The Swedes’ seventh album is their first studio one for Napalm. On “Restless”, Linnéa Vikström Egg sings a father-daughter argument with her actual father.
Twelve tracks about a rock star turned serial killer. It is the last released recording to feature Dick Wagner and Steve Hunter together.
The tapes sat untouched for twenty-five years. Dana Colley has added new saxophone to three songs and the record is out on 4 December via Partisan.
The band’s second album comes out on InsideOutMusic. It nearly became a double and ends up a single, with a disc of instrumentals in the limited edition.
The Texas quartet’s fifth album comes out on Rise Records with twelve tracks, and the Live Nation world tour stops at Razzmatazz with Perturbator.
Sixteen live and session takes, every one of them a single take, which Chandra presents as her final album fifteen years after losing her voice.
Twenty-five minutes and twelve tracks: the Swedes go back to the grindcore of their first records and fold in mathcore, sludge and a saxophone at the end.
Forty-two minutes across four tracks, recorded in an Oslo club: saxophonist Amalie Dahl’s band with Swedish pianist Lisa Ullén guesting.
Drummer Matt Wilson’s sextet returns two years on with ten tracks that run from Andrew Hill to Tom Petty to Bacharach, and a choir of family singing the title.
Eight years of work for the first joint album by the Genesis guitarist and the Marillion one: seven instrumental pieces about the sea, with a Soviet submarine in the middle.
Eleven songs gathered from recordings made between 1991 and 2026 and reworked now. The album closes with a two-and-a-half-minute elegy for his dog.
Real World puts out ten takes from concerts and radio sessions today by the British singer, who lost her voice fifteen years ago. The digital adds six.
The Welsh band’s eighth album carries ten tracks, Chrissy Costanza and Will Ramos guesting, and a European tour that stops in Barcelona two months before.
Twelve tracks cut at the Doom Saloon in Frederick, with banjo for the first time on a record by the Maryland four-piece and producer Machine back.
The third album by the duo of Derrick Vella and Justin DeTore comes out on 20 Buck Spin with six tracks, an Arthur Rizk mix and a Benjamin Vierling cover.
Everything you hear on this record comes out of one cello, processed until it doesn’t sound like one. Made in Banyuls-sur-Mer, with Matt Elliott singing and a closing track titled in Catalan.
Two years on from “Coming Up To Consciousness”, the British band build a record around two long pieces that take more than half of its fifty minutes. Mixed by Bruce Soord.
The Detroit band’s seventh album, produced by Dave Fridmann and carrying horns for the first time. Joe Casey pictures America as an old hotel and every song as a room.
Five pieces cut between 2017 and 2022 with four different ensembles and assembled afterwards as a collage. At the centre, a twenty-two-minute suite that travels from trio to octet.
Madfish expands “Front Row Center” with the 1975 Capitol Studios session and the New Paltz show. Eight hours of recordings and a 60-page book.
The album has been held back by a brain haemorrhage and is the first he has produced himself. His live dates remain on hold with no return date.
Five voices from West Java mixing extreme metal technique, overtone singing and the voices of the demons from the Wayang Golek puppet theatre.
The instrumental quintet from Richmond are back with seven tracks, three of which can already be heard. Two of them run past seven minutes.
“Wallensteins Garage” arrives on 30 October through Exile On Mainstream, and carries a nine-minute instrumental about the Battle of Lützen in 1632.
Twelve tracks cut by Lawrence Mackrory in a converted Baptist church, with drummer David Stark back behind the kit eleven years on.
Eleven compositions from the British saxophonist with the same quartet as “Earth Songs”: open space, few notes and a closing “Winter Light” of almost eleven minutes.
Seven years on, the drummer returns to his electronic project with eight broken-up titles. When the retro layer thins out the record lifts; when it’s in charge, it’s an exercise.
Zeitgeist, poltergeist and Antichrist in one title: the Farthing brothers’ eighth album drops the novel and the instrumental and goes back to songs, seven of them, all much the same length.
The south Londoners open at 7:45 and close at 7:39 on a record that until now would have gone straight at it: Burner’s second album trades the burst for atmosphere, and it works.
The fourth album from the Los Angeles band is named for a dead friend, and its closing eighteen minutes are the best thing they’ve cut: “Ruin”, “Forgiveness” and a 1:45 “Requiem”.
Six tracks out of the same sessions as “Purge” and not a crack of light in them: Godflesh’s tenth album ends on eleven and a half minutes that take up more than a quarter of the record.
London drags eighteenth-century fife and drum music into a Lower East Side backstreet: eight public-domain pieces cut in a single session, with tuba, fiddle and washboard.
Two voices and two saxophones, no rhythm section and nothing playing the harmony: the São Paulo singer’s debut is thirty-seven minutes of written and improvised counterpoint in equal measure.
Stace leaves folk-rock behind for the groove of the CTI records: eleven songs arranged with David Nagler, from mambo to samba, cut at Studio 1935 in Philadelphia.
Two and a half hours, twenty-four tracks and more than twenty guests (Torn, Bowness, Travis, Jakszyk, Edwin) on a double album where Panunzi keeps his own keyboards out of the light.
It is the band’s first studio album since “Gravitas” (2014) and it carries two final compositions by John Wetton, who died in 2017.
The Swedish band’s eighteenth album has four songs and two of them run past the quarter-hour. The one the new single comes from runs twenty-eight.
The fortieth-anniversary edition carries the remastered original mix, a new remix built from the stems and the complete 1986 Friday Rock Show session.
He died on 15 September at his home in London, Ontario. He wrote the lyrics to every Max Webster album and to four Rush songs.
Porcupine Tree are already recording a new album and hope to have it finished by 2027, says Gavin Harrison, who also confirms King Crimson is currently inactive.
Readers' survey
Rate up to 150 progressive rock, metal and jazz-fusion bands and get your personal ranking -- plus the Tótum readers' overall one.
I want to vote →