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89 results for “metalisp”
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I decided to setup a #LISP forum under https://community.metalisp.dev using #flarum.
Here is my motivation:
I started to hate reddit.
Reddit sells our data to AI corporations and advertisement corporations.
Lisp discussions cant be archived by the community.
Reddit owns our IP.
Stupid user engagement stuff.
etc.I want to have a community driven forum focused on #lisp.
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Here is my simple and naiv approach to #web #authentication
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It's truly astonishing to watch the entire #German media landscape utterly humiliate itself. Instead of clearly and unequivocally addressing the #USA (once again) breaking international law, they're trying to beat around the bush. The Tagesschau even refers to the "capture" of Maduro. But it was clearly an abduction. On top of that, we're shown images of cheering exiled #Venezuelans who live in the U.S. And images from #Venezuela of course, show guerrillas and paramilitaries armed with AKs.
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Heute #Glasfaseranschluss bei der #Telekom bestellt. Bin gespannt wie der Wechsel laufen wird. Hat ja ewig gedauert bis #Nürnberg Glasfaser bekommen hat.
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Heute #Glasfaseranschluss bei der #Telekom bestellt. Bin gespannt wie der Wechsel laufen. Hat ja ewig gedauert bis #Nürnberg Glasfaser bekommen hat.
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Heute #Glasfaseranschluss bei der #Telekom bestellt. Bin gespannt wie der Wechsel laufen wird. Hat ja ewig gedauert bis #Nürnberg Glasfaser bekommen hat.
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How to Use ASDF with FiveAM
https://www.perplexity.ai/page/how-to-use-asdf-with-fiveam-Y543dyCZTPqXWdQv7whoKA
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🎸 ¡No te lo pierdas! Gus G. y Ronnie Romero llegan a España en octubre con su “Convergence Tour 2025”. Madrid, Barcelona, Zaragoza… clásicos + nuevo material. Entradas ya a la venta. #GusG #RonnieRomero #ConvergenceTour #Rock #MetalEspaña
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"What should we name the generic Slinky?"
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"What should we name the generic Slinky?"
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"What should we name the generic Slinky?"
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"What should we name the generic Slinky?"
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"What should we name the generic Slinky?"
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While my main kink is rock and metalish I do think of myself as a very diverse guy when lisiting to music. And ffs this is a masterpiece and gives me shivers ... Well done "Robert" ... #music #feel #betterman https://www.youtube.com/watch?v=hMB_RZuK0PU
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RE: https://mastodon.social/@UniversidadxClima/116080758813342209
"La aparición -en las páginas 18, 19 y 20 del informe de El Lirio- de un estudio regional sobre #suelos con #metalespesados elaborado para la Consejería de Agricultura de #Murcia cobra una relevancia especial. No solo porque ese estudio es usado como referencia científica en un expediente oficial, sino porque su contenido sigue sin hacerse público mientras la actuación sobre El Lirio está bajo la lupa judicial"
RRNEWS.es -
La CARM #Murcia oculta un informe sobre altas concentraciones de #metalespesados en los suelos agrícolas del Campo de #Cartagena - @RRNEWS
¿Están contaminados los suelos agrícolas del Campo de Cartagena? ¿Qué revela exactamente el informe que oculta la Consejería de Agricultura? ¿Son seguros los productos agrícolas cultivados en esos suelos? La #universidad Politécnica de Cartagena #UPCT entregó el informe a la CARM
#contaminación
https://rrnews.es/2026/02/la-carm-oculta-un-informe-sobre-altas-concentraciones-de-metales-pesados-en-los-suelos-del-campo-de-cartagena.html -
Meta lanza los Ray-Ban Display: El Futuro de la Realidad en tus Ojos
Meta ha presentado sus primeras gafas inteligentes con una pantalla integrada, las Meta Ray-Ban Display, que saldrán a la venta el 30 de septiembre por $799. Estas gafas, que buscan integrar la tecnología en la vida cotidiana sin distracciones, estarán disponibles exclusivamente en tiendas físicas de Estados Unidos inicialmente (Fuente Meta).
Estas nuevas gafas, un paso adelante de los modelos anteriores que solo incluían cámara y altavoz, incorporan una pantalla que permite a los usuarios interactuar con Meta AI, recibir notificaciones, realizar videollamadas, y utilizar funciones de navegación. Con un precio de $799, el paquete incluye las gafas y una banda neuronal que promete 18 horas de autonomía. Las características destacadas incluyen respuestas visuales de la IA, mensajes, videollamadas, una cámara con visor para fotos y videos, navegación para caminatas, subtítulos en vivo y traducción, y controles de música. Meta ha justificado la restricción de venta en tiendas para asegurar un ajuste perfecto para los clientes, aunque se espera que la disponibilidad se expanda a otros países como Canadá, Francia, Reino Unido e Italia a principios de 2026. Este lanzamiento marca un esfuerzo de la compañía por ofrecer una experiencia tecnológica menos invasiva, enfocada en la asistencia diaria y la fluidez en el uso.
