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1000 results for “englishm”
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@darth
Oh, you don't need to pass for an #Englishman. For that, you'd have to have #Sting's accent. 🤪Main thing is to be able to understand, and to be understood. ☝️
Anywayz... No one should criticize non-native #English speakers for not having perfect* English. They should be thankful we're able to communicate with them. Otherwise they can go talk to a wall. 🖐️🤪 #languages
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The Englishman Who Ran Up a Hill But Came Down with Shin Splints
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#Sting - #Englishman In New York - YouTube
#musicm.youtube.com/watch?v=d27gTrPP…
REMASTERED IN HD!Music video by Sting performing Englishman In New York. (C) 1987 A&M Records#Sting #EnglishmanInNewYork #Remastered #Vevo #Rock #OfficialMus...
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#WaterfallWednesday
#EnglishmanRiverFalls on #VancouverIsland is well known & very accessible.#waterfalls #Water #Nature #scenery #vanisle #PNW #PacificNorthwest #Cascadia #BritishColumbia #Canada #TourismBC #TourismVancouverIsland #BCParks #DisabledHiker #DisabledAdventurer #WorldInMyEyes #MyNaturePhotos #HikingPhotos #samsung8 #CellphonePhotos #WaterIsLife #h2o #PlacesToVisit
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ABC News (Australia): Goldfields diary of young Englishman uncovered after 115 years. “A six-month joint effort between historical societies from opposite sides of the world has recently solved the mystery of a century-old diary. The diary of Gordon Howard Tilly tells the story of a young engineer’s time in Kalgoorlie-Boulder in intricate detail. Its transcript is now available at the Eastern […]
https://rbfirehose.com/2026/07/31/abc-news-australia-goldfields-diary-of-young-englishman-uncovered-after-115-years/ -
Vandampire – Hope Scars Review
By Spicie Forrest
Post- historically implies an evolution of or successor to a previous idea (modernism, rock, structuralism, punk, hardcore, colonialism, etc.). While a little nebulous, post-metal more or less riffs on the post-rock blueprint. It utilizes metal’s intense, abrasive instrumentation to create an emotional vulnerability that even the best power ballads fail to capture. There is a tenderness in its crushing weight, a sense of freedom and catharsis in its restraint. It is this corner of the metalverse that South West England-based Vandampire inhabits. Founded in 2018 and with two EPs1 under their belt, Hope Scars not only marks Vandampire’s debut full-length, but the official debut of their second guitarist, as well. Post-metal is a saturated field, though, and it’ll take a lot for Hope Scars to stand out in the crowd.
One thing I can say for certain is that Hope Scars stands head and shoulders above Vandampire’s previous EPs. Past releases certainly contained all the elements on display here, but Hope Scars sees Vandampire mixing those sounds in elegant fashion. Where once sludge and post-metal stood apart or minimally integrated, here they are inseparable, a cohesive whole. Crushing, abrasive guitars (Joseph Siddons, Matthew Billingham) dance and thrash over basslines (Michael Edmonds) three c’s thiccc. Drummer Mark Litchfield, rather than simply keeping time, enunciates and elevates his bandmates’ performances. The result is tonally sludgy, like Kowloon Walled City, but softened by the patient, thorough sensibilities of post-metal songcraft. In keeping with this description, Billingham utilizes hardcore shouts and screams, but is smartly pushed back in the mix, so his vocals feel more like an instrument than a focal point. His delivery occasionally fails to capitalize on Hope Scars’ more emotive landscape, but it’s generally well-suited to the style. The Vandampire of Hope Scars is unmistakably the Vandampire of early EPs, but the maturity and nuance on display here is astonishing by comparison.
As noted in their promo material, Vandampire’s core weapon is The Riff™, and Siddons and Billingham wield it well. They oscillate between stone and sludge with surprising dexterity, riffs effortlessly flowing from one to the next (“Ultralow,” “A Promise”). Vaunted lead guitars soar over a dense rhythm section (“Hope Scars,” “Let Ruin End Here”), reminding me of Explosions in the Sky and the erhu played on Deadly Carnage’s Endless Blue. Those leads are my favorite thing on the album, searingly bright amidst the sludge. Siddons and Billingham, in concert with Edmonds’ teeth-rattling bass and Litchfield’s lively and energetic drums, weave a spell both heavy and heartfelt, hopeful and tragic. Like a metal Mogwai, Vandampire ties your feet to a sinking anchor but always makes sure you can see light on the surface.
