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355 results for “fathomier”
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Hidden Gem: Fathomwerx Part 1 - What is it?
Up until this point, I have drawn my ‘hiiden gems’ from the military assets in the region. I started with the Coast Guard, moved to Naval Base Ventura County, and then I wrote about the three tenant commands there that are also federal Science and Technology Reinvention Laboratories (recall that they are the Naval Surface Warfare Center - Port Hueneme Division, the Naval Air Warfare Center Weapons Division, and the Naval Expeditionary and Engineering Command). In this post, I begins to edge out from behind the Department of Defense fence line that protects the previous examples to write about Fathomwerx.
Located just outside the DOD fence line but insider the Department of Homeland Security fence line that protects the commercial Port of Hueneme, Fathomwerx is hard to describe. On paper, Fathomwerx is a partnership between six organizations: the three federal laboratories at NBVC, the commercial port of Hueneme, the Economic Development Cooperative of Ventura County, and a private technology firm called Matter Labs. They work together to make Fathomwerx an entity that
"[Serves] as a public-private laboratory, community, and resource for technological innovation, the partners strive to fuse small and non-traditional companies, academic institutions, and other Department of Defense stakeholders together to work on the most challenging problems in military, port, and maritime domains.""
The Fathomwerx ‘laboratory’ is their industrial sized makerspace facility at the Port of Hueneme. Here, people who share with Fathomwerx an interest in the same types of challenges come together to collaborate on imagining and prototyping solutions. The DHS fenceline is much easier to cross than ther NBVC fenceline (i.e., anyone, regardless of nationality, who has an official ID and a DHS-recognized escort can come into the port), so Fathomwerx is absolutely more accessible to the public. As a result, all the work at Fathomwerx is unclassified; anything that needs to be classified can be pursued at the Fathomwerx Innovation Lab that’s on base near the NSWC-PHD command center.
Fathomwerx means different things to different people. The engineers of the Navy commands, who are solving important problems facing the fleet, see Fathomwerx as a place where they can prototype solutions immediately without the bureaucratic wait required by their machine shops. It’s true that the engineer has done to their own work at Fathomwerx, but many see that as an added benefit to having Fathomwerx in their back yard. Public safety professionals of regional cities and counties see Fathomwerx as agent that allows them to engage with their counterparts to explore creative solutions to maritime-related safety problems and practice techniques for dealing with new challenges. This kind of work happens every year under the umbrella of the Advanced Naval Technology Exercises - Coastal Trident program. I plan on giving Coast Trident its own ‘hidden gems’ post, soon.
It’s commitment to creative problems solving and cutting across organizational silos is baked into Fathomwerx’s DNA. Fathomwerx started life in 1999 as the Center for Asymmetric Warfare(CAW) at the Naval Postgraduate School in Monterey Bay, CA. It separated from NPS in 2015 and attached itself to NSWC-PHD. Soon, it created (and transformed into) the Maritine Applied Science and Technology (MAST) lab at the Port of Hueneme. Soon, it’s innovative mission attracted organizations that are now the Fathomwerx partners who united under the Fathomwerx trademark. My next post will illuminate Fathomwerx's devotion to innovation and will suggest why we neighbors should look toward Fathomwerx if we want to find opportunities for economic development in the region.
In the meantime, let me know if you have any questions about NBVC. Drop them in the comments. And if you know of a hidden gem in the area you think people should know about, do the same. If you want to see a version of this post with hyperlinks for some of the content, you can find one at http://www.jasonemiller.org.
#venturacounty #santabarbaracounty #sanluisobispocounty #economicdevelopment #didyouknow
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MYCO Cosmos - A Journey Through Matter and Space
A guided exploration of biology, space travel and the interconnected universe led by famed mycologist Paul Stamets, with live accompaniment by new age musical legend Laraaji, which took place Nov. 4, 2017, at Los Angeles State Historic Park. Conceived and produced as part of an ongoing mycelial exploration between Fathomers, an LA-based creative research institute, and artist Phil Ross.
https://soulvlog.blogspot.com/2024/12/myco-cosmos-paul-stamets-and-laraaji.html
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Hidden Gem: Naval Air Warfare Center - Weapons Division
A recent post in my 'hidden gems' series highlighted Naval Base Ventura County, the Navy organization (and property) that takes care of over 75 tenant organizations that include the Coast Guard Air Station Ventura. My next three 'gems' posts pick three tenants that are both Navy commands and federal laboratories. The first of these is the Naval Air Warfare Center - Weapons Division (NAWC-WD).