Compartimos un resumen completo de los lanzamientos:
- Meta presentó tres importantes novedades relacionadas con sus lentes con IA, dentro de su visión de llevar la superinteligencia personal a todo el mundo:
- Ray-Ban Meta (Gen 2): La nueva generación de lentes Ray-Ban Meta ya está disponible. Ofrece hasta el doble de duración de batería respecto al modelo anterior, grabación en video Ultra HD 3K y mucho más. La batería permite hasta ocho horas de uso mixto y las cámaras duplican la cantidad de píxeles del modelo anterior para una captura de contenido más nítida, fluida y vibrante.
- Conversation Focus: Una nueva función que llegará próximamente, permite que los altavoces de oído abierto de tus lentes con IA amplifiquen la voz de la persona con quien estás hablando. Estará disponible como actualización de software para los modelos actuales Ray-Ban Meta y Oakley Meta HSTN.
- Conoce más sobre estos lentes aquí.
- Oakley Meta Vanguard: Tras el éxito de los Oakley Meta HSTN, Meta presentó los nuevos Oakley Meta Vanguard, lentes con IA de alto rendimiento que combinan el estilo clásico de Oakley con la resistencia necesaria para deportes de alta intensidad y aventuras al aire libre. Incluyen hasta nueve horas de batería, un campo de visión ampliado de 122 grados para la cámara, video en 3K y nuevos modos de grabación como Hyperlapse y Slow Motion.
- Además, se anunció la integración de Garmin y Strava con la app Meta AI, para ofrecer estadísticas en tiempo real sin necesidad de usar las manos.
- Las integraciones con Garmin incluyen una nueva función de captura automática basada en datos del entrenamiento, como alcanzar una cierta distancia o velocidad, para capturar momentos sin necesidad de comandos de voz.
- Los modos Hyperlapse y Slow Motion también estarán disponibles en las Ray-Ban Meta (Gen 2) y Oakley Meta HSTN.
- Conoce más sobre estos lentes aquí.
- Meta Ray-Ban Display: Meta anunció los Meta Ray-Ban Display, sus primeros lentes con IA que incorporan una pantalla monocular de alta resolución. Estos lentes combinan el icónico diseño de Ray-Ban con la nueva Meta Neural Band, que permite un control intuitivo y discreto.
- La pantalla ofrece una resolución de 42 pixeles por grado, superior a cualquier visor de realidad virtual para consumidores.
- La Meta Neural Band tiene hasta 18 horas de batería, un diseño cómodo y es resistente al agua.
- Conoce más sobre estos lentes aquí.
- Lentes con IA para el bien común: Personas ciegas o con baja visión, así como veteranos con discapacidad visual en Estados Unidos, están usando los lentes con IA de Meta para desenvolverse de forma más independiente.
- Meta refuerza su apoyo con las siguientes iniciativas:
- La Blinded Veterans Association está desarrollando una guía para enseñar a veteranos con discapacidad visual cómo usar las Ray-Ban Meta en su día a día.
- Con la expansión global de Ray-Ban Meta, la integración de Be My Eyes estará disponible en más países e idiomas próximamente.
- También será más fácil usarla: bastará con tocar el lateral de las lentes, en lugar de decir en voz alta “Hey Meta, llama a un voluntario”.
- Meta refuerza su apoyo con las siguientes iniciativas:
- Impulso al metaverso: Meta presentó Meta Horizon Engine y Meta Horizon Studio, dos herramientas clave para dar vida al metaverso. Horizon Engine mejora los gráficos, el rendimiento y la creación de mundos avanzados; por su parte, Horizon Studio es un nuevo editor y centro de herramientas para creadores.
- Con Horizon Engine, Meta ha creado un nuevo Hogar Inmersivo para realidad virtual, que permite cargar y renderizar nuevos mundos cuatro veces más rápido.
- Meta también lanzó Meta Horizon TV, una plataforma que lleva lo mejor del cine, la televisión, los deportes en vivo, la música y mucho más directamente a tu visor.
#Meta #MetaDisplay #MetaRayBan #RayBan #RealidadAumentada #SmartGlasses #Tecnologia #arielmcorg #infosertec #PORTADA
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Grayceon – Then the Darkness Review
By Dolphin Whisperer
Novelty in the metalsphere exists in many folds, whether it be the marrying of virtuosity and familiar structures or the exploration of foreign sounds and textures in a rock/metal context.1 Grayceon, for the better part of the past twenty years, has lingered in the latter path from 2007’s self-titled debut to this newest grand work, Then the Darkness, finding value in the riffy and amp-driven space between emotive, layered electric cello work. Trading a traditional, handheld four-stringed pulse for a classical, stand-up, sullen expression, Grayceon’s Jackie Perez Gratz (Giant Squid, ex-Ludicra) has led this San Francisco-based troupe through waxing journeys of post-inflected, prog-minded heavy metal grandeur with a bowed breath of fresh air time and time again. And now, with Then the Darkness, Grayceon looks to double down on their signature sound—a culmination of frustrations in fancy form.
