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1000 results for “Gillinger”
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1984 hand-written presentation by Pat Gelsinger(!) to Intel Engineers about UNIX & UTS (my baby!) https://www.gregbryant.com/intel/pat_gelsinger_unix_1984.pdf
#UNIX #Intel #Amdahl #i386 -
1984 hand-written presentation by Pat Gelsinger(!) to Intel Engineers about UNIX & UTS (my baby!) https://www.gregbryant.com/intel/pat_gelsinger_unix_1984.pdf
#UNIX #Intel #Amdahl #i386 -
1984 hand-written presentation by Pat Gelsinger(!) to Intel Engineers about UNIX & UTS (my baby!) https://www.gregbryant.com/intel/pat_gelsinger_unix_1984.pdf
#UNIX #Intel #Amdahl #i386 -
1984 hand-written presentation by Pat Gelsinger(!) to Intel Engineers about UNIX & UTS (my baby!) https://www.gregbryant.com/intel/pat_gelsinger_unix_1984.pdf
#UNIX #Intel #Amdahl #i386 -
@Free_Press
Do they not have such a thing as "citizen's arrest" in the #US -
Just in case anyone else forgot, I'm still waiting for the #OFCOM report into the #paedophile site known as Ecchs. You remember, the one that was urgent.
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@rhys
I honestly can't see how an investigation could take more than a couple of hours. What are they waiting for? An apology? -
https://www.europesays.com/britain/34108/ Gillingham and Rainham MP Naushabah Khan resigns from Cabinet Office role after Labour’s election results #Kent #Medway #Politics #UK #UnitedKingdom
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From the Notebooks of Jaspera von Kupferthal, Part 1
Highsun 8th 501 NMR
Some friends in the Natural Philosophy Society asked for my research from an expedition I did a few decades back. They are creating a book on the Faerie folk.
My little Cinni is one of the cowriters.
Naturally, I was delighted to share my research on modern agrarian fey culture.
Field Notes from an Expedition to Brugh na Ciorcal
Blossombud 10th 470 NMR
I have finished settling into my research blind outside Brugh Na Ciorcal. I found a suitably large hole in an oak tree to serve as my camp, although I am questioning my decision to disguise myself as a robin as I use my beak to write these words. It might be worth relocating to somewhere where a creature that could hold a pen could conveniently dwell. Ugh, I am getting distracted again.
An aerial inspection revealed that the village of Brugh Na Ciorcal is an almost unremarkable average specimen of Fey Enclave except for its location. It is located in the crook of a bend of Gilline Run river (although the locals most certainly do not use that name. Inquire about that at a later date). The village is roughly 1000 feet in diameter as the robin flies, which is rather large for a fey settlement, and is surrounded on 3 sides by the river (did the inhabitants change the river’s course?). The village is perfectly circular, elevated roughly 20 feet above the surrounding terrain and surrounded by an earthen berm about 7 feet high and a ditch 4 feet deep on the landward side. The entrance is flanked by a pair of unusual-looking standing stones, perfectly square columns, definitely fey-related from the spiraling markings, but they look older than the village.
The village itself consists of 120 faerie burrow houses, or brughs, of various sizes, arranged in the typical concentric-ring layout connected by spiraling paths. At the center is a large circular green with expected Fey paganism standing stones and an altar. Surrounding the green is a larger brugh which is almost certainly the headman’s dwelling, what looks like an alehouse, a general store (A rarity in a Faerie enclave, possibly a sign of outside trade), and several larger brughs which likely belong to the headman’s favorite lackeys or druids.
Outside the village for another mile or so on both sides of the river is another spiral, this one made up of paths through enclosures, orchards, and gardens enclosed by wild but trimmed hedges. The majority of these were gardens of semi-wild vegetables and fruit trees. However, I was surprised to see a plowed field at the very outskirts of the clearing and what, to my bird tongue, tasted like common wheat. They obviously were planting the stuff because a youth with a stick chased me away. The presence of domesticated crops certainly raises my eyebrows, and this might suggest a larger societal drift towards baseline mortality in the same region.
Tomorrow I will attempt a full census. This will require either a change in form or a more creative approach; robins, as it turns out, are not inconspicuous when taking notes.
Blossombud 11th
I am so tired.
I have completed my census of the Brugh Na Ciorcal, having changed my shape no less than fourteen times to get into every nook and cranny. This was, in retrospect, excessive.
I assume that none of the residents noticed me, except for the pets.
Note to self: scout villages for cats and dogs before transforming into a mouse, shrew, or bird.
Secondary note: Dogs are enthusiastic; cats are methodical
For the most part, this village’s population is utterly average except for a few deviations.
The village population stands at approximately 650 individuals—give or take a handful, as counting while being chased out of a burrow is imprecise work.
The largest group consists of satyrs and satyrkin (195), followed by a substantial goblinoid population (130) and a notable number of centaurs (95). This distribution is not unusual in isolation, but the balance between them feels… deliberate. I cannot yet say why.
The remaining population comprises smaller fey species (25), various others (30), and individuals of mixed or unclear lineage (65).
Of particular interest is the presence of 15 Fomorians. Their integration level remains unclear. I did not observe them in communal clusters, nor entirely apart. They occupy an uncomfortable middle, which may be more telling than either extreme.
There are 180 children, 115 adolescents, 250 adults, 90 elders, and 15 who are… significantly older than the rest. I am uncertain whether to classify the latter as elders or as something else entirely.
Most of the population (roughly 70%) are farmers and herdsmen working the fields, which aligns with my earlier observations regarding their agricultural tendencies.
Of the remainder, 95 are craftsmen and artisans, suggesting a healthy internal economy. Seven serve as resident druids, with fifteen apprentices—an unusually robust druidic presence for a settlement of this size, though perhaps necessary given the mixed population.
Twenty (mostly the doddering ancients) appear to be unemployed, though I suspect this is a matter of perspective rather than reality.
25 make up the household of Sir Eochaid, the middle-aged centaur who serves as the village’s chief.
The reminder consists of the goblins of the Fòlais’ family, who run the trading post, and Giorsail, a young hobgoblin hedge witch and diviner who seems to serve as an advisor to Sir Eochaid (This is… highly irregular. A non-druid serving as advisor to a village chief suggests either a breakdown in traditional authority or an adaptation I do not yet understand. I will investigate further.)
The village has 2000 sheep, 30 geese, 20 donkeys, innumerable cats, and a few dogs.