I was at Fathomwerx last week for a meeting where a civilian engineer from NAWC-WD was introducing her command to the group. She opened and closed her presentation with the fact that NAWC-WD is a command that's responsible for the things that 'go boom'. She said that with pride and some excitement because this is sophisticated, dangerous, and impactful work. It's also work that requires assets and expertise that generates technology that has value outside the defense industry. But more on that, later.
"Every missile that goes out in the theater to be used on a ship or aircraft has been tested by NAWC-WD," she said. One of NAWC-WD's main jobs is to make sure fleet weapon systems work as designed and work reliably. To test and evaluate these weapon systems, electronic warfare, and electronic countermeasures, NAWC-WD manages some of the largest test ranges in the world.
NAWC-WD manages the Point Mugu Sea Range, a 36,000 square mile expanse of ocean surface and islands for conducting tests and exercises. If the Navy needs more area for a test, the range can be extended indefinitely in coordination with the Navy and the Federal Aviation Administration!
NAWC-WD also manages the China Lake Range in the high desert of the western Mojave. Covering a land area larger than the state of Rhode Island, the 1.1 million acres of test range has allowed the Navy and Marine Corps to test almost every airborne weapon system in the last 50 years. Naval Air Weapons Station (NAWS) China Lake is in Ridgecrest, CA, and is home to advanced technology, STEM laboratories, and top-notch civilian scientists and engineers.
I want to conclude this post with a note about NAWC-WD and drones. This is where drone technology was born. Point Mugu started life as an anti-aircraft training center during World War II, and then it became the home for missile development. Drones were originally developed as missile targets. Drone expertise continued to develop to support NAWC-WD's mission as a testing and evaluation command for the Navy, and that expertise has made NAWC-WD a world leader in aerial and sea surface drone technologies (i.e., boats). A future 'gems' post will talk about the largest drone in the world, and another post or two will talk about how Ventura County is about to become the go-to place for testing autonomous vehicle technologies.
In the meantime, let me know if you have any questions about NAWC-WD. Drop them in the comments. And if you know of a hidden gem in the area you think people should know about, do the same. If you want to see a version of this post with hyperlins for some of the content, you can find one at http://www.jasonemiller.org.
If you know something about NAWC-WD that people might like to know about, share it in the comments.
#venturacounty #santabarbaracounty #sanluisobispocounty #economicdevelopment #didyouknow #civicentrepreneurship
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Hasbro continues its worldwide 'Apology Tour' with the 40th Anniversary re-release of 'The Transformers: The Movie'.
#TheTransformerTheMovie #Transformers #Hasbro #FathomEntertainment
https://www.animationmagazine.net/2026/05/hasbro-fathom-bring-the-transformers-the-movie-back-to-theaters-for-40th-anniversary/ -
GKIDS and Fathom Entertainment Return to U.S. Cinemas Nationwide with Seven Feature Lineup from Legendary Studio Ghibli
Tickets are now on sale for STUDIO GHIBLI FEST 2026, featuring a seven-film lineup from the esteemed animated catalog of Studio Ghibli.
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The one-hour finale episode of smash hit indie animated series 'The Amazing Digital Circus' is coming to theaters through Fathom Ent.
#TheAmazingDigitalCircus #FathomEntertainment
https://www.animationmagazine.net/2026/04/the-amazing-digital-circus-finale-episode-the-last-act-coming-to-theaters-with-fathom/ -
Gale Yellow Brick Road Release Date and New Poster Revealed
Fathom Entertainment has just announced the next big horror take on the classic Oz tale. The company reveals the exact day fans can see the film and shares a striking new poster that hints at the dark world inside.
https://www.youtube.com/watch?v=vfdaizGLg1g
When is Gale Yellow Brick Road released?...#FathomEntertainment #GaleYellowBrickRoad #horrorposter #moviereleasedate #WizardofOzhorror
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Gale Yellow Brick Road Release Date and New Poster Revealed
Fathom Entertainment has just announced the next big horror take on the classic Oz tale. The company reveals the exact day fans can see the film and shares a striking new poster that hints at the dark world inside.
