French TV's latest CD, The Spanish Caper, is the 16th in their long history and their 2nd for Cuneiform.
Disc One is new songs recorded in Spain featuring charter member bassist/composer Mike Sary, guitarist Kasumi Yoneda (also from the Japanese band TEE), long-time drummer Jeff Gard, plus members of the French band Mentat Routage (who also make up French TV's line-up when touring Europe).
The second disc is a collection of somewhat-obscure rock covers from the late 60s-early 70s. Songs featured include deep tracks from Iron Butterfly, Kinks, Mountain, Spirit, Procol Harum, Traffic, Steppenwolf, The Guess Who, James Gang and more The line-up on this includes Sary, Yoneda, Gard, plus keyboardist Patrick Strawser (best known for his work in the 90's band Volare)…

On Terre De Feu, the obscure and brilliant Canadian contemporary fusion ensemble Contrevent takes to the studio to deliver an exceptionally cinematic, intricate, and masterfully balanced instrumental document. Released in 1993 as a rare independent treasure under their own CTV imprint, this spectacular Quebecois session serves as a hidden masterpiece of complex, cross-genre composition, beautifully blending fiery jazz-rock movement with chamber-like acoustic instrumentation and fluid progressive structures. Spanning nearly 52 minutes of immaculate high-fidelity spatial design, the 9-track landscape operates with a shimmering, rhythmically deep, and beautifully organic kinetic energy. The ensemble maneuvers through complex shifts with effortless cohesion, firing off magnificent tracking highlights like the high-octane opener Kilometre Heure, the sweeping, multi-tiered title suite Terre de Feu, and the lush melodic layers of Nutella. Driven by Marc Vallée's biting electric and acoustic guitar passages, Eric Longsworth's unique, singing cello architecture, and Clermont Bouliane's shimmering vibraphone textures, this pristine archive remains an indispensable holy grail for serious progressive fusion purists and global jazz-rock collectors worldwide.

On Cherdak, the phenomenal and fiercely avant-garde Latvian outfit Olive Mess delivers an incredibly complex, dark, and utterly brilliant masterpiece of modern progressive rock. Released in 2008 by the prestigious Italian label Mellow Records, this towering studio document stands as an underground monument, showcasing a radical sonic architecture that seamlessly bridges the gaps between heavy 70s symphonic rock, King Crimson-inspired complexity, and contemporary chamber music. Spanning nearly an hour across just four monumental, long-form compositions, the tracklist operates with a frantic, theatrical, and unpredictable kinetic energy. Olive Mess shifts fluidly from the sprawling, medieval-tinted sonic assault of the 15-minute epic Beowulf to the angular time-signature shifts, haunting flute paths, and dark keyboard structures of Ovum Mechanicus and the massive centerpiece Mane, Thechel, Phares. Driven by virtuosic guitar work, intricate rhythmic syncopation, and striking neo-classical depth, this pristine high-fidelity archive remains an indispensable treasure for serious avant-prog purists and rock-in-opposition collectors worldwide.

On El Infierno De Los Payasos, the legendary Chilean avant-garde outfit Fulano delivers a furious, highly complex, and utterly brilliant masterclass in experimental music. Released in 1993 by the iconic label Alerce, this third studio document stands as a towering pillar of South American progressive rock history, capturing the band at their most aggressively creative and politically sharp. The 48-minute tracklist operates with a frantic, theatrical, and unpredictable kinetic energy, seamlessly shattering the boundaries between intricate jazz-rock fusion, heavy post-punk riffs, and free-jazz vocal improvisations. Shifting fluidly from the expansive, multi-part architecture of Convicciones and the massive epic Ciego Y Perdido En Una Ciudad Extraña to the biting sonic assault of Basura, the record displays staggering technical virtuosity. Driven by frantic saxophone duals, complex time-signature shifts, and unmatched multi-octave vocal madness, this pristine high-fidelity archive remains an indispensable monument for serious avant-prog purists and rock-in-opposition collectors worldwide.

Archive One stands as a monumental, staggering, and completely uncompromising chronicle of avant-garde brilliance from the legendary American chamber-prog collective Motor Totemist Guild. Released in 1996 by the German experimental outpost No Man's Land, this deep-dive retrospective compiles rare tracks, unreleased radio sessions, and early configurations dating back to the mid-1980s. Spearheaded by the brilliant multi-instrumentalist, composer, and arranger James Grigsby, the collective functions as a bridge between complex, high-modernist contemporary classical architecture and the fiery, angular aesthetic of the Rock In Opposition (RIO) movement. The massive, 73-minute tracklist is a hyper-complex labyrinth of shifting time signatures, intricate woodwind counterpoints, and striking tape manipulations. Moving fluidly from the jagged avant-prog energy of Edison Games and The Totem Motorist to the sweeping, 12-minute epic modern-chamber masterpiece Cuneiform, the performances utilize a staggering array of instrumentation—including clarinets, saxophones, cello, Chapman stick, and vibraphones. The result is a definitive, profoundly expressive document of American avant-prog history that captures a band operating at the absolute peak of intellectual and structural defiance.

