Pink Floyd’s “Echoes”, the ineffable progressive rock epic that occupies side two of 1971’s Meddle, is having a moment. Nick Mason’s Saucerful of Secrets released a sensational one-sided 12-inch vinyl version of the track on Record Store Day, April 12. Recorded at the Centennial Hall in Frankfurt last August, the 23.04-minutes single – which plays from the centre outwards – reached number six in the vinyl chart, dropped, and is rising again.

It has never been an exact science understanding when something will capture lightning in a bottle and go viral. Even less expected is for an anonymous metal band to become a social media sensation, but in early 2023 that's exactly what happened for Sleep Token.

VINYL OF THE MONTH

Rattle Encircle (Upset! The Rhythm)

Steven Wilson’s cinematic concept album The Overview is named for the cognitive shift required of astronauts and others who’ve observed Earth from space and been humbled by both its beauty and its – and their – inconsequentiality. Wilson’s grappling with the existential questions raised by what he calls “cosmic vertigo” evidently inspired him musically. 

The Father of Make Believe is the latest instalment in the cinematic fantasy world that Coheed and Cambria have meticulously crafted over the last 30 years. It’s openly more personal in nature than previous albums but The Amory Wars storyline and Sci-Fi emo prog rock atmosphere that the band are known for are still as present.  

Within the loud realm of metal, it often exists happily unbothered by the mainstream. And although a metal band going mainstream isn't always well received in the subculture, it is still exciting when a band feels on the cusp of shattering through to something bigger. Spiritbox, the Canadian metalcore band hailing from Victoria, British Columbia, are one of those bands who feel inevitable and that momentum is behind them.

Folk rock has long been one of Jethro Tull’s strongest suits. Ian Anderson’s integration of Anglo-Celtic folk influences goes all the way back to the band’s second LP, Stand Up (1969), which drew also on Eastern and Eastern European music to affirm Tull wasn’t going to be hidebound by the blues rock sound of This Was (1968). 

Doves really are quite prog rock aren’t they? It’s never really leapt out at me before, probably because I’d always thought of them as brooding indie first and foremost.

Brighton band Squid are not in the business of straightforward. Combining jazz chops with a sensibility that’s at once post-punk, prog and avant-garde, their music is wilfully tricksy. Yet it does groove, upon occasion, it does funk. Tunes do pop in for a visit.