The whole village is unified in its dress, which consists of woolen kilts and tunics for the men and boys, and woolen dresses for the women and girls, all in a frankly unfortunate tartan pattern that I suspect is meant to signify unity. The only real visible indicators of status among the villagers are the green robes the druids wear over their clothes at all times, and the jewelry clasps, pins, and broaches the chief’s family, household, and top underlings wear, bronze for the servants, silver for the henchmen, and gold for the chief and his family.
Tomorrow I will start observing Sir Eochaid and his household. Hopefully, I will uncover useful data on the villagers’ social structure and customs and maybe get to the bottom of Giorsail’s presence in the village.
Blossombud 15th
It has been difficult to keep from laughing at Eochaid’s household over these last few days—though I am beginning to suspect that doing so would be unkind.
I spent half a week observing the headman and his household as a mouse and had to stifle myself a few times in order to prevent them from noticing the novelty of a laughing rodent.
The family consists of the Patriarch Sir Labhruinn Eochaid the 10th, his wife, Saraid, his sons, Búadach, Luthais, and Torna, his daughters, Samthann, Teafa, Ealga, and Cathach, and the ancient grandmother, Sìonag. Along with these numbers, Saraid was heavy with child and barely able to move from the master bedroom without help.
Sir Labhruinn fancies himself a valiant warlord in the tradition of the knights of the Round Table—or even King Fredrick himself—and strives to live according to what appears to be a deeply sincere, if somewhat misunderstood, ideal of chivalry.
He refers to his Brugh as his castle, even though it is only marginally larger than the second biggest dwelling in the village and consists of only 18 rooms.
The focus of the brugh is a large circular room at its center, which houses the central hearth. Such chambers are universal to all burghs, but Sir Labhruinn uses them as his throne room and the great hall. He spends all days sitting upon a pallet, adjudicating secular matters, listening to counsel from the druids and Giorsail, and receiving reports from the villagers he calls his “men-at-arms,” a term which appears to confer more dignity than responsibility.
This chamber also holds the family’s greatest treasures: a set of bronze centaur armor, a lance, and a sword, all of Faerie design, all heavily enchanted, and several tapestries that supposedly show his ancestors, who, according to him, were famous Faerie knights in one of the fallen Faerie kingdoms.
The other chambers consist of a kitchen, the bedchamber he and Saraid share, the bedrooms for the children, two guest chambers, a bedchamber/workspace for Giorsail, a room for Sìonag, a library, and a nursery. All the rooms were well furnished compared to the rooms in the other brughs in the village, with well-worn, heavy wooden furniture featuring lots of spiral engraving and various personalization. The sleeping chambers featured straw pallets that centaurs seem to prefer.
When not sitting in court, Labhruinn insists on teaching his sons the “art” of knightly warfare. Every day, just after lunch, they go out to the meadow beyond the fields and practice swordcraft, archery, and jousting. I am no swordswoman, but their efforts resembled rehearsal more than practice.
I also discovered the reason for Giorsail’s presence in the household. Apparently, Sir Labhruinn is doing things quite literally by the book. Le Morte d’Arthur, The Errantry of Frederick von Mountainheart, and several other storybooks in the library. They are heavily bookmarked and have multiple underlined sections per page. Giorsail was recruited to be Sir Labhruinn’s own personal “Merlin,” though I am not certain Giorsail agrees with this designation.
I also have to correct my assessment of her ability; despite not being far out of girlhood, she is more than a mere hedgecrafter. Her spellbook suggests at least a modicum of tuition under a proper wizard. She also has the ability to see magic auras around people and things without using spells, a very inconvenient power for my purposes.
However, Giorsail’s presence seems to have disturbed the household’s harmony. Sìonag and Saraid have gotten into multiple nasty arguments with Giorsail over the last few days, including a few at the nightly feasts. I initially misinterpreted Luthais’s interest in Giorsail as romantic. This was incorrect. He appears instead to be drawn to her craft—specifically, to the possibility of becoming something other than what his father intends.
This is the limit of what I can glean through observation alone. To understand this household—and perhaps this village more broadly—I will need to participate. Giorsail’s abilities present a significant complication. I must consider my approach carefully.
#5e #dnd #dungeonsAndDragons #dungeonsDragons #fantasy #Fey #fiction #history #rpg #ttrpg #writing -
@Teachered We've beaten the buggers once and would have beaten them the last time if the ref hadn't left us a man short for 20 minutes with a couple of very iffy sin-bin calls. We were winning comfortably up to that point.
Let's hope the bookies pay out for you tonight. It's got to be our turn! -
Hull Kingston Rovers are very good to watch if you want a team to follow. Just saying 😁
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@neonbubble Good luck with that one. He turned into a penalty machine when he went to Hull FC. Well, you would, wouldn't you?
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@steveHampson A nice result for you against Cats gives us a 2 point cushion in 3rd. Thanks!
I thought Huddersfield were better than that...☹️
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Video Viral Bintang Dewasa Bonnie Blue Diduga Lecehkan Bendera Indonesia
Terviral - #Bintang #film #dewasa #asal #Inggris, #Tia Emma Billinger #yang #lebih #dikenal #dengan #nama #panggung Bonnie Blue, kembali menjadi sorotan publik internasional. Kali ini, namanya ramai diperbincangkan setelah sebuah video viral di media sosial memperlihatkan aksi kontroversial yang diduga melecehkan bendera Merah Putih. Aksi tersebut memicu reaksi keras dari masyarakat Indonesia…
https://terviral.id/video-viral-bintang-dewasa-bonnie-blue-diduga-lecehkan-bendera-indonesia/
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Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2024]
By Dear Hollow
The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and abstract algebra, which I understand are very complicated maths, in order to get you the highest quality extreme music this side of the Hudson or Atlantic or Yangtze or wherever the hell you are. The trouble is, you bastards don’t listen to math (i.e. “hurr durr, Wilderun is so much better than this shit.”).1 So I listen to math because I’m a contributing citizen and patriot – I listen to mathcore for you. I wade through the cesspools of skronk and sass – RYM and Reddit – for the best of the best. I do it for the, like, three of you who dig it and the, like, eight billion of you who tell teens to turn it off before shuffling back inside for a bowl of Great Grains. What I do is super mathematical so you know it’s super serious. Mathcore is about as unlistenable and scathing as it is a total sellout – so you can offend nearly everyone who hears it. Random rhythms, migraine-inducing tempo shifts, painful squeals, no sense of melody or counting, vocals a la cheese grater to the throat – it’s skronk. So enjoy my bounties, you three. The rest of you can fuck right off.
Commence panic chords!!
