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1000 results for “onemoment”
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One Token to rule them all – obtaining Global Admin in every Entra ID tenant
https://dirkjanm.io/obtaining-global-admin-in-every-entra-id-tenant-with-actor-tokens/
#HackerNews #OneTokenToRuleThemAll #EntraID #GlobalAdmin #Security #Cybersecurity #IAM
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One Token to rule them all – obtaining Global Admin in every Entra ID tenant
https://dirkjanm.io/obtaining-global-admin-in-every-entra-id-tenant-with-actor-tokens/
#HackerNews #OneTokenToRuleThemAll #EntraID #GlobalAdmin #Security #Cybersecurity #IAM
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One Token to rule them all – obtaining Global Admin in every Entra ID tenant
https://dirkjanm.io/obtaining-global-admin-in-every-entra-id-tenant-with-actor-tokens/
#HackerNews #OneTokenToRuleThemAll #EntraID #GlobalAdmin #Security #Cybersecurity #IAM
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One Token to rule them all – obtaining Global Admin in every Entra ID tenant
https://dirkjanm.io/obtaining-global-admin-in-every-entra-id-tenant-with-actor-tokens/
#HackerNews #OneTokenToRuleThemAll #EntraID #GlobalAdmin #Security #Cybersecurity #IAM
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One Token to rule them all – obtaining Global Admin in every Entra ID tenant
https://dirkjanm.io/obtaining-global-admin-in-every-entra-id-tenant-with-actor-tokens/
#HackerNews #OneTokenToRuleThemAll #EntraID #GlobalAdmin #Security #Cybersecurity #IAM
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SSD death ☠️💀
I am busy rebuilding the data from an SSD which died all of a sudden from one moment to the next without giving any warnings in any manner in any way.
I always monitor SMART output of SSD drives & mechanical spinners (HDD)
I've not seen any smart output indicating imminante dead
This drive has acted like your girlfriend when she's just not in a good mood and without explanation says nothing to you in the morning, for hours.
This hard crash, means that the S.M.A.R.T. monitoring hardware didn't have proper Communications with the integrated circuits on the SSD.
The drive was always powered many times a month, never left without power for more than a week or so, thus that has not been a contributing factor to the SSD catastrophic failure
The drive itself is fairly small.
The data on this dead SSD I've backed up on remote drives connected in JBOD format to machines which I have running remotely.
No ZFS on my backup machines
- I want to run ZFS native
- that means running a BSD OS on those machines
- that also means I will need to backup / restore all data on those drives meaning
- I will need 200% of the used HDD / SSD space on those machines
- I need patience for that backup
- I need expensive extra HDD's for that project
- I won't pay USD 300 for a USD 120 HDD
NO ZFS under these global SSD / HDD market prices
Sources:
- Moi
- man ls(1)
- man lsd(1)
- man cp(1)
- man smartctl(8)
- man zfs(8)
#HDD #SSD #crash #no #warning #on #TV #filesystems #remote #backup #network #JBOD #SMART #programming #bacula
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Ian Freeman shares raw truth: "Be a light in the world. There's so much negativity... darkness and light cannot occupy the same space at the same time. No neutral energy—positive or negative by definition."
Your choice matters for resilience and connection. In a time shifting toward nervous system regulation and emotional repair over optimization, this feels grounding. Simple, honest reminder to occupy space with light.
#mentalhealth #healingjourney #positivity -
Ioannis on bipolar: "It's not just the lows, it's the highs you got to be aware of too." Bankruptcy from spending during feeling good. Now: "If it's over $100 [on high days], walk away... Think about it for 24 hours." Community strength in shared strategies for recovery. #BipolarAwareness #HealingJourney #MentalHealth
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One bullet. One decision. One moment that changed American history. Read our full review of Rawhide Down today.
#books #bookreview #USHistory #RonaldReagan #MustReadBooks
https://thisgrandpablogs.com/reagan-assassination-attempt-1981/ -
Tonight isn’t just another match night… It’s a whole different energy. 👀🔥
One notification.
One instinct.
One moment that changes the game. 🎯
From cricket to football to basketball, the real thrill begins before the first move. Are you ready for game night? ⚡🏏⚽🏀
Tap into the action with Play Gurus and experience sports entertainment like never before. 🚀
#PlayGurus #GameNight #SportsEntertainment #CricketFans #FootballFans -
Four Thousand Meters of Cycle Climbing in the Franco-Swiss Jura
Reading Time: 3 minutes
Mt Tendre via Rolle
For a year or more I had been tempted to cycle up to the Mont Tendre and on Saturday I got the opportunity to try that ride with Tête de Course, a Nyon cycling community and café/restaurant.
