Review: Moving away from their usual meticulous approach, this Australian cinematic soul outfit embraces spontaneity, infusing their signature sound with newfound energy and groove. The result? A record brimming with vibrancy, experimentation and undeniable funk. The opener, 'Sleep Dreams', is a laid-back entry point before 'Bully Ball' crashes in with its raw, thunderous drums and deep-pocket funk. The band's sonic explorations continue on 'Body Slam', a track that begins with a sweet soul feel before morphing into something dark and eerie, highlighted by a timpani recorded in a distant bathroom. That same adventurous spirit shines in 'Fare Evader', where sci-fi-esque synths punctuate a hard-hitting rhythm. Surprise Chef pushes the tempo on 'Consulate Case' and 'Tag Dag', drawing from afro-funk and jazz-funk influences, while ballads like 'Websites' and the ethereal 'Dreamer's Disease' showcase their softer, cinematic side. With Superb, Surprise Chef amplifies the fun without sacrificing their signature musicianship. This album solidifies their ascent from underground favourites to a global force in modern soul.
May I/Rheinhardt & Geraldine/Colores Para Dolores (9:36)
Lunatics Lament/Pisser Dans Un Violon (12:57)
The Oyster & The Flying Fish/Underwater/Clarence In Wonderland (12:25)
Red Green & You Blue/Shooting At The Moon
(5:47)
Review: Hailing from Herne Bay in the south east of England, Kevin Ayers emerged as a pioneering figure in the nearby Canterbury scene. His second solo release with the Whole World is a testament to the experimental spirit of early 70s UK music, mixing progressive rock with psychedelia and avant-garde influences, blending whimsical ballads and intricate soundscapes. Tracks like 'May I?' and 'Rheinhardt & Geraldine' show off his knack for fusing carefree melodies with more experimental structures, while 'Underwater' and 'Clarence in Wonderland' explore the era's boundary-pushing approach to sound. Featuring contributions from Mike Oldfield and Robert Wyatt, the record's genre-defying nature helped cement Ayers as a key figure in progressive rock. Though originally released in 1970, this album remains an influential work, still resonating with contemporary artists drawn to its mix of playfulness and musical innovation.
Careful With That Axe, Eugene (alternate take) (5:50)
A Saucerful Of Secrets (Unedited) (12:44)
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.
When The Apples Blossom Blooms In The Windmills Of Your Mind I'll Be Your Valentine (Dope Jams Kaatskill Mountain take) (5:37)
Review: This special green slab of wax brings together two Emerson, Lake & Palmer tracks, one of them with a fresh twist from a legendary US record store. The classic ballad 'From the Beginning' is rich in warm acoustic guitar and Greg Lake's evocative vocals so it stands as one of the band's most beloved and accessible moments. On the flip, 'When the Apple Blossoms Bloom...' receives a bold Dope Jams Kaatskill Mountain take, which flips it into a sprawling, psychedelic-drenched remix that infuses the instrumental with hypnotic grooves and experimental textures. With both cuts on one 12", this one is both a nod to prog rock's legacy and a bridge to new sonic frontiers.
Review: Part of the wider Megami Tensei video game franchise, Persona 4 is a 2008 role playing title that hit Japan, and made a huge impact, in 2008. Set in a fictional version of the Land of the Rising Sun's countryside, players adopt the character of a high school student who moves to the small town of Inaba from the city to experience rural living for 12 months. Mysterious murders ensue, and it's up to you - or whoever's got the PS2 controller - to work out what's happening. It's typically deep dive stuff for a country that has always had a very unique relationship with video games. Atlus, the developer, already had a reputation for making beloved scores for its titles, and this one is no exception, although broke the mould compared with preceding instalments in the saga. Way more upbeat, it's a mixture of bubblegum dance pop, chip music, high intensity synth rock, urban-hued J-pop, and 'toon jazz.
