators. This double disc set rounds up three of the albums that proved most inspirational to electronic musicians. Disc one sports 1987's warm, colourful and mesmerising The Gift of Time - where, fittingly, Ponty's ability to create surprising and intense off-kilter dancefloor workouts was first noticed by adventurous DJs - and 1989's Storytelling, which kicks off with his most famous work: the awe-inspiring 'In The Fast Lane'. Over on disc two, we get 1991's Tchokola, an inspired mix of fusion, Afrobeat and Zouk flavours that has long been a favourite amongst Balearic silverbacks.

Review: Porcupine Tree's Fear Of A Blank Planet gets an expansive reissue via Transmission, offering the most comprehensive edition of the iconic 2007 album to date. This deluxe edition is packaged in a 112-page hardback book featuring rare photographs by Lasse Hoile & Carl Glover, and an in-depth exploration of the album's creation by Stephen Humphries. The five-CD set includes newly remastered versions of Fear Of A Blank Planet and the Nil Recurring EP, alongside over 55 minutes of previously unreleased demos. Fans will also find live performances from The Garage in Saarbrucken in 2006, a BBC session, and an unplugged instore performance from 2007. The inclusion of these early live recordings offers fascinating insights into the evolution of the album's material. The Blu-ray disc includes remastered stereo and 5.1 surround sound mixes, a 2024 documentary, and live footage from The Palladium in Koln. With contributions from prog legends Robert Fripp and Alex Lifeson, Fear Of A Blank Planet stands as one of the band's most celebrated works. This reissue provides a deep dive into the creation of an album that remains a cornerstone of progressive rock.

Review: SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Together they present their debut album Small Medium Large, a collection of long-form improvisations recorded during two separate two-night stands at the beloved Los Angeles venue ETA. Forming the perfect locale in which to boost their initial rise, ETA is perhaps no longer a fitting name - with SML, we're no longer pondering this band's estimated time of arrival. Small Medium Large is a sublime assemblage of circulatory grooves and textural anomalies, at different moments recalling the synth-laced improvisations of Herbie Hancock's Sextant, the jagged dance punk of Essential Logic, the rhythmic revelry of Fela Kuti, the low-end elasticity of Parliament/Funkadelic, or the glitchy dub techno of Pole.

Review: This new quadruple CD release captures the legendary 'classic quartet' of The Soft Machine band during their final European tour on February 27th and 28th, 1971. While previously released sets from the latter date exist, this marks the first complete release of both nights, with half of it being entirely unreleased material. The performances, held in a relatively intimate venue, offer a captivating stereo experience. Soft Machine's concerts at the Henie-Onstad Art Center in Norway were unique and set against an art exhibition backdrop as well as being accompanied by Mark Boyle's films. Listening back now and it's easy to hear the band's dynamic evolution across consecutive nights in the unique museum setting.

Review: Canterbury scene stalwarts Soft Machine were well established by the time they headed out on a European tour in 1970 to promote their third album. Their performances in Paris and Rotterdam were recorded for radio broadcast and it's those live recordings that make up this two-disc set. It shows the jazz-rock fusionists at their mercurial best, with disc one featuring a performance of the Third LP in full, alongside fan favourites from its two predecessors. Disc two, meanwhile, features a handful of extended takes on tracks from all three albums they'd released up to that point, as well as a fine version of 'Teeth' - a track that would eventually surface in studio form on 1971 LP Fourth.

Review: Phaedra is the fifth studio album by German electronic group Tangerine Dream, recorded in November 1973 at The Manor in Shipton-on-Cherwell, England, and released in 1974 through Virgin. An icier, tempoless departure for a band otherwise better recognised for their sequencer-led, soundtrack-bred sound, this was a hidden moulin for frost-drone fanatics, and a deviant pupil of the otherwise strict Berlin School. Despite receiving little to no airplay, Phaedra gained significant traction through word of mouth when it was released by a rather more hippified Richard Branson's fledgling Virgin label, eventually reaching number 15 on the UK Albums Chart and remaining on the charts for 15 weeks. Its long-form pieces, such as 'Sequent C' and 'Mysterious Semblance At The Strand Of Nightmares', represent an indifference to constraints of timing, instead washing over the ears as diachronic, swirling, crisp ice ambient smirrs.

Review: Now I See The Light is the comeback album from often-overlooked Japanese math rock pioneers Toe. As the title suggests, the blissful, meditative soundscapes offer listeners a refreshing perspective, providing the emotional grounding needed to view life through a renewed lens. Toe exemplifies modesty in their artistic expression. Their music, characterised by intricate instrumental subtleties, reflects a reserved demeanour, paralleling their minimalist online presence. Their focus remains solely on creating music, naturally attracting those who truly appreciate their craft. Discovering toe is thus a serendipitous experience. Blending elements of post-rock, pop, jazz, electronic and ambient genres, toe has crafted a sound that feels both seamless and cohesive. The album opens with '????', enveloping the listener in the warm embrace of intricate guitar harmonies, akin to a comforting reunion. The band's chemistry radiates through each hypnotic rhythm, reflecting their strong bond. Though primarily instrumental, tracks like 'Loneliness Will Shine' feature tender vocals from guitarist Yamazaki Hirokazu. His airy voice enhances the beautiful instrumentals, creating a captivating atmosphere reminiscent of Dredg's El Cielo. The placement of these vocal tracks within the album ensures a well-balanced pacing, making it feel neither purely instrumental nor vocal. The pristine audio quality of the album allows every detail to shine. '??????' exemplifies this, with carefully panned elements creating an amazing depth. Despite its clarity, the production maintains a human touch, avoiding sterility and instead feeling authentic. What stands out most about toe is the unwavering authenticity woven into their music. There are no gimmicks or over-the-top embellishments, just pure auditory bliss from beginning to end. After a nine-year hiatus, it's as if they seamlessly continued their musical journey, allowing us to experience the light they bring to the world. The CD includes a poster, adding an extra touch for fans.