The route went from Nyon to Rolle, and then from Rolle upwards towards Aubonne and then upwards towards Montricher. From Montricher you have the climb to Mont Tendre.
In theory this is a quiet road with limited cars. In practice we had quite a few cars passing us. The road is narrow, so when a car passes you need to get to the side of the road but with débris and more it does not fill me with euphoria. If the road was completely closed to cars, then this would be a nice climb. For me, good climbs are those with no cars, or those where the road is wide enough for cars to pass with ease.
When we got to the top of this climb haze obscured the view slightly so it wasn't as rewarding as sometimes. I have been up to Mont Tendre two or three times, but with snowshoes around April. For once I was up there with a bike.
This ride was with people who are fast. They climbed it at least twenty minutes faster than some of us. It's a shame they didn't know we were going to be so slow. They could have had a drink or snack,
The ride back down was along the foot of the Jura rather than along the lake roads so we had a little more climbing to get through.
The climb is strenuous. It's at an average grade of 9 percent for the entire time, so it requires good stamina to get to the top. The way down was okay. I felt tired. I made sure to fuel up every so often. In Nyon I felt I had energy left over, so I made up my mind to try the next day's ride with Le Cerle, the No Pressure Club.
The No Pressure Club Challenge
The No Pressure Club Challenge is another ride that starts in Nyon. We met by the bike shop and then headed up to Crassier, La Rippe, and then into France, to head up La Combe Blanche. This is a long climb with a gentler gradient. With this group, on the first climb I was at the front rather than the back. I had enough energy left over to sprint up the last 300 meters or so, before waiting for the others to arrive.
Riding at this time of year, you're warm in one place, and cold in another. When everyone was up we headed down to Mijoux and this descent was cold. You're going from a valley facing the sun to one hidden from it.
Once at the bottom we did several more climbs. In total we did 10 climbs yesterday, for a total of 2180m of ascent.
The French Jura is beautiful. You have pine trees and forests. You have undulating hills, some used for pasture, and others left to the wild. Population density is also lower so you get to be in nature. You get a break from civilisation. Switzerland is more densely populated nearby, so France is quieter.
I was amused. At one moment I thought, "We're going to pass by the Roche Au Dade and we did. I wanted to stop and take a photo but I didn't want to keep the group waiting. A year ago I wanted to go through the challenge of cycling to this VF. Now, I know that I can.
Out of Morez you climb the Côte de Prémanon. For me this was a 29 minute effort. When you're tired from the previous climbs this can be quite a challenge. Luckily this road is relatively quiet.
After this the last climb was the one to La Cure, and from La Cure down to St-Cergue and from St-Cergue back towards Nyon. By the time we got to St-Cergue I started to feel like lying down and resting. I still had the descent that I often enjoy rushing down. For once I took it easy.
And Finally
This weekend was sporty. On Thursday I ran a 5k, and walked quite a bit. On Friday I ran the Wake Up and Run 5k, and then I did the Mont Tendre climb, and then I did the NPC Challenge ride to climb 2100m. This was a sporty weekend. I pushed so hard because I saw that this week will be rainy. Now, while it is rainy, I can rest and recover.
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the attitude #Trump administration has to #drugs makes 0 sense - one moment they are pardoning dealers, the next making #harmreduction more difficult - *unless* there's a deliberate attempt (maybe not even from Trump or RFK, but someone more clued up) to "give folk enough rope to hang themselves" or even allow the use of #fentanyl and other nasties like #xylazines to cull out "undesirables"..
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A quotation from Kurt Vonnegut
The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
Kurt Vonnegut, Jr. (1922-2007) American novelist, journalist
Slaughterhouse-Five, ch. 2 (1969)More about this quote: wist.info/vonnegut-kurt-jr/557…
#quote #quotes #quotation #qotd #vonnegut #kurtvonnegut #kurtvonnegutjr #slaughterhousefive #death #lifespan #passageoftime #past #perspective #present #simultaneity #time
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A quotation from Kurt Vonnegut
The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
Kurt Vonnegut, Jr. (1922-2007) American novelist, journalist
Slaughterhouse-Five, ch. 2 (1969)More about this quote: wist.info/vonnegut-kurt-jr/557…
#quote #quotes #quotation #qotd #vonnegut #kurtvonnegut #kurtvonnegutjr #slaughterhousefive #death #lifespan #passageoftime #past #perspective #present #simultaneity #time
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A quotation from Kurt Vonnegut
The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
Kurt Vonnegut, Jr. (1922-2007) American novelist, journalist
Slaughterhouse-Five, ch. 2 (1969)More about this quote: wist.info/vonnegut-kurt-jr/557…
#quote #quotes #quotation #qotd #vonnegut #kurtvonnegut #kurtvonnegutjr #slaughterhousefive #death #lifespan #passageoftime #past #perspective #present #simultaneity #time
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A quotation from Kurt Vonnegut
The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
Kurt Vonnegut, Jr. (1922-2007) American novelist, journalist
Slaughterhouse-Five, ch. 2 (1969)More about this quote: wist.info/vonnegut-kurt-jr/557…
#quote #quotes #quotation #qotd #vonnegut #kurtvonnegut #kurtvonnegutjr #slaughterhousefive #death #lifespan #passageoftime #past #perspective #present #simultaneity #time
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I really have to compliment Xenogears' whole final boss sequence. It's really fun.