Possessing both the prowess to open Then the Darkness with a blistering cry (“Thousand Year Storm”) and approach its close with a near lullaby (“(Untitled)”), Gratz and Grayceon continue to find a necessary diversity in their growing body of work. And in the capable engineering hands of trusted partner Jack Shirley,2 Gratz’s lilting vocal lure against counterpoint chamber-influenced swings find an increasing warmth against thick, finger-picked guitar runs and long-drawn crescendos. Time has weathered Gratz’s voice into a full crackle and alto croon that reflects the kind of mystical incantation that you might hear in latter-day Sabbath Assembly, as well as providing room for growth in harsh screeching accompaniment reminiscent of the minstrel Jekyll and Hyde performances of early Ludicra. Yet Grayceon remains in their own element first, even weaving moments of self-referential melodies throughout the back half of Then the Darkness to root deeply the recurring nature of the traumas each of their works explore.
As an exercise in textural excellence, though, Then the Darkness would struggle to entertain through its mammoth eighty-minute sermon if not backed by its aching heart narrative. With themes revolving around the complex nature of evolving relationships—between parent and child, between friends, between partners, between society and its most downtrodden—Gratz navigates each sorrowful tune with a warbling pathos that reads full and earnest in its many cracks. And while this downcast reading flows through much of the journey, the long fadeout from “Mahsa” to instrumental segue “Then the Darkness” renders most of the C-side (“Then…” through “Song of the Snake”) far more placid and buried than the lively bounce that “Holding Lines” provides to the closing chapters. It’s hard to escape the “what if” in terms of what could happen in a more streamlined experience—despite the high quality of Grayceon’s strongest offerings, the slightest dip or departure feels like a missed opportunity where their other works to date have chosen a lighter load.
However, Grayceon’s mastery of studio play emboldens simple structures with deft attacks to fuel the craveability of Then the Darkness. With the ebb and flow of a jam session, quicker cuts fill the air with rockin’ riffs, tight rhythms, urgent melodies, and a classic, volume-driven tone (“One Third,” “3 Points of Light,” “Holding Lines”). And while it’s up front harmonic excess in plucked guitar ascensions that collide with sliding bow tension pepper these tracks with short-term pleasure, it’s the subtle double-punched lines and diverging, hard-panned cello-guitar fill flickers that stimulate an urge to devour all nooks of sound available. And as buttery-yet-jagged riffage finds a crooked home between layered cello stabs (“Thousand Year Storm”) and slithering, off-kilter refrains (“Song of the Snake”), each cut in careful construction escalates to crescendos coordinated in explosive and sullen moods. The longest track, “Mahsa,” cranks all of these techniques to keep each recursion along a gentle climb rather than a flat stroll.
If providing an audience with a plate too full to finish was the goal, Then the Darkness has more than fulfilled the task. From humble roots as a scrappy power trio to this newest incarnation as presence-demanding storytellers, Grayceon’s path of human travail has brought about a gargantuan work that demands attention and dedication. In its four-sided tale, Then the Darkness strikes with an undeniable, hook-laden melancholy when its fire burns brightest. In isolation, no track falters. And though a waning intensity keeps it from being a masterpiece, Grayceon offers enough top-shelf material to make a long service worthwhile.
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Translation Loss Records | Bandcamp
Websites: grayceon.bandcamp.com | facebook.com/grayceon
Releases Worldwide: July 25th, 2025#2025 #35 #AmericanMetal #GiantSquid #Grayceon #Jul25 #Ludicra #PostMetal #ProgressiveMetal #Review #Reviews #SabbathAssembly #ThenTheDarkness #TranslationLossRecords
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Grayceon – Then the Darkness Review
By Dolphin Whisperer
Novelty in the metalsphere exists in many folds, whether it be the marrying of virtuosity and familiar structures or the exploration of foreign sounds and textures in a rock/metal context.1 Grayceon, for the better part of the past twenty years, has lingered in the latter path from 2007’s self-titled debut to this newest grand work, Then the Darkness, finding value in the riffy and amp-driven space between emotive, layered electric cello work. Trading a traditional, handheld four-stringed pulse for a classical, stand-up, sullen expression, Grayceon’s Jackie Perez Gratz (Giant Squid, ex-Ludicra) has led this San Francisco-based troupe through waxing journeys of post-inflected, prog-minded heavy metal grandeur with a bowed breath of fresh air time and time again. And now, with Then the Darkness, Grayceon looks to double down on their signature sound—a culmination of frustrations in fancy form.