https://www.youtube.com/watch?v=vfdaizGLg1g
When is Gale Yellow Brick Road released?...#FathomEntertainment #GaleYellowBrickRoad #horrorposter #moviereleasedate #WizardofOzhorror
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Gale Yellow Brick Road Release Date and New Poster Revealed
Fathom Entertainment has just announced the next big horror take on the classic Oz tale. The company reveals the exact day fans can see the film and shares a striking new poster that hints at the dark world inside.
https://www.youtube.com/watch?v=vfdaizGLg1g
When is Gale Yellow Brick Road released?...#FathomEntertainment #GaleYellowBrickRoad #horrorposter #moviereleasedate #WizardofOzhorror
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WEDDING CRASHERS (2005): Fathom Entertainment Will Be Re-Releasing Comedy Hit for its 20th Anniversary
#FathomEntertainment #MovieNews #OwenWilson #VinceVaughn #WarnerBros. #WeddingCrashers
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The Dark Crystal returns to theaters 12th - 13th October
#JimHenson #TheDarkCrystal #StarWars #FanthaTracks #fathomentertainment #TheDarkCrystal
The Dark Crystal returns to theaters 12th - 13th October.
Read the whole story at the below link:
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ICYMI: Crunchyroll Presents Anime Nights: A Monthly Theatrical Event https://popgeeks.com/crunchyroll-presents-anime-nights-a-monthly-theatrical-event/?utm_source=dlvr.it&utm_medium=mastodon #Crunchyroll #AnimeNights #DemonSlayer #AnimeMovies #FathomEvents
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Fathom Entertainment Names Eric Becker, Former Longtime Starz Press Chief, As Head of Communications
#Executives #News #EricBecker #Fathom #FathomEntertainmenthttps://deadline.com/2025/01/fathom-entertainment-eric-becker-head-of-communications-1236263472/
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#FathomEvents Adds ‘#PomPoko’ #Anime 30th Anniversary Theatrical Release Trailer http://dlvr.it/TFQPHk
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#FathomEvents Adds ‘#PomPoko’ #Anime 30th Anniversary Theatrical Release Trailer http://dlvr.it/TFQPHk
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#FathomEvents Adds ‘#PomPoko’ #Anime 30th Anniversary Theatrical Release Trailer http://dlvr.it/TFQPHk
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Which brokerage helps you keep more of your hard-earned commission—Fathom Realty or Better Homes & Gardens? 💸🏠 #FathomRealty #BetterHomes #FathomVsBetterHomes
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Coraline 15th Anniversary - #FathomEvents
https://www.fathomevents.com/events/coraline-15th-anniversary/?cmp=ST_Fathom_int_Coraline_nat_email_Inclusions&_hsmi=317966506
#Coraline is returning to #theaters for her 15th Anniversary. Dates are between Aug 15-22. If you're interested, click on the Tickets button in the corner of the site to find a #Cinema near you.
#cinemastodon #Animation #Film #StopMotion #StopMo #Laika #Movies -
Coraline 15th Anniversary - #FathomEvents
https://www.fathomevents.com/events/coraline-15th-anniversary/?cmp=ST_Fathom_int_Coraline_nat_email_Inclusions&_hsmi=317966506
#Coraline is returning to #theaters for her 15th Anniversary. Dates are between Aug 15-22. If you're interested, click on the Tickets button in the corner of the site to find a #Cinema near you.
#cinemastodon #Animation #Film #StopMotion #StopMo #Laika #Movies -
Coraline 15th Anniversary - #FathomEvents
https://www.fathomevents.com/events/coraline-15th-anniversary/?cmp=ST_Fathom_int_Coraline_nat_email_Inclusions&_hsmi=317966506
#Coraline is returning to #theaters for her 15th Anniversary. Dates are between Aug 15-22. If you're interested, click on the Tickets button in the corner of the site to find a #Cinema near you.
#cinemastodon #Animation #Film #StopMotion #StopMo #Laika #Movies -
Coraline 15th Anniversary - #FathomEvents
https://www.fathomevents.com/events/coraline-15th-anniversary/?cmp=ST_Fathom_int_Coraline_nat_email_Inclusions&_hsmi=317966506
#Coraline is returning to #theaters for her 15th Anniversary. Dates are between Aug 15-22. If you're interested, click on the Tickets button in the corner of the site to find a #Cinema near you.
