Despite my rating, if you're into Stoner Rock I would recommend this record. If you're not? Well, it all just seems so one dimensional and samey. WEEDPECKER are a four piece from Poland and this is album number two from 2015. Two guitarists, bass and drums is the setup here, with a new bass player on this sophomore album. A lot like the debut except that Haldor Grunberg added synths to this recording. Haldor is the man who engineered, mixed and mastered this album.

I feel like this is a band who has been finding their way as it were, when it comes to their sound. The addition of synths here helps, but on the next record both guitarists would be adding synths to great results. Then on the most recent record they employed a full time keyboardist, dropping one of the guitarists. They just keep getting better. And while I rolled my eyes the first time I heard their name, I have gotten used to it(I suppose). Also, if that band name inspired the cover art here, then I'm all in. I just think the cover art is the best thing about this recording. Like a Lord Of The Rings inspired picture isn't it? I wouldn't want to be drifting down that river and seeing these giant woodpeckers looming over me(lol).

Love the picture on the actual cd as well. Both guitarists add vocals here. And they sound either distant, or mixed low in the sound. It works, but I often am thinking "is that vocals?" When it gets heavy the guitarists turn on the distortion. I much prefer the clean guitar passages. The bass isn't that upfront or the drumming for that matter. Its all about the guitars. We get seven tracks worth about 47 minutes. On the closer we close to 3 minutes of silence when it ends, only to kick back in after 7 1/2 minutes. I'm not big on stuff like that, and only found this out by accident.

A good album, but it really feels like it's lacking when it comes to the Stoner Rock style. In other words, there's nothing new or outstanding here in my opinion.

In 1969, King Crimson, The Nice, and Jimi Hendrix shared the stage at the Fillmore West. During the soundcheck for that concert, Greg Lake and Keith Emerson met for the first time and jammed together. That night, the two began talking seriously about forming a new band. After witnessing the power of the Jimi Hendrix Experience, they agreed that their group should follow a similar trio format. At one point, they even considered Mitch Mitchell for drums?it would have been incredible.

Back in England, both Emerson and Lake left their respective bands to pursue this bold idea of a supergroup. When Mitch Mitchell didn't work out, a friend suggested Carl Palmer, the drummer from Atomic Rooster, whose style shared much of Mitchell's energy and flair. And with that, Emerson, Lake & Palmer was born.

Once in the studio, ELP began working on their self-titled debut album?a mix of unfinished Greg Lake songs and Keith Emerson compositions that fit together perfectly. An energetic Carl Palmer brought everything to life, making the band sound like a tight and powerful unit. The album was recorded in a short time, and the result was impressive: an album that was both easy to enjoy and deeply complex?avant- garde yet accessible. And it featured a hit that would follow them throughout their career: "Lucky Man."

Musically, Emerson, Lake & Palmer is an eclectic and ambitious debut. "The Barbarian" reworks Béla Bartók's Allegro Barbaro, delivering a heavy and aggressive opener. "Take a Pebble" blends Lake's folk sensibility with Emerson's jazz-inflected piano and Palmer's subtle percussion. "Knife-Edge" draws on Janáček and Bach, merging classical themes with rock dynamics. Side two opens with "The Three Fates," a keyboard-driven suite inspired by Greek mythology, showcasing Emerson's virtuosity. "Tank" offers Palmer a moment to shine with a fiery drum solo and experimental synthesizer work. The album closes with the haunting and melodic "Lucky Man," written by Lake at age 12, featuring one of the first iconic Moog solos in rock.

The album was produced by Greg Lake and recorded by Eddie Offord. Nic Dartnell painted the cover. It was a chart and sales success, reaching gold status in several countries, including the United States.

What was once seen by some as a one-hit album revealed itself over time as ELP's most enduring work? the one that aged the best and launched one of the greatest progressive rock bands in history.

In 1970, Emerson, Lake & Palmer helped spark a progressive rock movement in countries like Italy and Scandinavia. Perhaps thanks to the massive success of "Lucky Man," they managed to draw in a wider audience and open minds to more ambitious music. For me, it's the beginning of one of my favorite bands. And they only needed a couple of years?Tarkus, Pictures at an Exhibition, and Trilogy?to cement a success that would be eternal.

