Review: Analogue Productions' reissue of Yes' 90125 is a celebration of the band's pivotal album, marking Atlantic Records' 75th anniversary. Mastered by Kevin Gray at Cohearent Audio from an original analogue master tape, this 180-gram 45 RPM double LP presents the album in its finest form. 90125 was a departure from Yes' progressive style, but it propelled the band to new heights of commercial success. Hits like 'Owner Of A Lonely Heart' and 'Leave It' showed Yes' ability to craft memorable melodies with a contemporary edge. The album's slick production, courtesy of Trevor Horn and various other members of The Art of Noise, and the addition of guitarist Trevor Rabin and keyboardist Tony Kaye, contributed to its fresh sound. This reissue preserves the album's sonic richness and showcases the intricate harmonies and dynamic arrangements that define Yes' music. With its tip-on gatefold jacket and high-quality pressing, Analogue Productions delivers a definitive edition for fans and audiophiles alike. 90125 remains a significant and well-regarded album in Yes' illustrious discography, and this reissue is a must-have for collectors.
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: A bold exploration of genre-blurring sounds with the eclectic influences and innovative approach of the London-based quartet. Comprised of c-se, Linus Barry, Nico Rocco, and Teigan Hastings, oreglo infuse their music with heavy rock riffs, drill-inspired percussion, breezy reggae vibes and more, creating a melting pot of diverse sounds that reflects their upbringing in London. The latest track from the EP, 'Peck,' is a sprawling seven-minute odyssey that captures the feeling of being pecked on the cheek by a crush, juxtaposing cool exterior with exploding inner emotions. Throughout the EP they explore themes of alienation, identity, and love, reflecting on their journey from adolescence to adulthood in the vibrant city of London. Featuring previously released singles like 'Levels' and "]'J.A.C.K.,' as well as four new tracks including 'Comet' featuring Bel Cobain, 'Not Real People' is a sonic tapestry that highlights oreglo's growth and diverse musical interests. Despite being together for just over a year, oreglo has already made waves in the music scene, winning the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition and performing at prestigious events like the Steam Down-curated World Island event. With their debut EP, oreglo solidifies their status as one of London's most exciting emerging acts, offering a fresh and dynamic sound that defies categorization.
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).
Manfred Mann Chapter Three - "One Way Glass" (3:27)
Andwella - "Hold Onto Your Mind" (3:45)
Alan Parker & Alan Hawkshaw - "Hot Pants" (1:48)
Pink Fairies - "Do It" (3:01)
Atomic Rooster - "Tomorrow Night" (3:56)
Stray - "Taken All The Good Things - Stray" (5:30)
Edgar Broughton Band - "Out Demons Out" (4:45)
May Blitz - "For Mad Men Only" (4:14)
Curved Air - "Back Street Luv" (3:34)
Hawkwind - "Ejection" (3:46)
Stackwaddy - "Meat Pies ’ave Come But Band's Not ’ere Yet" (4:44)
James Hogg - "Lovely Lady Rock" (3:18)
Paladin - "Third World" (3:51)
Barclay James Harvest - "Taking Some Time On" (5:19)
Jonesy - "Ricochet" (4:02)
Steve Gray - "Led Balloon" (2:22)
Slowload - "Big Boobs Boogie" (3:04)
Leaf Hound - "Freelance Fiend" (3:10)
Dave Richmond - "Confunktion" (4:38)
Review: Bob Stanley and Pete Wiggs of Saint Etienne fame are the diggers behind this new rock assemblage which pays tribute to mid-afternoon set times at lesser-known festivals from years gone (well, the 70s) such as Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton. They were just as important to those who attended as the more celebrated likes of Glasto' and this collection shows the sounds were just as good, too. The sounds - from big names liek Deep Purple, Hawkwind and Alan Parker & Alan Hawkshaw to lesser known acts like Jonesy, will appeal to hippies and bikers alike with big riffs, funky drumming and some psyched-out sounds.
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.