Possessing both the prowess to open Then the Darkness with a blistering cry (“Thousand Year Storm”) and approach its close with a near lullaby (“(Untitled)”), Gratz and Grayceon continue to find a necessary diversity in their growing body of work. And in the capable engineering hands of trusted partner Jack Shirley,2 Gratz’s lilting vocal lure against counterpoint chamber-influenced swings find an increasing warmth against thick, finger-picked guitar runs and long-drawn crescendos. Time has weathered Gratz’s voice into a full crackle and alto croon that reflects the kind of mystical incantation that you might hear in latter-day Sabbath Assembly, as well as providing room for growth in harsh screeching accompaniment reminiscent of the minstrel Jekyll and Hyde performances of early Ludicra. Yet Grayceon remains in their own element first, even weaving moments of self-referential melodies throughout the back half of Then the Darkness to root deeply the recurring nature of the traumas each of their works explore.
As an exercise in textural excellence, though, Then the Darkness would struggle to entertain through its mammoth eighty-minute sermon if not backed by its aching heart narrative. With themes revolving around the complex nature of evolving relationships—between parent and child, between friends, between partners, between society and its most downtrodden—Gratz navigates each sorrowful tune with a warbling pathos that reads full and earnest in its many cracks. And while this downcast reading flows through much of the journey, the long fadeout from “Mahsa” to instrumental segue “Then the Darkness” renders most of the C-side (“Then…” through “Song of the Snake”) far more placid and buried than the lively bounce that “Holding Lines” provides to the closing chapters. It’s hard to escape the “what if” in terms of what could happen in a more streamlined experience—despite the high quality of Grayceon’s strongest offerings, the slightest dip or departure feels like a missed opportunity where their other works to date have chosen a lighter load.
However, Grayceon’s mastery of studio play emboldens simple structures with deft attacks to fuel the craveability of Then the Darkness. With the ebb and flow of a jam session, quicker cuts fill the air with rockin’ riffs, tight rhythms, urgent melodies, and a classic, volume-driven tone (“One Third,” “3 Points of Light,” “Holding Lines”). And while it’s up front harmonic excess in plucked guitar ascensions that collide with sliding bow tension pepper these tracks with short-term pleasure, it’s the subtle double-punched lines and diverging, hard-panned cello-guitar fill flickers that stimulate an urge to devour all nooks of sound available. And as buttery-yet-jagged riffage finds a crooked home between layered cello stabs (“Thousand Year Storm”) and slithering, off-kilter refrains (“Song of the Snake”), each cut in careful construction escalates to crescendos coordinated in explosive and sullen moods. The longest track, “Mahsa,” cranks all of these techniques to keep each recursion along a gentle climb rather than a flat stroll.
If providing an audience with a plate too full to finish was the goal, Then the Darkness has more than fulfilled the task. From humble roots as a scrappy power trio to this newest incarnation as presence-demanding storytellers, Grayceon’s path of human travail has brought about a gargantuan work that demands attention and dedication. In its four-sided tale, Then the Darkness strikes with an undeniable, hook-laden melancholy when its fire burns brightest. In isolation, no track falters. And though a waning intensity keeps it from being a masterpiece, Grayceon offers enough top-shelf material to make a long service worthwhile.
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Translation Loss Records | Bandcamp
Websites: grayceon.bandcamp.com | facebook.com/grayceon
Releases Worldwide: July 25th, 2025#2025 #35 #AmericanMetal #GiantSquid #Grayceon #Jul25 #Ludicra #PostMetal #ProgressiveMetal #Review #Reviews #SabbathAssembly #ThenTheDarkness #TranslationLossRecords
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Grayceon – Then the Darkness Review
By Dolphin Whisperer
Novelty in the metalsphere exists in many folds, whether it be the marrying of virtuosity and familiar structures or the exploration of foreign sounds and textures in a rock/metal context.1 Grayceon, for the better part of the past twenty years, has lingered in the latter path from 2007’s self-titled debut to this newest grand work, Then the Darkness, finding value in the riffy and amp-driven space between emotive, layered electric cello work. Trading a traditional, handheld four-stringed pulse for a classical, stand-up, sullen expression, Grayceon’s Jackie Perez Gratz (Giant Squid, ex-Ludicra) has led this San Francisco-based troupe through waxing journeys of post-inflected, prog-minded heavy metal grandeur with a bowed breath of fresh air time and time again. And now, with Then the Darkness, Grayceon looks to double down on their signature sound—a culmination of frustrations in fancy form.