For fans with a loooot of patience.

I went into Nightmares as Extensions of the Waking State with high hopes. I wanted to like it. Katatonia has been part of my personal soundtrack for years, and I've followed their evolution with both patience and genuine enthusiasm. But this album... this album left me cold. And not in that good, melancholic way the band used to nail — more like something broke, or worse, something was done just to check a box.

From the start, it seemed like things were going well. The first two songs work and manage to catch some attention, with a couple of promising riffs and dense atmospheres. But then the album falls into a deep slump it never recovers from. The pacing becomes overly solemn, almost lethargic, and the vocal melodies — super recycled and predictable — only highlight that feeling of repetition. I hate to say it, but I had to stop listening twice because I just couldn't get through it. I literally started falling asleep.

The production is solid, that much is true. The album sounds professional, with a restrained but competent drum performance, and some guitar details that seem like they're about to take off — but never really do. There are ideas that could've been developed, but they stay as rough sketches. It all gives the impression that the album was made to meet a deadline, more than out of any real creative need. Like with Anders leaving and the new guitarists stepping in, they're still figuring things out, playing it safe.

Interestingly, the one track that pulled me out of the haze was the one sung in Swedish. Very atmospheric, almost ethereal, but it feels disconnected from the rest — like it belongs on a different record. There's some quality there, but it doesn't really land emotionally.

All in all, Nightmares as Extensions... isn't a bad album, but it's definitely not a memorable one. It adds nothing new to their discography, and doesn't feel like a step forward. If anything, it feels like a half-hearted pause. I truly hope the next release is more ambitious, more daring, and brings back the spark that once made Katatonia such an essential band.

Music: ★★★

Lyrics: ★★★

Execution: ★★★★

Emotion: ★★

Production: ★★★★

Artwork: ★★

Average: ★★★

Black Sabbath's fifth studio album was created during a difficult period for the band, with an extensive touring schedule and a deteriorating substance abuse problem, following a short break and a relocation for recording, 'Sabbath Bloody Sabbath' was released to much amazement - exhibiting a very prominent progressive ambition, this album really took a step further from the eclectic 'Vol. 4' and became recognizable for its sophisticated songwriting and expanded artistic scope. With the introduction of pastoral, psychedelic and even boogie rock passages, Sabbath's November 1973 release remains one of their most innovative, daring and ambitious offerings. The extensive use of keyboards on this album is noteworthy, as much as the inclusion of string arrangements, flutes, organs, bongos, the harpsichord, and even Rick Wakeman (coming off bored from the 'TFTO' sessions with Yes and laying down some fine moog leads for one of the album tracks) - this record really tries to deliver a bit of everything.

Kicking off the set with the monumental title track, it has to be said that this Iommi riff is what initiated the direction and the writing of the album - it is a powerful piece of heavy rock with an earth-shattering rhythm section and a particularly tasty bass tone - a simply astounding song. Continuing on that high note, Sabbath present 'A National Acrobat', an edgier piece of sophisticated rock that sees them taking in some of the doomy ambience of earlier records, followed by the picturesque instrumental 'Fluff', a composition that could have easily landed on any of the classic early Genesis albums. Closing off the perfect side one, we have 'Sabbra Cadabra', another heavy track that catches Rick Wakeman playing the piano and the Minimoog. The second side of 'Sabbath Bloody Sabbath' is the more "adventurous" and unpredictable one, and hence, the more difficult one to appreciate - 'Killing Yourself to Live' is really good and the chorus is strong, but 'Who Are You?' just fails to hit that sweet spot, especially with the punctuative synths, which sit somewhat strangely on this record. Then again, 'Spiral Architect' is excellent and strikes a fine balance between heavy and experimental, while 'Looking for Today' is not necessarily as remarkable.

And although the band was going through a tough period, they managed to rise above and deliver a triumphant studio album, one that really sees them nurturing their experimental side with even greater attention, quite often to fascinating and flamboyant results. Is 'Sabbath Bloody Sabbath' the perfect Sabbath album? Perhaps not, but it remains one of the most ambitious and enthralling works of theirs.