Trial Of Tears: I) It's Raining/II) Deep In Heaven/III) The Wasteland
Review: Dream Theater's 1997 recording finds the band balancing their complex progressive roots with a newfound accessibility. The intricate instrumental passages and shifting time signatures remain intact, but the melodies lean towards a more streamlined approach, offering a sharper focus on hooks and emotive delivery. There's an underlying tension between technical virtuosity and a desire to connect on a broader level, creating a record that feels as exploratory as it is deliberate. The production captures the weight and precision of their sound while adding a polished edge, making for a deeply layered yet approachable listen.
Review: Ash Ra Tempel's 1973 album Starring Rosi, led by innovative guitarist Manuel Gottsching, showcases a more accessible sound compared to their earlier cosmic explorations. Rosi Muller, Gottsching's then-girlfriend, contributes spoken word passages, adding a unique texture to several tracks. The album opens with 'Laughter Loving', a cheerful, wah-wah guitar-driven track with hints of country-rock and droning synths. 'Day-Dream' features a stoned, two-chord acoustic sequence, paired with gentle lead guitar and dreamy vocals. Instrumental track 'Schizo' offers a detached, spacey atmosphere, while 'Cosmic Tango' delivers a funky groove, reminiscent of Gong's space-whisper style. The nearly nine-minute 'Interplay of Forces' starts in a psychedelic, space-rock vein before evolving into a guitar and drum-heavy jam. The album closes with 'Bring Me Up', a bluesy, funky track that spotlights Gottsching's masterful guitar work. The album's reissue on 180-gram coloured vinyl further highlights its timeless, genre-blending appeal.
Review: Rush's 1989 release marked a clear departure from the synthesiser-heavy sound of their mid-80s albums, returning to a more guitar-driven approach. Alex Lifeson's intricate riffs shine through tracks like 'Show Don't Tell', while 'The Pass' layers introspective lyrics with melodic finesse. Geddy Lee's basslines feel taut and precise, anchoring the dynamic interplay between his vocals and Neil Peart's inventive drumming. The production captures a sense of clarity, allowing the band's technical prowess to shine without unnecessary embellishments. It's a turning point in Rush's journey that bridges their progressive roots with a leaner, more direct sound.
Review: Brown Spirits' current album on Soul Jazz Records delivers a raw, heavy and hypnotic blend of psychedelic rock and krautrock. Hailing from Melbourne, Australia, the trio channels influences from Neu!, Miles Davis, Soft Machine, Gang of Four and Hendrix, creating a unique sound that combines progressive intensity with punk and post-punk energy. Their stripped-down lineup of bass, drums, guitar and keyboards is reminiscent of classic acts like Cream and Hendrix, but with a DIY, lo-fi edge. The album features powerful, fuzzed-out guitars, tough basslines and pounding drums, complemented by analog Moog synthesisers and a gritty, analog recording process. Brown Spirits' sound is simultaneously experimental and driving, drawing on their love of Krautrock while infusing it with a raw, punk attitude. Following the quick sellout of two limited-edition singles, this album is a testament to their ability to merge hard, progressive rock with hypnotic grooves and a distinct, unmistakable energy. It's an unforgettable sonic journey that stands out in the current psychedelic rock landscape.
Review: Astral Quartet was a group that changed their name and evolved into Centre El Muusa. They never played live nut managed to record just two tunes back in 2018. Now, five years later, they finally get to see the light of day. They could be 50 years old such is the quality of the musicianship - fusions of jazz and funk that brim with character. The band is made up of Monika Erdman, Rauno Vaher, Volodja Brodsky and Misha Panfilov who mix up cosmic Wurlitzer sounds, languorous synths and fresh drums, turning it into something laidback and psyched on the b-side and more funky and up-beat on the a-side.