Review: Born in Kent and central to the UK's 70s jazz modernism, Neil Ardley composed with the precision of a scientist and the vision of a cosmic philosopher. This long-overdue reissue from Analogue October captures a project that translates planetary orbits into a nine-note harmonic systemitoo vast for acoustic instruments, brought to life instead through early synthesisers. 'Arcturus' and 'Spiral Nebula' interlace fluid sax work from Barbara Thompson with John Martyn's signature reverb-drenched guitar, while Geoff Castle's synths evoke deep-space drift. 'Rainbow Four' channels modal funk, and 'Neptune' floats into ambient abstraction. Produced at Morgan Studios with a full ensemble of jazz heavyweightsiTony Coe, Ian Carr, Billy Kristian, Richard Burgess, and Trevor Tomkinsithis is a record that swings between science fiction and symphonic elegance. For all its high concept, it remains rooted in groove and human touch. A meticulous AAA cut from the Decca master tapes seals the experience: a bold and beautiful reminder of how far British jazz once dared to travel.
Review: Returning with their follow up to 2023's major breakout third album Take Me Back To Eden, London's mysterious, masked prog-metal mystics Sleep Token make their boldest statement yet with Even In Arcadia. Known for their brazen genre-fluidity that melds elements of djent, metalcore and post-rock with even further leftfield elements of post-classical, hip-hop, trap and indie-pop, the band led by the enigmatic Vessel have seen a massive expansion in popularity since the release of their previous full-length. Headlining Download 2025 before embarking on their first US Arena Tour, this latest endeavour maximises their sonic abandon and expands upon their own blueprint in the process with the lead single 'Emergence' beginning life as a piano ballad before morphing into ambi-trap groove metal anthemics before finally fading into a lush, jazzy saxophone and piano finish. Set to be one of the highest selling/streaming/controversial/debated/discussed metal-centric releases of the year, Sleep Token appear set to take on the world with their newfound fame and fearless disregard for sonic boundaries or metal elitism.
Review: Yet another addition to Rhino Records’ Start Your Ear Off Right series hears a reissue of prog metal band Dream Theater’s fifth studio album and first ever concept album. A sequel to the thrillingly titled Metropolis-Part I: The Miracle and the Sleeper, this record builds an intensive recollective sonic theatre out of the mosaic themes of memory and depersonalisation. Themed around the subject of a young man undergoing past life regression therapy, the record is a compelling, initially psychotic howl into the night, and yet it proves an ultimately integrative, recursive experience, adding themes of murderousness and prophetic fate.
Review: The Milanese outfit dive headlong into cinematic Afro-disco on this limited 7", reworking two cult dancefloor staples with characteristic flair. On the A-side, their version of Piero Umiliani's 'Discomania' hits with tightened syncopation and swirling synth arrangements, turning the cosmic Italo-disco cut into a hypnotic afrobeat strut. Flip it over for a rich reimagining of Azymuth's 'Jazz Carnival'iCalibro 35 boost the groove with deep-bottomed funk and crisp horns, pushing the original's samba swing into widescreen. Known for their work at the intersection of funk, soundtrack and psych, the band bring sharp musicianship and warm analogue heat to both sides of this essential 45.
Review: This release saw Genesis balancing their progressive rock origins with a more radio-friendly sound when it hit in 1983, creating a seamless fusion of complexity and accessibility. Tracks such as 'Mama' - the first single that heralded the album's arrival - bring an eerie edge, with Phil Collins' emotive delivery matched by brooding synths and steady percussion. By contrast, 'That's All' offers a buoyant, piano-led melody that feels both light and intricate, showing the trio's knack for crafting memorable hooks without losing their musical depth. The instrumentation remains sharp and purposeful throughout, highlighting the group's ability to adapt their style while maintaining a sense of innovation.
Review: By the time they reached 1973, Genesis knew exactly the kind of band they wanted to be, and Selling England By The Pound saw them going further into the pastoral folk sound which would inform the evolution of prog into a more specific style rather than an attitude. This was the penultimate album from the original, classic Genesis line-up of Peter Gabriel, Phil Collins and Steve Hackett, and you can still sense a band exploring possibilities to match their considerable musical chops. Just take in the monumental 'Dancing With The Moonlight Knight' and you can hear the mould being cast for the waves of prog that were to come.