Explosion of Bad Music captures Simon Steensland at his most gloriously unhinged. Built around two expansive pieces of roughly 27 minutes each, the album dives headfirst into his signature avant-prog chaos (dense, theatrical, and wildly inventive), unfolding like a delirious, self-contained masterpiece. Every passage mutates with intent, transforming unease into narrative drive. Wild, intricate, and unexpectedly playful, it feels like a parallel universe where avant-garde rigor collides with dark humour. A bold, fearless statement and a striking addition to Margen/áMARXE’s growing catalogue.

Homunculus Res, a fantastic Italian prog band with strong Canterbury Scene elements is back with a new album, after their phenomenal work from 2020 "Andiamo in Giro di Notte e ci Consumiamo nel Fuoco". "Ecco l'impero dei doppi sensi" is the name of the new album, and here, the band successfully brings a combination of Canterbury that perfectly implements elements of psychedelia, tinged with jazz and progressive, but also gives a dose of pop from the sixties. Ironic and oblique, evocative but also meticulous, the compositions represent a perfect union of the aforementioned styles. All these are elements of fundamental importance for the sonic alchemy of the band.

Everyone Lies Alone is an incredibly inventive, jagged, and fiercely energetic independent progressive rock masterwork by the cult Australian experimental outfit The Grand Silent System, self-released in 2004 as an elusive underground document. Spanning just over 42 minutes across ten highly explosive tracks, this high-fidelity archive captures the Melbourne-based ensemble crafting a thrillingly unique sonic bridge between 1970s symphonic complexity and the hyper-kinetic, angular post-hardcore and math-rock movements of the early 2000s. Driven by Ben Rejmer's dense keyboard textures and electronic samples alongside Daniel Calabro's sharp, biting guitar work, the band avoids self-indulgent prog clichés in favor of tight, erratic rhythms and intense songwriting. The secret weapon of the session is Karen Heath, whose multi-instrumental coloring on flute, saxophone, and clarinet adds a stunning, avant-jazz texture that collides beautifully with Sean Albers' dramatic, commanding vocal performance and Craig Moran's driving bass line. The tracklist is exceptionally tightly structured, highlighting the heavy, interlocking grooves of Anchor Smile, the math-prog labyrinth of The Cantor Dust, and the frantic, shape-shifting energy of the brilliant Title Track. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio, this definitive document stands as a mandatory cornerstone and a prized collector's holy grail for global purists of modern alternative progressive rock, avant-prog, and obscure independent Australian rock history.

Gift or a Weapon is a wildly imaginative, heavy, and genre-defying masterpiece by the innovative Australian progressive outfit The Grand Silent System, released in 2003 as a flagship title on the Melbourne-based independent imprint Rare Records. Spanning 51 minutes across 13 diverse tracks, this high-fidelity release captures the ensemble at the peak of their creative powers, executing a dazzling blend of heavy alternative rock riffs, intricate funk-metal syncopations, and adventurous Crossover Prog arrangements. What truly sets the group apart from the standard heavy-progressive landscape is their unique seven-piece lineup, particularly the brilliant woodwind contributions of Karen Heath on clarinet, saxophone, and flute, which weave seamlessly between Daniel Calabro's sharp guitar angularity and Ben Rejmer's dense keyboard sampling. Anchored by the explosive rhythm section of Craig Moran and Ben Hellmig, and driven by Sean Albers' versatile, commanding vocal delivery, the album leaps unpredictably from avant-garde electronic soundscapes to massive math-rock grooves. From the fierce, opening sonic statement of Venting Etiquette to the rhythmically complex 7 On 4 and the theatrical finale La Macchina, the album constantly rewrites the rules of progressive rock. Exceptionally archived in pristine dual-format lossless and high-bitrate audio, this elusive artifact stands as a mandatory cornerstone and a prized collector's item for global aficionados of modern progressive rock, crossover alternative metal, and rare Australian music history.

Incognito is a mesmerizing, wildly eccentric avant-garde progressive rock masterwork by the enigmatic Slovenian ensemble Kapela La Chateliere, released in 1999 as a rare collector's artifact on TKM Records. Spanning 45 minutes across nine highly unpredictable movements, this high-fidelity archive serves as a phenomenal testament to the depth of Eastern European underground rock experimentation. The album showcases an extraordinary cross-pollination of genres, seamlessly weaving intricate, shifting Canterbury-style prog rock time signatures, heavy avant-garde jazz improvisations, and traditional Balkan folk sensibilities. Driven by the multi-instrumental synergy of Andrej Čopar's soaring saxophone and flute leads, Andrej Žibert's intricate percussion and guitar synthesis, Evgen Malis's dense synthesizer soundscapes and organic accordion flourishes, and the anchoring bass work of Matevž Gregorić, the group crafts a sonic landscape that is simultaneously jarring, cinematic, and deeply melodic. From the opening rhythmic complexity of Teza to the sweeping, epic 9-minute cornerstone Bez ‘armonike Nema…, the ensemble constantly defies expectations. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio alongside full artwork scans, this incredibly rare artifact stands as an absolute holy grail for global avant-prog crate diggers and dedicated purists of obscure European progressive rock history.

