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.
Review: Alphataurus may not mean that much to a lot of people, but for anyone aware of the Milanese progressive rock titans, the fact they have a new record out will capture the imagination. After all, the outfit have been making a big impact with every album they've put out since - and including - the staggeringly ambitious self-titled 1973 debut. However, it's been a decade since we last had anything from them. Enter 2084: Viaggio Nel Nulla, then, a collection of music that marks a real turning point for Alphataurus, with the lengthy (to put it mildly) recording process ending with the departure of founding guitarist Guido Wassermann. Whether die hard fans will think what's here is worth the pain of that decision to leave is anyone's guess, but this collection is unarguably dystopian, futuristic, exploratory, cosmic and, almost conversely, accessible and catchy.
Medley: There Is Loving/Among Us/There Is Ioving (7:17)
Margaret (3:18)
Oh My (2:59)
Song From The Bottom Of A Well (4:37)
Whatevershebringswesing (8:04)
Stranger In Blue Suede Shoes (3:23)
Champagne Cowboy Blues (3:53)
Lullaby (1:37)
Review: A stunning journey across musical landscapes, courtesy of Ayers' diverse artistic vision, the album opens with the expansive and orchestral 'There is Loving/Among Us/There is Loving,' a progressive epic that sets a grand tone, followed by the dreamy and affectionate 'Margaret,' a psychedelic ode to Ayers' girlfriend at the time. 'Oh My' sees proceedings taking a playful turn, infusing New Orleans jazz influences into a catchy singalong track that exudes charm. 'Song From The Bottom Of A Well' ventures into psychedelic territory with its haunting atmosphere and experimental soundscapes as Ayers pushes the boundaries. Whatevershebringswesing, the title track, unfolds beautifully over its eight-minute duration, featuring the soulful vocals of his Soft Machine comrade Robert Wyatt and stellar guitar work by Mike Oldfield. It's a highlight praised for its laid-back vibe and intricate musicality. 'Stranger In Blue Suede Shoes' injects a dose of old-fashioned rock 'n' roll energy with infectious piano riffs and memorable lyrics. 'Champagne Cowboy Blues' offers a nod to country-western music, enriched by Mike Oldfield's evocative guitar solos and subtle fiddle embellishments. The album closes with 'Lullaby,' a serene and enchanting piece enhanced by Didier Malherbe's flute and soothing piano, creating a perfect conclusion to Ayers' musical narrative.
The Mexican (Mister Mushi Special edit - vocal) (5:20)
The Mexican (Mister Mushi Special edit - instrumental) (5:16)
Review: When British prog rock band Babe Ruth recorded 'The Mexican' - a low-slung funk-rock workout that came complete with weighty bass and killer drum breaks - they could have had no idea of the impact it would have during the block party phase of hip-hop's evolution (or, for that matter, that Jellybean Benitez would record a Latin hip-hop cover in the early 80s). It's the track's significance within hip-hop that inspired these revisions from break-digger Mister Mushi. Both of the producer's 'Special Edit' versions - vocal on the A-side, instrumental on the flip - make the most of the track's prototype hip-hop breaks, restless bassline and Latin-tinged fuck-rock guitar licks. They're basically the breaker-friendly revisions the dancers want and need.
Review: Following the triumphant success of their 50th Anniversary celebration, BLUE OYSTER CULT is gearing up for the release of the eagerly anticipated "50th Anniversary Live - Second Night." This electrifying performance, which includes the band's second album "Tyranny and Mutation" performed back-to-back is is a spectacular follow-up to the band's historic three-night stint at Sony Hall in NYC.
In September 2022, BLUE OYSTER CULT enthralled fans with a unique trilogy of sold-out shows, each dedicated to one of their first three albums. Founding member Albert Bouchard made a special appearance on all three nights, adding a nostalgic touch to the historic milestone.
For nearly three hours each night, the band delivered a spellbinding set, weaving through the entirety of their classic initial trilogy of albums and treating fans to a mix of fan favorites, deep cuts, and classic hits.
Make Me Smile (Ballet For A Girl In Buchannon) (1:57)
So Much To Say, So Much To Give (2:06)
Anxiety's Moment (2:43)
West Virginia Fantasies (1:34)
Colour My World (1:48)
To Be Free (1:34)
Now More Than Ever (2:00)
Fancy Colours (4:50)
Saturday In The Park (6:02)
Mother (5:26)
It Better End Soon (17:41)
I'm A Man (6:44)
Free (7:18)
Does Anybody Really Know What Time It Is? (Free Form intro) (5:22)
Does Anybody Really Know What Time It Is? (4:47)
25 Or 6 To 4 (6:09)
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.
