Back catalogue: Progressive Rock

Review: Originally released in 1986 during their formative Noise Records era, Rrroooaaarrr would serve as the sophomore follow up to Canadian progressive metal legends Voivod's debut album War & Pain, whilst offering the first true glimpses into the more spacy cosmic compositional approach that would ultimately become their new sonic bedrock. While perhaps not at the level of prog wonder that has elevated 1987's Killing Technology to a much-adored fan favourite, the material on their second effort works as almost a bridge between their speed-thrash origins and the more fully realised vision their later material would harbour. While flashy and intricate, this early work is a testament to how formidable of a straight up thrash metal beast the band originally were before they would opt to distance themselves from their burgeoning peers in Metallica or Megadeth; marking the true beginning of their journey into the great unknown (also referred to as "space-prog").

Review: Canadian sci-fi-tinged prog metal auteurs Voivod originally unveiled The End Of Dormancy EP in 2020, with this "ocean blue" reissue from Brutal Panda sprinkling extra aesthetic weight to the title-track's nautical tale of a mysterious entity leagues beneath the sea. Originally a cut from 2018's critically acclaimed The Wake, this EP version offers a unique "Metal Section" take, almost a full minute longer with added trumpets, saxophone and trombones, whilst the B-side features a live rendition of the epic piece as well as the iconic opening track from the band's seminal 1989 prog-thrash masterpiece Nothingface - 'The Unknown Knows', both performed at the Live Montreal Jazz Fest 2019.

Review: Originally released in 2015, Inmazes marked the debut full-length from Danish progressive metal outfit VOLA. Taking sonic influence from the Djent scene pioneered by Meshuggah and further popularised by acts such as Periphery, yet eschewing much of the metalcore aspects prevalent within the subgenre, the material draws as much from Scandinavian prog metal acts such as Opeth and Katatonia, only fitted with seven string guitar low-end grooves and chunky riffage, making for a curious combination of progressive artistry and Djentcore heft, all unified under the saccharine, almost shoegaze lilt of primary songwriter Asger Mygind's understated vocal delivery. While the band would stray further into melodic, synth-laden prog soundscapes on 2018's sophomore follow up Applause Of A Distant Crowd, this debut where is they let their Djent flag fly as high as the influences worn on their sleeves.

Review: Amused To Death is the third studio album from Roger Waters outside of his work in Pink Floyd. As one of the fundamental creative forces in the prog behemoth, of course it's hard to separate his solo work from that most famous of bands, but this is indeed its own beast. At times it's an experimental space in which Waters uses space and minimalism to great effect, creating a foreboding sound peppered with speech samples and field recordings. There are of course plenty of more straightforward tracks too, like lead single 'What God Wants, Part 1'. This lavish issue of the 1992 album spreads the music out across four discs and comes in a box set format, a must-have for devoted Floyd and Waters collectors.

Review: This timely reissue of Zamrock's Afro-prog-psychedelic masterpiece makes its debut on vibrant yellow vinyl. WITCH was a group influenced by James Brown, the Stones, and Deep Purple and they dominated 70s Zamrock stages in their heyday. Their musical journey spanned only five years and culminated in the fifth and final rock album, which predated a split and a new disco venture in Zimbabwe. The record fuses traditional Zambian rhythms and folk melodies with progressive rock and, somewhat echoing Lukombo Vibes, it embodies the Osibas' "afro-rock" style. This release encapsulates WITCH's evolution and influence and gives a vivid glimpse into the era's musical fusion and cultural resonance.

Review: X-Ray Pop play live at Rockomotives Festival in 2020. The cult band was first formed back in 1984 by Didier Doc Pilot and Zouka Dzaza and are said to be inspirations for the likes of Beastie Boys and Stereolab. Their set at Rockomotives marked a triumphant return to the stage for the group with Charlotte Barfuss and Zouka Dzaza providing vocals, Doc Pilot on space guitar and Olivier Gicquel on drums amongst others. The setlist takes in tunes from four albums - Surrealistic Pilot, Fuzzy Soundtracks, All that Jazz and The Dream Machine - with psychedelic jazz mixed with novo beatnik overtones.

Review: Interestingly, having reinvented themselves in the 80s with the help of Trevor Horn and various other members of the team, accidentally spawning the pioneering legends Art of Noise in the process, when we come to 2023, a trip back to their 70s heyday is more what the doctor ordered. With their guitarist Steve Howe at the production helm they are fancy technology-free, sounding as live as ever, and have restoered everything from the long songs - two of the 13 here top nine minutes - to the old logo and sci-fi artwork. They've even got a new Jon in to replace the old one. and Davidson does a good job of impersonating Anderson, apparently with the help of a female singer double tracking his vocals. You don't need a PhD to work out this is a nostalgic trip, but as attempts to relive former glories go we have heard a lot worse.

Review: Frank Zappa once told KPFM-FM Radio that 'Sinister Footwear' is "a ballet about a guy who designs the ugliest shoe in the world and then all the things that happen before you get to wear it. And the shoe has been designed and I just saw like about ... twenty pairs of it, sitting around this place, it's really great." Ever the enigma, 'Sinister Footwear' could refer to the Frank Zappa track itself, 'Theme From The 3rd Movement of 'Sinister Footwear', or 'Sinister Footwear II'. Or this album, which collects highlights from his legendary New York City broadcast on 17th November 1981. A spectacular artefact from the height of his creative expression, at least some of the atmosphere, energy and creativity that captivated back then have survived onto this recording.

Review: Not to be confused with Zoot Allures, the 22nd studio album by American rock enigma Frank Zappa - released in 1976 - but purposefully confusable with that record, Zoot Alloors is just one artefact from the artist's critically acclaimed and technically astounding broadcast from New York City in November 1981. Like everything else Zappa, this mini-LP is part of a wider universe he constructed for himself before inviting fans to exist in it with him, and his inimitable performances style is captured here beautifully. Even the recording does its best to suck us right in there and leave us to explore. Tracks aren't so much tracks, but jumping off points for intense rock & roll, jazz, blues, glam and psyche jam movements that are invigorating, captivating and disorientating. A true original.

Review: A retrospective compilation of previously unreleased Frank Zappa tracks, anyone? The enigma left behind an incredible legacy in his 30 year career, time on stage spanning the majority of a life that was cut far too short, although by that point he'd already been lucky to survive an arson incident in Switzerland that left him with head trauma, numerous fractures, back, neck, and leg injuries and a crushed larynx that caused his voice to drop significantly after recovery. The incident also gave audience members Deep Purple inspiration for their seminal track, 'Smoke On The Water', but that's another story. Digressions aside, the tracks here are plucked from different periods in that inimitable storied history, but they all share political themes with an overriding anti-establishment message. A number also involve the Synclavier, one of the earliest digital synths, polyphonic sampling systems and music workstations ever created.