Vandampire’s evolved style on Hope Scars fails to avoid the bloated and poorly paced pitfalls of the genre. Hope Scars’ two interludes break the album into three digestible parts, but ultimately prove frustrating. “In Ascension” builds beautifully in the back half, but fades out and misses the opportunity to lead into “Eaves.” I enjoyed the Americana tone of “I Will Miss Everything I Forget,” but this is also a standalone, and at three minutes each, these interludes linger entirely too long for what they are. The biggest bloatual offenders, however, are “Eaves” and “Let Ruin End Here.” The former fades out halfway through its five-minute runtime, leaving me with ambient noises and muffled conversation that suggest they just…forgot to turn off the mic. The latter begins to wind down a full three minutes before the end of its 12-minute runtime and concludes with 80 seconds of bird sounds. All told, Hope Scars could stand to lose at least ten minutes.
Vandampire’s vast improvement over previous efforts and an instrumental section that’s absolutely locked in make for good, engaging music. There’s a lot of great playlist fodder on here, but playlist fodder doesn’t make a great album. Roughly a quarter of Hope Scars is fluff, and while some of it—the interludes—could have been better utilized, at least half of it just wastes time. Vandampire has come a long way since they started in 2018, and if Hope Scars proves anything, it’s that they have the chops to go much further. I’ll just have to wait until next time to see if they get there.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripcord Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025#25 #2025 #deadlyCarnage #englishMetal #explosionsInTheSky #hopeScars #kowloonWalledCity #mogwai #oct25 #postMetal #review #reviews #ripcordRecords #sludgeMetal #vandampire
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Joe Cocker, Mad Dogs and Englishmen, 1970 on A&M
Technically the soundtrack to the live movie of the same name, a sprawling live set with a tremendous band including (led by?) Leon Russell, across rock, soul and R&B. If you can only have one Joe Cocker album this probably ought to be it.
Great renditions of “Cry Me A River,” “Bird on a Wire,” “Feelin’ Alright,” and “Delta Lady.”
My copy via (the now defunct) Vinyl Destination in Lowell […]
#1970 #1970s #AM #JoeCocker #LeonRussell #LowellMA #vinyl #VinylDestination #vinylcollection #vinylfinds
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I'm sorry for the English (and yes, I mean the English here), but every time I say "good god" I imagine it being uttered by an Englishman who has a monocle, a mustache, and mutton chops (as in the beard, not as in the meat).
As he says "good god", his monocle falls into a tea cup that he is holding in his right hand. The saucer is held by the left hand.
He also lives during the colonial era.
I know it is a caricature.
#English #Englishman #GoodGod #monocle #mustache #MuttonChops #tea #TeaCup #ColonialEra #caricature
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#JohnBull was the personification of #English nationalism usually depicted as an honest & hardworking #Englishman with a cheerful & jolly disposition who was satisfied by the simple things in life.
#HarryHolt #Genealogy #Pugilist #Holt #HarryHoltBiography #SportsHistory #Bareknuckle #Boxing #Prizefighter #LondonPrizeRing #Regency #Georgian #C19th #19thCentury #History
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Why David Beckham will have my vote for the US Soccer Hall of Fame | Pablo Iglesias Maurer
By Pablo Iglesias MaurerThe Englishman has gotten no shortage of recognition, but his contributions to the American game deserve an official title
https://www.theguardian.com/football/2026/sep/10/david-beckham-us-soccer
#MLS #DavidBeckham #Football #USsports #Sport #TheGuardian #PabloIglesiasMaurer
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European football: Bayern Munich’s Harry Kane named player of the year in Germany
By Guardian sport and agenciesStriker becomes first Englishman to win the award
#Europeanclubfootball #SerieA #Juventus #Frosinone #AtlticoMadrid #Villarreal #Football #Sport #TheGuardian #Guardiansport #agencies
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The King will start a historic street game in a #Scottish Borders town which was first played 300 years ago with an Englishman’s head
Charles will witness the centuries-old traditional game of #HandBa', which has been played annually in #Jedburgh since 1704.
The full-contact game sees men and boys split into two teams based on where they live in the town – the Uppies and the Doonies.
https://www.thenational.scot/news/26247689.king-charles-start-historic-jedburgh-hand-ba-game/
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Ellisland, 1791
Dear Sir:
Thou eunuch of language; thou Englishman, who never was south the Tweed; thou servile echo of fashionable barbarisms; thou quack, vending the nostrums of empirical elocution; thou marriage-maker between vowels and consonants, on the Gretna-green of caprice…
—Robert Burns, Letter to a critic
via @lettersofnotehttps://news.lettersofnote.com/p/thou-pickle-herring-in-the-puppet
#Scottish #literature #RobertBurns #BurnsNight #18thcentury #LettersofNote #correspondence #letters #critics #insults
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World Orphans Day.
