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.
There Ain't No Santa Claus On The Evenin' Stage (3:12)
Glider (4:38)
The Witch Doctor Life (instrumental) (5:20)
Semi-Multicolored Caucasian (instrumental) (4:33)
Your Love Brought Me To Life (instrumental) (3:10)
Two Rips In A Haystack/Kiss Me My Love (2:43)
Harry Irene (3:14)
Best Batch Yet (version 1) (2:20)
I Can't Do This Unless I Can Do This/Seam Crooked Sam (2:05)
I'm Gonna Booglarize You Baby (8:51)
Pompadour Swamp (13:55)
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.
The Smithsonian Institute Blues (Or The Big Dig) (2:17)
My Head Is My Only House Unless It Rains (2:39)
Click Clack (3:25)
Low Yo Yo Stuff (3:38)
Too Much Time (2:43)
Clear Spot (3:26)
Lick My Decals Off, Baby (3:48)
Big Eyed Beans From Venus (2:49)
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.
Frozen Rose (I Don't Know It's Name Alias Word) (Steven Wilson New Stereo mix - LP2: bonus tracks) (6:00)
Aristocracy (Stereo mix By Steven Wilson) (3:09)
It Doesn't Take A Lot (3:11)
It's Likely To Have A Name Next Week/Winter Wine (instrumental) (7:38)
Love Song With Flute (live At The BBC, 1971) (3:33)
In The Land Of Grey & Pink (live At The BBC, 1971) (3:45)
Love To Love You (& Tonight Pigs Will Fly) (live At The BBC, 1971) (3:11)
Feelin', Reelin', Squealin' (live At Paris Theatre, London, 1971) (9:32)
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.
The Alphabet Business Concern (Home Of Fadeless Splendour) (3:54)
She Is Hiding Behind The Shed (4:04)
March (3:21)
Goodbye Grace (3:55)
Anything I Can't Eat (2:27)
Helen & Heaven (4:08)
Bodysbad (4:07)
For Good & All (4:37)
Core (2:26)
Day Is Gone (3:23)
Snakes-a-Sleeping (4:42)
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.
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.
South California Purples (with Steve Vai - short version)
Poem 58 (with Steve Vai)
I'm A Man (with Chris Daughtry & Robert Randolph)
Dialogue Part 1 & 2 (with Robert Randolph)
(I've Been) Searchin' So Long
Mongonucleosis
Street Player
Make Me Smile (with Christone"kingfisher" Ingram)
Colour My World (with Christone"kingfisher" Ingram)
Now More Than Ever (with Christone"kingfisher" Ingram)
Call On Me (with Robin Thicke)
Alive Again (with Judith Hill)
Wishing You Were Here (with VoicePlay)
Happy Man (with VoicePlay)
If You Leave Me Now (with VoicePlay)
Look Away (with VoicePlay)
Old Days
Hard Habit To Break (with Chris Daughtry)
Just You 'N' Me
Hard To Say I'm Sorry/Getaway
In The Country (with Robert Randolph)
Saturday In The Park (with Robin Thicke)
Free
You're The Inspiration (with Judith Hill)
Feelin' Stronger Every Day (with Judith Hill)
25 Or 6 To 4 (with All Guest Artists)
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: The highly anticipated Risk of Rain 2: Survivors of the Void soundtrack by Chris Christodoulou is now here. Pressed on black sparkle vinyl in a design that complements the immersive game music within. Remastered for vinyl by Christian Bethge, the soundtrack revisits and reimagines themes from the original Risk of Rain game, blending them seamlessly with new, void-infused compositions. The music is a dynamic mix of powerful guitars, pulsing synths, and pounding drums, all layered with lush reverbs. The album also introduces fresh elements, including lyrical woodwinds, soaring violins, and intense saxophones, creating a rich and diverse soundscape. This vinyl is more than just a soundtrackiit's an experience. Whether you're a fan of the series or new to Christodoulou's work, don't miss your chance to own this extraordinary piece of game music history. Comes in a stunning gatefold sleeve adorned with original art by Daniele Giardini.
The Continuum I: Welcome To Forever, Mr Nobody (3:43)
The Continuum II: The Flood (6:20)
The Continuum III: Tethered Together (4:32)
The Continuum IV: So It Goes (5:18)
The Omni-Voice (22:44)
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.
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