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.
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: Prog rock legends Rush have a die-hard fan base who love to spend hours debating about which is their best album. They might not always name this one but it is generally regarded as up there amongst their finest hours with a bigger variety in the structures of the songs, the melodies and the sounds created than before. The Canadian group released it in September 1991 having recorded it earlier that year. It proved a commercial success for the outfit reaching No. 3 in the United States, No. 10 in the UK, and No. 11 in Canada. It always won awards for its cover art and is noted for its return to guitar-driven songs.
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: 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.
Review: After three groundbreaking albums with black midi, including 2023's Hellfire, Geordie Greep has carved out time to release his debut solo project, The New Sound. This album showcases an eclectic and vibrant approach to alternative pop, granting Greep the freedom to pursue creative impulses without restraint. He reflects on this liberation, stating that without a band to answer to, he could fully explore his artistic vision. The recording process involved over thirty session musicians across Sao Paulo and London, blending diverse influences. Greep notes the spontaneity of working with local talent in Brazil, where tracks were recorded in a matter of days. Musically, The New Sound delves into themes of urban life and human experiences, juxtaposing light-hearted melodies with darker narratives. Songs like 'Holy Holy' merge indie pop with lush Latin arrangements, while 'Motorbike' features bassist Seth 'Shank' Evans in a poignant lament. Greep's ambition is evident throughout the eleven tracks, aiming to engage listeners with intricate lyrics and unexpected turns. He hints at future live performances, aiming to capture the album's dynamic spirit in various settings.
Review: The 1973 album Love Devotion Surrender marks the singular collaboration between guitar legends Carlos Santana and Mahavishnu John McLaughlin, resulting in a spiritually charged masterpiece. This reissue from Mobile Fidelity unties both of the artist's quest for enlightenment, drawing inspiration from John Coltrane's work and their shared devotion to Indian guru Sri Chinmoy. Sourced from the original analog master tapes, this reissue showcases the album's intricate sonic landscape with remarkable clarity. The dynamic interplay between Santana and McLaughlin, with Santana predominantly on the left and McLaughlin on the right, creates an wonderful live listening experience. The album’s varied tempos and tones, ranging from delicate acoustic passages to powerful bursts of percussion, are brought to life with extraordinary realism. Featuring interpretations of Coltrane classics like 'A Love Supreme' and 'Naima,' as well as original compositions, the album blends jazz, rock, and gospel elements. Larry Young, credited as Khalid Yasin, delivers standout organ accompaniment, adding depth to the improvisational lines and ecstatic chords that define the record. Love Devotion Surrender remains a transcendent journey through sound, driven by two of music’s most visionary artists.
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: 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.
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: Softs marked a pivotal moment in Soft Machine's evolution, departing from their experimental roots towards a refined jazz fusion sound. Following Bundles in 1975, this album found the group embracing a more structured approach while still delivering intricate and dynamic compositions. Keyboardist Karl Jenkins takes a more prominent role, with his compositions blending beautifully with John Etheridge's fiery guitar and Alan Wakeman's expressive saxophone. Highlights include the energetic 'The Tale of Taliesin', featuring a blistering guitar solo, and 'Ban-Ban Caliban', where the band's fusion of synths and sax creates a rich, textured sound. The album also includes softer moments like 'Song of Aeolus' and the piano-acoustic guitar duet in 'Out of Season', offering a contrast to the intensity of the faster tracks. Drummer John Marshall shines with a powerful solo in 'Kayoo' and the album concludes with Etheridge's gentle acoustic piece 'Etka'. While Softs diverges from the classic Soft Machine style, it stands as a strong jazz fusion album with undeniable charm. It's an excellent listen for fans of the genre, though some purists may find it a departure from the band's psychedelic roots.
Review: The new album from veteran British prog heroes Jethro Tull is a dynamic relacing of their signature prog rock sound with portentous moods, documenting nine new tracks varying in length from two and a half minutes to almost seventeen minutes. Released as a reflective nod to their earlier records, it comes with Ian Anderson's unmistakable flute performances marking lush acoustic passages, then through to more adventurous, electric moments. Lyrically, the record pinpricks Anderson's topical approach and observational assessments of the various turmoils facing a surreal present day, though the music is actually still more personal than ever. Flurries of accordion, mandolin and tenor guitar back up this storytold mood, stenting the unwieldiness of the times with a support from the signature sound of the 1970s.
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.
Review: Rush 50 is a career-spanning, 50-track anthology celebrating the Canadian trio Rush's breakneck journey in prog rock, virtuosity and "philosophical rock". Available in five configurations - this one being the 7xLP Deluxe Edition - this collection includes seven unreleased tracks, including the band's debut single 'Not Fade Away' and a live recording from their final concert in 2015. Distilling in as effective a manner as possible the full 50 annual yards of Rush's evolution - from their early days to full-throttle stadium rock grandeur - Rush 50 is also made up partly but significantly of unreleased live performances from 1974 and their final 2015 show, nestled next to hits like 'Tom Sawyer' and 'The Spirit Of Radio'. A 104-page book, new artwork, and a graphic novel helps further detail the band's history.