#worldorphansday #woc #olympiad #orphans #teameo #englisholympiad #english #englishmania #orphansday #inspiringleadership #helpinghands #orphan #hrtechsummit #hrtechnology #hrtech #unicef #un #hrtechworld #recruitments #recruitment #eventoftheday #supportthemovemnt #infographicdesign #infographic #january #day #worldwar #todaysevent #orphansafrica #world Today is World Orphans Day. This day is celebrated every year to uplift orphans. If we look…
https://itsmostamazingindia.wordpress.com/2025/11/10/world-orphans-day/
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Man Has $227,000 “#Unstealable” #Car Stolen Less Than 60 Hours After Buying It
An #Englishman who had his #luxurySUV #stolen from his #driveway less than 60 hours after driving it home claims the #dealership assured him that the #vehicle was “unstealable”.
John, a 45-year-old man from Warwickshire, UK, bought a £183,000 ($227,000) Range Rover 2024 SV Edition One
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In the song below by #Sting, the title refers to an #Englishman.
Which particular real life #Englisman has Sting based this song on?
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Green Lung – Necropolitan Review By Grin Reaper
Green Lung has always flirted with metal’s ponderous weight and classic rock’s sly melodicism, uniting two musical forces I love. Before I dove into metal whole hog, I spent years soaking up the classics. Rush and Boston were in constant rotation alongside Black Sabbath and Metallica, looping endlessly on my 5-disc CD stereo through high school and college. Gradually, my listening gave way to more extreme acts as I succumbed to what my mother endearingly calls ‘devil music.’ Despite my unflinching commitment to placing my immortal soul in peril, I just can’t resist acts that channel the music I grew up listening to, and London’s Green Lung sticks this balance expertly. Hypnotic grooves, bouncing riffs, and heartfelt vocals run rampant across Green Lung’s fourth album Necropolitan, invoking the rumble of ecclesiastical dynamite and ghoulish glee. But are Necropolitan’s enchanting atmospheres and retro pleasures enough to wreck your Nec to?
Since forming in 2017, Green Lung has celebrated nature and the ways of olde, often through a lens of freewheeling paganism. Their earliest material saturated sylvan rituals with fuzz and thunder, ensconcing songs in the Green haze of stoner metal. Black Harvest redirected attention to elements of occult rituals recalling 1970s horror films like The Wicker Man and The Blood on Satan’s Claw, placing a greater emphasis on hooky riffs and John Wright’s organ, while This Heathen Land adopted a backdrop rooted in history that found Green Lung wallowing in doomier arrangements. Necropolitan hews much closer to Black Harvest, crafting a bevy of heavy earworms and begetting their catchiest and most immediate platter to date. Conceptually, Necropolitan finds Green Lung drawing inspiration from the sprawling necropolis grounds built during the Victorian era to resolve the calculus of too many bodies and too few burial plots. The upkeep of these gardens collapsed in the 1960s, and since then Earth has slowly reclaimed and transformed these gravesites into pockets of wilderness, incidentally furnishing Necropolitan with a fascinating intersection of nature and the occult.
Reference points abound on Necropolitan, although Green Lung always adheres to their own guiding sonic principles. Vocalist Tom Templar’s voice strongly echoes Tobias Forge’s, and there’s also a smidge of Ian Gillan’s upper register as well,1 albeit with punky snottiness. Speaking of Gillan, “Necropolitan Line” is the best song Deep Purple never wrote (and might be my “Mambo No. 5”), and “Evil in This House” strikes me as a more upbeat musical take on Sabbath’s “Electric Funeral.” “Oxymandias” oozes with a swagger that reminds me of Clutch, “Black Magic Radio” marries the pop-forward sensibilities of Ghost with the heft of Black Sabbath or Cathedral, and closer “To the Gallows Born” begins with gorgeous harmonization reminiscent of “The Wellerman”2 before dipping into Wytch Hazel levels of lilting beauty.
Throughout Necropolitan Green Lung dispenses sharp performances in a lean package that offers enough to satisfy yet leaves me wanting more. Templar’s voice smolders as he directs listeners through Necropolitan’s lush landscapes. “Dance to the Grave” and “Black Magic Radio” mesh his top-notch croon with elephantine riffs while “Necropolitan Line” and “To the Gallows Born” gush with Templar’s sweltering magnetism. Guitarist Scott Black wields his fuzz tone with surgical precision, hitting swells and transitions with impeccable instincts and sexy tones (the solo into the bridge on “Oxymandias,” for example) while John Wright’s organ grinding ignites melodies with fabulous vintage verve. Meanwhile, bassist Joseph Ghast unchains a terrific low-end showcase with audible yet unobtrusive obbligatos (“Necropolitan Line,” “To the Gallows Born”) and drummer Matt Wiseman looses frills and fills with measured gusto (“Black Magic Radio,” “Evil in this House”). In all, everyone in Green Lung brings their A-game to Necropolitan.