Review: Transmission Impossible charts the early career of American alt-rock masters Tool via performances recorded for radio broadcast - and the odd snippet of the accompany interviews. A majority of the tracks featured were recorded for radio stations across the US (and on a couple of instances, in the UK) between 1991 and 94, though disc three also boasts cuts laid to tape in 1998 and 2000. The band's original line up (which features throughout) was known for its loud, dynamic and energetic performances - all ten-ton guitar riffs, sweat-soaked drums, heavy bass and wild lead vocals - and these recordings capture their live sound perfectly. For fans of Tool, it's a genuine must-have collection.

Review: .During their live appearances - and especially ones captured for posterity by radio stations - Tool have often delivered surprisingly and unlikely cover versions. These, alongside a smattering of similarly eyebrow-raising duets and demos, form the basis of Absolute Ultra Rare, an unofficial compilation of obscurities that should be essential listening to fans. It sees the alt-metal and progressive metal heroes variously turn their hand to Pink Floyd (a surprisingly jangly take on 'Comfortably Numb'), Rage Against The Machine ('Know Your Enemy'), ska ('Wrong Way'), and Wings ('Silly Love Songs', which is turned into a moody growl). Throw in some heavy takes on their own tunes (see the opening rendition of 'Passenger') and you have a suitably epic collection of rarely heard tracks.

Review: Krautrock is a long established genre whose name has recently been questioned. Whether or not it is a slur is an ongoing conversation. The music labelled as such has become iconic, with books like Julian Cope's Krautrocksampler and Alan and Stephen Freeman's Crack in the Cosmic Egg diving deep into its nuances. The debates over 'Krautrock' v 'Kosmische Musik' only add to its allure and Krautrock Eruption by Wolfgang Seidel explores some of these distinctions. The compilation presents tracks from twelve albums, focusing partly on Bureau B's catalogue, and entirely essential for fans of this sort of sound.

Review: Earlier this year, Bear Family set out to chronicle the formative years of Germany's heavy rock sound, offering up a killer compilation showcasing tracks released between 1970 and '76. This sequel focuses on the next chapter, as German heavy rock turned to heavy metal under the influence of global powerhouses such as AC/DC and Judas Priest. It's educational and entertaining in equal measure, with the two discs showcasing such delights as the bluesy fuzz of Bullfrog's 'Live', the heavy rhythm and blues of Prinzip, the elongated Black Sabbath riffs of Epitaph's 'On The Road', the organ-powered eccentricity of Requiem's 'Steven', the early metal headiness of Breslau ('Spinn') and the all-action excellence of 'Time Machine' by Beast.

Review: During the mid 1980s, years before he found fame with loved-up acid house/rave era outfit The Grid, Richard Norris ran a "psychedelic and freakbeat" club night in Liverpool called The Hangout. This fine compilation rounds up some of Norris's favourite 'floor fillers' from that night, joining the dots between the propulsive krautrock of Can, the NYC headiness of The Velvet Underground, the organ-rich Mod quirkiness of The Turtles, the high-octane psych-jangliness of The Seeds, the driving garage-rock of The Seeds, the gnarled psych-pop of Captain Beefheart, the flash-friend hedonism of Sharon Tandy's 'Hold On' and much more besides. An absolute masterclass from a man with an incredibly good record collection.

Review: Yessonata sees Rick Wakeman delving into his Yes past, crafting a stunning solo piano suite that intertwines over 30 musical fragments from his time with the legendary prog-rock band. Adapted from a full band and choir arrangement performed at the London Palladium, this CD offers a masterclass in Wakeman's intricate piano playing. Familiar Yes themes, such as those from Awaken, Close to the Edge and Roundabout, flow seamlessly with lesser-known pieces like The Meeting. Wakeman's ability to weave these complex themes into a cohesive piece shines throughout. He effortlessly transitions from iconic intros like Long Distance Runaround to deeper cuts, making the listener's experience both nostalgic and exploratory. Particularly striking are the repeated appearances of Awaken and Close to the Edge, which serve as the backbone of the suite. The second half of Yessonata features the King Arthur Piano Suite, drawing on Wakeman's 1975 album The Myths and Legends of King Arthur and the Knights of the Round Table. The piece showcases Wakeman's delicate touch and rich emotional depth, elevating these themes to new heights. Recorded on a Steinway Model D, Yessonata exemplifies Wakeman's signature style: a joyous, flowing journey through his greatest works.

Review: The Frank Zappa Live Broadcast Collection is an in-depth look for fans into the brilliant live talents of the legendary performer, offering a 6xCD box set packed with rare radio broadcasts from the 70s and 80s. Featuring many iconic tracks, some available on disc for the first time, this collection captures Zappa's legendary live performances with unmatched energy. The limited edition set serves as a time capsule, showing Zappa's unique blend of wit, musical talent and boundary-pushing creativity. A true treasure for collectors, it's a rare opportunity to experience the magic of Zappa's live shows and celebrate his lasting influence on music history.