#cinemastodon #Animation #Film #StopMotion #StopMo #Laika #Movies -
The guys at @rifftrax including our friend #BillCorbett, are live riffing the original Point Break(!!!) LIVE at the State Theater in Minneapolis on July 27th!
Then #FathomEvents will take it to the theaters on 8/8 and 8/13!!! Get tickets for both below! https://www.rifftrax.com/live
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Except I really hate the thing #FathomEvents does where they play some sort of featurette before the movie. Save it for after! Even people who have seen the movie before dint want to watch a bunch of out-of-context scenes from the movie right before they watch the movie.
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Fathomless Ritual – Hymns for the Lesser Gods Review
By Ferox
One develops a strange relationship with the concept of “accessibility” in this gig. Take Fathomless Ritual’s debut Hymns for the Lesser Gods. This slab of murky death metal plunges you right into the maelstrom with furious opening track “Hecatomb for an Unending Madness.” The rest of the album is full of riffs that land like an oddly shaped object dropped from a third-story window: they bounce around unpredictably, and if you’re not careful they might just hit you in the face. My point is, no one will play Hymns for the Lesser Gods as the soundtrack to a spin class. Why, then, does the phrase “like a more accessible Demilich” recur in my listening notes? B. Dean, who does everything here, draws a deep lungful of inspiration from the Finnish pioneers of the weird. He then sweetens up their sound with a never-ending blitz of catchy riffs and the strategic application of groove. Is Fathomless Ritual onto something here, or are we wandering in the wilds of Tribcore?
That which challenged us yesterday becomes today’s canon. B. Dean seems to understand that the collective metal audience has long since digested the off-kilter innovations of Demilich’s Nespithe. Fathomless Ritual breaks no new ground here, content rather to deliver a fleet and exhilarating tour of what are now the tropes of a certain subsect of Olde-School Death. B. Dean’s penchant for groove asserts itself early on tracks like “Exiled to the Lower Catacombs” and “Gorge of the Nameless.” Hymns for the Lesser Gods boasts enough variety to keep things entertaining throughout its forty-minute span. A winding lead guitar line that doubles the central riff invigorates “Grafted to the Chambers of Mirth;” the amazingly titled “Wielding the Bone Wand” boasts ever-transmuting riffs and is the best song on the set. Dean’s vocals, which live somewhere between a burp and a growl, are mostly just background noise, and he could have used another ear to handle the undistinguished production. Still and all, fans of the genre should happily burp along to these Hymns.
B. Dean’s other projects (Pukewraith, Fumes, etc.) have yet to rawdog my earholes, but he acquits himself well as a songwriter. The album roars out of the gate, builds momentum with the aforementioned right-left combo of “Exiled to the Lower Catacombs” and “Gorge of the Nameless,” and never relinquishes its grip. The longer pieces here (“Gifts for Aranaku” and “Grafted to the Chambers of Mirth”) sometimes feel like Fathomless Ritual is running the same playbook to diminished effect, but the songs are packed with enough variety to keep things generally spry. Hymns for the Lesser Gods’ rollicking run-through genre tropes recalls the reliably infectious Cryptworm. Little here to tax or challenge, but hints of a guiding vision do pop up and there’s plenty to keep your knuckles dragging along for forty minutes.
Hymns for the Lesser Gods sets its own ceiling, then does a decent job hovering near the apex of its ambitions. B. Dean’s mixing and mastering is a consistent drag on his own songwriting. It’s not disastrous, but there’s a nagging sense that these songs could be showcased more effectively. My ear had to root around in the mix to find the riffs. This sort of murk used to be part of the fun of committing yourself to metal fandom. Fortunately, technology has brought us a long way, and Fathomless Ritual’s production is not to modern standards. The vocals share in the shortfall. Here as elsewhere, B. Dean owes an obvious debt to Antti Boman of Demilich. But where he energizes the music with some new ideas, Dean’s gutturals land as perfunctory.