Everything about Necropolitan leaves me wanting more, and I can’t stop listening to the damned thing. At forty-one minutes, it’s an irresistibly easy listen and has quickly become one of my most played albums this year. The guitar-and-keys interplay is exquisite, the grooves bowl me over with unholy spirit, and the choruses make a fool of me as I try to sing along. Admittedly, “Together in Death” lacks the indispensability of other tracks, and “Dance to the Grave” and “Black Magic Radio” blur together a tad one after the other, but these are minor cavils in what is one of the best damn stoner-adjacent releases this year. So don’t let Green Lung and their latest wares pass you by—hop a rail down “Necropolitan Line” and breathe in the Greatness.
Rating: Great
#2026 #40 #BlackSabbath #BritishMetal #Cathedral #Clutch #DeepPurple #EnglishMetal #Ghost #GreenLung #HardRock #Necropolitan #NuclearBlastRecords #Review #Reviews #Sep26 #StonerMetal #WytchHazel
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook | Instagram
Releases Worldwide: September 11th, 2026 -
Green Lung – Necropolitan Review By Grin ReaperGreen Lung has always flirted with metal’s ponderous weight and classic rock’s sly melodicism, uniting two musical forces I love. Before I dove into metal whole hog, I spent years soaking up the classics. Rush and Boston were in constant rotation alongside Black Sabbath and Metallica, looping endlessly on my 5-disc CD stereo through high school and college. Gradually, my listening gave way to more extreme acts as I succumbed to what my mother endearingly calls ‘devil music.’ Despite my unflinching commitment to placing my immortal soul in peril, I just can’t resist acts that channel the music I grew up listening to, and London’s Green Lung sticks this balance expertly. Hypnotic grooves, bouncing riffs, and heartfelt vocals run rampant across Green Lung’s fourth album Necropolitan, invoking the rumble of ecclesiastical dynamite and ghoulish glee. But are Necropolitan’s enchanting atmospheres and retro pleasures enough to wreck your Nec to?
Since forming in 2017, Green Lung has celebrated nature and the ways of olde, often through a lens of freewheeling paganism. Their earliest material saturated sylvan rituals with fuzz and thunder, ensconcing songs in the Green haze of stoner metal. Black Harvest redirected attention to elements of occult rituals recalling 1970s horror films like The Wicker Man and The Blood on Satan’s Claw, placing a greater emphasis on hooky riffs and John Wright’s organ, while This Heathen Land adopted a backdrop rooted in history that found Green Lung wallowing in doomier arrangements. Necropolitan hews much closer to Black Harvest, crafting a bevy of heavy earworms and begetting their catchiest and most immediate platter to date. Conceptually, Necropolitan finds Green Lung drawing inspiration from the sprawling necropolis grounds built during the Victorian era to resolve the calculus of too many bodies and too few burial plots. The upkeep of these gardens collapsed in the 1960s, and since then Earth has slowly reclaimed and transformed these gravesites into pockets of wilderness, incidentally furnishing Necropolitan with a fascinating intersection of nature and the occult.
Reference points abound on Necropolitan, although Green Lung always adheres to their own guiding sonic principles. Vocalist Tom Templar’s voice strongly echoes Tobias Forge’s, and there’s also a smidge of Ian Gillan’s upper register as well,1 albeit with punky snottiness. Speaking of Gillan, “Necropolitan Line” is the best song Deep Purple never wrote (and might be my “Mambo No. 5”), and “Evil in This House” strikes me as a more upbeat musical take on Sabbath’s “Electric Funeral.” “Oxymandias” oozes with a swagger that reminds me of Clutch, “Black Magic Radio” marries the pop-forward sensibilities of Ghost with the heft of Black Sabbath or Cathedral, and closer “To the Gallows Born” begins with gorgeous harmonization reminiscent of “The Wellerman”2 before dipping into Wytch Hazel levels of lilting beauty.
