Over the last five decades, krautrock pioneers Guru Guru have pushed boundaries and experimented with free jazz, rock'n'roll, Indian, South East Asian and African rhythms and scales to create their own brand of psychedelic, cosmic rock. This reissue of their acclaimed 1977 album is an excellent representative of their global experiment, which has succeeded impeccably. Recorded after long stays in India in the mid-1970s, Globetrotter is a milestone in Guru Guru's discography. Total playing time: 40 minutes. In stereo. Fully remastered.

Featuring 16 pieces over its restless 40-minute duration, Tim Bowness's eighth studio album represents a new beginning on a new label Kscope. A collection of acute contrasts, Powder Dry is a vibrantly accessible and wildly experimental genre- blurring assault, embracing Industrial Rock, Electro Pop, singer- songwriter directness, haunted carnival soundscapes and more. Entirely produced, performed and written by Bowness (a first), Powder Dry was mixed (in Stereo and Surround Sound) by Bowness's partner in no- man (and 'The Album Years' podcast), Steven Wilson, who also acted as Bowness's sounding board during the mixing process.

Taxi shows a mature Bryan Ferry, suave and controlled, very much in line with his general career from 1979 on. The choice of songs to cover doesn't make for any surprises – the same selections of classic rock, pop, and soul numbers dominate, with an interesting ringer here and there like "Amazing Grace." As with his other recent solo records, a cast of thousands supports him, ranging from the Grid's Richard Norris on synth programming to Brit guitar legends Robin Trower and Michael Brook, plus vocalist Carleen Anderson.

Arild Brøter has unveiled “On Her Majesty’s Secret Service Suite: Part 1,” the first single from his new album, A Spectre of Sounds: James Bond Music Reimagined. This suite comprises four themes from the film “On Her Majesty’s Secret Service”: the main theme, “Gumbold’s Safe,” “Over and Out,” and the iconic “James Bond Theme.” The track features an electric, uptempo arrangement with numerous twists, showcasing Brøter’s innovative approach.

Roger Waters may not have made an album of new material between 1992 and 2017, but he was very active during that quarter-century. He toured regularly, wrote an opera, reunited Pink Floyd for the 2005 charity concert Live 8, and revived The Wall several times, turning the self-absorbed rock opera into a political piece. Is This the Life We Really Want?, his fourth song cycle, picks up on this thread, functioning as barbed protest music for the age of Brexit and Trump. Waters doesn't disguise his bile – there's a lament for "The Last Refugee" and he spits out "picture a leader with no f****** brains," a clear broadside against Trump – but the album doesn't seethe with rage. With its deliberate tempos, wide soundscapes, operatic guitar solos, and swelling crescendos, it is recognizably a Waters album or, perhaps more accurately, a Floydian one.

There’s a palpable sense of energy and enthusiasm from the audience captured on the tapes at this concert as King Crimson (sharing a European tour with then label band mates Roxy Music) take to the stage in Fréjus, France, in late Summer, 1982. With two albums’ worth of material to draw upon (Discipline, Oct 1981 & Beat, June 1982) & extensive touring that had already seen the band play concerts in the UK, Europe, USA & Japan, the live shows - as often with King Crimson – had a dynamism & punch that simply couldn’t be replicated in a recording studio. Add a pair of classic KC instrumentals, (Red & Larks’ Tongues in Aspic Part Two), to that mix & all the ingredients were there for a very special performance. Recorded initially for a video release, the audio from the concert has, inexplicably, never been issued as a standalone release. Nor has a live album from the 1980s line-up previously appeared on vinyl.

2009 five CD live set from the veteran British band. Manfred Mann's Earth Band has toured consistently since their inception in the early '70s. No wonder then, that there are countless bootleg recordings doing the rounds. The band is renowned for shaping their songs on a gig-by-gig basis and this collection shows how the sets have been molded and developed over the years. The CDs contain recordings from various European venues, dating from 1981 to 2007. Apart from Volume One, they are all taken from single concerts. For timing purposes, some sets have been edited, but no other enhancements, re-records or overdubs have been added. The performances on this set were recorded in Europe 1981, Austria 1986, Germany 1991, Norway 1999, and Germany 2007.

Achingly gorgeous and hauntingly stark, Mark Hollis' self-titled debut picks up where he left off with Talk Talk's Laughing Stock seven years earlier, re-emerging at the nexus point where jazz, ambient, and folk music collide. It's quite possibly the most quiet and intimate record ever made, each song cut to the bone for maximum emotional impact and every note carrying enormous meaning. Hollis paints his music in fine, exquisite strokes, with an uncanny mastery of atmosphere that's frequently devastating. And if anything, his singularly resonant voice has grown even more plaintive with the passage of time, which – combined with the understated artistry and minimalist beauty of tracks like "The Colour of Spring" and "Watershed" – makes Mark Hollis a truly unique and indelible listening experience. His obvious understanding of the power of silence aside, one prays he doesn't again wait for the seven-year itch to strike before returning.

THE THE, one of the most acclaimed and cherished bands of the last few decades, have announced details of the release of ‘Ensoulment’, their first studio album of new songs in a quarter century. This 12-song album will be released through Cinéola / earMUSIC on Friday 6th September 2024.

Produced by No-Man, Flowers At The Scene is a vibrant collection of 11 strikingly diverse songs. Against a backdrop of propulsive Art Rock, heartbreaking ballads and more, Tim Bowness distinctively delivers cinematic storytelling and disarmingly direct confessional lyrics on his strongest solo album to date. Representing the duo of Tim Bowness and Steven Wilson’s first joint production in over a decade, the album features stunning performances from an extraordinary cast of players including Peter Hammill, Andy Partridge (XTC), Kevin Godley (10cc), Colin Edwin, Jim Matheos (Fates Warning/OSI), David Longdon (Big Big Train), co-producer Brian Hulse (Plenty), Australian trumpeter Ian Dixon, and drummers Tom Atherton and Dylan Howe. The Curator, David K Jones, violinist Fran Broady and Charles Grimsdale also guest.

„Foreigner“, released in 1973, was Cat Stevens’ fifth album with Island Records and represents the adventurous, risk- taking streak in his character. In a departure from his largely acoustic sound, the album saw Cat explore his love of R&B and soul music, as can be heard on the record’s main single, “The Hurt.” Recorded largely in Jamaica with an all-star band and the first record to be produced solely by Cat himself, Foreigner is deep, funky and rich with layered meaning.