The one-man act obviously affords a creator the opportunity to port their musical vision right into your ears. Fathomless Ritual knows what it’s going for, and they deliver an enjoyable debut that I’ll spin again. Hopefully, B. Dean will find someone to challenge him in the right ways on future efforts. Until then, Hymns for the Lesser Gods is a solid slab of death metal that’s unlikely to engage you much past the length of its run-time.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: fathomlessritual.bandcamp.com | instagram.com/fathomlessritual
Releases Worldwide: March 1, 2024#2024 #30 #CanadianMetal #Cryptworm #DeathMetal #Demilich #FathomlessRitual #HymnsForTheLesserGods #Mar24 #TranscendingObscurity
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Fathomless Ritual – Hymns for the Lesser Gods Review
By Ferox
One develops a strange relationship with the concept of “accessibility” in this gig. Take Fathomless Ritual’s debut Hymns for the Lesser Gods. This slab of murky death metal plunges you right into the maelstrom with furious opening track “Hecatomb for an Unending Madness.” The rest of the album is full of riffs that land like an oddly shaped object dropped from a third-story window: they bounce around unpredictably, and if you’re not careful they might just hit you in the face. My point is, no one will play Hymns for the Lesser Gods as the soundtrack to a spin class. Why, then, does the phrase “like a more accessible Demilich” recur in my listening notes? B. Dean, who does everything here, draws a deep lungful of inspiration from the Finnish pioneers of the weird. He then sweetens up their sound with a never-ending blitz of catchy riffs and the strategic application of groove. Is Fathomless Ritual onto something here, or are we wandering in the wilds of Tribcore?
That which challenged us yesterday becomes today’s canon. B. Dean seems to understand that the collective metal audience has long since digested the off-kilter innovations of Demilich’s Nespithe. Fathomless Ritual breaks no new ground here, content rather to deliver a fleet and exhilarating tour of what are now the tropes of a certain subsect of Olde-School Death. B. Dean’s penchant for groove asserts itself early on tracks like “Exiled to the Lower Catacombs” and “Gorge of the Nameless.” Hymns for the Lesser Gods boasts enough variety to keep things entertaining throughout its forty-minute span. A winding lead guitar line that doubles the central riff invigorates “Grafted to the Chambers of Mirth;” the amazingly titled “Wielding the Bone Wand” boasts ever-transmuting riffs and is the best song on the set. Dean’s vocals, which live somewhere between a burp and a growl, are mostly just background noise, and he could have used another ear to handle the undistinguished production. Still and all, fans of the genre should happily burp along to these Hymns.
B. Dean’s other projects (Pukewraith, Fumes, etc.) have yet to rawdog my earholes, but he acquits himself well as a songwriter. The album roars out of the gate, builds momentum with the aforementioned right-left combo of “Exiled to the Lower Catacombs” and “Gorge of the Nameless,” and never relinquishes its grip. The longer pieces here (“Gifts for Aranaku” and “Grafted to the Chambers of Mirth”) sometimes feel like Fathomless Ritual is running the same playbook to diminished effect, but the songs are packed with enough variety to keep things generally spry. Hymns for the Lesser Gods’ rollicking run-through genre tropes recalls the reliably infectious Cryptworm. Little here to tax or challenge, but hints of a guiding vision do pop up and there’s plenty to keep your knuckles dragging along for forty minutes.
Hymns for the Lesser Gods sets its own ceiling, then does a decent job hovering near the apex of its ambitions. B. Dean’s mixing and mastering is a consistent drag on his own songwriting. It’s not disastrous, but there’s a nagging sense that these songs could be showcased more effectively. My ear had to root around in the mix to find the riffs. This sort of murk used to be part of the fun of committing yourself to metal fandom. Fortunately, technology has brought us a long way, and Fathomless Ritual’s production is not to modern standards. The vocals share in the shortfall. Here as elsewhere, B. Dean owes an obvious debt to Antti Boman of Demilich. But where he energizes the music with some new ideas, Dean’s gutturals land as perfunctory.