Better Lovers // Highly Irresponsible – Last year’s barnstormer debut EP God Made Me an Animal set one hell of a precedent for Buffalo’s Better Lovers, and their debut full-length does not disappoint. Yes, it’s a revenge album against Keith Buckley’s lesser rival project Many Eyes, but Highly Irresponsible is soooo much more than petty Every Time I Die drama. Amplifying every facet of their sound, you get more manic barks and charismatic croons from legendary former The Dillinger Escape Plan vocalist Greg Puciato, more chunky riffage from Fit for an Autopsy’s Will Putney, and more of a southern fried good time from three-fifths of the defunct-and-dramatic Every Time I Die.2 While unafraid to embrace hooky rock sensibilities (“Deliver Us from Life,” “At), the punky, bluesy, and sleazy all-out assaults of tempo-abusing insanity (“A White Horse Covered in Blood,” “Love As An Act of Rebellion”) collide with fret-squealing riff fests of the highest caliber (“Lie Between the Lines,” “Future Myopia”) in an insanely catchy, dynamic, stupid heavy, and stupid fun album with legendary status awaiting.
Frontierer // The Skull Burned Wearing Hell Like a Life Vest As the Night Wept – Look, I get that it’s a thirteen-minute EP released super late 2024, but, c’mon, it’s fucking Frontierer. Somehow seeming more punishing than usual across its four tracks, thick-ass slogs hit like sledgehammers to the temple – translating well across its more frantic moments and slower menace – while rhythms attack with the ferocity and doomed inevitability of a swarm of locusts and vocalist Chad Kapper spits blood, vitriol, and insanity into the mic. Channeling the glacial suffocation that coursed through Oxidized, it doesn’t matter if the tempo is more upbeat and energetic (“As the Night Wept”) or if it’s content sludging in its own muck (“Wearing Hell”), or indulging in both (“The Skull Burned”), the vibrant dissonance swirls in dizzyingly mechanical intensity and the down-tuned riffs smother with ruthless arrhythmic beatdown chugs. While comparable to Ion Dissonance, Car Bomb, and this year’s Weston Super Maim in emphasis on down-tuned mathcore punishment, Frontierer remains one of the genre frontrunners and trendsetters by a significant margin – in a short thirteen minutes.
The God Awful Truth // All That Dark & All That Cold – Denton, Texas’ The God Awful Truth is likely everything love or hate about mathcore. Dissonance spilling sloppily across its shaky breakdowns, deathcore gut-punches, vocal attacks as insane as the squawking panic chords that paint the background like Jackson Pollock on too much crack, and rhythms jolting about like a toddler on a go-cart. Alongside these traditional The Tony Danza Tapdance Extravaganza-isms (“Hail Paimon,” “Street Rat”), there is a lighthearted banter guided by vocalist Jordan LaFerney’s cowboy vocals and resulting poppy rhythms, punky tempos, and loose grind-esque composition (“Symbology,” “Slicked Back,” “Bad Tooth”), though the menacing still manages to punch through when least expected (“The Rainmaker,” “Omelette du Fromage”). It’s brutal whiplash of an album, not a semblance of traditional melody to be found, with deathcore breakdowns acting more as the punchline of a song-long joke. You’ll get a headache, but you’ll have fun along the way.
meth. / See You Next Tuesday // Asymmetrics – Mathcore and noisecore have a lot in common, namely unlistenable blasting. Your favorite Michigan deathcore/mathcore darlings See You Next Tuesday teams up with Chicago noisemongers meth. for Asymmetrics, more a collaborative experiment than a split. Each band records three songs, then shares only the drum tracks with the other, who records another song over that drum track. Toss in guest spots from The Red Chord’s Guy Kozowyk and Memphis-based sludgecore act Nights Like These, and all elements practically topple under Asymmetrics’ blazing intensity and immense weight. CUNT’s influence in relentless blasters (“The First Steps of Suffering,” “Syntax Error”) and blasting deathcore chug-and-squeal-fests (“Breaking Under the Weight of the Heaviest Burden,” “Tomb of Woe”) collide with meth.’s more ominous slow burns (“Succumb,” “Guest,” “Willing Participant”) in a surprisingly well-rounded package, all wrapped up in a tidy – and fuckin’ noisy – twenty-seven minutes. It’s the best of both worlds!
Utopia // Shame – A breed of technical metal recalling the fretboard-frying abilities of The Human Abstract or Scale the Summit, this UK-based group (including prolific bassist Arran McSporran of Virvum) balances a jazzy warmth and lush atmosphere to balance out the Dillinger rhythmic attack and Psyopus-inspired shredding, made further vicious by vocalist Chris Reese’s attack of frantic fries, manic shrieks, and ghastly roars. From intense attacks of intensity and brutality (“Shame,” “Social Contracts”), wonkier exposes of dissonant motifs and jagged rhythms (“Never Argue With an Idiot,” “The Gift of Failure”), and lush vistas of warm fretless bass and jazzy chords (“Sun Damage,” “Zither,” “Moving Gently Towards the Grave”), the dark themes of shame and morbidity are offset by a truly transcendent atmosphere that ties Shame together into something beyond mathcore.
Missouri Executive Order 44 // Salt Sermon – Absolutely unhinged mathgrind with a religious theme both belying and echoing their LDS missionary aesthetic (short-sleeved white button-ups, ties, shorts, and bicycle helmets) and ominous black masks, anonymous Independence collective Missouri Executive Order 44 approaches a morbid history of religious intolerance with the goal of utter annihilation. Cramming eleven songs into a mere sixteen minutes like blasters Sectioned or Fawn Limbs, you can expect it to hit hard and fast, complete with unhinged mathy meltdowns that spill across the face of concrete rhythm, meatheaded powerviolence chugs (“Christian Pornography,” “They Built a Bass Pro Shop in Our Zion”), surprisingly groovy riffs (“The Unbuckling,” “Seven is a Holy Number”), tied together with vocalist Jarom’s cult leader shrieks and sinner wails, alongside wickedly distorted Mormon spoken word and gospel samples. Posing no stance of their own aside from the dethroning of tyranny, Salt Sermon stands with all its tragedy and iconoclasm, both utterly devastating and utterly enticing.