Like, I think it's better than Xenoblade 2's and 3's final boss fights.
And fuel management during it is also good so that one moment alone beats Xenoblade X's whole fuel management (which pretty much doesn't really exist)
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I really have to compliment Xenogears' whole final boss sequence. It's really fun.
Like, I think it's better than Xenoblade 2's and 3's final boss fights.
And fuel management during it is also good so that one moment alone beats Xenoblade X's whole fuel management (which pretty much doesn't really exist)
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[FB] - Koło Gospodyń Wiejskich Kania w Kaniach - Stare drzewa – magazyny życia, czasu i klimatu. Chrońmy je, zanim znikną! 💚🌳
Nie da się ich posadzić z dnia na dzień. Nie da się ich łatwo zastąpić. Stare drzewa to jedne z najcenniejszych elementów naszych ekosystemów — a mimo to zbyt często ustępują miejsca inwestycjom drogowym, zabudowie i krótkowzrocznym decyzjom.
Dlaczego ich ochrona jest tak ważna?
Są niepowtarzalne.
Stare drzewa tworzą unikalne mikrohabitaty – w dziuplach, pęknięciach i martwym drewnie żyją setki gatunków ptaków, ssaków, owadów, grzybów i porostów, z których wiele nie występuje nigdzie indziej.To żywe pompy wody i powietrza.
Ich korzenie stabilizują glebę, regulują obieg wody, a korony łagodzą mikroklimat i chronią młode pokolenia drzew przed ekstremami pogodowymi.Są kluczowe dla klimatu.
Stare drzewa magazynują gigantyczne ilości węgla – więcej niż całe połacie młodego lasu. Ich utrata oznacza natychmiastowe uwolnienie CO₂ do atmosfery, którego nie nadrobi sadzenie nowych drzewek przez kolejne dziesięciolecia.Łączą przeszłość z przyszłością.
To biologiczne archiwa – zapis historii zmian klimatu i siedlisk, nośniki genów, i fundamenty dla przyszłych pokoleń roślin i zwierząt.
Błędy w zarządzaniu ochroną:
Stare drzewa bywają usuwane: „dla bezpieczeństwa”, z powodu „zagrożenia pożarowego”, w ramach „pielęgnacji krajobrazu”.Brakuje często: procedur oceny ekologicznej wartości konkretnego drzewa, oceny
wykwalifikowanych dendrologów, świadomości, że stare nie znaczy chore i niebezpieczne.Dlatego mówimy jasno: nie dla wycinki starodrzewów pod drogi i inwestycje! Ich miejsce jest tam, gdzie są – w lesie, w parku, w mieście.
Zamiast wycinać — chrońmy. Zamiast betonować — dbajmy o to, co już istnieje.
#staredrzewa #ochronaprzyrody #klimat #ekologia #las #drzewa #OneMoreTree #miliondrzew #dzikaprzyroda #ekosystem #przyrodaniewycinaj #magazynżycia #stabilnośćklimatyczna #mikroklimat Rola starych drzew w ekosystemach: magazyny życia i czasu - One More Tree Foundationone-more-tree.orgW ostatnich latach rośnie liczba badań pokazujących, że to właśnie najstarsze drzewa w lesie: #Brwinów
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"Can’t you see how bad this [Mandami victory] is? It’s so bad the hedge fund boys be crying. See, the rich boys, they cry. You are laughing, and the rich boys cry! Is this all just a game to you? …
Have you taken even one moment to ask yourself, what happens if all those guys leave, and then, when you open Tinder in Murray Hill, no one is there to explain stock options to you?"
~ Lyz
#Mamdani #immigrants #NewYork #diversity #WallStreet #bankers #EconomicElites
/8 -
https://youtu.be/xqEFZA0t-6U
One flame. One breath. One moment to see yourself differently.