The one-man act obviously affords a creator the opportunity to port their musical vision right into your ears. Fathomless Ritual knows what it’s going for, and they deliver an enjoyable debut that I’ll spin again. Hopefully, B. Dean will find someone to challenge him in the right ways on future efforts. Until then, Hymns for the Lesser Gods is a solid slab of death metal that’s unlikely to engage you much past the length of its run-time.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity
Websites: fathomlessritual.bandcamp.com | instagram.com/fathomlessritual
Releases Worldwide: March 1, 2024#2024 #30 #CanadianMetal #Cryptworm #DeathMetal #Demilich #FathomlessRitual #HymnsForTheLesserGods #Mar24 #TranscendingObscurity
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#AniplexUSA & #FathomEvents Sets ‘Rascal Does Not Dream’ #Anime Double Feature Theatrical Event http://dlvr.it/T39Wlc
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#AniplexUSA & #FathomEvents Sets ‘Rascal Does Not Dream’ #Anime Double Feature Theatrical Event http://dlvr.it/T39Wlc
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Cantu Ignis – The Fathomless Dominion Review
By Twelve
When I recently commented that I miss Eternal Tears of Sorrow, the universe must have heard me. Or, at least, Steel Druhm did, as he spied from our vast promo pit The Fathomless Dominion, the sophomore full-length from US-based Cantu Ignis, an album allegedly recommended for fans of Eternal Tears of Sorrow (among others). Now, I’ll admit, lately I’ve been a bit picky with my review promos, but that simple reference was enough for me to cheerfully go in blind. Cantu Ignis base their sound off of quite a few legends of the melodic death metal scene, which is a great way to get some attention (hey, it worked on me), but also a good way to raise expectations. How do Cantu Ignis stack up to their idols?
The symphonic/melodic death metal tag Cantu Ignis placed on The Fathomless Dominion is an apt one, with some elements of black metal in the mix. Evoking the aforementioned Mors Principium Est, Kalmah, and, yes, Eternal Tears of Sorrow, the music here is vicious, thunderous, and often beautiful, equally likely to pummel blast beats and heavy riffs as to let synths dance across the arena. The skill and variety of each player build a balance that keeps things lively. Guitars and keys are equally likely to maintain melody, but the melody is always there, whether in the form of the sweeping leads that adorn the breakneck title track or the twinkling keys that decorate the comparatively mid-paced “Buried Planet.” The Fathomless Dominion is a good example of leads-led melodeath that shies away from neither heavy, angry moments (“Survey the Sun”), nor heavy keys used to make a melody stick (“The Fathomless Dominion”). This is a great setup for an album in this genre.
I get the sense that Cantu Ignis wanted each song on The Fathomless Dominion to showcase a different side of their style. “Survey the Sun” is the only song to use October Falls-esque acoustic interludes, for example, while “Within the Mind of Hell” takes a sweeping, epic approach largely absent from the rest of the album. Of course, with only six songs spanning thirty-seven minutes, it isn’t surprising that each one does something different. What is a bit surprising is just how many ideas Cantu Ignis fit into that fairly small timeframe—keys solos and guitar solos, heavy bass, and so many riffs. Perhaps the most consistent things on the album are the snarling vocals and speedy drums, which consistently take the complex route to get to where they’re going. In essence, there is a lot going on across The Fathomless Dominion, and the majority of it is very strong melodeath magic.
If there’s any issue with The Fathomless Dominion, it’s the same as its strength—a lot of stuff happening at once. Most songs have distinct structures and all repeat themes, but it often doesn’t feel that way; “Buried Planet,” for example, definitely has a chorus but by the time I get to the end of the album I can’t remember anything about it. It’s strong in the moment—a mid-paced burner, as I mentioned earlier, and a great break after the wildness of “Survey the Sun”—but with so much going on, it struggles to maintain an identity. Similarly, “A Reality Deceased” reminds me of Symbolik, in that it has some awesome, sweeping passages that evoke terrifying heights with intensity. Unfortunately, those passages are all I really take away from it. On the bright side, most everything sounds good; all instruments are clear-sounding and strong (with the exception of the snare drum, which sounds too click-y for my tastes). It allows me to hear pretty much everything going on—Cantu Ignis’s greatest strength but also a potential setback for The Fathomless Dominion.
I love the sound that Cantu Ignis have here; I love the way The Fathomless Dominion makes me feel. There are many great moments throughout a mere thirty-seven minutes, and a rock-solid foundation of modern melodeath goodness. The Fathomless Dominion is a great example of art that shows a little too much of a good thing. The good news is that all of it is good—I can only imagine that the next one will be even better.