— First review of this album —

Mike Vest is, without a doubt, one of the most prolific musicians of our time. Between live collaborations and solo projects, he has contributed to over 100 works. His musical journey began in 2012 with Skull Mansions, a collaboration with Steve Bishop that marked a powerful debut?an extraordinary fusion of drone, doom, and space rock.

Each project from Vest blends avant-garde styles into a unique, heady mix. After Skull Mansions, he launched Space Victim, releasing three albums that continued the psychedelic, experimental noise direction. Then came Blown Up, where he delved even deeper into live jams, always maintaining that acid- trip, stoner aesthetic.

Projects like Basilica, Lush Worker, and Jackal mark key points in his evolution. Over time, he connected with Japanese musicians drawn to his distinctive style, leading to a powerful musical symbiosis that gave birth to groups like Haikai No Ku and Modoki.

One of the most exciting recent entries in Vest's ever-growing discography is Phase IV, the latest album from Artifacts & Uranium. Following their acclaimed The Gateless Gate, this record shifts toward shorter, more focused compositions. The band's lineup now includes the legendary Japanese guitarist Tabata Mitsuru (Zeni Geva, Boredoms, Acid Mothers Temple), joining Vest, multi-instrumentalist Fred Laird, and returning drummer Nick Raybould.

Phase IV is a wild blend of garage psych and swamp punk?cacophonous guitars, howling synths, and dense, radioactive textures that feel both raw and otherworldly. It's a malevolent beast. Every home should have one.

What sets Mike Vest apart isn't just his productivity, but his uncompromising vision. Whether he's working with full bands or building dense walls of sound on his own, there's a consistent thread: a devotion to raw, hypnotic repetition and a willingness to push sonic boundaries. His guitar work is instantly recognizable? drenched in fuzz, reverb, and feedback, yet always precise in its chaos. He is one of the best guitar players in his own style, forging a distinct sound that blends elements of krautrock, Japanese psych, noise rock, and doom into something entirely his own. Vest doesn't chase trends; he builds immersive soundscapes that channel both intensity and atmosphere. Over the years, he has become a central figure in the modern underground, inspiring a growing circle of collaborators and listeners who see in his music not just noise, but a form of transcendence.

Phase IV is just another chapter in a body of work that refuses to settle or repeat itself. Vest keeps moving forward, always creating, always exploring. Honestly, I see him in the same spirit as a late-period John Coltrane or someone like John Zorn?artists who don't recognize boundaries and aren't afraid to dive deep into sound. For me, Mike Vest is one of the most exciting musicians working today, and I'll definitely be paying closer attention to whatever he does next.

I know these musicians have had solo/side projects, but the realization that this is the first Stereolab studio album of all new material in 15 years surprising and sad yet comforting to know they're back!

1. "Mystical Plosives" (0:56) electronic sequencing with other electronic sounds and noises woven into and around it. (4.375/5) 2. "Aerial Troubles" (3:21) opening in a dirge-like form, the song jumps into something more lively and motional around 0:25. A familiar melody line, weave of multiple vocalists in and around that of Laetitia's voice and stop and go form makes for an interesting and rather refreshing expression for the band, but the lyrical delivery is fully and completely Laetitia/Stereolab. (8.75/10)

3. "Melodie Is a Wound" (7:37) opening with a great pace for the repetition of a catchy four-chord rhythm guitar and keyboard progression. Laetitia joins in through a different sound effect using a more serious, almost maternal voice. There's something very "Germanic" in the sound here--the sound and style of Laetitia's vocal delivery, in particular. Frequent bridges and side-bars--and even a sudden left turn down an unexpected instrumental lane for the fourth and fifth minutes--gives this song quite a different, more developed sound and feel. I love the horns and "horns" introduced in that fifth minute alongside the spitting computer synths and computer drum sounds. Very cool, enjoyable, re-listenable, mostly instrumental song! A top three song for me. (14.25/15)