Throughout Necropolitan Green Lung dispenses sharp performances in a lean package that offers enough to satisfy yet leaves me wanting more. Templar’s voice smolders as he directs listeners through Necropolitan’s lush landscapes. “Dance to the Grave” and “Black Magic Radio” mesh his top-notch croon with elephantine riffs while “Necropolitan Line” and “To the Gallows Born” gush with Templar’s sweltering magnetism. Guitarist Scott Black wields his fuzz tone with surgical precision, hitting swells and transitions with impeccable instincts and sexy tones (the solo into the bridge on “Oxymandias,” for example) while John Wright’s organ grinding ignites melodies with fabulous vintage verve. Meanwhile, bassist Joseph Ghast unchains a terrific low-end showcase with audible yet unobtrusive obbligatos (“Necropolitan Line,” “To the Gallows Born”) and drummer Matt Wiseman looses frills and fills with measured gusto (“Black Magic Radio,” “Evil in this House”). In all, everyone in Green Lung brings their A-game to Necropolitan.
Everything about Necropolitan leaves me wanting more, and I can’t stop listening to the damned thing. At forty-one minutes, it’s an irresistibly easy listen and has quickly become one of my most played albums this year. The guitar-and-keys interplay is exquisite, the grooves bowl me over with unholy spirit, and the choruses make a fool of me as I try to sing along. Admittedly, “Together in Death” lacks the indispensability of other tracks, and “Dance to the Grave” and “Black Magic Radio” blur together a tad one after the other, but these are minor cavils in what is one of the best damn stoner-adjacent releases this year. So don’t let Green Lung and their latest wares pass you by—hop a rail down “Necropolitan Line” and breathe in the Greatness.
Rating: Great
#2026 #40 #BlackSabbath #BritishMetal #Cathedral #Clutch #DeepPurple #EnglishMetal #Ghost #GreenLung #HardRock #Necropolitan #NuclearBlastRecords #Review #Reviews #Sep26 #StonerMetal #WytchHazel
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook | Instagram
Releases Worldwide: September 11th, 2026 -
Green Lung – Necropolitan Review By Grin ReaperGreen Lung has always flirted with metal’s ponderous weight and classic rock’s sly melodicism, uniting two musical forces I love. Before I dove into metal whole hog, I spent years soaking up the classics. Rush and Boston were in constant rotation alongside Black Sabbath and Metallica, looping endlessly on my 5-disc CD stereo through high school and college. Gradually, my listening gave way to more extreme acts as I succumbed to what my mother endearingly calls ‘devil music.’ Despite my unflinching commitment to placing my immortal soul in peril, I just can’t resist acts that channel the music I grew up listening to, and London’s Green Lung sticks this balance expertly. Hypnotic grooves, bouncing riffs, and heartfelt vocals run rampant across Green Lung’s fourth album Necropolitan, invoking the rumble of ecclesiastical dynamite and ghoulish glee. But are Necropolitan’s enchanting atmospheres and retro pleasures enough to wreck your Nec to?
Since forming in 2017, Green Lung has celebrated nature and the ways of olde, often through a lens of freewheeling paganism. Their earliest material saturated sylvan rituals with fuzz and thunder, ensconcing songs in the Green haze of stoner metal. Black Harvest redirected attention to elements of occult rituals recalling 1970s horror films like The Wicker Man and The Blood on Satan’s Claw, placing a greater emphasis on hooky riffs and John Wright’s organ, while This Heathen Land adopted a backdrop rooted in history that found Green Lung wallowing in doomier arrangements. Necropolitan hews much closer to Black Harvest, crafting a bevy of heavy earworms and begetting their catchiest and most immediate platter to date. Conceptually, Necropolitan finds Green Lung drawing inspiration from the sprawling necropolis grounds built during the Victorian era to resolve the calculus of too many bodies and too few burial plots. The upkeep of these gardens collapsed in the 1960s, and since then Earth has slowly reclaimed and transformed these gravesites into pockets of wilderness, incidentally furnishing Necropolitan with a fascinating intersection of nature and the occult.
Reference points abound on Necropolitan, although Green Lung always adheres to their own guiding sonic principles. Vocalist Tom Templar’s voice strongly echoes Tobias Forge’s, and there’s also a smidge of Ian Gillan’s upper register as well,1 albeit with punky snottiness. Speaking of Gillan, “Necropolitan Line” is the best song Deep Purple never wrote (and might be my “Mambo No. 5”), and “Evil in This House” strikes me as a more upbeat musical take on Sabbath’s “Electric Funeral.” “Oxymandias” oozes with a swagger that reminds me of Clutch, “Black Magic Radio” marries the pop-forward sensibilities of Ghost with the heft of Black Sabbath or Cathedral, and closer “To the Gallows Born” begins with gorgeous harmonization reminiscent of “The Wellerman”2 before dipping into Wytch Hazel levels of lilting beauty.