Possessing both the prowess to open Then the Darkness with a blistering cry (“Thousand Year Storm”) and approach its close with a near lullaby (“(Untitled)”), Gratz and Grayceon continue to find a necessary diversity in their growing body of work. And in the capable engineering hands of trusted partner Jack Shirley,2 Gratz’s lilting vocal lure against counterpoint chamber-influenced swings find an increasing warmth against thick, finger-picked guitar runs and long-drawn crescendos. Time has weathered Gratz’s voice into a full crackle and alto croon that reflects the kind of mystical incantation that you might hear in latter-day Sabbath Assembly, as well as providing room for growth in harsh screeching accompaniment reminiscent of the minstrel Jekyll and Hyde performances of early Ludicra. Yet Grayceon remains in their own element first, even weaving moments of self-referential melodies throughout the back half of Then the Darkness to root deeply the recurring nature of the traumas each of their works explore.
As an exercise in textural excellence, though, Then the Darkness would struggle to entertain through its mammoth eighty-minute sermon if not backed by its aching heart narrative. With themes revolving around the complex nature of evolving relationships—between parent and child, between friends, between partners, between society and its most downtrodden—Gratz navigates each sorrowful tune with a warbling pathos that reads full and earnest in its many cracks. And while this downcast reading flows through much of the journey, the long fadeout from “Mahsa” to instrumental segue “Then the Darkness” renders most of the C-side (“Then…” through “Song of the Snake”) far more placid and buried than the lively bounce that “Holding Lines” provides to the closing chapters. It’s hard to escape the “what if” in terms of what could happen in a more streamlined experience—despite the high quality of Grayceon’s strongest offerings, the slightest dip or departure feels like a missed opportunity where their other works to date have chosen a lighter load.
However, Grayceon’s mastery of studio play emboldens simple structures with deft attacks to fuel the craveability of Then the Darkness. With the ebb and flow of a jam session, quicker cuts fill the air with rockin’ riffs, tight rhythms, urgent melodies, and a classic, volume-driven tone (“One Third,” “3 Points of Light,” “Holding Lines”). And while it’s up front harmonic excess in plucked guitar ascensions that collide with sliding bow tension pepper these tracks with short-term pleasure, it’s the subtle double-punched lines and diverging, hard-panned cello-guitar fill flickers that stimulate an urge to devour all nooks of sound available. And as buttery-yet-jagged riffage finds a crooked home between layered cello stabs (“Thousand Year Storm”) and slithering, off-kilter refrains (“Song of the Snake”), each cut in careful construction escalates to crescendos coordinated in explosive and sullen moods. The longest track, “Mahsa,” cranks all of these techniques to keep each recursion along a gentle climb rather than a flat stroll.
If providing an audience with a plate too full to finish was the goal, Then the Darkness has more than fulfilled the task. From humble roots as a scrappy power trio to this newest incarnation as presence-demanding storytellers, Grayceon’s path of human travail has brought about a gargantuan work that demands attention and dedication. In its four-sided tale, Then the Darkness strikes with an undeniable, hook-laden melancholy when its fire burns brightest. In isolation, no track falters. And though a waning intensity keeps it from being a masterpiece, Grayceon offers enough top-shelf material to make a long service worthwhile.
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Translation Loss Records | Bandcamp
Websites: grayceon.bandcamp.com | facebook.com/grayceon
Releases Worldwide: July 25th, 2025#2025 #35 #AmericanMetal #GiantSquid #Grayceon #Jul25 #Ludicra #PostMetal #ProgressiveMetal #Review #Reviews #SabbathAssembly #ThenTheDarkness #TranslationLossRecords
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Grayceon – Then the Darkness Review
By Dolphin Whisperer
Novelty in the metalsphere exists in many folds, whether it be the marrying of virtuosity and familiar structures or the exploration of foreign sounds and textures in a rock/metal context.1 Grayceon, for the better part of the past twenty years, has lingered in the latter path from 2007’s self-titled debut to this newest grand work, Then the Darkness, finding value in the riffy and amp-driven space between emotive, layered electric cello work. Trading a traditional, handheld four-stringed pulse for a classical, stand-up, sullen expression, Grayceon’s Jackie Perez Gratz (Giant Squid, ex-Ludicra) has led this San Francisco-based troupe through waxing journeys of post-inflected, prog-minded heavy metal grandeur with a bowed breath of fresh air time and time again. And now, with Then the Darkness, Grayceon looks to double down on their signature sound—a culmination of frustrations in fancy form.
Possessing both the prowess to open Then the Darkness with a blistering cry (“Thousand Year Storm”) and approach its close with a near lullaby (“(Untitled)”), Gratz and Grayceon continue to find a necessary diversity in their growing body of work. And in the capable engineering hands of trusted partner Jack Shirley,2 Gratz’s lilting vocal lure against counterpoint chamber-influenced swings find an increasing warmth against thick, finger-picked guitar runs and long-drawn crescendos. Time has weathered Gratz’s voice into a full crackle and alto croon that reflects the kind of mystical incantation that you might hear in latter-day Sabbath Assembly, as well as providing room for growth in harsh screeching accompaniment reminiscent of the minstrel Jekyll and Hyde performances of early Ludicra. Yet Grayceon remains in their own element first, even weaving moments of self-referential melodies throughout the back half of Then the Darkness to root deeply the recurring nature of the traumas each of their works explore.