Rating: 3.0/5.0
DR: 5 | Format Reviewed: 1,441 kbps WAV
Label: Self-release
Websites: cantuignis.bandcamp.com | facebook.com/Cantu-Ignis
Releases Worldwide: February 14th, 2025#2025 #30 #AmericanMetal #CantuIgnis #EternalTearsOfSorrow #Feb25 #Kalmah #MelodicDeathMetal #MorsPrincipiumEst #OctoberFalls #Review #Reviews #SelfRelease #Symbolik #SymphonicBlackMetal #TheFathomlessDominion
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Cantu Ignis – The Fathomless Dominion Review
By Twelve
When I recently commented that I miss Eternal Tears of Sorrow, the universe must have heard me. Or, at least, Steel Druhm did, as he spied from our vast promo pit The Fathomless Dominion, the sophomore full-length from US-based Cantu Ignis, an album allegedly recommended for fans of Eternal Tears of Sorrow (among others). Now, I’ll admit, lately I’ve been a bit picky with my review promos, but that simple reference was enough for me to cheerfully go in blind. Cantu Ignis base their sound off of quite a few legends of the melodic death metal scene, which is a great way to get some attention (hey, it worked on me), but also a good way to raise expectations. How do Cantu Ignis stack up to their idols?
The symphonic/melodic death metal tag Cantu Ignis placed on The Fathomless Dominion is an apt one, with some elements of black metal in the mix. Evoking the aforementioned Mors Principium Est, Kalmah, and, yes, Eternal Tears of Sorrow, the music here is vicious, thunderous, and often beautiful, equally likely to pummel blast beats and heavy riffs as to let synths dance across the arena. The skill and variety of each player build a balance that keeps things lively. Guitars and keys are equally likely to maintain melody, but the melody is always there, whether in the form of the sweeping leads that adorn the breakneck title track or the twinkling keys that decorate the comparatively mid-paced “Buried Planet.” The Fathomless Dominion is a good example of leads-led melodeath that shies away from neither heavy, angry moments (“Survey the Sun”), nor heavy keys used to make a melody stick (“The Fathomless Dominion”). This is a great setup for an album in this genre.
I get the sense that Cantu Ignis wanted each song on The Fathomless Dominion to showcase a different side of their style. “Survey the Sun” is the only song to use October Falls-esque acoustic interludes, for example, while “Within the Mind of Hell” takes a sweeping, epic approach largely absent from the rest of the album. Of course, with only six songs spanning thirty-seven minutes, it isn’t surprising that each one does something different. What is a bit surprising is just how many ideas Cantu Ignis fit into that fairly small timeframe—keys solos and guitar solos, heavy bass, and so many riffs. Perhaps the most consistent things on the album are the snarling vocals and speedy drums, which consistently take the complex route to get to where they’re going. In essence, there is a lot going on across The Fathomless Dominion, and the majority of it is very strong melodeath magic.
If there’s any issue with The Fathomless Dominion, it’s the same as its strength—a lot of stuff happening at once. Most songs have distinct structures and all repeat themes, but it often doesn’t feel that way; “Buried Planet,” for example, definitely has a chorus but by the time I get to the end of the album I can’t remember anything about it. It’s strong in the moment—a mid-paced burner, as I mentioned earlier, and a great break after the wildness of “Survey the Sun”—but with so much going on, it struggles to maintain an identity. Similarly, “A Reality Deceased” reminds me of Symbolik, in that it has some awesome, sweeping passages that evoke terrifying heights with intensity. Unfortunately, those passages are all I really take away from it. On the bright side, most everything sounds good; all instruments are clear-sounding and strong (with the exception of the snare drum, which sounds too click-y for my tastes). It allows me to hear pretty much everything going on—Cantu Ignis’s greatest strength but also a potential setback for The Fathomless Dominion.
I love the sound that Cantu Ignis have here; I love the way The Fathomless Dominion makes me feel. There are many great moments throughout a mere thirty-seven minutes, and a rock-solid foundation of modern melodeath goodness. The Fathomless Dominion is a great example of art that shows a little too much of a good thing. The good news is that all of it is good—I can only imagine that the next one will be even better.
Rating: 3.0/5.0
DR: 5 | Format Reviewed: 1,441 kbps WAV
Label: Self-release
Websites: cantuignis.bandcamp.com | facebook.com/Cantu-Ignis
Releases Worldwide: February 14th, 2025#2025 #30 #AmericanMetal #CantuIgnis #EternalTearsOfSorrow #Feb25 #Kalmah #MelodicDeathMetal #MorsPrincipiumEst #OctoberFalls #Review #Reviews #SelfRelease #Symbolik #SymphonicBlackMetal #TheFathomlessDominion