Throughout Necropolitan Green Lung dispenses sharp performances in a lean package that offers enough to satisfy yet leaves me wanting more. Templar’s voice smolders as he directs listeners through Necropolitan’s lush landscapes. “Dance to the Grave” and “Black Magic Radio” mesh his top-notch croon with elephantine riffs while “Necropolitan Line” and “To the Gallows Born” gush with Templar’s sweltering magnetism. Guitarist Scott Black wields his fuzz tone with surgical precision, hitting swells and transitions with impeccable instincts and sexy tones (the solo into the bridge on “Oxymandias,” for example) while John Wright’s organ grinding ignites melodies with fabulous vintage verve. Meanwhile, bassist Joseph Ghast unchains a terrific low-end showcase with audible yet unobtrusive obbligatos (“Necropolitan Line,” “To the Gallows Born”) and drummer Matt Wiseman looses frills and fills with measured gusto (“Black Magic Radio,” “Evil in this House”). In all, everyone in Green Lung brings their A-game to Necropolitan.
Everything about Necropolitan leaves me wanting more, and I can’t stop listening to the damned thing. At forty-one minutes, it’s an irresistibly easy listen and has quickly become one of my most played albums this year. The guitar-and-keys interplay is exquisite, the grooves bowl me over with unholy spirit, and the choruses make a fool of me as I try to sing along. Admittedly, “Together in Death” lacks the indispensability of other tracks, and “Dance to the Grave” and “Black Magic Radio” blur together a tad one after the other, but these are minor cavils in what is one of the best damn stoner-adjacent releases this year. So don’t let Green Lung and their latest wares pass you by—hop a rail down “Necropolitan Line” and breathe in the Greatness.
Rating: Great
#2026 #40 #BlackSabbath #BritishMetal #Cathedral #Clutch #DeepPurple #EnglishMetal #Ghost #GreenLung #HardRock #Necropolitan #NuclearBlastRecords #Review #Reviews #Sep26 #StonerMetal #WytchHazel
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook | Instagram
Releases Worldwide: September 11th, 2026 -
Green Lung – Necropolitan Review By Grin ReaperGreen Lung has always flirted with metal’s ponderous weight and classic rock’s sly melodicism, uniting two musical forces I love. Before I dove into metal whole hog, I spent years soaking up the classics. Rush and Boston were in constant rotation alongside Black Sabbath and Metallica, looping endlessly on my 5-disc CD stereo through high school and college. Gradually, my listening gave way to more extreme acts as I succumbed to what my mother endearingly calls ‘devil music.’ Despite my unflinching commitment to placing my immortal soul in peril, I just can’t resist acts that channel the music I grew up listening to, and London’s Green Lung sticks this balance expertly. Hypnotic grooves, bouncing riffs, and heartfelt vocals run rampant across Green Lung’s fourth album Necropolitan, invoking the rumble of ecclesiastical dynamite and ghoulish glee. But are Necropolitan’s enchanting atmospheres and retro pleasures enough to wreck your Nec to?
Since forming in 2017, Green Lung has celebrated nature and the ways of olde, often through a lens of freewheeling paganism. Their earliest material saturated sylvan rituals with fuzz and thunder, ensconcing songs in the Green haze of stoner metal. Black Harvest redirected attention to elements of occult rituals recalling 1970s horror films like The Wicker Man and The Blood on Satan’s Claw, placing a greater emphasis on hooky riffs and John Wright’s organ, while This Heathen Land adopted a backdrop rooted in history that found Green Lung wallowing in doomier arrangements. Necropolitan hews much closer to Black Harvest, crafting a bevy of heavy earworms and begetting their catchiest and most immediate platter to date. Conceptually, Necropolitan finds Green Lung drawing inspiration from the sprawling necropolis grounds built during the Victorian era to resolve the calculus of too many bodies and too few burial plots. The upkeep of these gardens collapsed in the 1960s, and since then Earth has slowly reclaimed and transformed these gravesites into pockets of wilderness, incidentally furnishing Necropolitan with a fascinating intersection of nature and the occult.
Reference points abound on Necropolitan, although Green Lung always adheres to their own guiding sonic principles. Vocalist Tom Templar’s voice strongly echoes Tobias Forge’s, and there’s also a smidge of Ian Gillan’s upper register as well,1 albeit with punky snottiness. Speaking of Gillan, “Necropolitan Line” is the best song Deep Purple never wrote (and might be my “Mambo No. 5”), and “Evil in This House” strikes me as a more upbeat musical take on Sabbath’s “Electric Funeral.” “Oxymandias” oozes with a swagger that reminds me of Clutch, “Black Magic Radio” marries the pop-forward sensibilities of Ghost with the heft of Black Sabbath or Cathedral, and closer “To the Gallows Born” begins with gorgeous harmonization reminiscent of “The Wellerman”2 before dipping into Wytch Hazel levels of lilting beauty.