4. "Immortal Hands" (6:25) weird to hear "real" (acoustic) instruments dominating a Stereolab song! Almost makes them sound Indie Pop like all those jazz-inflected bands from the 1980s (The Style Council, Haircut 100, Simply Red, Danny Wilson, Aztec Camera, Swing Out Sister, Housemartins, et al.) But then we get to the synthetic mid-section of the song at the three-minute mark for a reality check--but then: surprise! The band chooses to go "back" to the "new" jazzy orientation--even bringing in horns and 1960s jazz-pop "orchestral"-imitative components like wordless choir vocals, flutes, complex yet subtle background horn arrangements. It's as if L.A.'s Wrecking Crew were here creating a Jimmy Webb song! Wonderful! Shocking! And predominantly instrumental! Definitely a top three song. (9.75/10)

5. "Vermona F Transistor" (4:37) keyboard arpeggi, spacious strums of heavily-chorused guitar, and the sultry almost- spoken voice of Laetitia Sadier make for another intriguing opening. When the band jumps into the full sound palette around 0:55 I am again finding myself transported back to the glorious "flower child" psychedelic pop of the 1960s. The classic chord progression Tim Gane picks up in the beginning of the third minute feels right out of something from The Buckinghams, The Classic IV, The Animals, or The Buoys. The full, jazzy and sultry background vocaled music then turns into something that sounds as if it could have come from peak Mary Hanson-era 'lab--but then it seems to wander into the rolling farm fields of Northern France with its instrumental finish. Awesome song! (9.25/10)

6. "Le coeur et la force" (4:21) another song that takes us back into time: this time back to early OMD (Orchestral Manoeuvres in the Dark). Even when Laetitia enters with a delicate little girl voice it feels like the youthful single-note drones of Andy McCluskey or Paul Humphreys. The music, however, feels very much like Sound-Dust era Stereolab. Nice! (9/10)

7. "Electrified Teenybop!" (4:17) a fun, even invigorating near-EMD jaunt through a video game race course in an old- fashioned outdoor go-cart. And it's all instrumental! (9.125/10)

8. "Transmuted Matter" (4:16) drawing from old 1960s R&B and 1990s acid-jazz and trip hop sounds and stylings, this song launches Laetitia and her vocal companions into weaves of delivering more of her observations of existential Buddhist awarenesses. Cute and enjoyable with a rich and nicely-constructed musical bed. (9.25/10)

9. "Esemplastic Creeping Eruption" (6:04) a song that feels like a kitchen full of chefs who are trying too hard to make something extraordinary out of a fridge of leftovers. (8.75/10)

10. "If You Remember I Forgot How to Dream Pt. 1" (3:41) one of those dull, one-dimensional songs that serves to deliver the New Age pseudo-scientific stream-of consciousness lyrics that Laetitia is known to throw together every once in a while. (8.667/10)

11. "Flashes From Everywhere" (5:35) kind of dull and boring despite the classic Stereolab upbeat music and melodies; there's just a lack of enthusiasm in the delivery--as if the band members are robotically going through the motions, tired of the endless repetition, practice, and overdubbing. It's not bad: it's just not great--and it lacks any clever or cute/quirky flourishes or detours (until the flutey finish). (8.75/10)

12. "Colour Television" (5:33) I love this song's PAYOLAS/JAMIE ORAM-WEST chorused two-chord rhythm guitar and the adventurous key and bass play circling in and around it. Laetitia's vocal also has that unique, quirky delivery of uniquely clever and humorous lyrics that we all became so familiar with from 1995 to 2003--and her "dee-der-da-dee- da"s in the final section are awesome! My final top three song. (9.333/10)

13. "If You Remember I Forgot How to Dream Pt. 2" (2:57) more life-lessons-learned/wisdom from Laetitia over an electro-pop reverbed drum machine rhythm track and Farfisa-sounding organ and so much else. Cool! (9/10)

Total length: 59:40

I can't tell you how refreshing, uplifting, and invigorating it is to hear new peak-era quality Stereolab music! Do the spirits of these particular humans ever dull or diminish?!! (I'm glad to hear not.) And I love how expertly and easily the band seem to weave all of the best of 1960s psychedelic pop with their modern instruments and equipment. And, of course, it is so good to have Laetitia's wonderful exhortations of humanistic wisdom streaming into my brain.