Doesn't Anybody Stay Together Anymore (live) (5:53)
Always (live) (4:34)
Stevie's Blues (There's A Place For Us) (instrumental) (6:51)
Take Me With You (5:21)
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: Machine Head is the 1972 sixth LP from Deep Purple, best known for its pandora's box-style unleashing of one of the best-recalled rock riffs in the world: 'Smoke On The Water'. Now Warner and Rhino honour the album's boisterous legacy with a comprehensive reissued version, with new mixes and previously unreleased live recordings all in tow. The new indie exclusive mainly recalls such intensive wildouts such as 'Never Before', 'Lazy' and 'Highway Star', all of which betray the tightest of tight early heavy metal playing, as the genre transpired gracefully outwards from the groundwater spring of rock & roll in the early-to-mid 70s; in fact, the band and album were considered somewhat responsible for the development for the heavy metal genre as a whole; no wonder Machine Head was their most successful album.
Review: Dream Division present their latest album Rose In The Garden Of Winter, a contemporary gothic disco undertaking of polished and still genre-various proportions. Echoing the stylistic ambitions of Bauhaus, but perhaps describably updating their sound for the modern ear, Dream Division offer a metamorphic record, able to shapeshift into a range of chiropteran forms: cinematic punk, dub, goth-disco, lounge, even interluding raga. Impressively, the personnel list on this record make up an intricate human nonagram, through the central vector on this ritual star is Tom McDowell, who handles synths, vocoder, production and songwriting and commands a puppeteer's control over various synthesists, sitar caressers and theremin cooers. Delightfully devilish throughout, A Rose... reminds of something between a lycanthropic, late 70s Mancunian punk blowout and a fanged Italo-disco bashment in which the sprinklers sprinkle blood on sight of a daywalker.
My Guitar Is A Spaceship (bonus tracks - live In Edinburgh, 2024)
All Clocks Reset
Tiny Galaxies
Musica Per Aprirci La Mente, Musica Per Aprirci Il Cuore
Lunar Invocation
Choose Your Goddess
Review: Gong's Unending Ascending represents the third album from the current lineup, handpicked by Daevid Allen before his passing. Following Rejoice! I'm Dead! and The Universe Also Collapses, this release continues to explore the boundaries of psychedelic space rock while carving out its own identity. This album shifts away from the Canterbury sound and Daevid Allen's trademark whimsy, focusing instead on a spacey, progressive rock journey. With a runtime of less than 40 minutes, it maintains a brisk pace, offering a series of well-crafted tracks that blend modern influences with echoes of Gong's classic era. Tracks like 'Tiny Galaxies' and 'My Guitar Is A Spaceship' highlight the band's ability to merge catchy hooks with cosmic themes. 'All Clock's Reset' evokes the spirit of Gong's past while integrating new elements, and 'Choose Your Goddess' delivers a funky, riff-driven groove. The band's musicianship is commendable, and their dedication to continuing Gong's legacy is evident. Though the absence of a dynamic frontman leaves a slight void, the album's blend of innovation and homage to Gong's roots provides a compelling listen. Unending Ascending is a worthy continuation of their evolving legacy - even for the most discerning Gong fans.
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 Groundhogs' debut album, Scratching The Surface, stands as a milestone in the British blues movement of the late 1960s. Released in 1968, this record captures the raw energy of the era, blending blues authenticity with a distinctive edge. Unlike their later works, such as Thank Christ for the Bomb and Split, this album sticks closely to the classic blues format, heavily influenced by the sounds of early Fleetwood Mac and Savoy Brown. Featuring the original lineupiTony McPhee, Peter Cruickshank, Ken Pustelnik, and harmonica player Steve Ryeithe album has both McPhee's original compositions and Rye's blistering contributions. Rye's 'Early in the Morning' and 'You Don't Love Me' are standout tracks, while the reworking of Muddy Waters' 'Still A Fool' is fierce and memorable. Newly remastered, this vinyl reissue restores the album's rootsy, moody blues sound with remarkable clarity.
Review: Haze, an Exeter band that in 1981 endlessly toured the South West of England and released the album "SILVERTOPS REFLECTS HAZE" upon which many contemporary tracks were given the Haze treatment from Barry Manilow's 'I Can't Smile Without You' to Johnny Cash's 'Ghost Riders in the Sky'. In the mix Azymuth's Latin funk anthem 'Jazz Carnival' and Space's legendary electronic 'Magic Fly' surfaced, the latter two of which make up this exceptional 7" release by Panorama records, this relatively new label that celebrates idiosyncratic rarities. Haze seem to like breaking down the original and making space between the beats and yet on this A side an already pumping track pumps faster with an extra electronic edge on the Moog-ish organ, whilst paradoxically Haze's lead guitarist takes on Jose Roberto Bertrami's originally syncopated keys in a more regulated way - not a bad thing if not a jazz dancer but someone who just loves to dance! Intelligently, Panorama have coupled this with Haze's percussion heavy version of 'Magic Fly' on the B side, that even if it remains more so electronic, even poppy, it nicely compliments the Brazilian homage of side A. If you love a rare version, 7" 45s and early 80s jazz funk with a synthesised edge you'll love this.