Throughout Necropolitan Green Lung dispenses sharp performances in a lean package that offers enough to satisfy yet leaves me wanting more. Templar’s voice smolders as he directs listeners through Necropolitan’s lush landscapes. “Dance to the Grave” and “Black Magic Radio” mesh his top-notch croon with elephantine riffs while “Necropolitan Line” and “To the Gallows Born” gush with Templar’s sweltering magnetism. Guitarist Scott Black wields his fuzz tone with surgical precision, hitting swells and transitions with impeccable instincts and sexy tones (the solo into the bridge on “Oxymandias,” for example) while John Wright’s organ grinding ignites melodies with fabulous vintage verve. Meanwhile, bassist Joseph Ghast unchains a terrific low-end showcase with audible yet unobtrusive obbligatos (“Necropolitan Line,” “To the Gallows Born”) and drummer Matt Wiseman looses frills and fills with measured gusto (“Black Magic Radio,” “Evil in this House”). In all, everyone in Green Lung brings their A-game to Necropolitan.
Everything about Necropolitan leaves me wanting more, and I can’t stop listening to the damned thing. At forty-one minutes, it’s an irresistibly easy listen and has quickly become one of my most played albums this year. The guitar-and-keys interplay is exquisite, the grooves bowl me over with unholy spirit, and the choruses make a fool of me as I try to sing along. Admittedly, “Together in Death” lacks the indispensability of other tracks, and “Dance to the Grave” and “Black Magic Radio” blur together a tad one after the other, but these are minor cavils in what is one of the best damn stoner-adjacent releases this year. So don’t let Green Lung and their latest wares pass you by—hop a rail down “Necropolitan Line” and breathe in the Greatness.
Rating: Great
#2026 #40 #BlackSabbath #BritishMetal #Cathedral #Clutch #DeepPurple #EnglishMetal #Ghost #GreenLung #HardRock #Necropolitan #NuclearBlastRecords #Review #Reviews #Sep26 #StonerMetal #WytchHazel
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook | Instagram
Releases Worldwide: September 11th, 2026 -
Pundit thinks FC Barcelona could still take run at Bayern Munich’s Harry Kane
The Harry Kane-to-FC Barcelona rumors are still lingering in the background as it look likes the Englishman is…
#Spain #ES #Europe #Europa #EU #Barcelona #BayernMunichTransferNewsandRumors
https://www.europesays.com/spain/82763/ -
NFL fans in UK cite ticket prices and ‘team fatigue’ for unsold seats as London prepares to host 3 games – Chicago Tribune
LONDON — Matt Cullen’s streak of attending NFL games in London is nearing an end. The Englishman’s run…
#NFL #JacksonvilleJaguars #Jacksonville #Jaguars #Football #latestheadlines #Sports #thingstodo #Travel
https://www.rawchili.com/nfl/995319/ -
NFL fans in UK cite ticket prices and ‘team fatigue’ for unsold seats as London prepares to host 3 games – Chicago Tribune
LONDON — Matt Cullen’s streak of attending NFL games in London is nearing an end. The Englishman’s run…
#NFL #JacksonvilleJaguars #Jacksonville #Jaguars #Football #latestheadlines #Sports #thingstodo #Travel
https://www.rawchili.com/nfl/995319/ -
Fen – Elemental Part One: Mourning Earth Review By Grin Reaper
London, England’s Fen has a storied history at AMG, with five reviews spread across three different writers. The illustrious Madam X reviewed them thrice with mixed results, followed by Doom_et_Al’s laudatory commentary on The Dead Light and, most recently, Cherd’s favorable-but-less-impressed impression of Monuments to Absence. You should read their words because they’re excellent writers,1 but the upshot of their analysis is that Fen often crafts gorgeous layers of music that sometimes lose focus or take too long to spool out. Imagine my delight, then, when I discovered Fen’s newest album, Elemental Part One: Mourning Earth only runs forty-seven minutes.2 While the overall album length suggests improved self-editing, Mourning Earth is the first part of a greater effort and carries the risk of either feeling incomplete or disguising bloat between multiple releases. In the end, does Fen free their songwriting from the mires that held back some previous albums?