Review: Originally released in 2011 as follow up to 2008's stellar career height Watershed, the tenth full-length from Swedish progressive death metal legends Opeth marked a notable turn, which the members had been desiring to take for some time. Heritage would be their first album since 2003's melancholic Damnation to completely eschew vocalist/guitarist/primary songwriter Mikael Akerfeldt's signature death growls, yet this decision wasn't so much in service of this one particular project as had been so in the past. Rather, this was the sign that the Scandinavian death metal elements of their core sound were ready to be laid to rest in favour of an embrace of the 70s prog rock the members grew up idolising. Drawing on the likes of Genesis, Yes and Rush, whilst allowing Akerfeldt's smooth cadence to lead the pieces, this is vintage, jazzy, complex yet undeniably groovy retro progressive rock of the classic era, complete with fuzzed out guitar lines, bizarre time signatures and an abundance of Hammond organ. Somewhat maligned by some of the fanbase while others lauded the brave and natural change in direction, this style would become the standard Opeth sonic aesthetic up until 2024's latest album The Last Will & Testament, which saw a return to their heavier death metal origins.
Review: Machine Head is the 1972 sixth LP from Deep Purple, best known for its pandora's box-style unleashing of one of the best-recalled rock riffs in the world: 'Smoke On The Water'. Now Warner and Rhino honour the album's boisterous legacy with a comprehensive reissued version, with new mixes and previously unreleased live recordings all in tow. The new indie exclusive mainly recalls such intensive wildouts such as 'Never Before', 'Lazy' and 'Highway Star', all of which betray the tightest of tight early heavy metal playing, as the genre transpired gracefully outwards from the groundwater spring of rock & roll in the early-to-mid 70s; in fact, the band and album were considered somewhat responsible for the development for the heavy metal genre as a whole; no wonder Machine Head was their most successful album.
Review: Fantastic Voyage: New Sounds For The European Cannon 1977-1981 is one of the most grandiose titles for a record we have come across in a while, but we like it. Fortunately for those involved, the music on this new gatefold heavyweight double album stands up to scrutiny for lovers of sounds that collide electronic, post-rock and experimental with synth, new wave and even a touch of new age ambient. The track list is a big one with tried and tested names like Patrick Cowley, Cabaret Voltaire, the late Ryuichi Sakamoto, Peter Gabriel and more all featuring. It makes for quite the trip and a fine reminder of the magical newness of electronic music back then.
Gero Korner Trio - "Another Brick In The Wall" (4:40)
Bird On A Wire - "Wish You Were Here" (2:55)
Kirlian Camera - "Julia Dream" (3:57)
Max De Aloe Quartet - "See Emily Play" (2:30)
Nguyen Le & Youn Sun Nah - "Breathe (In The Air)" (2:27)
David Neerman - "Us & Them" (5:55)
Laurent Fickelson & Stephane Belmondo - "Set The Control For The Heart Of The Sun" (edit) (6:40)
Voices On The Dark Side - "Any Colour You Like" (3:32)
Michele Garruti - "Time" (edit) (3:52)
Review: For this album, Wagram France invited various artists from the jazz scene to pay tribute to the legendary band Pink Floyd by interpreting some of their most famous tunes in whatever style they see fit. All the bands biggest singles are taken on from 'Money' to 'Another Brick In The Wall' via 'Wish You Were Here' and 'Us and Them.' They all sound very different with lively keys dancing over jazzy drums on 'Money', folk style vocals from Bird On A Wire and lush harmonies and heavenly vocals from David Neerman on his version of 'Us & Them.' All in all, a fine tribute indeed.
Review: A 13-track selection from the Genesis headline set in front of 50,000 fans at Knebworth on June 24, 1978, closing a day's entertainment which also included Jefferson Starship, Tom Petty & The Heartbreakers and - somewhat inexplicably - eccentric US new wave mavericks Devo. This is the sound of the early Phil Collins-fronted era reaching its peak - they'd released the album And Then There Were Three earlier in the year, straddling the prog stylings that made them famous with more pop-slanted moments like 'Follow You Follow Me'. Collins proves himself capable of handling vocals on Gabriel-era classics like 'I Know What I Like' and 'The Fountain Of Salmacis', but mainly the tracklisting bears witness to the sound of a band ringing the changes and shooting into the stadium rock stratosphere as a result.
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