From the candle to the inner light — this Trāṭaka journey brings you back to your calm.Hashtags: #trataka #candlegazing #innerlight #mindfulness #yogatok #meditationjourney #breathe #calmwithin
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The Future of Basketball Is Built Around Platforms Like This
It’s not about one league or one moment.
It’s about structure, visibility, connection, and tools.
CourtMapping isn’t just part of the future — it’s helping build it.#CourtMapping #FutureOfBasketball #PlatformBuilt #BasketballInnovation #StructureMatters
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The Future of Basketball Is Built Around Platforms Like This
It’s not about one league or one moment.
It’s about structure, visibility, connection, and tools.
CourtMapping isn’t just part of the future — it’s helping build it.#CourtMapping #FutureOfBasketball #PlatformBuilt #BasketballInnovation #StructureMatters
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Dyed in Grey – Harbinger Review By ClarkKentFor progressive death metal acts, the shadow of the masters, Opeth, looms large. Yet some recent progressive death acts, like Iotunn, Tómarúm, and Dvne, have carved their own paths in the genre. When Dyed in Grey released their debut, The Abandoned Part, in 2013, Opeth was charting a course into pure prog sans death metal. I only mention Opeth because Dyed in Grey’s brand of prog death sees clear influences in the titans of the genre, though with a more technical, improvisational imprint. Harbinger marks only their third full-length album in thirteen years. These years have seen inconsistency in the lineup, with 2018’s Anguish and Ardor losing the vocalist and going full instrumental. Now with a new vocalist, Harbinger sees a return to Dyed in Grey’s roots with a more honed vision from founder Adam Edgemont.
Unlike Soen’s cleaner approach to prog, Dyed in Grey is much rawer and rougher around the edges, utilizing plenty of off-key notes. There’s a greater sense of urgency and authenticity in this approach, and songs are carefully crafted to sound improvisational rather than intentional and overly polished. At times, Dyed in Grey plays it light and breezy, such as on the intro track “Sunbird” and the first few minutes of “Ascent,” where you could almost mistake them for a happy-go-lucky Weezer. At other times, they play a rough and tumble of ’90s grunge, with “Silent Symmetry” taking on an Alice in Chains-esque gruffness. Yet behind each arpeggio and light strum lurks an Opethian turn, which can rear its head suddenly with an eruption of heavy guitars and monstrous death growls. These turns prove an effectively cathartic release of emotion; “Mirrored Ruins” in particular takes a brilliant turn with some of the coolest riffs on Harbinger. While Opeth is a clear influence, Dyed in Grey take a novel enough approach to avoid being a mere clone.
Dyed in Grey cite jazz as one of their musical styles, and this is most apparent in the improvisational turns that songs take. Unlike Opeth’s more developed passages of death metal or prog, Dyed in Grey can flip on a dime. “Static Tides” best demonstrates this as it transitions from growls to cleans, arpeggios to blasting riffs, all within short spans of time. Similarly, “Descent” plays off-tune riffs one moment and a sudden melodic lead the next before erupting into death metal with some impressive technical fretwork. I don’t mean to make this sound like a random jumble of song parts. Harbinger still has enough structure for it to contain well-defined tracks. Riffs from the beginning of a tune return at the end (“Ascent,” “Silent Symmetry”) and catchier passages, such as the chorus of “Tempest,” repeat throughout the course of each song. The unpredictable nature of the music keeps you on your toes and provides new surprises with each spin.
As much as there is to enjoy, there’s plenty on Harbinger that makes it a confounding listen. The angular, sometimes atonal, music is certainly off-putting and proves an obstacle to appreciating Dyed in Grey’s strengths. The vocal performances, particularly the cleans, also leave something to be desired.1 The cleans have a gruffer, grungier resonance that fits what Dyed in Grey is going for, but the vocalist struggles with his pitch at times. Despite the strong production values, another issue is that the death metal riffs sound flat and lack the muscular punch needed to truly make these portions pop. The growls, however, deliver enough power to offset this shortcoming. The rougher elements of the band’s sound fit in with their rugged character, yet there’s a fine line in the atonal approach between enjoyable and cringe-worthy music, and fortunately, Dyed in Grey fall on the enjoyable side more often than not.
What started off for me on initial spins as disappointing has since turned into something more interesting, rewarding, and even catchy with repeat and closer listens. Dyed in Grey don’t quite stand with the bands listed in my opening paragraph, but for fans of prog death, Harbinger is a worthy exploration. It also represents a growth in Edgemont’s songwriting. This proves to be a pretty cool amalgamation of styles that doesn’t play it safe yet feels assured in its performances and compositions.
