Back catalogue: Progressive Rock

Review: Grover Washington Jr's Hydra makes its debut on 45, showcasing the jazz legend's saxophone brilliance over an irresistible groove, arranged by Bob James. Originally released in 1975, its iconic drums have been sampled over 100 times, including by ATCQ and Biggie, with Black Moon's How Many MC's featuring the famous bass hook. On the flip, Seals & Crofts' Sweet Green Fields also appears for the first time on 45. The duo's Californian soft rock sound is underpinned by a catchy bassline sampled by Busta Rhymes for his 1997 hit Put Your Hands Where My Eyes Could See.

Review: Chicago's Live at 55 sees the legendary band celebrating over five decades of music with a performance full of energy and nostalgia. Featuring a mix of classic hits and deeper cuts, the set is a celebration of their enduring legacy. The performance builds with brass-heavy anthems like '25 or 6 to 4' and the smooth 'If You Leave Me Now', proving their ability to mix rock, jazz, and pop seamlessly. With guest appearances adding a fresh layer to the familiar sound, the album captures the essence of Chicago's rich musical history, while continuing to demonstrate their dynamic stage presence.

Review: Talk about universe building - Coheeed & Cambria have written their own science fiction odyssey, realised it visually, and then used this as inspiration for their music. Creative self-indulgence or self-dependence, either way it's made for a compelling back catalogue of prog-leaning post-hardcore and emo-infused heavy rock bordering on metal. The Father of Make Believe is the latest episode this epic journey. And it's fully fledged Coheed & Cambria - so instantly gratifying there's a case for this as rock-pop, the slow jam 'Corner of My Confidence' perhaps taking that idea to the furthest point, although even the main stage juggernauts like 'Someone Who Can' seem to be equal parts geek-out six string solo and polished to perfection. In other hands, this might feel plastic, but the skill with which they pull their sound off is nothing but authentic.

Review: On their latest release, Crippled Black Phoenix takes their signature mix of atmospheric rock and melancholy to new heights. The band's blend of brooding, cinematic soundscapes and haunting melodies draws you in, but it's the emotional intensity that really grips. 'We Forgotten Who We Are' pulses with a raw energy, while 'Song for the Unloved' taps into a quiet despair that lingers long after the track fades. There's a sense of reinvention on this releaseifamiliar elements are reworked with fresh perspective, making it feel like both a reflection and a bold step forward for the band.

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: After a period of roughly three decades, German soundtrack artist and onetime Karlheinz Stockhausen apprentice Holger Czukay shares a surprise trove of lost tapes, which are said to have been once recorded by the artist for "free disposal" and which were presumably forgotten about at the time. Now available, all of said material is said to date back to at least the 1990s, and marks the forward thinking and "ahead of its time" (as remarked by fellow producer Schneider TM) approach to cold Kraut and experimental wave that informed Czukay as he experimented freewheelingly with beatmaking while in the company of further fellows Dr. Walker and Air Liquide. Also evolving in temporal conjunction with an experimental live show involving body tracking tech, fashioned by mixed media artist Arthur Schmidt, there are implicit themes of virtual reality and haptic sound control here. Way ahead of its time indeed.