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.
Review: The album stands as a bold testament to progressive metal, combining complex arrangements, heavy instrumentation and deeply introspective themes. The band's musicianship is in peak form, with the guitarist delivering stunning solos that blend intricate leads and rhythmic precision. The music oscillates between hard-hitting tracks and melodic ballads, with standout moments in songs like the aggressive 'Lie', the challenging 'The Mirror' and the emotional depth of 'Lifting Shadows off a Dream'. There are also reflective acoustic pieces and an instrumental, showcasing the band's versatility. Lyrically, the album explores existential themes with sharp, cynical undertones, while recurring musical motifs provide a sense of cohesion. The album is ambitious and complex, balancing heaviness with moments of subtlety, making it a rewarding experience for listeners who appreciate intricate compositions and raw emotional expression.
Review: Originally released in 2005 and celebrating its 20th anniversary, Ghost Reveries would serve as the eighth full-length from Swedish progressive metal legends Opeth. Following the 2002/2003 two-part project which showcased their most malevolent form on Deliverance and then a resolutely pleasant prog rock opus with Damnation, this follow up sought to rectify one side with the other; coalescing into a masterwork which simultaneously was regarded by longtime fans as a career height, whilst the expanded distribution from signing with major label Roadrunner opened them up to an entire new wave of unsuspecting ears. Marking their first album since 1999's Still Life to not be produced by Porcupine Tree's Steve Wilson, instead duties fell to Jens Bogren (Katatonia, At The Gates, Dimmu Borgir) who helped Mikael Akerfeldt and his cohorts to rediscover their death metal origins yet channelled through their more melancholic sensibilities. Boasting some of their most vital pieces from the epic 10-minute opener 'Ghost Of Perdition', to the even lengthier fan favourite 'Reverie/Harlequin Forest', as well as the equally adored 'The Grand Conjuration', the album has long since been held aloft as the perfect modern entry point to the world of Opeth. The project would also be the first to include keyboardist Per Wiberg as a "permanent" member while serving as their final endeavour to feature both drummer Martin Lopez and long-time guitarist Peter Lindgren.
Review: Prolific Pink Floyd record producer and engineer James Guthrie once again has his 2018 remix album for the band's 'Animals' reissued, this time on limited LP wax. A five-piece meditation on Floyd's penchant for animalism, Guthrie's reinterpretation yanks the Orwellian structure and themes of the original album and hurls them back into an electronic prog rock prayer, with many of the new versions impressively breaching 10 minutes. In true Floyd fashion, this is window-closed, record-sleeves-on-the-floor, bong-hitting stuff, but with an extra Guthriean darkness lended to it. Clock the pig oinks littering the mix too.
Review: Serving as follow up to 2023's acclaimed breakout third full-length Take Me Back To Eden, London's elusive, masked progressive metal mystics Sleep Token return with Even In Arcadia. Renowned for their genre-fluid melding of djent, metalcore, post-rock with further leftfield elements of post-classical, hip-hop, trap and indie-pop, the project led by the enigmatic Vessel has seen a massive expansion in popularity since the release of their last album. Set to headline Download 2025 before embarking on their first US Arena Tour, their newest endeavour promises to maximise all of their sonic abandon and outdo their own blueprint in the process, with lead single 'Emergence' starting life as a piano ballad before morphing into an ambi-trap groove metal anthem until fading with a lush, jazzy saxophone and piano finish. No doubt, this will be one of the highest selling/streaming/controversial/debated/talked about metal-centric titles to be released this year.
Review: This historic 1972 performance film marked a definitive evolution of Pink Floyd's artistic vision, and is possibly the moment they first truly escaped the more ephemeral pop of the Syd Barrett era and started to become the prog giants that would go on to dominate the 70s both culturally and commercially. The haunting imagery of Pompeii combined with an expertly remixed sound design by Steven Wilson turns this film from a mere document of the past into a multi-sensory experience. Meticulously remastered, each note of 'On The Run' and 'Us and Them' hang with crystalline clarity in the surround mix and the shifts between searing intensity and quiet reflectionifrom the thunderous opening of 'Echoes' to the fragility of 'Mademoiselle Nobs' - are rendered in remarkable detail. It's a profound exploration of Pink Floyd's creative process, capturing the band at a pivotal moment as they craft the sonic landscapes that would later define The Dark Side of the Moon. This release ensures that the film's timeless allure is as potent today as it was over fifty years ago, inviting a new generation to experience the alchemy between image, sound and performance.
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