Review: Day-Glo Chaos Gets Physical, the third album by Hologram Teen (Morgane Lhote), is a tight, kaleidoscopic blend of 80s synthpop and quirky electro. Lhote draws from her obsession with arcade games and cinematic synths, building a vivid world where bright electronic textures collide with playful rhythms. It's no surprise she cites influences like Jacno's analogue electro and John Carpenter's dystopian scores - you can hear their pulse throughout the record, most notably in tracks like 'Midnite Rogue', which nods to Lhote's love of retro gaming with a rhythm as driving as an Outrun arcade session. The album thrives on its sharp production and colorful arrangements, creating a sense of motion and energy that's both nostalgic and forward-thinking. The inclusion of everything from Sega Master System-inspired sounds to a custom synth designed in Ableton (cheekily named after prog-rock legend Rick Wakeman) showcases Lhote's playful approach to electronic music, while still maintaining a sense of sophistication. Tracks like 'Teen Beats Highway' and 'Valley Nights (Burnin')' tap into that irresistible groove, perfectly balancing punchy, rhythmic hooks with atmospheric melodies. This isn't just a retro throwback; Day-Glo Chaos updates and modernises the nostalgia, offering a nuanced reimagining of synth music's neon-glow past. It's meticulously layered yet fun, upbeat without being overbearing. Whether you're drawn in by the danceable beats or the sonic tributes to old-school gaming and 80s cinema, this album brims with personality and an unmistakable charm.
Review: Takeshi Inomata is a pioneering drummer in Japan's jazz scene who launched the band Sound Limited in the late 1960s and set to work blending jazz and rock in a vibrant new direction. Influenced by the brass rock movement, Inomata sought to create music full of energy and free from the constraints of modern jazz. He brought together young, talented musicians to play with vitality and envisioned a large-scale sound. Their debut album, The Sound of Sounds LTD back in 1970, became a classic filled with dynamic performances, including the iconic 'Theme~Mustache,' a track that continues to define the band's legacy.
Skating Away (On The Thin Ice Of The New Day) (4:56)
Jack-In-The-Green (4:07)
One Brown Mouse (3:24)
Heavy Horses (6:20)
A New Day Yesterday (5:51)
Flute Solo Improvisation (Incl God Rest Ye Merry Gentlemen, Bouree) (6:24)
Living In The Past (instrumental) (6:52)
Songs From The Wood (8:57)
Thick As A Brick (4:08)
Hunting Girl (5:55)
Too Old To Rock 'n' Roll: Too Young To Die! (6:46)
Conundrum (5:08)
Minstrel In The Gallery (4:48)
Cross-Eyed Mary (3:43)
Quatrain (6:40)
Aqualung (3:00)
Locomotive Breath (6:00)
The Dambusters March (3:30)
Flute Solo Improvisation (Incl God Rest Ye Merry Gentlemen, Bouree - live At Madison Square Garden) (4:30)
Songs From The Wood (with Pibroch intro - live At Madison Square Garden) (4:48)
A Single Man (Incl Drum Solo - live At Madison Square Garden) (7:15)
My God (live At Madison Square Garden) (2:49)
Cross-Eyed Mary (live At Madison Square Garden) (3:37)
Review: Bursting Out, Jethro Tull's debut live album sees the band at the height of their powers in 1978. This reissue on 3 pieces of vinyl revitalizes one of the most dynamic live recordings of the 70s. The album showcases the classic lineup of Ian Anderson, Martin Barre, John Evan, John Glascock, Barriemore Barlow, and David Palmer, delivering a diverse setlist that spans their prolific first decade. Recorded during their European tour, Bursting Out features powerful renditions of tracks like 'Aqualung,' 'Thick As A Brick,' and 'Locomotive Breath,' alongside deep cuts like 'No Lullaby' and 'Sweet Dream.' The energy and musicianship shine throughout, with Anderson's flute improvisations and Barlow's drum solos adding unique flair. The live versions often surpass the studio originals, offering a raw and electrifying experience. With its excellent sound quality and representative tracklist, Bursting Out shines with Jethro Tull's live talent and remains a classic of 70s rock.
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