Shiverboard // Hacksaw Morissette – Aside from the silly genius of the album name, New York’s Shiverboard eludes easy definition. Most consistently planted in grind, art-punk, screamo, and mathcore sensibilities, Hacksaw Morissette deals with fifteen tracks that feel like a shotgun blast. Punk is a common thread coursed through this tapestry of asininity, ranging from Sex Pistols-with-animalistic-snarls (“All Black Snoopy,” “Stain Remover”), complete collapses into noisecore (“Cryptic Bismuth,” “Chastity Jeans”), over-the-top deathcore blares (“Chainsaw Fruit Punch,” “Angelina Shit Ton”), math rock and Midwest emo musings straight outta Delta Sleep or American Football (title track, “Drug Test,” “The Garbage Stork,” “Vitamins of Darkness”), and complete grind and mathcore meltdowns (“If I Can’t Have Love I Want Power,” “Torrential Drencher”) – there’s something for everyone aboard Hacksaw Morissette. With just enough dynamic to keep things interesting but not too much experimentation to throw listeners (thanks to the tasteful brevity), Shiverboard could stand to throw some more my way.
Traveller // Broken Home – Sometimes bumping mathcore is just an excuse to include djent, and Germany’s Traveller falls into this category. Utilizing Erra’s Impulse-era formula, Architects’ melodic sensibilities, a touch of Northlane’s ethereal moments, and a DIY grit whose “loud and ouchy” weight is sure to be divisive. Guided by ferocious roars, sporadic cleans, and “thicc thiccly” breakdowns galore it often emulates that mid-2000s metalcore that recalls a djentier Feed Her to the Sharks (“Never Cared (2002),” “Mismatch,” “Limbo”). Other times, it incorporates a groove and technicality that recalls the shenanigans of last year’s MouthBreather, making it a curb-stomping affair with an edge of the menacing melodies and ethereal keys (“Acheron,” “Orpheus”). Traveller is more djent and less mathcore, sure, but (1) you’re getting a lot more with Broken Home and (2) that’s why it’s at the end of this list.
#2024 #AllThatDarkAllThatCold #AmericanFootball #Architects #BetterLovers #BrokenHome #DeltaSleep #Djent #Erra #EveryTimeIDie #FawnLimbs #FeedHerToTheSharks #FitForAnAutopsy #Frontierer #Grindcore #HacksawMorissette #HardcorePunk #HighlyIrresponsible #ManyEyes #Mathcore #Meth_ #MissouriExecutiveOrder44 #Mouthbreather #NightsLikeThese #Noisecore #Northlane #Psyopus #Punk #SaltSermon #ScaleTheSummit #Screamo #Sectioned #SeeYouNextTuesday #SexPistols #Shame #Shiverboard #TheDillingerEscapePlan #TheGodAwfulTruth #TheHumanAbstract #TheRedChord #TheSkullBurnedWearingHellLikeALifeVestAsTheSkyWept #TheTonyDanzaTapdanceExtravaganza #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #Traveller #TYMHM #Utopia #Virvum #Wilderun
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Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2024]
By Dear Hollow
The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and abstract algebra, which I understand are very complicated maths, in order to get you the highest quality extreme music this side of the Hudson or Atlantic or Yangtze or wherever the hell you are. The trouble is, you bastards don’t listen to math (i.e. “hurr durr, Wilderun is so much better than this shit.”).1 So I listen to math because I’m a contributing citizen and patriot – I listen to mathcore for you. I wade through the cesspools of skronk and sass – RYM and Reddit – for the best of the best. I do it for the, like, three of you who dig it and the, like, eight billion of you who tell teens to turn it off before shuffling back inside for a bowl of Great Grains. What I do is super mathematical so you know it’s super serious. Mathcore is about as unlistenable and scathing as it is a total sellout – so you can offend nearly everyone who hears it. Random rhythms, migraine-inducing tempo shifts, painful squeals, no sense of melody or counting, vocals a la cheese grater to the throat – it’s skronk. So enjoy my bounties, you three. The rest of you can fuck right off.
Commence panic chords!!
Better Lovers // Highly Irresponsible – Last year’s barnstormer debut EP God Made Me an Animal set one hell of a precedent for Buffalo’s Better Lovers, and their debut full-length does not disappoint. Yes, it’s a revenge album against Keith Buckley’s lesser rival project Many Eyes, but Highly Irresponsible is soooo much more than petty Every Time I Die drama. Amplifying every facet of their sound, you get more manic barks and charismatic croons from legendary former The Dillinger Escape Plan vocalist Greg Puciato, more chunky riffage from Fit for an Autopsy’s Will Putney, and more of a southern fried good time from three-fifths of the defunct-and-dramatic Every Time I Die.2 While unafraid to embrace hooky rock sensibilities (“Deliver Us from Life,” “At), the punky, bluesy, and sleazy all-out assaults of tempo-abusing insanity (“A White Horse Covered in Blood,” “Love As An Act of Rebellion”) collide with fret-squealing riff fests of the highest caliber (“Lie Between the Lines,” “Future Myopia”) in an insanely catchy, dynamic, stupid heavy, and stupid fun album with legendary status awaiting.
Frontierer // The Skull Burned Wearing Hell Like a Life Vest As the Night Wept – Look, I get that it’s a thirteen-minute EP released super late 2024, but, c’mon, it’s fucking Frontierer. Somehow seeming more punishing than usual across its four tracks, thick-ass slogs hit like sledgehammers to the temple – translating well across its more frantic moments and slower menace – while rhythms attack with the ferocity and doomed inevitability of a swarm of locusts and vocalist Chad Kapper spits blood, vitriol, and insanity into the mic. Channeling the glacial suffocation that coursed through Oxidized, it doesn’t matter if the tempo is more upbeat and energetic (“As the Night Wept”) or if it’s content sludging in its own muck (“Wearing Hell”), or indulging in both (“The Skull Burned”), the vibrant dissonance swirls in dizzyingly mechanical intensity and the down-tuned riffs smother with ruthless arrhythmic beatdown chugs. While comparable to Ion Dissonance, Car Bomb, and this year’s Weston Super Maim in emphasis on down-tuned mathcore punishment, Frontierer remains one of the genre frontrunners and trendsetters by a significant margin – in a short thirteen minutes.
