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34 results for “BassCan”
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*Bascantis sirenica* is back!!
Last week Wellington-based naturalist Christopher Stephens found and photographed this small, dark purple moth with two pale spots. Christopher found it in the Tararua Ranges.
The species has not been seen since 1944! NZ's professional moth taxonomist Robert Hoare had feared it might be extinct. This is only the 7th time, ever, that this pretty little day-flying moth has been recorded.
*Bascantis sirenica* is a NZ endemic species and the only species in a NZ endemic genus. Welcome back!
There's still so much to learn about NZ moths.
The photo is CC-BY-SA by Christopher Stephens.
https://inaturalist.nz/observations/337727454
#mothodon #moths #lepidoptera #entomology #nz #discovery #iNaturalist #inaturalistNZ #CitizenScience
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With festival season just around the corner, Gryffin, Excision, and Julia Michaels are kicking things off with “Air,” a stunning new collaboration that captures the feeling of floating free.
https://retroworldnews.com/new-bass-anthem-air-sees-gryffin-excision-julia-michaels-in-perfect-harmony/#BassAnthem #Gryffin #Excision #JuliaMichaels #NewMusicRelease #ElectronicMusic #MusicCollaboration #DanceMusic #EDMCommunity #MusicHarmony #BassMusic #MusicIndustry #HitSingle #SoundtrackOfLife #MusicLovers #InTheStudio #MusicProduction #Vibes #FeelTheBeat #ChartToppers #music
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Deputatul moldovean pro-rus Alexandr Stoianoglo va candida la funcția de bașcan al Găgăuziei.
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Right now, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Right now, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Right now, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Right now, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Right now, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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In 25 minutes, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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In 25 minutes, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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In 25 minutes, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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In 25 minutes, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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In 25 minutes, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Today, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Today, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Today, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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Today, the RIAS Kammerchor Berlin and the Akamus perform #Cavalli #Monteverdi #Gabrieli and #Bassano in #Berlin https://www.worldconcerthall.com/en/schedule/the_rias_kammerchor_berlin_and_the_akamus_perform_cavalli_monteverdi_gabrieli_and_bassano_in_berlin/90687/ #wch
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025Show 3 footnotes
- Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
- DiGiorgio has been known to rock a 3-string bass too! ↩
- Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩
#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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Carte de l’Amérique du Nord (1847)
Publiée aujourd’hui sur Gallica / BnF
https://gallica.bnf.fr/ark:/12148/btv1b10063110b
#carte #cartographie #maps #cartography #AmériqueDuNord #géographie #histoire #patrimoine #BasCanada #USA #Mexique #Gallica #BnF #Amérique #Antilles -
#SpiderSunday: several of the spiders I met on that one warm day last week! A running crab spider (_Philodromus_), a bold jumping spider (_Phidippus audax_), some kind of crab spider in tribe Coriarachnini (_Bassaniana_?), and a good old zebra jumping spider (_Salticus scenicus_) with what looks like most of a mesh-web weaver (family Dictynidae).
#ArthroBeauty #DailySpiderPic #SpidersOfMastodon #spiders #JumpingSpiders #Araneae #Salticidae #Philodromidae #Thomisidae #Dictynidae
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#SpiderSunday: several of the spiders I met on that one warm day last week! A running crab spider (_Philodromus_), a bold jumping spider (_Phidippus audax_), some kind of crab spider in tribe Coriarachnini (_Bassaniana_?), and a good old zebra jumping spider (_Salticus scenicus_) with what looks like most of a mesh-web weaver (family Dictynidae).
#ArthroBeauty #DailySpiderPic #SpidersOfMastodon #spiders #JumpingSpiders #Araneae #Salticidae #Philodromidae #Thomisidae #Dictynidae
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#SpiderSunday: several of the spiders I met on that one warm day last week! A running crab spider (_Philodromus_), a bold jumping spider (_Phidippus audax_), some kind of crab spider in tribe Coriarachnini (_Bassaniana_?), and a good old zebra jumping spider (_Salticus scenicus_) with what looks like most of a mesh-web weaver (family Dictynidae).
#ArthroBeauty #DailySpiderPic #SpidersOfMastodon #spiders #JumpingSpiders #Araneae #Salticidae #Philodromidae #Thomisidae #Dictynidae
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#SpiderSunday: several of the spiders I met on that one warm day last week! A running crab spider (_Philodromus_), a bold jumping spider (_Phidippus audax_), some kind of crab spider in tribe Coriarachnini (_Bassaniana_?), and a good old zebra jumping spider (_Salticus scenicus_) with what looks like most of a mesh-web weaver (family Dictynidae).
#ArthroBeauty #DailySpiderPic #SpidersOfMastodon #spiders #JumpingSpiders #Araneae #Salticidae #Philodromidae #Thomisidae #Dictynidae
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#SpiderSunday: several of the spiders I met on that one warm day last week! A running crab spider (_Philodromus_), a bold jumping spider (_Phidippus audax_), some kind of crab spider in tribe Coriarachnini (_Bassaniana_?), and a good old zebra jumping spider (_Salticus scenicus_) with what looks like most of a mesh-web weaver (family Dictynidae).
#ArthroBeauty #DailySpiderPic #SpidersOfMastodon #spiders #JumpingSpiders #Araneae #Salticidae #Philodromidae #Thomisidae #Dictynidae
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With festival season just around the corner, Gryffin, Excision, and Julia Michaels are kicking things off with “Air,” a stunning new collaboration that captures the feeling of floating free.
https://retroworldnews.com/new-bass-anthem-air-sees-gryffin-excision-julia-michaels-in-perfect-harmony/#BassAnthem #Gryffin #Excision #JuliaMichaels #NewMusicRelease #ElectronicMusic #MusicCollaboration #DanceMusic #EDMCommunity #MusicHarmony #BassMusic #MusicIndustry #HitSingle #SoundtrackOfLife #MusicLovers #InTheStudio #MusicProduction #Vibes #FeelTheBeat #ChartToppers #music
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Coffin Hunters – Cosmic Dawn Review By Grin Reaper
I love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?
While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.
Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.
Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.
In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.
Rating: Good
#2026 #30 #AmericanMetal #BitterEndRecords #Chalice #CoffinHunters #CosmicDawn #GreenDay #HardRock #HeavyMetal #IronMaiden #JagPanzer #Jul26 #Lynx #MollyHatchet #Owl #PinkFloyd #Review #Reviews #Saxon #TheDoors #UriahHeap
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026