Back catalogue: Progressive Rock

Review: Estonian rock band Centre El Muusa hail from Tallinn and in vitally started out as experimental electronic duo Centre Electronique Muusa before evolving into the current set up in 2018. They have dropped a couple of tasty albums since 2020 and now contain with their explorations and fusions of the worlds of jazz, rock, folk, world and country with hints of kraut on the new 7" for Funk Night. 'Moonlight Horses' is a psyched out world of campfire guitars and star gazing riffs that leaves you feeling fully hippie-d up. 'Catching Stars' then heightens the trip with more angular guitars and a big wall of garage-rock sound.

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: Recorded for BBC Radio In Concert during Can's 1973 UK tour, this exceptional live performance showcases the cult favourite band at their peak. The five-piece group did their usual trick of expertly weaving together repeating themes and riffs while responding to each other in real-time. The dynamic interplay between keyboards from Schmidt, guitar from Karoli and Suzuki's vocals is driven by the powerful Czukay and Liebezeit rhythm section. Featuring comprehensive sleeve notes and full recording details, this release includes all tracks written by Can members Czukay, Karoli, Liebezeit, Schmidt and Suzuki, all of which were captured live at The Paris Theatre, London on February 19th. A great bit of Can history.

Review: Live in Cuxhaven 1976 is the third release in Can's special series of live album reissues. It follows Can Live in Brighton 1975, which came out in December 2021. As with a good chunk of Can's latest releases documenting the bulk of their live appearances (which were inarguably their best performances, often outmatching their recorded material), the album consists of four instrumental pieces Eins, Zwei, Drei and Vier.

Review: Live in Aston 1977, the latest installment in Can's series of live album releases, offers a fresh perspective on the band's dynamic stage presence. Released via Mute and Future Days, this release provides a glimpse into a challenging period for Can, following the mixed reception their eighth studio album, Saw Delight, elicited. Despite any expectations of a decline in energy or creativity, the live performances captured on this album defy such notions. Instead, they showcase Can's enduring vitality and adaptability, reaffirming their reputation as a band capable of captivating audiences with their unpredictable live shows. Notably, Live in Aston 1977 marks the debut of bassist Rosko Gee (Traffic) within the Can Live series. His addition to the lineup injects a fresh energy into the band's sound, complementing the innovative contributions of Irmin Schmidt, Jaki Liebezeit, Michael Karoli and Holger Czukay. Accompanied by a booklet, this release offers fans a deeper insight into Can's live performances during this period. It serves as a reminder of the band's relentless pursuit of sonic exploration and improvisation, making it a valuable addition to the Can discography for both longtime fans and newcomers alike.

Review: The Spotlight Kid was Captain Beefheart's sixth studio album and one, landing a mere three years after the legendary Trout Mask Replica classic, sees him continuing his avant-garde brilliance. Initially released in 1972, it stands out as the only album credited solely to Captain Beefheart, even though it does feature much of his Magic Band prominently. The material, integral to the band's repertoire, highlights Beefheart's eclectic musical vision and experimental spirit, taking raw blues as its starting point but then twisting into it hithertoo unrecognisable shapes and psychedelic distortions. Reissued for Record Store Day 2024 as a deluxe double LP set in a gatefold jacket with milky clear vinyl, this edition revitalises the album's enigmatic charm for contemporary audiences and reminds us all of its magnificent blend of blues, rock and avant-garde elements.

Review: Captain Beefheart & His Magic Band are the latest act to be featured in Warner's series of Now Playing greatest hits-style comps. Born Don Vliet, Captain Beefheart was a true innovator in modern music, boasting a four-and-a-half-octave vocal range, and fused free jazz, Delta blues, classical music and rock & roll with unique rhythms and surreal lyrics. Though he never achieved mainstream success, his influence permeated punk, new wave and post-rock and this album shows why, with tracks like 'I'm Gonna Booglarize You Baby' and 'Her Eyes Are a Blue Million Miles' showcasing his bolder moves, alongside the more introspective 'My Head Is My Only House When It Rains' and 'Clear Spot.' Vliet, a child prodigy in art, moved to the Mojave Desert in his teens, where he met Frank Zappa. They initially collaborated on a film project, but Vliet eventually formed the Magic Band. After several lineup changes, they released the seminal Trout Mask Replica in 1969. Beefheart's career spanned various experimental phases until he retired in 1982 to focus on painting, earning acclaim for his abstract outsider art.

Review: Caravan are notable pushers of the early 70s Canterbury scene, a unique subgenre of prog rock that found its start in the 1960s but which continued to be fleshed out well into the following decade; and in this case, in London, away from the scene's original inception. In The Land Of Grey & Pink now hears a reissue via Deram, once again recalling Caravan's whimsical sensibility and their overarching fit into the Canterbury sound at large. Whether nailed by its the frank and boxed-in vocals by Richard Sinclair, or the channel-surrounded guitar licks of Pye Hastings - as well as a whopping 22-minute epic track, 'Nine Feet Underground' - this is a bowler-overer of pastoral, humorous and fantastical sounds.

Review: The word is (over) used a lot when it comes to music, but there's no denying that Cardiacs were utterly unique. Emerging from the suburban commuter belt between the outskirts of West London and sleepy Surrey, they created a world of their own where vicious punk rock and implausiably complex prog were joined in joyous union, with the geniunely genius songwriting of singer/guitarist Tim Smith at its heart. 'Heaven Born & Ever Bright' is their third studio album and arrived after a slimming down of their classic six piece line up to a much sleeker four, but the songs attain an intensity and scalpel-like precision even its predecessors find hard to match. Smith would never pick actually pick a favourite of the four Cardiacs studio LPs, but when asked he would usually simply declare that he felt this one was underrated. Some four years after his death, following a tragic and lengthy debilitation after he suffered a major stroke and an episode of cerebral anoxia in 2008, it's perhaps time Cardiacs fans righted that wrong.

Review: This comprehensive special edition of this classic album comes across eight sides of vinyl and captures the iconic band at the peak of their early career. Performing in the nation's capital, Chicago delivered a wonderfully dynamic set that showcases their unique fusion of rock, jazz, and brass. It features plenty of great work from the band's well known and distinctive horn section and intricate arrangements. A magnificently captured live recording, it features hits from their early albums such as Chicago Transit Authority and Chicago II, and also takes in fan favourites like 'A Song For Richard & His Friends' and 'Beginnings.' The performance is a testament to Chicago's musical versatility and powerful live presence and this version of it takes you right back to the heart of it all.

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: To commemorate the 30th anniversary of Phil Collins' fifth solo studio album, Both Sides, a special edition 5XLP box set is set for release. This deluxe reissue, features the remastered original album, cut at half-speed by Miles Showell at Abbey Road Studios. Both Sides (All The Sides) includes early demo tracks, rarities from singles like 'Both Sides of the Story,' 'Everyday,' and 'We Wait and We Wonder,' as well as live performances such as 'Can't Turn Back the Years' and 'Both Sides of the Story' from Collins' MTV Unplugged session. This collection is presented on vinyl for the first time, housed in a slipcase with picture sleeves and a 16-page booklet containing newly written liner notes by esteemed journalist Michael Hann. Collins, who wrote, performed, and produced Both Sides in just six weeks at his home studio, considers it his most personal album. Originally released in 1993, the album topped the charts in the UK and Europe, reached No. 13 in the US, and achieved multi-platinum status worldwide.

Review: Cosmic Jokers recorded some now legendary jam sessions back in the 70s. They were split up and made into two compilations, Planet Sit-In and Sci Fi Party, and were both put out in 1974. Amongst the high-class talents who were part of those seasons were legends of the kraut scene like Manuel Gottsching, Klaus Schulze, Jurgen Dollase, Harald Grosskopf and Dieter Dierks. It was Dierks who took care of the recordings, arrangement and mixing as well as being a musician in the seasons. These have been transferred from the original analog tapes and remastered for the first time.

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.

Review: Genius, enigma, pioneer. Holger Czukay's impact on music cannot be understated. As co-founder of seminal German legends Can, he was instrumental in bridging gaps between popular and avant garde music, pushing early sampling techniques forward, and having a hand in creating ambient genres. Radio Wave Surfer was his sixth solo album, adding to an impressive back catalogue separate to his work in Can. It's every bit as bold and fearless as you would hope considering the guy who made it, exploring a number of sounds which were either completely new or in incubation at the time - 1991. Rooted in electronica, concerned with the same level of experimentation Czukay's preceding albums, and those of his band, were known for. Trying to explain it isn't easy, so you're best just sticking it in the shopping cart.

Review: Japanese jazz drummer Akira Ishikawa's blistering 'Uganda (Dawn Of Rock)' makes a piognant claim as to the origins of rock n' roll, blending traditional African drumming workouts with the futuristic tropes belonging to psychedelic rock and fourth world music. Consisting of just four movements ranging from formless to the watery and rhythmic, its recording lies in the basis of just one legendary drummer, but in all its sonics sounds as though an enormous ensemble were behind it. A well-sought J-psych rarity.