Camel are an English progressive rock band formed in 1971. Led by founder member Andrew Latimer, they have produced 14 original studio albums, 14 singles plus numerous other compilation and live albums. The band's music combines elements taken from jazz, classical and Baroque music, blues and electronic music. Pressure Points: Live in Concert is the second live album by progressive rock band Camel, released in 1984.

Following the ambitious song cycle Nude, Camel attempted their version of an Alan Parsons Project album with The Single Factor. Considering that Parsons was having hits that year with songs like "Eye in the Sky," it's not surprising that Camel tried to capture the same audience, yet their talent didn't lay with pop music – it lay with atmospheric instrumentals and creating detailed soundscapes. Consequently, The Single Factor sounds a little forced and often fails to capture the group's magic, even though there a few strong moments on the record.

On this fascinatingly obscure, conceptually cinematic, and sonic-rich 1995 studio release, short-lived German collaborative project Echo Park delivers a high-fidelity masterclass in sophisticated studio rock and late-era Krautrock art. Released in Japan via the elite Apollon label and licensed from Rising Sun Productions, Pretty Lies stands tall as an exceptional, hidden progressive gem of the mid-1990s. The record functions as a true melodic supergroup collective, spearheaded by the genius bass arrangements and keyboard scoring of Klaus-Peter Matziol—the legendary hallmark bassist of German progressive rock giants Eloy. Matziol's fluid, sweeping structures are flanked by the razor-sharp, heavy metal guitar stylings of Herman Frank (renowned for his blistering fretwork in Accept and Victory) and the lush, melodic vocal gymnastics of Michael Flexig, the celebrated front voice of Zeno. Together with atmospheric saxophone interludes by Philippe Gonnand, Echo Park builds an intense, moody soundscape that seamlessly bridges the gaps between heavy guitar-driven rock, spacey progressive textures, and intricate art-rock structures. From the driving, complex progressive layers of "Barricades" and "River Of Life" to the soaring vocal poetry of "Change (Just A Card Away)," this pristine archive preservation remains an essential holy grail for dedicated collectors of German progressive history.

The best-realized of their classic albums, Every Good Boy Deserves Favour was also the last of the group's albums for almost a decade to be done under reasonably happy and satisfying circumstances – for the last time with this lineup, they went into the studio with a reasonably full song bag and a lot of ambition and brought both as far as time would allow, across close to four months (interrupted by a tour of the United States right in the middle).

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.

Released in 2001 by the Russian archival label CD-Maximum, this unique "2-in-1" high-fidelity digital edition couples two vastly distinct and monumental eras of British rock titans Sweet: their legendary 1974 heavy-glam milestone Sweet Fanny Adams and their sophisticated 1978 progressive art-pop masterpiece Level Headed. The first half of the tracklist captures the band at their most ferocious and influential, bridging the gap between bubblegum pop and early heavy metal with searing, twin-guitar proto-speed metal anthems like Set Me Free and the blistering hard-rock shuffle of No You Don't. The second portion highlights the group's late-70s evolutionary shift toward rich studio experimentation, multi-layered synthesizers, and intricate string arrangements, spearheaded by their multi-platinum international hit and art-rock masterpiece Love Is Like Oxygen. Preserved as a comprehensive single-disc archive with full scans, this release serves as an exceptional historical document tracing the stunning artistic trajectory of one of the 1970s' most versatile rock ensembles.

King Crimson have announced that they will release a new live album, 2014 NYC, on double 200g vinyl and double CD, through DGM/Panegryic on July 10. The new release, from the band's four-night run in NYC in September 2014, on their first tour for six years and one which introduced the now-famous three-drummer line-up, featuring Gavin Harrison and Pat Mastelotto, both members of previous Crimson line-ups, and Bill Reiflin, who had worked with Ministry and REM. 2014 NYC is taken from live multi-track recordings from the band’s shows between September 18 and September 21, with the vinyl being cut by Jason Mitchell at Loud Mastering and pressed on 200-gram audiophile vinyl.

In 2016, with the blessing of David Lynch and Angelo Badalamenti, Xiu Xiu released and toured the surprisingly successful album and concert, Plays the Music of Twin Peaks. Out of respect and deference to the beloved series, the band decided to put the concert to rest in 2018. After the recent and untimely passing of David Lynch, Xiu Xiu began to receive several high-profile requests to revive their interpretation of this iconic music. However, in wanting to always try to follow, honor, and continue to be inspired by the incredibly high bar of artistic challenge set by David Lynch, Xiu Xiu is instead going deeper.

Ever the iconoclast, if there is one thing that Brian Eno has done with any degree of consistency throughout his varied career, it is presenting his art in an array of perpetually "out of the box" forums. All that changed – in a manner of speaking – with the release of two companion multi-disc compilations. Eno Box I: Instrumentals (1994) condenses his wordless creations, while Eno Box II: Vocals (1993) does the same for the rest of his major works on a similarly sized volume. Interestingly – and in his typically contrary fashion – this initial installment was actually issued last. Each of Eno Box I: Instrumentals' three CDs respectively concentrates on a specific facet of the artist's copious back catalog.

On this fiercely unconventional, dark, and thrillingly unpredictable 1995 release, Austrian avant-garde outfit Scrooge delivers a bracing masterclass in underground art rock. Released on the cult Vienna-based imprint Trost Records, Happy What Else is a fascinating, high-fidelity collision of jagged post-punk tension, minimalist chamber music, and theatrical, avant-rock experimentation. The quartet thrives on a brilliant sense of musical subversion, where Regina Ausserwöger's haunting, expressive vocals and scraping violin lines dance over Oliver Stotz's sharp, angular guitar riffs, piano bursts, and sudden accordion flourishes. Grounded by the fiercely tight, unpredictable rhythmic foundation of bassist Romeo Bissuti and drummer Günther Castanetti, the band moves effortlessly from the hyper-kinetic bursts of "Hit The Pig" to the melancholic, deconstructed beauty of "Milena Jesenska," culminating in fractured multi-part conceptual pieces. This rare, boundary-pushing session remains an essential, deeply atmospheric treasure for collectors of experimental and avant-garde rock architecture.

Bish Bosch is, according to Scott Walker, the final recording in the trilogy that began with 1995’s Tilt and continued in 2006’s The Drift. Its title combines urban slang for the word "bitch" and the last name of Dutch painter Hieronymus Bosch. Like its predecessors, Bish Bosch is not an easy listen initially. It's utterly strange, yet alluring. Musically, Walker is as rangy and cagey as ever. His players have worked with him since Tilt; they know exactly what he wants and how to get it. A string orchestra arranged and conducted by keyboardist Mark Warman, and a full symphony on three cuts are also employed. The lyrics on Bish Bosch are full of obscure historical, philosophical, medical, geographical and cultural allusions. For instance, subatomic science, a dwarf jester in Attila the Hun’s court, St. Simeon, and an early 20th century fad all appear in "SDSS14+3B (Zircon, A Flagpole Sitter)." Elsewhere, Nicolai Ceausescu, Nikita Khrushchev, the Ku Klux Klan, and God himself show up. While Bish Bosch is another exercise in artful pretension, it is the most accessible entry in this trilogy and well worth the effort to get at it. Themes of decay are woven throughout these songs – of empire, of the body, of language and religion – yet they are often complemented and illustrated by wry, pun-like, and even scatological humor.