Throughout Mourning Earth, Fen conjures familiar reference points while evoking less obvious connections as well. Opener “Glacier” reminds me of “Storm Son,” the opening track to Enslaved’s E, with its prog-leaning clean guitars playing over galloping blast beats and beautifully written choral arrangements. The last third of “Glacier” and follow-up “Techtonic” rumble and quake with calls to Blood Mountain-era Mastodon,3 while “Massif” and “Abyssal Plain” drift into gazey waters, where shimmering guitars and haunting vocal stacks tread alongside Alcest. The opening riff on “Barrow” reminds me of a cross between Helloween’s “Future World” and something off Avatar’s Feathers & Flesh, casting ties to genres I never previously linked to Fen. Meanwhile, closing track “Moor” begins with sparkling builds akin to Saor and Agalloch, but when the atmosphere gives way to melody,4 I suddenly hear mid-aughts Amon Amarth. Everything on Mourning Earth points to a band harnessing a vast reach of styles and influences and fusing them into a vision uniquely their own.
Given Mourning Earth’s eclectic backdrop, its cohesion and effectiveness remain refreshingly intact. Throughout, Fen’s jaw-droppingly gorgeous textures harken to primordial environs that imbue the album with nature’s innate beauty. Mourning Earth’s midsection broods within layers of reverb and melancholy, entrancing listeners with hypnotic refrains and crystalline guitar work. “Massif,” though, kicks up past the halfway point, recalling the groove and melody from its first half while dialing up the heft and drama. “Techtonic” and “Barrow” both charge out in rollicking fashion, hitting hard early on. “Barrow” even permutates melodies from “Tectonic”‘s midsection, tethering the two songs in a satisfying harmony that took me many listens to notice and appreciate. Bookends “Glacier” and “Moor” round out Mourning Earth’s synchronicity as the longest tracks on the album, supplying grandeur and gravitas that ensure it begins and ends with fully baked moods.
In the past, Fen’s releases initially fascinated me yet lacked the staying power to compel frequent visits despite stellar moments. Mourning Earth changes that, and its forty-seven-minute runtime proves an incredible boon as the band expertly strikes the balance between anticipation and payoff. And despite being Fen’s shortest LP to date, Mourning Earth achieves a remarkable diversity of sounds and influences without ever sacrificing its singular identity. With the bloat plaguing earlier albums gone, not much else requires attention. More space within the mix would give the wealth of sounds a bit more breathing room, particularly on busier songs like “Tectonic” and “Barrow,” and “Abyssal Plain” doesn’t quite live up to the heights of other tracks. In all, though, Mourning Earth stands uncontested as my favorite Fen album to date.
Mourning Earth’s magic takes time to gestate, and over my repeated listens Fen’s hooks unfurled and took root as I helplessly succumbed to their enthralling collection of swamp songs. The Watcher’s spritely and ethereal guitars weave melodic threads throughout, even during atmospheric passages, and his withered rasps and roars scrape like the dry crackle of leaves while the wistful cleans brim with forlorn charm. Mourning Earth bursts at the seams with ideas and styles, and it continues to entice me as my time with this review draws nigh. I’m unclear on when Elemental Part Two may arrive or what it will be about, but Part One lets listeners know that this trio has plenty more to say before they Fenish.
Rating: Great
#2026 #40 #Agalloch #AmonAmarth #AtmosphericBlackMetal #Aug26 #Avatar #BlackMetal #BritishMetal #ElementalPartOneMourningEarth #EnglishMetal #Enslaved #Fen #Helloween #Mastodon #PostMetal #ProphecyProductions #Review #Reviews #Saor
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 21st, 2026 -
Aussies won't allow anticipated clash with English defector to distract them
By Jon HealyAustralia's men's sprint showdown with teammate-turned-Englishman Matthew Richardson is one of the most anticipated moments of the Glasgow Commonwealth Games, but Leigh Hoffman says the team cannot focus on him.
#CommonwealthGames #Sport #TrackCycling #CycleSport #JonHealy
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While the drugging and #SexualAssaults of #GisèlePelicot were ongoing in #France , an unnamed man in Manchester, #England was also drugging his wife and encouraging other men to rape her. 1
In addition to the husband, 13 Englishmen have been arrested, and THEY *have been* named: https://www.independent.co.uk/news/uk/crime/husband-drug-rape-wife-stockport-manchester-b3003635.html -
10-33 : A #Pontiac #Firebird (as seen in Smokey and the Bandit) caught alight at a #petrol station in #Oxfordshire #England
Two middle aged men (one Englishman, who had some #fire #safety training) and an American) and a motorcyclist put out the #fire with extinguishers before the Fire Brigade arrived.
Driver (a young man) had some burn injuries and was given first aid - hopefully he recovers well and the car can be repaired..
https://www.oxfordmail.co.uk/news/26152036.united-states-tourist-battles-fire-oxfordshire-tesco/