Brian Bennett & Alan Hawkshaw - "Name Of The Game" (4:25)
Dave Richmond - "Confunktion" (4:38)
Review: Measured Mile is a new 7" label run by regular Ace consultant and confidante Bob Stanley. The plan is to release DJ-friendly 45s that are either very rare or previously unavailable on seven-inch. On this new one come two pieces from esteemed library musicians - the well known pairing of Alan Hawkshaw and Brian Bennett, and Dave Richmond. 'Name Of The Game' is a slow instrumental blues piece with beats ready to be plundered for hip-hop beats that once soundtracked a 1970s aftershave ad, while Richmond's 'Confunktion' is a motivational builder-upper with drums and organs aplenty.
Tubular Bells (part 1 - LP1: 1973 original mix) (25:18)
Tubular Bells (part 2) (23:22)
Tubular Bells 4 (intro - 2017 demo - LP2) (8:29)
Tubular Bells/In Dulci Jubilo (music For The Opening Ceremony Of The London 2012 Olympic Games) (11:20)
Tubular X (3:41)
Tubular Bells (Mike Oldfield & York remix) (9:42)
Mike Oldfield's Single (Theme From Tubular Bells) (4:25)
Review: Not only is Mike Oldfield's 'Tubular Bells' one of the most recognisable bits of music of the last 50 years, but the cover too is one that seems burned onto our brains - an ever-present presence in any record shop you have ever been in. It is now half a century old so gets a special Anniversary Edition release with the title tune getting a Miles Showell 2023 Half Speed Master. That iconic tune also appears as a Mike Oldfield & YORK remix and a mashed-up version sub-titled 'Music For The Opening Ceremony Of The London 2012 Olympic Games'.
Review: Genesis's And Then There Were Three is a pivotal album in the band's history, marking their transition to a trio following Steve Hackett's departure. Released in 1978, the album showcased a blend of progressive rock roots with shorter, more concise songs, reflecting a response to the changing music scene and indicating the future path on which the band would travel. Lead single 'Follow You Follow Me' became a chart-topping success, propelling the album to platinum status in the US and the LP's sound, despite being dominated by Tony Banks' keyboards and Mike Rutherford's guitar work, signalled a departure from their earlier style but retained the band's signature sound. Critics praised the album's strong, confident compositions, noting tracks like 'Ballad of Big' and 'Down and Out' and despite initial scepticism about their ability to continue as a trio, Genesis proved their resilience and their musical depth remains clear on this 2024 reissue.
Review: The title is lifted from a line in the song from their 1969 studio album, More, which is an acoustic folk ballad titled 'Green Is The Colour': "Heavy is the bond between the hopeful and the damned." Live they slap on a more electric feel with Gilmour's inimitable soloing a strong part of it. The overarching loose, exploratory feel to this collection is a result of Pink Floyd's tendency to improvise and see where the music takes them. Clearly playing for themselves here but nevertheless compelling and awe-inspiring in what they do.
Review: John Carpenter's knack for cinematic storytelling without the screen takes centre stage on this deluxe reissue, marking ten years since the release of the great American soundtrack artist's first Lost Themes edition. The new expanded edition, complete with artwork by Greg Ruth, offers more than just a nostalgic revisit; it adds a new 7" featuring two unreleased tracks, 'Cruisin' With Mr. Scratch' and 'Dominator', both pulled from the original sessions. When it first came out, the album stood out for its vivid, visceral style, blending horror, science fiction, and eerie synthwork into standalone pieces that could easily score unseen films.