Rating: 3.0/5.0
#2026 #30 #AliceInChains #AmericanMetal #DeathMetal #Dvne #DyedInGrey #Harbinger #Iotunn #Jan26 #Opeth #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SelfReleased #Soen #Tómarúm #Weezer
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026 -
Dyed in Grey – Harbinger Review By ClarkKentFor progressive death metal acts, the shadow of the masters, Opeth, looms large. Yet some recent progressive death acts, like Iotunn, Tómarúm, and Dvne, have carved their own paths in the genre. When Dyed in Grey released their debut, The Abandoned Part, in 2013, Opeth was charting a course into pure prog sans death metal. I only mention Opeth because Dyed in Grey’s brand of prog death sees clear influences in the titans of the genre, though with a more technical, improvisational imprint. Harbinger marks only their third full-length album in thirteen years. These years have seen inconsistency in the lineup, with 2018’s Anguish and Ardor losing the vocalist and going full instrumental. Now with a new vocalist, Harbinger sees a return to Dyed in Grey’s roots with a more honed vision from founder Adam Edgemont.
Unlike Soen’s cleaner approach to prog, Dyed in Grey is much rawer and rougher around the edges, utilizing plenty of off-key notes. There’s a greater sense of urgency and authenticity in this approach, and songs are carefully crafted to sound improvisational rather than intentional and overly polished. At times, Dyed in Grey plays it light and breezy, such as on the intro track “Sunbird” and the first few minutes of “Ascent,” where you could almost mistake them for a happy-go-lucky Weezer. At other times, they play a rough and tumble of ’90s grunge, with “Silent Symmetry” taking on an Alice in Chains-esque gruffness. Yet behind each arpeggio and light strum lurks an Opethian turn, which can rear its head suddenly with an eruption of heavy guitars and monstrous death growls. These turns prove an effectively cathartic release of emotion; “Mirrored Ruins” in particular takes a brilliant turn with some of the coolest riffs on Harbinger. While Opeth is a clear influence, Dyed in Grey take a novel enough approach to avoid being a mere clone.
Dyed in Grey cite jazz as one of their musical styles, and this is most apparent in the improvisational turns that songs take. Unlike Opeth’s more developed passages of death metal or prog, Dyed in Grey can flip on a dime. “Static Tides” best demonstrates this as it transitions from growls to cleans, arpeggios to blasting riffs, all within short spans of time. Similarly, “Descent” plays off-tune riffs one moment and a sudden melodic lead the next before erupting into death metal with some impressive technical fretwork. I don’t mean to make this sound like a random jumble of song parts. Harbinger still has enough structure for it to contain well-defined tracks. Riffs from the beginning of a tune return at the end (“Ascent,” “Silent Symmetry”) and catchier passages, such as the chorus of “Tempest,” repeat throughout the course of each song. The unpredictable nature of the music keeps you on your toes and provides new surprises with each spin.
As much as there is to enjoy, there’s plenty on Harbinger that makes it a confounding listen. The angular, sometimes atonal, music is certainly off-putting and proves an obstacle to appreciating Dyed in Grey’s strengths. The vocal performances, particularly the cleans, also leave something to be desired.1 The cleans have a gruffer, grungier resonance that fits what Dyed in Grey is going for, but the vocalist struggles with his pitch at times. Despite the strong production values, another issue is that the death metal riffs sound flat and lack the muscular punch needed to truly make these portions pop. The growls, however, deliver enough power to offset this shortcoming. The rougher elements of the band’s sound fit in with their rugged character, yet there’s a fine line in the atonal approach between enjoyable and cringe-worthy music, and fortunately, Dyed in Grey fall on the enjoyable side more often than not.
What started off for me on initial spins as disappointing has since turned into something more interesting, rewarding, and even catchy with repeat and closer listens. Dyed in Grey don’t quite stand with the bands listed in my opening paragraph, but for fans of prog death, Harbinger is a worthy exploration. It also represents a growth in Edgemont’s songwriting. This proves to be a pretty cool amalgamation of styles that doesn’t play it safe yet feels assured in its performances and compositions.
Rating: 3.0/5.0
#2026 #30 #AliceInChains #AmericanMetal #DeathMetal #Dvne #DyedInGrey #Harbinger #Iotunn #Jan26 #Opeth #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SelfReleased #Soen #Tómarúm #Weezer
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026 -
Dyed in Grey – Harbinger Review By ClarkKentFor progressive death metal acts, the shadow of the masters, Opeth, looms large. Yet some recent progressive death acts, like Iotunn, Tómarúm, and Dvne, have carved their own paths in the genre. When Dyed in Grey released their debut, The Abandoned Part, in 2013, