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31 results for “BassCan”
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#today I am in my local pub for a pint after #Evensong . I am the only drinker. We have a great pub, brilliant landlord and landlady, good pub food, but not enough drinkers!; #SupportYourLocal
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Northern Gannets (Morus bassanus)
#Gannets #BirdsOfMastodon #ArtWithOpenSource #Darktable #CCBYSA #Birds #BirdPhotography #Animal #Animals #AnimalPhotography #Nature #NaturePhotography #Wildlife #WildlifePhotography #Photo #Photography
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Northern Gannets (Morus bassanus)
#Runde #Herøy #MøreOgRomsdal #Norway #Norge #ArtWithOpenSource #Darktable #CCBYSA #Gannets #Birds #Animals #Cliffs #Cliff #Landscape #LandscapePhotography #Nature #NaturePhotography #Photo #Photography
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🌎🌍 Northern gannet (Morus bassanus) #NorthAtlanticBirds #EuropeanBirds #NorthAmericanBirds #AfricanBirds | #NorthernGannet | #Gannets #GannetFamily #BoobyFamily 📷: Photo by ElliottDay🦜 #birdsoftheworld #birds
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#DailyBird 🤖
Northern Gannet (Morus bassanus), 2nd November 2024
es: Alcatraz Atlántico, fr: Fou de Bassan
Stellwagen Bank NMS, Gloucester, Massachusetts
Canon EOS R5, Canon RF 200-800mm f/6.3-9 + 1.4x teleconverter @ 280mm, 20% crop, 1/2000s, f/10, ISO 1250
#Birds #NorthernGannet #NOGA #HopeIsTheThingWithFeathers #DescribeYourImages -
#DailyBird 🤖
Northern Gannet (Morus bassanus), 20th August 2021
es: Alcatraz Atlántico, fr: Fou De Bassan
Cape Elizabeth, Maine
Canon EOS 90D, Sigma 100-400mm @ 400mm, 1/2500s, f/7.1, ISO 200
#Birds #NorthernGannet #NOGA #BirdPhotography #DescribeYourImages -
Your photography history post for today: by Lillian Bassman (1917-2012), “Night Bloom, Olga Pantushenkova, hat by Christian Lacroix Haute Couture, Paris,” gelatin silver print, published in The New York Times Magazine, 31 March 1996. #photography #photographyhistory #fashionphotography #darkroom #womanphotographer #womenphotographers
Excerpts from her obituary in The Guardian, written by Veronica Horwell, 16 Feb 2012: ‘Lillian Bassman wandered into fashion photography in pursuit of the happiness of constant creation. Her absorption in her work showed in every picture she took, or rather in every image she printed, for Bassman… was an exuberant experimenter in the darkroom. "In there, I felt a sense of being able to say something I wanted to say," she remarked. Her pictures are closer to those of the illustrators who shared the glossy pages of fashion magazines with photographers until the 1950s than to contemporaries such as Richard Avedon and Irving Penn. Avedon knew what Bassman was up to though, saying that she made "visible that heartbreaking invisible place between the appearance and the disappearance of things".
Bassman was a bohemian from her childhood in Brooklyn and Greenwich Village, New York, onwards. She was the daughter of Ukrainian emigres who had courted in the galleries of the Metropolitan Museum. Bassman admired the old masters, too, and was inspired by El Greco's near-monochrome, elongated portraits. Her early intention was to be a dancer, and she kept her eye for the grace in female movement that, she said, "usually passes unnoticed in everyday life".’
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White-tailed Eagle (Haliaeetus albicilla) and Northern Gannets (Morus bassanus)
#Gannets #BirdsOfMastodon #ArtWithOpenSource #Darktable #CCBYSA #Eagle #Eagles #Birds #BirdPhotography #Animal #Animals #AnimalPhotography #Nature #NaturePhotography #Wildlife #WildlifePhotography #Photo #Photography
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Cathedral Candlelight in Cork
A beautiful brass candle stand in St Fin Barre’s Cathedral, Cork. When Helios was on display in the Cathedral, I visited there with Blarney Photography Club and took the opportunity to photograph other parts of the cathedral’s artistic heritage.
The inscription above reads, “Ní mar is toil liomsa, ach mar is toil leatsa”, which roughly translates as, “Not as I will, but as you will”. A reference to the Biblical quote, “Not my will, but thy will be done”.
St Fin Barre’s Cathedral, completed in 1879, is the Church of Ireland cathedral of Cork and is renowned for its French Gothic Revival architecture and exceptional craftsmanship. The cathedral contains numerous examples of fine metalwork, woodcarving, and stained glass, much of it created by Irish artisans.
Apertureƒ/8CameraILCE-7RM5Focal length23mmISO640Shutter speed1/6s#2025 #BlarneyPhotographyClub #brassCandlesticks #cathedralInterior #churchCandles #Cork #CorkCathedral #GaelicInscription #Ireland #IrishChristianity #IrishLanguage #Photo #Photography #prayerCandles #religiousArt #sacredSpace #SaintFinBarreSCathedral #SonyA7RV #StFinBarreSCathedral #StainedGlass #votiveCandles
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In This Episode You'll Learn
・Why low frequencies are essential to Angine de Poitrine's sound
・How Khn combines guitar and bass on one double-neck instrument
・Why bass can make microtonal music easier to physically follow
#AngineDePoitrine
#MicrotonalMusic
#Bass
youtu.be/cad9CaQ2k-o
The Bass That Makes Angine de ... -
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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Il giardino dei Finzi Contini. L’Italia e le leggi razziali
Dal romanzo di Giorgio Bassani l'ultimo capolavoro di Vittorio De Sica
https://www.lasinistraquotidiana.it/il-giardino-dei-finzi-contini-litalia-e-le-leggi-razziali/#ilgiardinodeifinzicontini #giorgiobassani #vittoriodesica #linocapolicchio #shoah #giornodellamemoria #cinemagram #cinema #cinéma #cinematography #cinemalover #cinematographer #movie #movies #moviescenes #filmscene #film #filmphotography #filmphoto #filmcommunity #unocinema
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Il giardino dei Finzi Contini. L’Italia e le leggi razziali
Dal romanzo di Giorgio Bassani l'ultimo capolavoro di Vittorio De Sica
https://www.lasinistraquotidiana.it/il-giardino-dei-finzi-contini-litalia-e-le-leggi-razziali/#ilgiardinodeifinzicontini #giorgiobassani #vittoriodesica #linocapolicchio #shoah #giornodellamemoria #cinemagram #cinema #cinéma #cinematography #cinemalover #cinematographer #movie #movies #moviescenes #filmscene #film #filmphotography #filmphoto #filmcommunity #unocinema
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Il giardino dei Finzi Contini. L’Italia e le leggi razziali
Dal romanzo di Giorgio Bassani l'ultimo capolavoro di Vittorio De Sica
https://www.lasinistraquotidiana.it/il-giardino-dei-finzi-contini-litalia-e-le-leggi-razziali/#ilgiardinodeifinzicontini #giorgiobassani #vittoriodesica #linocapolicchio #shoah #giornodellamemoria #cinemagram #cinema #cinéma #cinematography #cinemalover #cinematographer #movie #movies #moviescenes #filmscene #film #filmphotography #filmphoto #filmcommunity #unocinema
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Il giardino dei Finzi Contini. L’Italia e le leggi razziali
Dal romanzo di Giorgio Bassani l'ultimo capolavoro di Vittorio De Sica
https://www.lasinistraquotidiana.it/il-giardino-dei-finzi-contini-litalia-e-le-leggi-razziali/#ilgiardinodeifinzicontini #giorgiobassani #vittoriodesica #linocapolicchio #shoah #giornodellamemoria #cinemagram #cinema #cinéma #cinematography #cinemalover #cinematographer #movie #movies #moviescenes #filmscene #film #filmphotography #filmphoto #filmcommunity #unocinema
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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 -
𝗔𝘁𝗹𝗲𝘁𝗲 𝗞𝗹𝗮𝘃𝗲𝗿 𝗱𝗲𝗿𝗱𝗲 𝗼𝗽 400 𝗺𝗲𝘁𝗲𝗿 𝗯𝗶𝗷 𝗙𝗕𝗞 𝗚𝗮𝗺𝗲𝘀
Lieke Klaver is bij de FBK Games in Hengelo als derde geëindigd op de 400 meter. De Nederlandse sprinttroef moest de Egyptische Bassant Hemida en de Ierse Sharlene Mawdsley voor laten gaan. Klaver noteerde 50,60 seconden en slaagde er opnieuw niet in onder de grens van 50 seconden te duiken. Hemida won in 50,10, Mawdsley liep...
https://www.rtl.nl/nieuws/sport/artikel/5619353/atlete-klaver-derde-op-400-meter-bij-fbk-games
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AUDIOPHILE MAN - HiFi NEWS
Stack Audio’s AUVA SW is here: particle damping, silicone LF absorber, solid-aluminium shell — all purpose-built to tame sub-bass vibration. Serious isolation for serious subs.
£324/4.
🔗 https://theaudiophileman.com/auva-sw-from-stack-audio/
#audio #hifi #audiophile #Subwoofer #BassControl #VibrationIsolation #StackAudio #AUVA #HomeAudio #HiFiGear #HiFiUpgrade #AudioEngineering #Loudspeakers #HiFiCommunity #SoundQuality -
#Oilseed rape (#OSR, Canola oil) is an important oil crop, but cultivation is #pesticide
intensive.We inoculated plants with beneficial fungus Beauveria bassiana to see if it can protect them from pests.
Short answer: We had c. 30% success with endophytic colonisation and the colonised plants showed interesting metabolite developments but they still got eaten by the pests.
https://onlinelibrary.wiley.com/doi/full/10.1002/ps.7672
#SustainableAgriculture #BiologicalPestControl #Entomopathogens
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Rienößlgasse?:
Im 4. Wiener Gemeindebezirk, in der Rienößlgasse, wächst ein neues Kunst-Kollektiv heran. Unter dem Titel Palais Rössl finden sich Künstler:innen, Designer:innen und Kulturarbeiter:innen zusammen und werken für sich und die Gemeinschaft. Das Palais Rössl ist die neue Heimat vom Verein Sendeschluss und wird über die nächsten 10 Jahre gemeinschaftlich und selbstverwaltet betrieben.
Eröffnungsfeier am 31. Mai 2024. Keep the date!
Beim Palais Rössl Mitwirkende: Bilal Alame, Sheri Avraham, Bassano Bonelli Bassano, Margit Busch, Jorge Sanchez-Chiong, Faris Cuchi Gezahegn, Natalia Gurova, Maria Herold, Lisa Hinterreithner, Göknur Isci, Fabian Lanzmaier, Anna Lerchbaumer, Anto Manhartsberger, Mzamo Nondlwana, Peter Oroszlany, Lale Rodgarkia-Dara, Alejandro Quiñones Roa, Nicole Sabella, Daniel Sea, Lucas Henao Serna, Karl H. Schönswetter, Georgios Tsampounaris, Elisabeth Vlasaty, Brigitte Wilfing, Joanna Zabielska, Julia Zastava
Permalink: https://karlender.net/3739/
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Rienößlgasse?:
Im 4. Wiener Gemeindebezirk, in der Rienößlgasse, wächst ein neues Kunst-Kollektiv heran. Unter dem Titel Palais Rössl finden sich Künstler:innen, Designer:innen und Kulturarbeiter:innen zusammen und werken für sich und die Gemeinschaft. Das Palais Rössl ist die neue Heimat vom Verein Sendeschluss und wird über die nächsten 10 Jahre gemeinschaftlich und selbstverwaltet betrieben.
Eröffnungsfeier am 31. Mai 2024. Keep the date!
Beim Palais Rössl Mitwirkende: Bilal Alame, Sheri Avraham, Bassano Bonelli Bassano, Margit Busch, Jorge Sanchez-Chiong, Faris Cuchi Gezahegn, Natalia Gurova, Maria Herold, Lisa Hinterreithner, Göknur Isci, Fabian Lanzmaier, Anna Lerchbaumer, Anto Manhartsberger, Mzamo Nondlwana, Peter Oroszlany, Lale Rodgarkia-Dara, Alejandro Quiñones Roa, Nicole Sabella, Daniel Sea, Lucas Henao Serna, Karl H. Schönswetter, Georgios Tsampounaris, Elisabeth Vlasaty, Brigitte Wilfing, Joanna Zabielska, Julia Zastava
Permalink: https://karlender.net/3739/
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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 -
Arise from Worms – A Bleeding Tree Hanging Self Destruction Review By Grin Reaper
If unrepentant guitar shredding gets your juices flowing, be warned that Arise from Worms bursts at the seams with face-melting indulgence on A Bleeding Tree Hanging Self Destruction. Boasting legends from essential death metal bands, Arise from Worms sports a first-rate, international pedigree. The project’s genesis stems from Sonny Lombardozzi, who seeks to push past genre boundaries in his quest for technical ecstasy. Lombardozzi spent time with Incantation from 2017 to 2019, contributing guitars for Profane Nexus, and recruited Morbid Angel vocalist Steve Tucker while supporting the Tampa institution on tour.1 From there, Lombardozzi rounded out the band with first-rate musicians. Cryptopsy‘s Flo Mounier bashes skulls and skins with his signature percussive shellacking, and ex-Dream Theater, ex-Yngwie Malmsteen keyboardist Derek Sherinian lends his high-velocity runs and proggy accents. Armed with enough firepower to defend a small nation, does A Bleeding Tree Hanging Self Destruction pack enough punch to make our collective worms arise?
Based solely on the members involved, A Bleeding Tree Hanging Self Destruction may not sound like what listeners expect to hear. Though Morbid Angel embodies an apt starting place with their serpentine riffs, Arise from Worms accelerates the speed and jolts guitar tones with a candied DragonForce coating. Sherinian’s contributions occasionally skew towards Dream Theater,2 though A Bleeding Tree requires a darker degree of menace and foreboding. Overall, Arise from Worms sounds a lot like Necrophagist, but with keyboards and a penchant for wankery. And though this comparison isn’t perfect, it gives prospective listeners a point to begin shaping expectations.
Arise from Worms’ performances across A Bleeding Tree Hanging Self Destruction doubtlessly spellbind with technicality. Lombardozzi’s masterclass shredding eats up the stage at every turn as he dances up and down the fretboard with enough gusto to make Yngwie blush. From the gratuitous weedlies in “Forgotten Kings” to the Annihilator-ready precision chugging in “Laolongtou,” Lombardozzi never leaves listeners doubting his greed for speed, whether on guitars or bass (“Axes of the Viovode 2”). In fact, Arise from Worms showcases excellent bassmanship throughout A Bleeding Tree, often shadowing the guitars with rousing plucking and impossibly dextrous burbles. Meanwhile, Mounier discharges an unimpeachable onslaught behind the kit, where furious double bass rolls (“Psionic Being”), jazz-flavored snare and cymbal finesse (“Nine Walls”), and tempered beatdowns amidst metronomic grooves (“Raize Demons Breath,” “Axes of the Viovode 1”) epitomize his exacting style and capture what makes him one of my favorite metal drummers. Similarly, Sherinian embeds synth flourishes and eldritch atmospherics to give Arise from Worms ample mystique while loosing dazzling keyboard cascades every now and again (“Laolongtou”). Though not as immediately eye-popping as the instrumentation, Tucker delivers an appropriately monstrous performance on A Bleeding Tree, and if there’s one ingredient Arise from Worms could use more of, it’s Tucker’s vicious vocals.
Unfortunately, despite the wizardry dripping off Arise from Worms’ A Bleeding Tree, insufficient songwriting prevents the technicality from coalescing into fully formed songs. “Forgotten Kings” and “Axes of the Viovode 1 & 2” give Tucker just enough of a platform to build towards proper tracks, but after a few listens, A Bleeding Tree loses its allure and leaks its jaw-dropping magic—even at a reasonable thirty-six minutes. More positively, the music sounds great, with Lombardozzi commanding Arise from Worms with frictionless licks and searing speeds. Given the bad reputation technical death metal gets for poor production, I find A Bleeding Tree a step above in this department, where strings, keys, drums, and vocals crash into one another with satisfying zeal while allowing each other plenty of room within the mix.
As a fan of technical showmanship and a high tolerance for self-indulgent instrumentation, Arise from Worms’ debut leaves me impressed yet mostly unmoved. A Bleeding Tree Hanging Self Destruction sounds incredible on paper, and lead single “Forgotten Kings” had me convinced that this would be a special album. In the promo materials, Arise from Worms touts breaking new musical ground and pioneering the writing of novel harmonies and time signatures. Yet in reality, A Bleeding Tree often exhibits the technicality of a clinic or workshop while lacking the songwriting cohesion to elevate songs past the surface. In the end, A Bleeding Tree lingers between outstanding performances and an inadequate execution of fulfilling metal songcraft, and while A Bleeding Tree may be worth Hanging around for, Arise for Worms carries more promise than they deliver on their debut.
Rating: Mixed
#25 #2026 #ABleedingTreeHangingSelfDestruction #AmericanMetal #Annihilator #AriseFromWorms #ChurchRoadRecords #Cryptopsy #DragonForce #DreamTheater #FrenchMetal #Incantation #InternationalMetal #Jul26 #MorbidAngel #Necrophagist #Review #Reviews #TechnicalDeathMetal #YngwieMalmsteen
DR: 7 | Format Reviewed: V0 or ~260 kbps VBR mp3
Label: Church Road Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 10th, 2026 -
Art’s Birthday:
Es wurde im letzten Newsletter schon angekündigt, jetzt ist es offiziell. Der Sendeschluss hat in 1040 Wien eine neue Heimstatt gefunden und am 17. Jänner, zum Art’s Birthday, gab es ein Soft-Opening mit anschließendem Live-Stream ins Netz.
Ablaufplan
7pm – 10pm open studio
9pm preparation for streaming and grooving in
10:10pm – 11:00pm poetry sound performance streaming:INFO Art’s Birthday
Jan 17th 2024 – 22:10 – 23:00 Palais Rössl
Kunstradio Ö1 & Radio Helsinki | Vienna/Graz (Live)
TITLE
The Mycorrizha Mix
VENUE
Palais Rössl, Vienna
RADIO STATION
Kunstradio Ö1 & Radio Helsinki (Vienna | Graz)
post-listening: ORANGE 94.0 (Vienna), RADIA on Jan 18th 2024 from 15:00 till 16:00 UTC+1
DESCRIPTION
Just like mycorrhiza, Palais Rössl is a transgenerational and polydisciplinary growing symbiotic liaison of artists, designers and cultural workers in the physical heart of Vienna, Austria, as well as a time- and space-transcending hybrid creature open to entanglements of all kinds.
We share a love for communal spaces and poeto-political co-creation with sound being a strong connective tissue.
As a birthday gift to Art itself Rössl residents presented an improvised soundscape around the necessity of independent spaces in the privatized city.
You can expect a royal mix of sonic expressions, be it spoken word, electro-acoustic or environmental sounds.BIO
Palais Rössl was conceived in the summer of 2023, moved into in November and will have its big opening party on 31/05/2024.Current residents:
Bilal Alame, Sheri Avraham, Bassano Bonelli Bassano, Margit Busch, Jorge Sanchez-Chiong, Faris Cuchi Gezahegn, Natalia Gurova, Maria Herold, Lisa Hinterreithner, Maria Hruschka, Göknur Isci, Fabian Lanzmaier, Anna Lerchbaumer, Anto Manhartsberger, Mzamo Nondlwana, Peter Oroszlany, Lale Rodgarkia-Dara, Alejandro Quiñones Roa, Nicole Sabella, Daniel Sea, Lucas Henao Serna, Karl H. Schönswetter, Georgios Tsampounaris, Elisabeth Vlasaty, Brigitte Wilfing, Joanna Zabielska, Julia ZastavaHier gibt es weitere Informationen zum Internationalen Art’s Birthday.
Radia Special Show: THE MYCORRIZHA MIX
Hier geht es zum Instagram-Account vom Palais Rössl.