As an exercise in textural excellence, though, Then the Darkness would struggle to entertain through its mammoth eighty-minute sermon if not backed by its aching heart narrative. With themes revolving around the complex nature of evolving relationships—between parent and child, between friends, between partners, between society and its most downtrodden—Gratz navigates each sorrowful tune with a warbling pathos that reads full and earnest in its many cracks. And while this downcast reading flows through much of the journey, the long fadeout from “Mahsa” to instrumental segue “Then the Darkness” renders most of the C-side (“Then…” through “Song of the Snake”) far more placid and buried than the lively bounce that “Holding Lines” provides to the closing chapters. It’s hard to escape the “what if” in terms of what could happen in a more streamlined experience—despite the high quality of Grayceon’s strongest offerings, the slightest dip or departure feels like a missed opportunity where their other works to date have chosen a lighter load.
However, Grayceon’s mastery of studio play emboldens simple structures with deft attacks to fuel the craveability of Then the Darkness. With the ebb and flow of a jam session, quicker cuts fill the air with rockin’ riffs, tight rhythms, urgent melodies, and a classic, volume-driven tone (“One Third,” “3 Points of Light,” “Holding Lines”). And while it’s up front harmonic excess in plucked guitar ascensions that collide with sliding bow tension pepper these tracks with short-term pleasure, it’s the subtle double-punched lines and diverging, hard-panned cello-guitar fill flickers that stimulate an urge to devour all nooks of sound available. And as buttery-yet-jagged riffage finds a crooked home between layered cello stabs (“Thousand Year Storm”) and slithering, off-kilter refrains (“Song of the Snake”), each cut in careful construction escalates to crescendos coordinated in explosive and sullen moods. The longest track, “Mahsa,” cranks all of these techniques to keep each recursion along a gentle climb rather than a flat stroll.
If providing an audience with a plate too full to finish was the goal, Then the Darkness has more than fulfilled the task. From humble roots as a scrappy power trio to this newest incarnation as presence-demanding storytellers, Grayceon’s path of human travail has brought about a gargantuan work that demands attention and dedication. In its four-sided tale, Then the Darkness strikes with an undeniable, hook-laden melancholy when its fire burns brightest. In isolation, no track falters. And though a waning intensity keeps it from being a masterpiece, Grayceon offers enough top-shelf material to make a long service worthwhile.
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Translation Loss Records | Bandcamp
Websites: grayceon.bandcamp.com | facebook.com/grayceon
Releases Worldwide: July 25th, 2025#2025 #35 #AmericanMetal #GiantSquid #Grayceon #Jul25 #Ludicra #PostMetal #ProgressiveMetal #Review #Reviews #SabbathAssembly #ThenTheDarkness #TranslationLossRecords
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Grayceon – Then the Darkness Review
By Dolphin Whisperer
Novelty in the metalsphere exists in many folds, whether it be the marrying of virtuosity and familiar structures or the exploration of foreign sounds and textures in a rock/metal context.1 Grayceon, for the better part of the past twenty years, has lingered in the latter path from 2007’s self-titled debut to this newest grand work, Then the Darkness, finding value in the riffy and amp-driven space between emotive, layered electric cello work. Trading a traditional, handheld four-stringed pulse for a classical, stand-up, sullen expression, Grayceon’s Jackie Perez Gratz (Giant Squid, ex-Ludicra) has led this San Francisco-based troupe through waxing journeys of post-inflected, prog-minded heavy metal grandeur with a bowed breath of fresh air time and time again. And now, with Then the Darkness, Grayceon looks to double down on their signature sound—a culmination of frustrations in fancy form.
Possessing both the prowess to open Then the Darkness with a blistering cry (“Thousand Year Storm”) and approach its close with a near lullaby (“(Untitled)”), Gratz and Grayceon continue to find a necessary diversity in their growing body of work. And in the capable engineering hands of trusted partner Jack Shirley,2 Gratz’s lilting vocal lure against counterpoint chamber-influenced swings find an increasing warmth against thick, finger-picked guitar runs and long-drawn crescendos. Time has weathered Gratz’s voice into a full crackle and alto croon that reflects the kind of mystical incantation that you might hear in latter-day Sabbath Assembly, as well as providing room for growth in harsh screeching accompaniment reminiscent of the minstrel Jekyll and Hyde performances of early Ludicra. Yet Grayceon remains in their own element first, even weaving moments of self-referential melodies throughout the back half of Then the Darkness to root deeply the recurring nature of the traumas each of their works explore.
