Amgala Temple is the sound of three musical forces combined. The result is an overwhelming clash of spontaneity and control, improvisation and clairvoyance - all meshed together in a quest to make something radiant.

Igra Staklenih Perli, the ultimate ex-Yugoslavian space/psychedelic rock band, was formed in 1976 in Belgrade, Serbia, having been named after the famous novel by Hermann Hesse - "Das Glasperlenspiel" (The Glass Beads Game). Igra Staklenih Perli labelled their music style as "stream of consciousness music". Their both studio albums, the first eponymous "Igra Staklenih Perli" from 1979 and the second "Vrt Svetlosti" from 1980, are pretty similar in sound and resemble the style from early Pink Floyd and Hawkwind psychedelia, to German krautrock (notably Can and Tangerine Dream), to Hillage-era Gong among many. Interesting music effort especially considering the fact it was the new wave boom period when they tried to pursue a quite different music philosophy.

With Tangerine Dream's recorded output spread across close to 40 years of work, and a variety of record labels as well, a comprehensive overview of their output would be a behemoth of a box set. This two-disc collection of odds and rarities cannot even begin to approach those proportions, but still its journey hits many of the high points that one would hope to find, as it traces band mainstay Edgar Froese at least into the early 1990s. The set opens with a pair of cuts recorded by Froese's pre-Tangs band the Ones in 1967, a couple of darkly atmospheric psych rockers that are far removed from anything he would go on to create. These are followed by brutal live takes on the two-part "Ultima Thule" that marked the Tangs' debut single, but which highlight the new band's personal direction by borrowing much from period Pink Floyd…

Compiled from a selection of opening live improvisations performed by Markus on Touch Guitar throughout The Crimson ProjeKCt’s Spring 2014 European Tour. These instant compositions set the tone for each concert and provided a launch pad for the two drummers to begin their drum duet. The edits presented here cut-off at the point where Pat Mastelotto and Tobias Ralph entered the performance.

Mother Gong's first album Mother was released in 1978 and the band found Gilli Smyth collaborating with many musicians including Harry Williamson and various friends and family including on this album Owl In The Tree from 1990, former partner Daevid Allen. The album is split into two halves and both Allen and Smyth work well within the limitations set out by vinyl bearing in mind that the days of vinyl made for a more convenient division, which is defined, by the individual styles of both Allen and Smyth. The album is a mix of both styles including Allen's blissed out space rocker style and Smyth's more laid back fairy tale recitations and a smattering of typically Gong like instrumental work.

Gilli Smyth first started performing with Soft Machine in the sixties when the band played their mixture of poetry/music gigs. Gilli became more active as a performer following the formation of Gong with her partner Daevid Allen following his departure from the aforementioned Soft Machine in 1968. Following her departure with Allen from Paris following the Paris riots of late 1968 Gilli along with Allen decamped to Spain although the duo once again returned to France in 1969 where the second edition of Gong became a reality. Gilli was the only female in the band originally and developed her "Space Whisper" which became an integral part of the Gong sound.

After Gong disbanding, its "space whisper" in the person of Gilly Smyth carried on the adventure on the same basis: glissando guitar, female spacy vocals and twirling sax: the best era of Gong's magic ! On "Wild Child", she goes into the spacy-psychedelic universe of Gong.

Level Pi is a one-man project from the Rhineland, stylistically related to the early Pink Floyd, Tangerine Dream, or Klaus Schulze. The person behind this is a certain Uwe Cremer who is playing all the instruments himself, especially the guitar and the synthesizer. Spherical sounds above which a lonely electrical guitar is majestically floating. Uwe Cremer regards his CD as homage to the days when Krautrock was still young and Pink Floyd still wrote music.

Palace Springs is a Hawkwind live/studio album taken from a 1989 performance at LA's Palace Theatre, preceded by two studio tracks recorded in a mobile studio at around the same time. In terms of its musical style, the studio material seems to be a continuation of the sound found on The Xenon Codex as well as showcasing the talents of new vocalist Bridgett Wishart; the same is true of the live set, which finds the band giving refreshing updates to a chunk of their old repertoire. There are really no weak cuts here, and it all flows very well, creating a rather fluid listening experience. The "Void of Golden Light"/"Lives of Great Men" set is particularly powerful.

Amazing and colourful rock sutra from Turkey! Siddhartha is interesting blend of progressive space sound like Pink Floyd, Porcupine Tree with trippy rock ballads. This album is full of major mood swings from very serene and tranquil moments to the all out blitzkrieg jam sessions. Siddhartha is full of surprises and each songs carries its own colours and characteristics always sounding highly original. This is an essential recording and will absolutely remain a classic. This album has been nominated, for the 4th edition of Prog Awards album of the year of 2009.
A Trip to Innerself kicks off wistfully, Eastern phrasing just dominating over a rich sonic background, there's a vocalised mantra that develops quietly in this soundscape before some gorgeous organ-sounding phrasing from the keyboards, and the guitar comes in powerfully at the end…

Attempting to make sense of Hawkwind's early-'80s output has never been easy. Between 1980 and 1984, the band itself released just four new studio albums, but behind them, the floodgates strained beneath the weight of a career's worth of live and studio outtakes and off-cuts, many of which did, in fact, date from the first years of this new decade. Among these, the albums Zones and This Is Hawkwind, Do Not Panic are the best representatives of the 1980 and 1984 eras; The Collectors Series, Vol. 2: Choose Your Masques arrived to slip in between them, with a seamless recounting of the group's fall 1982 U.K. tour - and at the same time, render any other document of the same period redundant. (The Friends and Relations and Independent Days collections both include overlapping material)…

Despite being renowned in certain parts of the world (especially in Italy and their hometown of Paris), the space-age outfit Rockets remains largely obscure - even though they arrived on the scene at almost he same exact time as Kraftwerk and prefaced Devo by several years. The multi-membered outfit originally formed in 1972, under the name Crystal, performing on-stage in their regular street clothes. But by 1974, Crystal had evolved into Rocket Men, issuing a debut self-titled single, while its members began to assume the identities of aliens; complete with silver makeup covering their skin, grey contact lenses, space suits, and bald heads. It was also around this time that the group hooked up with producer Claude Lemoine, who would remain behind the studio boards until the early '80s…