Radio Orange 94.0 18/01/2024 15:00-15:57 UTC+1Ö1 Kunstradio: Art’s Birthday 2024 – Teil 2
Radio Ö1 28/01/2024 22.15-23:00 UTC+1Permalink: https://karlender.net/3712/
#artSBirthday #doc #eigenart #kunst #live #Ö1Kunstradio #palaisRössl #radio #RadioHelsinki #radioOrange940 #wien
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A library as a show piece?: Art patrons, a Florentine cortigiana onestà, and an in-house library study in “Arte”
Veronica’s study/library shown in the fifth chapter of the Arte mangaBack in November 2024, I wrote about the anime adaptation of Arte, which is set in Renaissance-era Italy, noting the library scenes in four episodes, noting how in the episode “Courtesan”, the protagonist, Arte, goes with her master, Leonardo, to the house of Veronica, a courtesan, and they visit her study. While there, she marvels at how impressive the library is, with Veronica saying she needs to entertain her gentleman callers with education, and she offers to let Arte borrow books from her collection, with the latter saying that while standing in her library she can’t view her with anything but respect, saying her respect is for how hard she works, not her profession. It is in this same place that Veronica counsels Arte on her love for her master, Leo, and where Arte realizes that while she will listen to Veronica, she can’t forgive how she treats her clients, as she learns what it truly means to be a prostitute.
In that same post, I also noted the brief library scene in the next episode (the fifth in the series), entitled “Inseparable Bond”, in which Arte goes to the library/study to get Veronica’s advice on speaking to a difficult client, and in the beginning of the eighth episode, entitled “A New Chapter”. In that episode, Arte and Veronica again talk in her study/library, with Veronica saying she couldn’t imagine Florence without Arte, and bidding her farewell as she prepares for her Venice trip. It is implied then that Darcia talks to Veronica afterward about reading (Arte teaches her to read), but not directly shown. In the final episode of the anime adaptation, entitled “Apprentice”, Leo visits Veronica in her study/library, and they talk about the art commission she is offering him, and she is willing to pay him more to make a good artwork (and to buy expensive materials), and she jokes that Arte “she prefers Venice over Florence,” something which likely gets to him, without a doubt. The manga is a bit different.
Veronica is introduced in the fourth chapter, but Arte and Leo do not meet her until the fifth chapter, when she is, again, called a cortigiana. At the time, cortigiana, meaning courtesan, some called them palace ladies, or donna di palazzo. Veronica would undoubtedly be a cortigiana onestà, which one scholar called “the high-‐class figure of female influence who achieved an unparalleled level of emancipation in the profoundly patriarchal world of Renaissance Italy.” [1] In the fifth chapter, she is described as renting a house with the money she makes as a courtsean (what we would now call a sex worker) and like in the episode “Courtesan” I mentioned earlier, Arte is impressed, and after Veronica declares she has read every book there, Arte is even more in awe. And she even gets to borrow books from the study, with Arte saying she respects Veronica’s hard work.
It is thanks to that fascination she gets her first commission, just as she does in the anime. She admires how intellectual Veronica is and is undoubtedly appreciative when she tells her that the feelings she has for Leo are romantic. Again, this generally follows the anime, including when she sees the terrible conditions that lower-class courtesans work within, and what love can do to someone, a narrative which continues into chapter six. Veronica is the one that tells her she doesn’t “have time” for love. The library itself continues to be shown as somewhere where Veronica shines, above anything else, giving her an allure of someone learned. All the while she treats her clients in a way that Arte (and most) find disreputable. This continues in chapter seven, when she dreads having to give Veronica the painting. An interesting scene, not in the anime, is when Leo comes to meet with Veronica, who says she will pay for the portrait in time, not “like one of those cheap prostitutes.”
What Arte says in the fifth chapter reflects how some people think of librarians. This view of Veronica changes as she gets to know her betterThe scene goes so far that Leo says that Arte keeps “acting strange,” then she won’t be working at his workshop anymore, leading Veronica to advocate for Arte, saying it would be cruel to fire her, and saying she has taken a liking to Arte. This creates an interesting comparison between Arte, an apprentice barely earning anything, to Veronica, which he finds curious. Later on, Arte realizes she has to set things right, and realizes that Veronica hides “her struggles below her smiles.” She ends up giving her the painting, saying that while she can’t condone how Veronica treats her clients, she is doing it to have an independent life, and works hard in many ways. It is also revealed she is providing for the rest of her family as well!
