Faust’s So Far is a wonderfully strange introduction to one of the more adventurous bands to emerge from Germany’s early ’70s experimental scene, blending krautrock, tape manipulation, noise and warped psychedelic sounds.

It’s unpredictable and often deliberately off-kilter, but there’s a real sense of humour and playfulness running through it too.

Not the easiest listen in places, but hugely inventive and full of ideas - a fascinating record for anyone looking to venture a little further into the more experimental side of ’70s rock.

The Thrills’ So Much for the City is a beautifully melodic slice of early 2000's indie, packed with jangly guitars, warm harmonies and a definite hint of classic American pop.

There’s an easygoing, summery feel running through the album, but plenty of wistfulness underneath it too, giving the songs a little more depth than their breezy sound might suggest.

A charming debut that still captures that particular early 2000s indie sound really well.

Zoot Money’s Big Roll Band bring plenty of energy to It Should’ve Been Me, mixing bluesy R&B, soul and beat-era sounds with the kind of lively, late-night feel that made them such a popular live act.

Zoot’s exuberant vocals sit alongside punchy horns, rolling piano and a tight rhythm section, giving the whole thing a wonderfully loose and lively feel.

Full of character and unmistakably of its time, it’s a great snapshot of the UK’s early 1960s R&B scene.

Françoise Hardy’s One-Nine-Seven-Zero finds the French singer-songwriter bringing her effortlessly cool, understated style to a set of dreamy late ’60s pop.

Beautiful orchestral arrangements, gentle melodies and Hardy’s unmistakably intimate vocals give the album a wonderfully hazy feel, with highlights ranging from the melancholic Song of Winter to her delicate take on Leonard Cohen’s Suzanne.

A lovely record for fans of sophisticated, atmospheric pop with a distinctly European feel.

TesseracT’s debut album, One is a great example of the band’s early sound, mixing intricate rhythms, heavy guitar work and soaring melodies with a real sense of atmosphere.

There’s plenty here for the prog and metal fan to get stuck into, but it doesn’t feels like technicality for its own sake.

Dynamic, ambitious and packed with ideas, it’s a fascinating debut that helped lay the groundwork for the band’s distinctive take on modern progressive metal.

Worldwide limited to 500 copies - pressing #071

Released in November 1971 on Harvest Records, New Leaf found East of Eden in something of a transitional mood.

The band had already undergone several line-up changes and, following the unexpected success of Jig-A-Jig, could presumably have been forgiven for playing it safe. They didn't. Instead, they delivered a curious blend of progressive rock, jazz, blues and more laid-back material, with Dave Arbus's violin helping keep things suitably unpredictable.

It's an album that feels distinctly of its time without being particularly easy to pin down - which is probably why it has remained a favourite among collectors of the more obscure corners of British prog.

Add a rather striking Hipgnosis sleeve and a Harvest pressing into the equation and you've got a record that looks like it belongs in the collection of someone who knows exactly what they're doing, even if they're not entirely sure what they've just put on.

Released in 1993, Suede arrived at precisely the right moment, giving British guitar music a much-needed injection of glamour, attitude and slightly questionable hair.

With Brett Anderson's theatrical vocals, Bernard Butler's soaring guitar work and lyrics full of sex, boredom and beautiful people behaving badly, it was hardly your standard debut.

Suede went on to become one of the defining British albums of the early 90s, winning the Mercury Music Prize and helping kick-start what would soon be labelled Britpop, although Suede themselves always seemed a little too stylish and miserable to be entirely comfortable with the association.

A confident, dramatic debut that still sounds remarkably assured.

Released in 1972 on John Peel’s Dandelion Records, Tractor is the second album from Rochdale duo Jim Milne and Steve Clayton, having previously recorded as The Way We Live.

Despite the rather agricultural name, there’s considerably more going on here than you might expect. Milne handles the guitars and vocals while Clayton takes care of drums, bass, keyboards and assorted percussion, with the pair creating the album almost entirely themselves through a remarkably ambitious multi-tracked recording process.

The result is an eccentric mix of psychedelic rock, blues, folk and early progressive sounds, without ever sounding particularly concerned about genre boundaries.

It wasn’t a commercial success at the time, but has since picked up the sort of cult following that makes original copies rather less easy to find than they perhaps ought to be.

A wonderfully odd little piece of early-70s British underground rock, and proof that you didn't necessarily need a full band, a major label or a sensible career plan to make a very interesting record.

Released in 1977, My Aim Is True introduced Costello to the world with a debut that sounds remarkably confident for a man who, at the time, had only just started making records.

Sharp, melodic and considerably more bitter than its Buddy Holly-esque cover might suggest, the album packs its pop hooks with jealousy, frustration, romantic disasters and the occasional suggestion that perhaps the problem is, in fact, you.

From the instantly recognisable Alison to the frantic Less Than Zero and the wonderfully sardonic Welcome to the Working Week, Costello manages to sound both charming and thoroughly unimpressed with everything around him.

My Aim Is True sits somewhere between punk, pub rock and classic pop songwriting, proving that you don't necessarily need to shout to sound angry - sometimes a raised eyebrow will do.

Released on 3rd November 1992, Rage Against the Machine arrived like a sledgehammer.

Combining Tom Morello’s wildly inventive guitar work, Zack de la Rocha’s furious vocals and a rhythm section that hits with the force of a wrecking ball, the album is as politically charged as its title suggests. From the opening explosion of Bombtrack through to the unmistakable Killing in the Name, it’s a record built on anger, protest and a refusal to play by the rules.

Despite being a debut, there’s very little that feels tentative about it. The band had already perfected a sound that fused metal, hip-hop, funk and punk into something that felt completely their own, and with plenty of substance beneath the aggression.

Over three decades later, the self-titled debut still sounds confrontational, uncompromising and seriously loud.

A landmark record that helped redefine what a politically charged rock album could sound like.

Released on 24th March 2009, Approaching Normal is an album that divided critics and sparked plenty of polarised opinions.

It’s a record of striking highs and lows, both emotionally and in terms of consistency, but despite the mixed reception, it debuted at #13 on the Billboard 200 and delivered some of Blue October’s most hard-hitting tracks.

While rage and regret remain central to the album, Approaching Normal also marked a noticeable shift from the band’s earlier work, embracing a more upbeat side. Furstenfeld described Blue Skies as one of the only truly happy songs he had written at the time - a fitting glimpse into the album’s lighter moments.

This double-vinyl edition also includes 3 exclusive B-sides and an 8-page lyric scrapbook.

One of the lesser-known gems from Ennio Morricone's vast catalogue, Love Circle showcases the maestro's gift for blending romance, melancholy and cinematic grandeur.

Rich orchestration, haunting melodies and flashes of psychedelic experimentation create a soundtrack that feels both intimate and expansive.

Essential listening for collectors looking to explore beyond Morricone's iconic film scores.

Widely regarded as one of modern progressive metal's defining releases, TesseracT’s Altered State combines crushing rhythmic precision with soaring melodies and an almost cinematic sense of atmosphere.

The band's intricate musicianship is balanced by a strong emotional core, resulting in an album that's as immersive as it is technically impressive. Experimental and progresive without overindulgence, it’s a landmark record for fans of contemporary prog.