As an exercise in textural excellence, though, Then the Darkness would struggle to entertain through its mammoth eighty-minute sermon if not backed by its aching heart narrative. With themes revolving around the complex nature of evolving relationships—between parent and child, between friends, between partners, between society and its most downtrodden—Gratz navigates each sorrowful tune with a warbling pathos that reads full and earnest in its many cracks. And while this downcast reading flows through much of the journey, the long fadeout from “Mahsa” to instrumental segue “Then the Darkness” renders most of the C-side (“Then…” through “Song of the Snake”) far more placid and buried than the lively bounce that “Holding Lines” provides to the closing chapters. It’s hard to escape the “what if” in terms of what could happen in a more streamlined experience—despite the high quality of Grayceon’s strongest offerings, the slightest dip or departure feels like a missed opportunity where their other works to date have chosen a lighter load.
However, Grayceon’s mastery of studio play emboldens simple structures with deft attacks to fuel the craveability of Then the Darkness. With the ebb and flow of a jam session, quicker cuts fill the air with rockin’ riffs, tight rhythms, urgent melodies, and a classic, volume-driven tone (“One Third,” “3 Points of Light,” “Holding Lines”). And while it’s up front harmonic excess in plucked guitar ascensions that collide with sliding bow tension pepper these tracks with short-term pleasure, it’s the subtle double-punched lines and diverging, hard-panned cello-guitar fill flickers that stimulate an urge to devour all nooks of sound available. And as buttery-yet-jagged riffage finds a crooked home between layered cello stabs (“Thousand Year Storm”) and slithering, off-kilter refrains (“Song of the Snake”), each cut in careful construction escalates to crescendos coordinated in explosive and sullen moods. The longest track, “Mahsa,” cranks all of these techniques to keep each recursion along a gentle climb rather than a flat stroll.
If providing an audience with a plate too full to finish was the goal, Then the Darkness has more than fulfilled the task. From humble roots as a scrappy power trio to this newest incarnation as presence-demanding storytellers, Grayceon’s path of human travail has brought about a gargantuan work that demands attention and dedication. In its four-sided tale, Then the Darkness strikes with an undeniable, hook-laden melancholy when its fire burns brightest. In isolation, no track falters. And though a waning intensity keeps it from being a masterpiece, Grayceon offers enough top-shelf material to make a long service worthwhile.
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Translation Loss Records | Bandcamp
Websites: grayceon.bandcamp.com | facebook.com/grayceon
Releases Worldwide: July 25th, 2025#2025 #35 #AmericanMetal #GiantSquid #Grayceon #Jul25 #Ludicra #PostMetal #ProgressiveMetal #Review #Reviews #SabbathAssembly #ThenTheDarkness #TranslationLossRecords
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Angry Metal Guy 🤘 Voidthrone – Dreaming Rat Review: There’s a lot of weird shit floating around the metalsphere, and that includes Voidthrone’s newest addition, Dreaming Rat. The Seattle quartet has been kicking around for a decade, and in that time have released three prior platters of escalating lunacy. Without question, Dreaming Rat is Voidthrone’s most unhinged concoction to date, and a quick look at their… http://dlvr.it/TSRfcw LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal
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Voidthrone – Dreaming Rat Review By Grin Reaper
There’s a lot of weird shit floating around the metalsphere, and that includes Voidthrone’s newest addition, Dreaming Rat. The Seattle quartet has been kicking around for a decade, and in that time have released three prior platters of escalating lunacy. Without question, Dreaming Rat is Voidthrone’s most unhinged concoction to date, and a quick look at their Bandcamp credits gives prospective listeners a window into the alchemical ingredients they cook with, including Otamatone, conch shell, jaw harp, vibraslap, digeridoo, spoons, and a fretless bass. Throw in vocalist Zhenya Frolov’s deranged vocal stylings, and you’ve got yourself a bona fide manic expression of dissonant blackened death metal. With so many disparate components in Dreaming Rat’s stew, does Voidthrone soothe the savage beast or unleash a waking nightmare?
Listening to Dreaming Rat is a bit like experiencing an auditory fever dream, where disconnected fragments congeal into lurid, atonal anarchy. Voidthrone didn’t arrive at this sound overnight, though. Debut Spiritual War Tactics whipped and frothed with the restrained vitality of Krallice, and follow-up Kur added jazz-informed touches in the vein of Imperial Triumphant. Physical Degradation evolved Voidthrone’s sound, integrating more unconventional instrumentation and pushing the band’s songwriting past its comfort zone. On Dreaming Rat, Voidthrone takes the blueprint laid out on Physical Degradation and indiscriminately expands the range for strange. The result sees Frolov stretching his vocal performance into frenzied tirades, covering the gamut from Replicant’s vomitous barks to Sigh’s oddball deliveries. The instrumentation also gets exponentially wackier, as it conjures the rabid wrath of Pyrrhon along with the chaotic instincts of Afterbirth, resulting in an unpredictable romp to the end of the world.
