The two-time GRAMMY® Award nominated progressive metal band Dream Theater has sold over 15 million records worldwide. Distance Over Time is the band’s 14th studio album. For this record, the band approached things a little differently. For the first time, the bandmates lived, wrote and recorded together at the secluded Yonderbarn studios in Monticello, NY over the course of four months. For the new album, the band wanted to return to their roots and produce a more organic record. Despite these changes however, Dream Theater upholds their unique signature of combining metallic aggression and progressive scope and puts it in a frame of tighter songwriting.

This latest instalment in Soul Jazz Records’ successful Deutsche Elektronische Musik series delves deeper into the German nation’s vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.

This anthology aspires to map the heterogenous landscape of Greek Experimental Electronic Music in all its contextual, sociopolitical, geographical and aesthetic disparity. With a single exception, it zeroes in on post-80s music. It comprises works of very different kinds by composers of all sorts of backgrounds that, still, can be thought of, as both "Greeks" and "Experimentalists". Experimental Electronic Music is generally expected to be highly variegated, especially when examined in a breadth of several decades, and with respect to all sorts of artistic, academic, subcultural and other influences. What is not so obvious, however, is that the very notion of Greekness, as well as its contextual and historical offshoots, are highly diversified, too. This anthology is an attempt to map the various kinds of Experimental musics that have been produced by Greeks over the last few decades. More, it is also an attempt to delineate different understandings of what "Greek" or "Experimental" may stand for, by means of zeroing in on the numerous, often overlapping, realities and micro-scenes that are associated with the former.

As audacious as the sleeve it comes housed in, the UK’s most eccentric audio malefactor returns with his eighth studio album, Practical Electronics with Thighpaulsandra. Unique in the Thighpaulsandra oeuvre, this one eschews the usual group based recordings, consisting of electronics and vocals only. Hovering between haunted narratives and extended instrumental sequences Practical Electronics is an eccentric excursion into playful pop and fearless electronic experimentation. Simultaneously intimidating and accessible, the energy of this untamed mind unleashes an artefact where high art unfolds as an oblique electronic cabaret. Having cut is teeth amongst such legendary outfits such as Coil and Spiritualized Thighpaulsandra has constantly catapulted himself further and further into a musical landscape utterly of his own devising. Practical Electronics is the latest exemplary installment of a voice that is uncompromising as it is outlandish.

Liverpudlian psychedelic rockers The Vryll Society have recently announced their eagerly anticipated debut album Course Of The Satellite will be released on 10th August via Deltasonic Records (The Coral, The Zutons, The Dead 60s).

‘Innerland’ is the first ever solo album by Engineers co-founder/songwriter and Ulrich Schnauss collaborator Mark Peters.

Despite a strong critical reputation and high-profile work with Jack DeJohnette and Pat Metheney, Gary Thomas somehow got left out when '80s M-Base contemporaries Cassandra Wilson, Greg Osby, Steve Coleman, and Geri Allen found some sort of limelight. German producer Steven Winter has by far been the most consistent documenter of the tenor saxophonist's brawny playing and writing and Pariah's Pariah finds Thomas working in a no-nonsense post-bop quartet with Osby as his front-line foil. The nice harmonies on the extended melody of "Who's in Control?" are an early sign of how well Thomas and Osby complement each other. But the loping, quasi-blues groove of "Only Hearsay" really sets the compositional tone, with both saxes playing off Michael Formanek's bass counterpoint lines.

The latest from experimental musician David Tibet is an arduous but rewarding album, the feeling of listening to a preacher behind the pulpit, or a doomsayer on the soapbox.

Gary Willis, one of the world’s leading bassists, has delivered his fifth album Larger Than Life—a delicious collection of fusion-funk for the twenty-first century. Joining Willis on this set of twelve tracks are Gergo Borlai on drums, long-time Tribal Tech band mate Scott Kinsey on keyboards, Steve Tavaglione on saxes and EWI, Claudia Bardagi on voice and Llibert Fortuny on tenor sax and voice.

Saxophonist Charles Lloyd has been working with guitarists periodically since the 1950s: Calvin Newborn, Gabor Szabo, John Abercrombie, and others have played in his bands. On I Long to See You, he (with his stellar rhythm section – bassist Reuben Rogers and drummer Eric Harland) renews that relationship with two gifted players: Bill Frisell and Greg Leisz (the latter on lap and pedal steel). This program yields folk and spiritual songs, re-recordings of Lloyd's own tunes, a pop nugget, and a new original. In what feels like the input from the label, there are two guest vocal appearances to boot: Willie Nelson beautifully delivers Ed McCurdy's antiwar classic "Last Night I Had the Strangest Dream," and Norah Jones.

After a nine-year hiatus, Bill Frisell's 858 Quartet recorded their second offering. Their elliptical debut, Richter 858, was produced by poet David Breskin (who also helmed the sessions for Nels Cline's Dirty Baby), and accompanied an exhibition by German artist Gerhard Richter. The music on Sign of Life: Music for 858 Quartet was loosely composed by Frisell, and took shape in group rehearsals. 858's other members include violinist Jenny Scheinman, violist Eyvind Kang, and cellist Hank Roberts. Recorded at Fantasy Studios in San Francisco and produced by Lee Townsend, the 17 selections on this set feel very organic. The album opens with Americana-tinged themes in the two-part "It's a Long Story" that nod to country, folk, and even Curtis Mayfield's "People Get Ready" in its melody.