Even so, Veronica acknowledges the job is “sinful” but she will continue to keep her smile until she dies. Even after all of this, she still wants to advise Arte on anything troubling her, as a friend, and Arte accepts this, as she knows it is important to have someone like her as a friend. In an interesting article I found, one scholar wrote that “during the Italian Renaissance, mythology and art contributed to the increasing popularity of the cortigiana, or courtesan.” That actually does fit with the series, with Veronica as an art patron! The latter is mentioned by Arte to Angelo in the next chapter. In the process of that discussion and others, she breaks through Angelo’s paternalistic attitude that girls need to be protected by men.
Some chapters later, Arte meets Veronica again in the library (at the end of chapter 10), [2] which continues in the next chapter, when she helps Arte negotiate with Ubertino. She reveals that he worked in the wool trade. What she tells Arte allows her to hold her own, teaching her everything from the beginning step by step, including proper posture, speech, and listening skills. She uses to this to appeal to him, especially using her lace art drawings, to pull him in. Veronica’s role in what some, historically, would call an “honored courtesan,” continues to be a major plot point in the story. In fact, Arte visits Veronica again in the beginning of the sixteenth chapter, when she gets a painting from Arte which she wants to keep herself, rather than giving it as a gift to someone. All the while, Veronica says she is expecting things from her, and she feels embarrassed to talk to her, like she is doing something “forbidden.”
It is her running into a Venetian noble afterward and his talking to Veronica, again in the study/library, is what leads Arte to her job in Venice. This is almost exactly what is portrayed in the anime. The same can be said of the eighteenth chapter, when Arte goes to Veronica again, this time asking about a dispute involving the daughter of Leo’s art master (Lusanna), in which she says that disputes over money involving widows is common. She is the one which gives the idea to Arte to approach a person with status and power: the Venetian noble (Mr. Yuri Falier) who wants her to travel to Venice to tutor his cousin, for a six-month period. Even Veronica is surprised that Arte is going so suddenly to Venice in the next chapter, saying it will be a “little lonely” in Florence without her. Again, it is implied that Dacia will go visit Veronica to get books to continue her study of reading and writing.
Arte confronts Veronica in the seventh chapter and states her principles.Unlike in the anime, at the end of the nineteenth chapter, Dacia does visit Veronica, and is very nervous, saying she is only there because she is Arte’s friend. Veronica convinces her to sit and chat down for a bit, but no more is shown, because the story moves onto the next chapter. Nor does it appear in any other chapter, sadly. In fact, there aren’t any library scenes going forward as the story moves to the Venetian arc and there aren’t any scenes in Florence!
In writing this post, I am reminded what Italian history scholar Margaret F. Rosenthal wrote back in November 2018 for Renaissance Quarterly, examining how one cortigiana onestà, also known an “intellectual courtsean,” named Veronica Franco, was restricted in her professional activities, or whether socal forces compelled or contained her “cultivation of a literary identity” in Venetian society, and the maneuvers she adopted when she “obtained entrance into an elite literary circle.” [3] Similarly, another webpage I found comes to mind: cortigiana, like Veronica, enjoyed a “glamorous lifestyle augmented by an education that enabled intellectual interactions in a secular rather than a religious domain.” This was even reflected in paintings like the strongly erotic “Portrait of a Woman known as The Courtesan” by Jacopo Palma il Vecchio in about 1520. [4]
Ultimately, whether the library is a showpiece for Veronica or not, it is also a symbol of how she is a thinking person, an intellectual in her own right. The study/library is a place she can be here own, a place she can be dominant, more than anyone else.
© 2024-2026 Burkely Hermann. All rights reserved.
Notes
[1] There’s even a Wikipedia page entitled “List of Italian Renaissance courtesans.”
[2] The aftermath of chapter 10, a feature describes her as “busty.”
[3] This article comes as no surprise considering that she wrote a book in 1992 entitled The Honest Courtesan about Veronica Franco, a courtesan in 16th-century Venice.
[4] Also see “Private Lives and Public Lies: Texts by Courtesans of the Italian Renaissance” by Fiora A. Bassanese.
#Arte #books #courtesans #Florence #history #ItalianWomen #Italy #libraryPatrons #quiet #reading #sexWork #studyRoom #studying #tutoring #Venice -
CW: Porn
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CW: Porn
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CW: Porn
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