A-/five stars; an awesome trip down storage halls of alternate memory lanes. It's just so good to hear fresh, creative Stereolab! We--the world--need(s) more of this!

Hmmm..... I like this live album; for what it is. It's obviously intended to be a 50th anniversary (half of an actual century!!) celebration of YES music. And that it certainly is. But. But. While it's quite an enjoyable listen, the only reason that it is so is because it's comprised of established YES music, that is specifically delivered as such, in order to commemorate the 50th year of the band. So, all in all, I like it. I really do like it. But then I compare it to the "other" 50th anniversary celebration of YES music by ARW (Anderson Rabin Wakeman), Live at The Apollo. And, in all truth, there's no comparison. The latter is just superior, in every respect. That's because it's played and delivered by more than just one of the original and early creative musicians/vocalists who are just more accomplished all round performers (assisted by a stunning rhythm section), who are better placed to deliver this music. So while I rate this officially released YES album as a standalone three star effort, it must be said that it falls way short of the ARW release.

The first Hiromi album as a trio with Valihora and Grey was a great artistic success. The album is as virtuosic as it is thought out compositionally and stylistically.

Brains is a suiting name as all three players (well, two bass players) deploy their brains and chops to create this brilliant mixture of modern fusion, jazz and funk. Hiromi reigns with synths, piano and the rhythm section is also young but phenomenally tight.

The first composition is indeed a kung-fu exercise in dynamics, a complex interplay and accelerating main motive. Contradictory to the first piece, the second "If..." is a melodic and more accessible yet distinctly modern sunny jazz with great piano. "Wind song" continues in the vein with a combination of 3/4 and straight rhythms. Hiromi can craft classically influenced motives a la Brad Mehldau yet they can get complex within a few seconds. After that, it's time for three lengthy tracks. "Desert on the moon" is the most traditionally sounding song but the beat is clearly modern while the piano and the acoustic bass remain conventional. "Keytalk" is a groovy track for Hiromi's synth experiments (the bass has some effect, too). It's quite a loose track apart from the main motive which is played with a variety of executions.

Despite versatility in its output, the album is easily recommended to all fusion and modern jazz bands.

The fourth studio album from Black Sabbath's classic period is 1972's 'Vol. 4, one of the more unconventional and exploratory albums of their entire catalogue, and surely the most "unorthodox" of the first four; an album the recording sessions of which had been plagued by the band's substance abuse problems, but one that has been praised by the band members and has gone down in history as one of the most commercially successful Sabbath works. So 'Vol. 4' is by all means an interesting work; it is significantly longer than its predecessor and is one of the few Sabbath albums to feature ten tracks, and despite preserving and expanding upon the heavy metal sound of earlier albums, it also sees Sabbath take a few unexpected turns, as Tony Iommi plays the piano and the Mellotron on a semi-acoustic break-up ballad, for example, among other stylistic trials and experimentations. Lyrically, this is a more philosophical, more esoteric album, which renders it somewhat underrated due to its more sensitive, ethereal nature.

The trademark heaviness, of course, is here - the band had been gradually working on a louder, harsher, gnarlier sound, the pinnacle of which has to be 'Master of Reality', but 'Vol. 4', nevertheless, tries to "jump" past this scorching heaviness in search for a more ambitious sound. This is the first album produced by Iommi (predominantly), which might also be the reason for the shift in musical direction - there almost seems to be a progressive ambition here, especially with longer and more complex compositions like 'Wheels of Confusion' and 'Under the Sun', both of which feature some fascinating shifts. Then come the outstanding heavy numbers on here, in the face of 'Supernaut', 'Snowblind' and 'Cornucopia', all great pieces of ambitious heavy rock with strong melodies, throbbing rhythm sections and excellent riffs. The shorter instrumentals 'FX' and 'Laguna Sunrise' definitely indicate that Sabbath did have experimental tendencies, and by including such unconventional pieces of music on a heavy rock album, together with 'St. Vitus Dance', they really send out a clear message.