At Dreaming Rat’s core, Voidthrone details the life and death of a solar system through bleak eras, segmenting the album into present, past, and future. The arcs are presented in that order, with each one comprised of three songs. The present describes the apex of a civilization, harnessing the promises forged upon the hopes and chaos of the past. Meanwhile, Voidthrone paints a grim outlook for the future, specifically calling out ‘an extinguished, lonely death of the physical, spiritual, and cognitive.’1 The lyrics throughout Dreaming Rat read like the demented ravings of a madman’s manifesto,2 and while I don’t think I could have divined the album’s overarching concept from them alone, reading them amplifies the bedlam Voidthrone has crafted on Dreaming Rat.
Writing music this lawless may seem haphazard, but over repeated listens, I’ve begun to glimpse the method to Dreaming Rat’s madness. Without question, everyone in Voidthrone earns their stripes. Ronald Foodsack’s guitars drench Dreaming Rat with warbling dissonance, perpetually in flux so that there’s never a riff or refrain to inhibit the music’s incessant lurch. Whether moving at frantic paces (“III-I. Surfing the Abyss”) or decelerating to a plodding crawl (“II-II. Morbid Seagull”), Ron’s six-stringed blitz never stalls. Additionally, Gavin Brooks contributes acoustic guitar and solos while manning the glorious fretless bass.3 Technical death metal has hogged the fretless bass for too long, and I’m glad Voidthrone has the stones to add it to disso metal’s tool chest. Tracks like “I-I. Bergen” and “II-I. Homeless Animal” showcase the character the instrument offers, bolstering the ever-shifting nature of Dreaming Rat. Drummer Josh Keifer grounds the band ably, locked into a supporting role that allows the other instruments to take center stage while he keeps things on the rails. Frolov’s feral vocals and the host of unconventional instruments further enrich Voidthrone’s distinctive identity, establishing what sounds like it could be the death throes of the universe.
What Voidthrone accomplishes with Dreaming Rat is fascinating and unique, and merits everyone’s attention. Sure, some songs could be trimmed to make such a scathing album a bit shorter and more palatable, and the three arcs could use some musical cues to distinguish songs thematically from one another, but Dreaming Rat is a crowning achievement for the band. Voidthrone’s psychedelic psychosis makes bold promises on paper and completely delivers in fact, and when I’m in the mood to get really weird with it, this will be the album I reach for.
Rating: Very Good!
#2026 #35 #Afterbirth #AmericanMetal #BlackMetal #DeathMetal #DissonantBlackMetal #DissonantBlackenedDeathMetal #DissonantDeathMetal #DreamingRat #ImperialTriumphant #Krallice #May26 #Pyrrhon #Replicant #Review #Reviews #SelfRelease #SelfReleases #Sigh #Voidthrone
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026 -
Así crecen las #enfermedadesmentales en la #ciudad con el #ruido, la #contaminación del aire y los #metalespesados
Un análisis europeo confirma que la contaminación ambiental de las urbes afecta al #estrés, la #esquizofrenia e incluso el #suicidio
Los polución del aire, el ruido y el contacto con elementos tóxicos provoca a largo plazo inflamación cerebral y daños neuronales
✍️Daniel Lara
https://www.infolibre.es/medioambiente/crecen-enfermedades-mentales-ciudad-ruido-contaminacion-aire-metales-pesados_1_2170620.html -
Así crecen las #enfermedadesmentales en la #ciudad con el #ruido, la #contaminación del aire y los #metalespesados
Un análisis europeo confirma que la contaminación ambiental de las urbes afecta al #estrés, la #esquizofrenia e incluso el #suicidio
Los polución del aire, el ruido y el contacto con elementos tóxicos provoca a largo plazo inflamación cerebral y daños neuronales
✍️Daniel Lara
https://www.infolibre.es/medioambiente/crecen-enfermedades-mentales-ciudad-ruido-contaminacion-aire-metales-pesados_1_2170620.html -
Así crecen las #enfermedadesmentales en la #ciudad con el #ruido, la #contaminación del aire y los #metalespesados
Un análisis europeo confirma que la contaminación ambiental de las urbes afecta al #estrés, la #esquizofrenia e incluso el #suicidio
Los polución del aire, el ruido y el contacto con elementos tóxicos provoca a largo plazo inflamación cerebral y daños neuronales
✍️Daniel Lara
https://www.infolibre.es/medioambiente/crecen-enfermedades-mentales-ciudad-ruido-contaminacion-aire-metales-pesados_1_2170620.html