Xxxtra Asceticism Or Allergic To Meditation (9:13)
Asoka Ananda (19:44)
Review: Trust Masked Replicants showcases Acid Mothers Temple (AMT) in top form, delivering their signature brand of experimental psych-rock built around skeletal frameworks. Led by Kawabata Makoto, the band navigates chaotic, drone-infused improvisations, pushing the boundaries of human consciousness with their cosmic jams. Side-2 features the standout 20-minute track 'Asoko Ananda', a fast-paced, side-long piece that fuses kosmische rhythms, filter sweeps, free-jazz piano, tabla drumming, and vocal experimentation. This track captures the full range of AMT's skills, climbing to the summit of their collective abilities. Rooted in prog, Krautrock, modern composition and noise, AMT has been a driving force in the psyche-rock scene since the early 90s. With a long history of prolific releases and global tours, the band returns to Important Records for this limited vinyl edition featuring original member Cotton Casino. Trust Masked Replicants - with its neat titular nod to Captain Beefheart's best known album - is another top album for fans of the group's improvisational, mind-expanding soundscapes.
They Took Control Of You (CD 1: Atomic Rooster - Released In 1980)
She's My Woman
He Did It Again
Where's The Show?
In The Shadows
Do You Know Who's Looking For You
Don't Lose Your Mind
Watch Out!
I Can't Stand It
Lost In Space
Throw Your Life Away (bonus tracks - B Side Of single 1980)
Browken Windows (Recorded In 1980)
Do You Know Who's Looking For You (demo 1980)
Don't Lose Your Mind (demo 1980)
He Did It Again (demo 1980)
Lost In Soace (demo 1980)
End Of The Day (demo 1981)
Hold It Through The Night (demo 1981)
No Change By Me (demo 1981)
Play It Again (demo 1981)
Moonrise (Last Recording 1981)
They Took Control Of You (CD 2: live At The Marquee club 1980)
Death Walks Behind You
Watch Out!
Tomorrow Night
Seven Streets
Gershatser
I Can't Take No More
In The Shadows
Devil's Answer
Do You Know Who's Looking For You?
Review: After a five-year split, Atomic Rooster returned with renewed force on their sixth studio album, Atomic Rooster, pushing into heavier territory sligning au naturel with the emerging new wave of British heavy metal. Released in 1980, the album marked a sharp turn from their earlier, more progressive leanings, favouring a nude, aggressor rock sound. Guitarist and vocalist John Du Cann reworked two tracks, 'She's My Woman' and 'Where's the Show?', from his unreleased 1977 solo work The World's Not Big Enough, breathing into them second life within the Rooster framework. Though the 2005 CD reissue stirred interest with rare demos and extensive sleevenotes, it remains an "unofficial" release due to copyright issues with EMI. 'Do You Know Who's Looking for You?' later found new life via a Finnish-language cover by rock band YUP.
A Tempestuous Noise Of Thunder & Lightning Heard (3:05)
Om Mani Padme Hum (part 1) (4:14)
Yane No Mori (5:18)
Tialocan (5:27)
Om Mani Padme Hum (part 2) (3:37)
I Should Build The Man A Statue (5:02)
Forgot The Cry Of Gulls (3:12)
Om Mani Padme Hum (part 3) (2:48)
(The Song Of Life) (2:48)
It Can't Rain All The Time (5:19)
Review: The soundtrack for Risk of Rain 2's Seekers of the Storm, is here making its vinyl debut, and it's an edition fans won't want to miss. Composed by Chris Christodoulou, with a special contribution from Stavros Markonis, this release brings some atmospheric and powerful music to life on a stunning looking record. The vinyl itself is a visual treat, featuring a striking blue, white, dark green, sky blue, and black marbled design. This soundtrack is housed in a beautifully crafted gatefold sleeve with artwork by Daniele Giardini. Christodoulou's compositions delve into new, unexplored territories with a blend of intense and emotive pieces. The use of a seven-string guitar adds a new layer of depth to the music, delivering some of the most elaborate and heavy tracks ever written for the series. Markonis' contribution introduces a fresh sound, seamlessly integrating into the Risk of Rain universe while also bringing something unique to the table. The recent uptick in soundtracks released on vinyl have really shown that fans love connecting with the music of many movies and TV shows. Even if you may not know the series, this is one the best in recent weeks for you to enjoy.
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