The God Awful Truth // All That Dark & All That Cold – Denton, Texas’ The God Awful Truth is likely everything love or hate about mathcore. Dissonance spilling sloppily across its shaky breakdowns, deathcore gut-punches, vocal attacks as insane as the squawking panic chords that paint the background like Jackson Pollock on too much crack, and rhythms jolting about like a toddler on a go-cart. Alongside these traditional The Tony Danza Tapdance Extravaganza-isms (“Hail Paimon,” “Street Rat”), there is a lighthearted banter guided by vocalist Jordan LaFerney’s cowboy vocals and resulting poppy rhythms, punky tempos, and loose grind-esque composition (“Symbology,” “Slicked Back,” “Bad Tooth”), though the menacing still manages to punch through when least expected (“The Rainmaker,” “Omelette du Fromage”). It’s brutal whiplash of an album, not a semblance of traditional melody to be found, with deathcore breakdowns acting more as the punchline of a song-long joke. You’ll get a headache, but you’ll have fun along the way.
meth. / See You Next Tuesday // Asymmetrics – Mathcore and noisecore have a lot in common, namely unlistenable blasting. Your favorite Michigan deathcore/mathcore darlings See You Next Tuesday teams up with Chicago noisemongers meth. for Asymmetrics, more a collaborative experiment than a split. Each band records three songs, then shares only the drum tracks with the other, who records another song over that drum track. Toss in guest spots from The Red Chord’s Guy Kozowyk and Memphis-based sludgecore act Nights Like These, and all elements practically topple under Asymmetrics’ blazing intensity and immense weight. CUNT’s influence in relentless blasters (“The First Steps of Suffering,” “Syntax Error”) and blasting deathcore chug-and-squeal-fests (“Breaking Under the Weight of the Heaviest Burden,” “Tomb of Woe”) collide with meth.’s more ominous slow burns (“Succumb,” “Guest,” “Willing Participant”) in a surprisingly well-rounded package, all wrapped up in a tidy – and fuckin’ noisy – twenty-seven minutes. It’s the best of both worlds!
Utopia // Shame – A breed of technical metal recalling the fretboard-frying abilities of The Human Abstract or Scale the Summit, this UK-based group (including prolific bassist Arran McSporran of Virvum) balances a jazzy warmth and lush atmosphere to balance out the Dillinger rhythmic attack and Psyopus-inspired shredding, made further vicious by vocalist Chris Reese’s attack of frantic fries, manic shrieks, and ghastly roars. From intense attacks of intensity and brutality (“Shame,” “Social Contracts”), wonkier exposes of dissonant motifs and jagged rhythms (“Never Argue With an Idiot,” “The Gift of Failure”), and lush vistas of warm fretless bass and jazzy chords (“Sun Damage,” “Zither,” “Moving Gently Towards the Grave”), the dark themes of shame and morbidity are offset by a truly transcendent atmosphere that ties Shame together into something beyond mathcore.
Missouri Executive Order 44 // Salt Sermon – Absolutely unhinged mathgrind with a religious theme both belying and echoing their LDS missionary aesthetic (short-sleeved white button-ups, ties, shorts, and bicycle helmets) and ominous black masks, anonymous Independence collective Missouri Executive Order 44 approaches a morbid history of religious intolerance with the goal of utter annihilation. Cramming eleven songs into a mere sixteen minutes like blasters Sectioned or Fawn Limbs, you can expect it to hit hard and fast, complete with unhinged mathy meltdowns that spill across the face of concrete rhythm, meatheaded powerviolence chugs (“Christian Pornography,” “They Built a Bass Pro Shop in Our Zion”), surprisingly groovy riffs (“The Unbuckling,” “Seven is a Holy Number”), tied together with vocalist Jarom’s cult leader shrieks and sinner wails, alongside wickedly distorted Mormon spoken word and gospel samples. Posing no stance of their own aside from the dethroning of tyranny, Salt Sermon stands with all its tragedy and iconoclasm, both utterly devastating and utterly enticing.
Shiverboard // Hacksaw Morissette – Aside from the silly genius of the album name, New York’s Shiverboard eludes easy definition. Most consistently planted in grind, art-punk, screamo, and mathcore sensibilities, Hacksaw Morissette deals with fifteen tracks that feel like a shotgun blast. Punk is a common thread coursed through this tapestry of asininity, ranging from Sex Pistols-with-animalistic-snarls (“All Black Snoopy,” “Stain Remover”), complete collapses into noisecore (“Cryptic Bismuth,” “Chastity Jeans”), over-the-top deathcore blares (“Chainsaw Fruit Punch,” “Angelina Shit Ton”), math rock and Midwest emo musings straight outta Delta Sleep or American Football (title track, “Drug Test,” “The Garbage Stork,” “Vitamins of Darkness”), and complete grind and mathcore meltdowns (“If I Can’t Have Love I Want Power,” “Torrential Drencher”) – there’s something for everyone aboard Hacksaw Morissette. With just enough dynamic to keep things interesting but not too much experimentation to throw listeners (thanks to the tasteful brevity), Shiverboard could stand to throw some more my way.
Traveller // Broken Home – Sometimes bumping mathcore is just an excuse to include djent, and Germany’s Traveller falls into this category. Utilizing Erra’s Impulse-era formula, Architects’ melodic sensibilities, a touch of Northlane’s ethereal moments, and a DIY grit whose “loud and ouchy” weight is sure to be divisive. Guided by ferocious roars, sporadic cleans, and “thicc thiccly” breakdowns galore it often emulates that mid-2000s metalcore that recalls a djentier Feed Her to the Sharks (“Never Cared (2002),” “Mismatch,” “Limbo”). Other times, it incorporates a groove and technicality that recalls the shenanigans of last year’s MouthBreather, making it a curb-stomping affair with an edge of the menacing melodies and ethereal keys (“Acheron,” “Orpheus”). Traveller is more djent and less mathcore, sure, but (1) you’re getting a lot more with Broken Home and (2) that’s why it’s at the end of this list.
#2024 #AllThatDarkAllThatCold #AmericanFootball #Architects #BetterLovers #BrokenHome #DeltaSleep #Djent #Erra #EveryTimeIDie #FawnLimbs #FeedHerToTheSharks #FitForAnAutopsy #Frontierer #Grindcore #HacksawMorissette #HardcorePunk #HighlyIrresponsible #ManyEyes #Mathcore #Meth_ #MissouriExecutiveOrder44 #Mouthbreather #NightsLikeThese #Noisecore #Northlane #Psyopus #Punk #SaltSermon #ScaleTheSummit #Screamo #Sectioned #SeeYouNextTuesday #SexPistols #Shame #Shiverboard #TheDillingerEscapePlan #TheGodAwfulTruth #TheHumanAbstract #TheRedChord #TheSkullBurnedWearingHellLikeALifeVestAsTheSkyWept #TheTonyDanzaTapdanceExtravaganza #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #Traveller #TYMHM #Utopia #Virvum #Wilderun
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Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2024]
By Dear Hollow
The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and abstract algebra, which I understand are very complicated maths, in order to get you the highest quality extreme music this side of the Hudson or Atlantic or Yangtze or wherever the hell you are. The trouble is, you bastards don’t listen to math (i.e. “hurr durr, Wilderun is so much better than this shit.”).1 So I listen to math because I’m a contributing citizen and patriot – I listen to mathcore for you. I wade through the cesspools of skronk and sass – RYM and Reddit – for the best of the best. I do it for the, like, three of you who dig it and the, like, eight billion of you who tell teens to turn it off before shuffling back inside for a bowl of Great Grains. What I do is super mathematical so you know it’s super serious. Mathcore is about as unlistenable and scathing as it is a total sellout – so you can offend nearly everyone who hears it. Random rhythms, migraine-inducing tempo shifts, painful squeals, no sense of melody or counting, vocals a la cheese grater to the throat – it’s skronk. So enjoy my bounties, you three. The rest of you can fuck right off.
Commence panic chords!!
Better Lovers // Highly Irresponsible – Last year’s barnstormer debut EP God Made Me an Animal set one hell of a precedent for Buffalo’s Better Lovers, and their debut full-length does not disappoint. Yes, it’s a revenge album against Keith Buckley’s lesser rival project Many Eyes, but Highly Irresponsible is soooo much more than petty Every Time I Die drama. Amplifying every facet of their sound, you get more manic barks and charismatic croons from legendary former The Dillinger Escape Plan vocalist Greg Puciato, more chunky riffage from Fit for an Autopsy’s Will Putney, and more of a southern fried good time from three-fifths of the defunct-and-dramatic Every Time I Die.2 While unafraid to embrace hooky rock sensibilities (“Deliver Us from Life,” “At), the punky, bluesy, and sleazy all-out assaults of tempo-abusing insanity (“A White Horse Covered in Blood,” “Love As An Act of Rebellion”) collide with fret-squealing riff fests of the highest caliber (“Lie Between the Lines,” “Future Myopia”) in an insanely catchy, dynamic, stupid heavy, and stupid fun album with legendary status awaiting.
Frontierer // The Skull Burned Wearing Hell Like a Life Vest As the Night Wept – Look, I get that it’s a thirteen-minute EP released super late 2024, but, c’mon, it’s fucking Frontierer. Somehow seeming more punishing than usual across its four tracks, thick-ass slogs hit like sledgehammers to the temple – translating well across its more frantic moments and slower menace – while rhythms attack with the ferocity and doomed inevitability of a swarm of locusts and vocalist Chad Kapper spits blood, vitriol, and insanity into the mic. Channeling the glacial suffocation that coursed through Oxidized, it doesn’t matter if the tempo is more upbeat and energetic (“As the Night Wept”) or if it’s content sludging in its own muck (“Wearing Hell”), or indulging in both (“The Skull Burned”), the vibrant dissonance swirls in dizzyingly mechanical intensity and the down-tuned riffs smother with ruthless arrhythmic beatdown chugs. While comparable to Ion Dissonance, Car Bomb, and this year’s Weston Super Maim in emphasis on down-tuned mathcore punishment, Frontierer remains one of the genre frontrunners and trendsetters by a significant margin – in a short thirteen minutes.
The God Awful Truth // All That Dark & All That Cold – Denton, Texas’ The God Awful Truth is likely everything love or hate about mathcore. Dissonance spilling sloppily across its shaky breakdowns, deathcore gut-punches, vocal attacks as insane as the squawking panic chords that paint the background like Jackson Pollock on too much crack, and rhythms jolting about like a toddler on a go-cart. Alongside these traditional The Tony Danza Tapdance Extravaganza-isms (“Hail Paimon,” “Street Rat”), there is a lighthearted banter guided by vocalist Jordan LaFerney’s cowboy vocals and resulting poppy rhythms, punky tempos, and loose grind-esque composition (“Symbology,” “Slicked Back,” “Bad Tooth”), though the menacing still manages to punch through when least expected (“The Rainmaker,” “Omelette du Fromage”). It’s brutal whiplash of an album, not a semblance of traditional melody to be found, with deathcore breakdowns acting more as the punchline of a song-long joke. You’ll get a headache, but you’ll have fun along the way.
meth. / See You Next Tuesday // Asymmetrics – Mathcore and noisecore have a lot in common, namely unlistenable blasting. Your favorite Michigan deathcore/mathcore darlings See You Next Tuesday teams up with Chicago noisemongers meth. for Asymmetrics, more a collaborative experiment than a split. Each band records three songs, then shares only the drum tracks with the other, who records another song over that drum track. Toss in guest spots from The Red Chord’s Guy Kozowyk and Memphis-based sludgecore act Nights Like These, and all elements practically topple under Asymmetrics’ blazing intensity and immense weight. CUNT’s influence in relentless blasters (“The First Steps of Suffering,” “Syntax Error”) and blasting deathcore chug-and-squeal-fests (“Breaking Under the Weight of the Heaviest Burden,” “Tomb of Woe”) collide with meth.’s more ominous slow burns (“Succumb,” “Guest,” “Willing Participant”) in a surprisingly well-rounded package, all wrapped up in a tidy – and fuckin’ noisy – twenty-seven minutes. It’s the best of both worlds!
Utopia // Shame – A breed of technical metal recalling the fretboard-frying abilities of The Human Abstract or Scale the Summit, this UK-based group (including prolific bassist Arran McSporran of Virvum) balances a jazzy warmth and lush atmosphere to balance out the Dillinger rhythmic attack and Psyopus-inspired shredding, made further vicious by vocalist Chris Reese’s attack of frantic fries, manic shrieks, and ghastly roars. From intense attacks of intensity and brutality (“Shame,” “Social Contracts”), wonkier exposes of dissonant motifs and jagged rhythms (“Never Argue With an Idiot,” “The Gift of Failure”), and lush vistas of warm fretless bass and jazzy chords (“Sun Damage,” “Zither,” “Moving Gently Towards the Grave”), the dark themes of shame and morbidity are offset by a truly transcendent atmosphere that ties Shame together into something beyond mathcore.
Missouri Executive Order 44 // Salt Sermon – Absolutely unhinged mathgrind with a religious theme both belying and echoing their LDS missionary aesthetic (short-sleeved white button-ups, ties, shorts, and bicycle helmets) and ominous black masks, anonymous Independence collective Missouri Executive Order 44 approaches a morbid history of religious intolerance with the goal of utter annihilation. Cramming eleven songs into a mere sixteen minutes like blasters Sectioned or Fawn Limbs, you can expect it to hit hard and fast, complete with unhinged mathy meltdowns that spill across the face of concrete rhythm, meatheaded powerviolence chugs (“Christian Pornography,” “They Built a Bass Pro Shop in Our Zion”), surprisingly groovy riffs (“The Unbuckling,” “Seven is a Holy Number”), tied together with vocalist Jarom’s cult leader shrieks and sinner wails, alongside wickedly distorted Mormon spoken word and gospel samples. Posing no stance of their own aside from the dethroning of tyranny, Salt Sermon stands with all its tragedy and iconoclasm, both utterly devastating and utterly enticing.
Shiverboard // Hacksaw Morissette – Aside from the silly genius of the album name, New York’s Shiverboard eludes easy definition. Most consistently planted in grind, art-punk, screamo, and mathcore sensibilities, Hacksaw Morissette deals with fifteen tracks that feel like a shotgun blast. Punk is a common thread coursed through this tapestry of asininity, ranging from Sex Pistols-with-animalistic-snarls (“All Black Snoopy,” “Stain Remover”), complete collapses into noisecore (“Cryptic Bismuth,” “Chastity Jeans”), over-the-top deathcore blares (“Chainsaw Fruit Punch,” “Angelina Shit Ton”), math rock and Midwest emo musings straight outta Delta Sleep or American Football (title track, “Drug Test,” “The Garbage Stork,” “Vitamins of Darkness”), and complete grind and mathcore meltdowns (“If I Can’t Have Love I Want Power,” “Torrential Drencher”) – there’s something for everyone aboard Hacksaw Morissette. With just enough dynamic to keep things interesting but not too much experimentation to throw listeners (thanks to the tasteful brevity), Shiverboard could stand to throw some more my way.
Traveller // Broken Home – Sometimes bumping mathcore is just an excuse to include djent, and Germany’s Traveller falls into this category. Utilizing Erra’s Impulse-era formula, Architects’ melodic sensibilities, a touch of Northlane’s ethereal moments, and a DIY grit whose “loud and ouchy” weight is sure to be divisive. Guided by ferocious roars, sporadic cleans, and “thicc thiccly” breakdowns galore it often emulates that mid-2000s metalcore that recalls a djentier Feed Her to the Sharks (“Never Cared (2002),” “Mismatch,” “Limbo”). Other times, it incorporates a groove and technicality that recalls the shenanigans of last year’s MouthBreather, making it a curb-stomping affair with an edge of the menacing melodies and ethereal keys (“Acheron,” “Orpheus”). Traveller is more djent and less mathcore, sure, but (1) you’re getting a lot more with Broken Home and (2) that’s why it’s at the end of this list.
#2024 #AllThatDarkAllThatCold #AmericanFootball #Architects #BetterLovers #BrokenHome #DeltaSleep #Djent #Erra #EveryTimeIDie #FawnLimbs #FeedHerToTheSharks #FitForAnAutopsy #Frontierer #Grindcore #HacksawMorissette #HardcorePunk #HighlyIrresponsible #ManyEyes #Mathcore #Meth_ #MissouriExecutiveOrder44 #Mouthbreather #NightsLikeThese #Noisecore #Northlane #Psyopus #Punk #SaltSermon #ScaleTheSummit #Screamo #Sectioned #SeeYouNextTuesday #SexPistols #Shame #Shiverboard #TheDillingerEscapePlan #TheGodAwfulTruth #TheHumanAbstract #TheRedChord #TheSkullBurnedWearingHellLikeALifeVestAsTheSkyWept #TheTonyDanzaTapdanceExtravaganza #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #Traveller #TYMHM #Utopia #Virvum #Wilderun
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Apropos of nothing in particular. Since #Labour came to power, how many #FoodBanks have shut down because they're not longer needed?
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Somerset’s best lifestyle businesses revealed in Muddy Stilettos Awards
Want to see who made it through to the Dorset, Somerset & …
#Bristol #UnitedKingdom #UK #GB #England #Headlines #News #Europe #EU #Bath #Bridgwater #Britain #Chard #Cheddar #Crewkerne #Frome #Gillingham #GlastonburyFestival #GreatBritain #Ilminster #Museums #Pubs #SheptonMallet #Sherborne #Sky #Somerset #Taunton #TheQueen #thingstodoinbath #ThingstodoinSomerset #Wells #Weston-super-Mare
https://www.europesays.com/uk/919123/ -
https://www.europesays.com/uk/919123/ Somerset’s best lifestyle businesses revealed in Muddy Stilettos Awards #Bath #Bridgwater #Bristol #Britain #Chard #Cheddar #Crewkerne #England #Frome #Gillingham #GlastonburyFestival #GreatBritain #Ilminster #Museums #Pubs #SheptonMallet #Sherborne #Sky #Somerset #Taunton #TheQueen #ThingsToDoInBath #ThingsToDoInSomerset #UK #UnitedKingdom #Wells #WestonSuperMare
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Dillinger Krippenweg lockt Gäste bis aus Aachen an
In der Weihnachtszeit hatten das Stadt- und Hochstiftmuseum und die Wirtschaftsvereinigung Dillingen gemeinsam eine besondere Aktion ins Leben…
#Aachen #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #BausparkasseSchwäbischHall #Cham #Dillingen #Germany #Hochstiftmuseum #Krippe #Krippenweg #Mode #Nordrhein-Westfalen #Weihnachtszeit #Wirtschaftsvereinigung
https://www.europesays.com/de/837812/ -
Podcast der Woche
„G Spot“ mit Stefanie Giesinger spricht aus, was viele denken
Der Podcast der Woche „G Spot“ von der Influencerin Stefanie Giesinger beschäftigt sich mit allen Fragen, Problemen und Facetten des Lebens. #Ganz offen, ohne Filter.
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Moron Police – Pachinko [Things you Might have Missed 2025] By GardensTaleMoron Police is an odd band, if the moniker didn’t give it away. The first few albums were very comedy-oriented, but A Boat on the Sea suddenly saw the band tackling anti-war themes, without giving up the bright melodic sound that draws from progressive rock and anime soundtrack J-rock alike. Production on Pachinko was already on the way when drummer Thore Pettersen died in a car accident. After taking the time to mourn their friend, Moron Police soldiered on, aided by Dillinger Escape Plan drummer Billy Rymer. The result is an astounding album in every regard, an experience unlike anything I’ve heard in years. It’s also a concept album about a dude getting turned into a sentient gambling machine in Tokyo. Huh?