Ultimately, this is a dark and rebellious album that can at times get very anxious and even nihilistic, all while the music gets more ambitious and less predictable. A very, very fine exercise and a steady step forward towards a more progressively-edged sound and a greater musical scope.

Just looking at that all-star lineup one cannot resist giving this album a listen.

Line-up / Musicians: - Roye Albrighton (Nektar) / vocals, guitar - Curt Cress (Passport) / drums & percussion - Dave King (Embryo) / bass, synthesizer - Kristian Schultze (Passport) / keyboards

1. "Hold On" (3:19) nothing special here except for the brief bridges between the vocal sections (which take up 90% of the song). Not a very catchy melody or engaging song. (8.66667/10)

2. "Tender Storm" (4:08) instrumental with a nice groove and excellent percussion and synth play. (I hear no guitar!) (9/10)

3. "Devils Demons" (5:18) not loving the modern drumming effects, but I do respect and enjoy Kristian Schultze's keyboard play as well as Dave King's creative bass note choices. Roye's guitar and voice mirror Kristian's lead melody and it actually works. The chorus is a little questionable: like a jazzed up for the musical stage version of Nektar Recycled material. This reminds me a lot of the tangential jazz-rock fusion NOVA was making in London. (8.75/10)

4. "Country Dawn" (5:55) drumming rudiments with beginner's bass line and synth-dominated keyboard play opens this one before everybody shifts and settles into a Florida-cabana band motif for Roye to deliver a rathe rdull and ordinary (uninspired) guitar solo. Are these guys trying to make Yacht Rock? (8.75/10)

5. "Backfire" (3:06) using a rudimentary form of the bass line to The Ohio Players' "Fire" and some dynamic guitar and vocal lines, the song falls quite flat on its face. (8.5/10)

6. "Lilli Henri" (4:28) a decent Jazz-Rock Fusion theme that could have come from an album by Earth, Wind & Fire, Toto, Bob James, or even Narada Michael Walden, the band choose to let the instruments do the talking this time: especially in the voices of Kristian Schultze's keyboards. Despite the fact that it was more Roye Albrighton's rhythm guitar work that wowed me with Nektar, he is pretty lame here. (8.875/10)

7. "Paradise" (5:46) Roye's voice just doesn't suit the jazzy, funky realms of the fusion world so well as that of his and Alan "Taff" Freeman's rich prog soundscapes in Nektar though it does get a little better the thicker the sonosphere gets (like in the fifth minute). Is it only me, but does Dave King's bass play seem way too simplistic? (No wonder I've never formed any attachment to or affinity for his former band, Embryo.) (8.6667/10)

8. "Defroster" (4:51) here going for the power rock kind of Jazz-Rock Fusion--in my opinion the lamest form of J-R F and one that only compositionally-challenged artists and under-skilled musicians could go for. At least it's instrumental. Curt and Kristian are actually pretty decent here but Dave and Roye are pretty much useless (this despite a substantial amount of time and space given to Dave for a solo in the fifth minute). Roye's solo is so poor that he's backed by Kristian's Moog and even requires a second guitar track! (8.66667/10)

9. "Shade" (3:04) nice piano play opens this one before joined by synth strings and bass. An actually decent finale! (8.875/10)

Total Time 39:55

I guess I was expecting/hoping for more jazz-rock fusion of the nature that Kristian Schulze and Curt Cress had played over the previous eight years as part of Klaus Doldinger's PASSPORT. To hear Roye Albrighton's vocals be central to so much on this album is quite a shocker (and, I have to admit, a let down--and this while still loving Roye as a singer! I just wanted more J-R Fusion). When the music is jazzy, it is of a laid back Third Wave-Bordering-on-Fourth Wave type, yet the musicianship still of a high quality.

C/three stars; a nice record for posterity's sake--to commemorate the collaboration attempted by these lieutenants of 1970s prog and Jazz-Rock Fusion, but, ultimately, this is a failure with nothing much of substance or innovation to contribute to the music worlds. And: what a horrible name for a band--especially for one that wants to be taken serioiusly!