folk is represented courtesy of the fantastically named Knocker Jungle. Despite their original 1970 self-titled album still being somewhat underrated, they are best captured here on I Don’t Know Why with its quintessentially English phrased chorus adding a touch of mirth to the proceedings.

Welsh prog-psychers Blonde On Blonde have no less than three featured tracks. The ultra obscure Losing You, from an unreleased album by French band Blue Beard and the organ-led garagey beat of Goodbye from Rusty Harness give an indication of the diversity on offer here. Like a great mixtape given to you by someone you looked up to all those years ago, it just seems to work.Lee Dorrian

White HillsWhite Hills ThriLL Jockey

Ushered in on a scorching feedback, the latest album by American

psyche-experimentalists White Hills starts as it means to go on.

A monstrous chunk of brutal rhythms and teeth-rattling chords, their fifth album since 2007 has them charging across the white-noise hinterlands staked out by San Francisco’s Wooden Shjips, leaving a Hawkwind-like space-rock slurry in its wake.

This is intense and densely layered guitar-driven music that shifts between dreamy but disturbingly cavernous dub-echo and metal-edged drilling. The arrangements across the seven tracks afford a basic framework that’s more about feel than tightly-crafted structures or celebrations of showy technique.

Let The Right One In switches the focus away from the monumental clamour that dominates most of the album towards more reflective atmospheres with a tolling bell, ambient crowd sounds and a limpid guitar swirling in a sea of reverb. Too menacing to be entirely restive, it nevertheless makes for an enthralling oasis amidst the carnage.

At over 12 minutes, Polvere Di Stelle concludes the album with a glorious free-form racket that is as utterly hypnotic as it is exciting. Defiantly indulgent in the sense that it revels in taking time to evolve and explore, it’s magnificent stuff. Sid Smith

With just three albums to their name over the last 17 years, you could never accuse

Syzygy of being overly prolific. Then it’s clear that the care taken in crafting the follow-up to the overlooked Allegory Of Light over the last five years has paid off. Aligning themselves with the cottage industry approach that has proved so valuable to the likes of Marillion and Spock’s Beard was an audacious move, but it has allowed these Cleveland, Ohio-based progsters the legroom to shape their music away from any pressure from the men in suits. Indeed, they even turned down a major label approach last year for that very reason. What’s even more remarkable, given the sheer depth and potency of this album, is that the band members are still restricted to creating their music around the confines of day jobs – the kind of shocking revelation which can only be likened to discovering that Jon Anderson spends his days as a binman in order to make ends meet, or finding Steve Hackett slicing peppers in the kitchen of the local kebab shop.

What sets Realms Of Eternity apart is that it’s an album difficult to categorise. Yes there may be sporadic echoes of Gabriel-era Genesis or even Gentle Giant in some of their flowery instrumental passages, as well as the odd knowing wink and smile in the direction of Spock’s Beard in wackier moments, but Syzygy have an inspired, distinctive sound of their own. Nowhere is this more apparent than on the multi-sectioned odyssey of The Sea.

Opening with a seductive acoustic guitar the track unfurls in a jumble of intricate melodies, juddering crescendos and mellow contemplation.

Earlier Syzygy releases relied heavily on extended instrumentals, with occasional vocals being provided by guitarist Carl Baldassarre. Determined to add a fresh dimension to their sound, they’ve recruited guest vocalist Mark Boals, noted for his previous work with the likes of Yngwie Malmsteen and prog-metallers Royal Hunt, to sing on a number of tracks. And while it must be stressed that Baldassarre’s vocals are far from weak, the addition of Boals has seriously reinforced their sound, with his notable contribution on Darkfield giving the track a full-bodied edge.

Yet, for all these changes, the band are plainly aware that their strength in the instrumental realm is an aspect of their music worth retaining. This is demonstrated on the wonderfully hyperactive instrumental Vanitas which, at just over six minutes, is stripped of any superfluity. Another highlight is Dreams, which neatly blends a spiritual lyrical concept with a suitably lavish backdrop.

With Syzygy only making fleeting appearances on the live circuit, the band have stated their intention to rectify this shortcoming. Assuming their ability in the live arena matches their studio talents, this accomplished, deft work should see some long-overdue success coming their way. rich Wilson

Syzygy Realms Of Eternity FhL recorDS

Ohio’s Syzygy: Forever friends.

Travis And FrippLive At Coventry Cathedral Panegyric

Although this was recorded at the Coventry 2009 Jazz Festival there’s nothing remotely jazzy about the 80 minutes of music that unfold here.

Taken from two sets, this is not some by-the-numbers trading of licks between professionals but a mutual desire to get out of the way and create something that transcends the sum of its parts.

Amid such splendid surroundings, (Tangerine Dream also made a memorable appearance here during the 70s) there’s definitely something magical happening when Theo Travis’ looped flutes or icy-edged soprano sax meets Robert Fripp’s midi-generated Arvo Part-esque orchestral washes in mid-stream.

Yet this is far removed from anodyne, ambient chill-out music. Rather, they conjure a haunting presence combining a passionate and eloquent lyricism with a dramatic sense of grandeur – impressive when you consider this was only their fourth time playing together in public (and their sixth in total).

A mixture of entirely improvised musings and visits to previously agreed themes (including an ultra-rare meditation on King Crimson’s Moonchild), those who appreciate the laser-guided soloing that Fripp’s reputation partly rests upon will not find themselves disappointed. Sid Smith

Various ArtistsEmber Rock Vol. 1: Looking Towards The Sky FanTaSTic Voyage

Quite an eccentric and eclectic collection from the enigmatic late 60s and early 70s UK- based Ember label that contains some truly great fuzzed up nuggets. Most infectious has to be the funky groove of Help For My Waiting by Canadian psych rockers The Dorians, that brings to mind early Funkadelic. Similarly, Disaster Area from Milt Matthews Inc is a rousing psychedelic soul groover.

Underground UK progressive folk wonders 9.30 Fly clock in with two contrasting numbers from their excellent and highly sought after self-titled 1972 album, while some great psych

Calculating Infinity

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