With yet one final Magic Band lineup in place, featuring Richard Snyder on bass and Cliff Martinez on drums alongside returning vets Jeff Moris Tepper and Gary Lucas, Beefheart put the final touch on his recording career to date with Ice Cream for Crow. It's a last entertaining blast of wigginess from one of the few truly independent artists in late 20th century pop music, with humor, skill, and style all still intact (as even the song titles like "Semi-Multicoloured Caucasian" and "Cardboard Cutout Sundown" show). With the Magic Band turning out more choppy rhythms, unexpected guitar lines, and outré arrangements, Captain Beefheart lets everything run wild as always, with successful results. Sometimes he sounds less like the blues shouter of lore and more of a spoken word artist with an attitude, thus the stuttering flow of "The Host the Ghost the Most Holy"…

Bakin' @ The Potato! captures Mike Keneally and his band in an energetic live performance that highlights the guitarist and composer’s remarkable versatility, technical mastery, and eccentric songwriting style. Released in 2011 through Exowax Recordings, the album documents a dynamic concert filled with progressive rock complexity, jazz-fusion influences, sharp humor, and spontaneous musical interplay. Keneally, widely respected for his work with Frank Zappa and numerous progressive projects, delivers intricate guitar passages, sophisticated keyboard arrangements, and expressive vocals throughout the performance. Supported by a highly skilled ensemble featuring Bryan Beller on bass and Joe Travers on drums, the band moves effortlessly between complex rhythmic structures, melodic rock passages, and playful experimental detours. The live setting adds additional energy and unpredictability, allowing the musicians to stretch arrangements and interact with impressive precision. Tracks such as “Blameless (The Floating Face)” and “Them Dolphins Is Smart” showcase Keneally’s ability to blend technical ambition with memorable hooks and quirky lyrical ideas. Bakin' @ The Potato! stands as an excellent representation of modern progressive rock performed with creativity, humor, and exceptional musicianship.

With 6 physical albums and 1 digital album released since 2000, including the highly acclaimed “Omphalos” (nominated for “Best Foreign Record" in ProgAwards 2006) and "Ouroboros" (Winner - “Best Foreign Record" in ProgAwards 2009) Kotebel is one of the main progressive acts in Spain and Latin America. Kotebel’s music is an elaborate, yet accessible blend of avant-garde symphonic rock, with a wide range of influences from classical to jazz to world music. Currently, the band released their 7th album, titled"Cosmology". This album features the “Cosmology Suite”.

Originally recorded during August and September 1983 at Cold Storage studio in London, Fluvial stands as a fascinating document of avant-garde collaboration between vocalist Catherine Jauniaux and multi-instrumentalist Tim Hodgkinson. The album moves freely between free improvisation, experimental jazz, chamber rock, and abstract sound collage, creating a deeply atmospheric and unpredictable listening experience. Jauniaux’s expressive vocal approach shifts from theatrical whispers to fragmented melodies, while Hodgkinson’s inventive arrangements layer organ, clarinet, percussion, and guitar textures into dense sonic environments. The supporting musicians, including Tom Cora and Georgie Born on cello, contribute rich acoustic depth and unusual tonal colors throughout the album. Despite its experimental nature, Fluvial maintains a strong emotional core, balancing tension, mystery, humor, and spontaneous creativity. The recording captures the spirit of the early 1980s European improvisational scene while remaining timeless in its fearless exploration of sound and structure. This reissue preserves an important underground work that continues to resonate with fans of experimental music and avant-garde composition.

Kamihitoe is a highly adventurous and technically sophisticated release by Japanese fusion ensemble Djamra, issued in 2006 through Musea Records. Blending elements of jazz rock, avant-garde experimentation, progressive fusion, and complex instrumental interplay, the album showcases a bold and imaginative musical approach driven by dynamic compositions and exceptional musicianship. Djamra combines intricate rhythmic structures, powerful brass arrangements, atmospheric keyboards, and expressive guitar work to create an unpredictable yet cohesive listening experience filled with constant movement and creative tension. Tracks such as “Kamihitoe,” “94K2,” and “Ahonoko” highlight the group’s ability to move seamlessly between aggressive jazz fusion passages, experimental improvisation, and melodic atmospheric sections. The performances are marked by technical precision and strong ensemble chemistry, allowing each musician to contribute distinctive textures and improvisational depth without sacrificing the overall compositional structure. The saxophone and trumpet arrangements add vibrant energy and jazz complexity, while the rhythm section maintains a fluid and constantly evolving foundation throughout the album. Kamihitoe stands as an inventive and compelling work within modern jazz fusion, appealing to listeners who appreciate progressive instrumental music, avant-garde creativity, and sophisticated jazz-rock experimentation.