Everything about Pachinko is larger than life. It’s as colorful as its gorgeous cover, full of energy and possessed of an indomitable spirit, a quirky sense of humor, and endless love and compassion. The narrative, which seems to be inspired by isekai anime,1 is merely a vehicle for philosophical ruminations on the nature of life, fate and human connection in a world designed to wear you down to apathy. No two songs are alike or tackle these subjects the same way, and you can get snippets of darker lyrics dressed in bright colors (“King Among Kittens”), pure silly nonsense (‘Meee, I’m a techno boy’ in “Pachinko Pt. 1”) or melancholy reflections on the follies of power (the brilliant “The Apathy of Kings”).
Despite its colorful outer layer, Pachinko is more than just feel-good vibes. It’s a masterwork of both composition and technical wizardry. The melodies are intricate yet catchy, and never go exactly the way you expect. Nor do the songs themselves, because the way they weave together different moods, genres, and tempos is nothing short of staggering. Violins over blastbeats in “Cormorant,” melancholy synthpop in “Okinawa Sky,” jazzy whirlwind intro leading into big band brass for “Alfredo and the Afterlife.” And the title track suite turns it up to eleven for a combined 16 minutes of head-spinning avant-garde genre-hopping madness.
Yet for all this craziness, it’s remarkable how tightly woven and cohesive the hour-long album is. Songs frequently cross-reference each other to really emphasize the album experience, with “Pachinko Pt. 1” even referencing A Boat on the Sea directly. This peaks with the magisterial finale, which effortlessly binds snippets from across the album together into a gorgeous feast of reprise. It doubles as a heartfelt farewell to Thore, whose drums are used for the outro. Moron Police has taken their grief and turned it into a grandiose, madcap celebration of life and friendship with a wink, a smile, and a tear. An instant classic and one of the best albums I’ve heard this decade.
Tracks to Check Out: All of them, front to back.
#2025 #DillingerEscapePlan #Experimental #MightyJamMusicGroup #MoronPolice #NorwegianMetal #Pachinko #ProgressiveRock #ThingsYouMayHaveMissed2025 #TYMHM -
Armed for Apocalypse – The Earth is Breathing Beneath Me Review By Owlswald
Sludge purveyors Armed for Apocalypse have little interest in fitting neatly into a scene or pandering to an audience. They lack both the time and the inclination. What they do have is relentless drive, a mountain of riffs, and a spirit forged through lived experience and hard-earned endurance. The Portland-by-way-of-Chico quartet has learned its lessons the hard way over 17 years and 3 LPs, cutting their teeth on the road, betting on Kickstarter campaigns to fund tours, and grinding it out night after night. That pathos bleeds through every pore of their music. 2022’s Ritual Violence was a distortion-soaked, relentlessly heavy effort rooted in the likes of Eyehategod, even if its uniformity somewhat blunted its impact. Fourth LP, The Earth is Breathing Beneath Me, is no different, thriving on sheer physicality and a firm commitment to a clearly defined approach that remains Armed for Apocalypse’s bread and butter.
If you’re in the mood for a good ol’ fashioned chug-fest, Armed for Apocalypse is here to deliver. The Earth is Breathing Beneath Me locks into its identity early, delivering big, lumbering grooves that bulldoze the listener with sheer physical force. “Fists Like Feathers” and “Ashes of the Night” announce their arrival immediately with huge down-tuned riffs and distorted drawls dipped in djenty flavors, while “Spellbound,” “Keep Up Appearances” and “Lost Without a Light” pick up the pace with simple but effective Converge-esque hooks and breakdowns that feel designed to move bodies. Drummer Nick Harris absolutely hammers his kit, driving this sludgernaut1 forward with obliterating momentum. Nate Burman’s vocals split the difference between Greg Puciato’s (The Dillinger Escape Plan, Better Lovers) unhinged howls and Phil Anselmo’s tough‑guy roar, never wavering from his acrid delivery or venturing from his tonal range. You won’t find any flash or frills here, just straight, unchecked fury, and these lads execute it with confidence.
While The Earth is Breathing Beneath Me maintains an intense, uncompromising core, its narrow scope limits its upside. Fueled largely by rigid structures and an overreliance on recurring songwriting formulas, Armed for Apocalypse’s consistency can be appealing in short bursts, but over time, the group’s approach causes tracks to blur together. From “Lost Without A Light” through “Lurk,” the record delivers a run of pit-inducing cuts that are lean, direct, and effective, but repeated, tropey breakdowns funnel each track back into the chug factory. It reinforces the sense that The Earth is Breathing Beneath Me could have benefited from bolder, more creative risks. Penultimate song “Bathed in a Tepid Pool of My Own Filth,” functions as a four-minute interlude of resonant, open string drones, offering little relief from the textural wash percolating throughout, particularly after tracks like “Beyond the Mirage” or “Immortal” have already bludgeoned you into submission with similar through-lines.
However, scattered moments of variety across The Earth is Breathing Beneath Me provide evidence that Armed for Apocalypse aren’t purely one-trick. Crestfallen verses and brief melodic passages (“Immortal”) and moments of vulnerability (“Beyond the Mirage,” the title track) suggest more nuanced songwriting, but they surface too sparingly to lift the record from its murky haze. Elsewhere, “Fist Like Feathers” shows the group’s songwriting chops with a strong bout of riffs and hooks that are memorable from the start, while “Lurk” cycles Nails-like assaults before predictably reverting to metalcore breakdowns. Kurt Ballou’s (Converge) production gives everything a massive, polished heft,2 emphasizing Armed for Apocalypse’s crunchy, blue‑collar ethos and ensures that each pummeling section does its best to batter you until you’re bloodied and broken.
The Earth is Breathing Beneath Me isn’t a record that invites deep emotional attachment so much as it aims for raw force. When Armed for Apocalypse allows themselves room to experiment, The Earth Is Breathing Beneath Me hints at something more. Those moments underline that Armed for Apocalypse has the talent and discipline to push beyond sheer heaviness. Their yeoman identity, relentless energy, and willingness to get in and get out without excess flash work to their advantage in many respects, and that authenticity can be enough to satisfy. But I can’t help but crave more. Regardless of my desires, The Earth is Breathing Beneath Me never pretends to be more (or less) than what it is and is ultimately content to stop right there.
Rating: Mixed
#25 #2026 #AmericanMetal #Apr26 #ArmedForApocalypse #BetterLovers #ChurchRoadRecords #Converge #Eyehategod #Nails #Review #Reviews #Sludge #TheDillingerEscapePlan #TheEarthIsBreathingBeneathMe
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Church Road Records
Websites: armedforapocalypse.bandcamp.com | armedforapocalypse.com | facebook.com/armedforapocalypse
Releases Worldwide: April 24th, 2026