Back catalogue: Progressive Rock

Review: A bold exploration of genre-blurring sounds with the eclectic influences and innovative approach of the London-based quartet. Comprised of c-se, Linus Barry, Nico Rocco, and Teigan Hastings, oreglo infuse their music with heavy rock riffs, drill-inspired percussion, breezy reggae vibes and more, creating a melting pot of diverse sounds that reflects their upbringing in London. The latest track from the EP, 'Peck,' is a sprawling seven-minute odyssey that captures the feeling of being pecked on the cheek by a crush, juxtaposing cool exterior with exploding inner emotions. Throughout the EP they explore themes of alienation, identity, and love, reflecting on their journey from adolescence to adulthood in the vibrant city of London. Featuring previously released singles like 'Levels' and "]'J.A.C.K.,' as well as four new tracks including 'Comet' featuring Bel Cobain, 'Not Real People' is a sonic tapestry that highlights oreglo's growth and diverse musical interests. Despite being together for just over a year, oreglo has already made waves in the music scene, winning the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition and performing at prestigious events like the Steam Down-curated World Island event. With their debut EP, oreglo solidifies their status as one of London's most exciting emerging acts, offering a fresh and dynamic sound that defies categorization.

Review: The brainchild of Olli-Pekka Laine (Amorphis, Barren Earth, Mannhai), Beyond The Aeons marks the debut full-length from psych-death-prog entity Octoploid. Rounding out the line-up with several long-time collaborators including vocalist Mikko Kotamaki (Swallow The Sun) and keyboardist Kim Rantala (formerly of Amorphis), the collective live up to their namesake by pulling from several eras of rock simultaneously with a sonic bedrock built upon 70s prog and psychedelia, 90s death and black metal, as well as the myriad Venn Diagram-like intersections where these styles have crossed paths over the decades. Equal parts King Crimson, Pink Floyd and Opeth, on their debut statement Octoploid deliver a fuzzy, bombastic ode to all things heaving, hypnotising, hefty and hallucinogenic.

Review: Originally released in 2011 as follow up to 2008's stellar career height Watershed, the tenth full-length from Swedish progressive death metal legends Opeth marked a notable turn, which the members had been desiring to take for some time. Heritage would be their first album since 2003's melancholic Damnation to completely eschew vocalist/guitarist/primary songwriter Mikael Akerfeldt's signature death growls, yet this decision wasn't so much in service of this one particular project as had been so in the past. Rather, this was the sign that the Scandinavian death metal elements of their core sound were ready to be laid to rest in favour of an embrace of the 70s prog rock the members grew up idolising. Drawing on the likes of Genesis, Yes and Rush, whilst allowing Akerfeldt's smooth cadence to lead the pieces, this is vintage, jazzy, complex yet undeniably groovy retro progressive rock of the classic era, complete with fuzzed out guitar lines, bizarre time signatures and an abundance of Hammond organ. Somewhat maligned by some of the fanbase while others lauded the brave and natural change in direction, this style would become the standard Opeth sonic aesthetic up until 2024's latest album The Last Will & Testament, which saw a return to their heavier death metal origins.

Review: Originally released in 1999 and celebrating its 25th anniversary this year, Still Life served as the fourth full-length from Swedish progressive metal titans Opeth, while marking their first project with bassist Martin Mendez (the second-longest-serving member after primary songwriter Mikael Akerfeldt). Another concept album following on from 1998's predecessor My Arms, Your Hearse, the narrative details an anti-Christian sentiment of a man ostracised from his village due to a perceived lack of faith, only to return years later to be with his love. It's here where things turn very grim and complex, whilst the narrative is further bolstered by the compositional intricacies, weaving frosted Scandinavian death metal around lush prog-folk harmonies. Reissued on splattered vinyl and spread across a double LP set, the album remains a strong favourite across the devout Opeth camps of the world.

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: Marking their first album in five years and follow up to 2019's criminally overlooked In Cauda Venenum, Swedish progressive death metal legends Opeth return with their fourteenth full-length The Last Will & Testament. Marking the return of vocalist/guitarist/primary songwriter Mikael Akerfeldt's signature death growls; the first project to feature the inhumane bellows since 2008's Watershed, the work is the band's first concept album since 1999's Still Life, with the narrative based around a wealthy, mysterious patriarch in the post-World War I era whose death leads his family to congregate at his estate to learn horrific secrets as his last will and testament is unveiled. Whilst retracing some of their gloomier, more macabre sonics, musically the compositions continue to embrace the 70's psychedelia of Heritage and Sorceress yet with a notable rediscovery of their harrowing, frosted death metal origins. Pressed on limited marbled 'rough seas' vinyl 2xLP..

Review: Life Go's On's reissue of Organisation's Tone Float sheds light on a pivotal moment in music history. Known as the precursor to Kraftwerk, Organisation's debut album offers a blend of avant-garde experimentation and early German prog. Featuring Ralf Hutter, Florian Schneider, and Klaus Dinger among others, the album combines acoustic instruments with bold electronic elements, creating a cerebral yet immersive sonic experience. Tracks like 'Vor Dem Blauen Bock' showcase the band's innovative approach, bridging natural and synthetic textures with ethereal flutes, majestic organ and varied percussions. Tone Float remains a gem of musical innovation, capturing a moment when boundaries between genres blurred, setting the stage for Kraftwerk's iconic future.

Review: With roots in 1983's Stonehenge Free Festival, when brothers Ed and Roly Wynne joined forces with drummer Nick 'Tig' Van Gelder, bassist Eddie Myer, and keyboardist Joie Hinton to perform a six hour improvised jam session under the guise Bolshem People, Ozric Tentacles define the progressive rock-new age-ambient crossover story. Then they go on to write their own. It would be six years before they put a record out, 1989's Pungent Effulgent, preferring instead to keep things loose, open and, ultimately, unplanned. 12 months or so later, they emerged from Foel Studios in Powys, Wales, with the follow up - Erpland. A record that feels free, born in countless moments of spontaneous creativity, careering between free party dub and mind-melting (if overblown) electric guitar solos set against juggernaut metal rhythms. A remarkable beast.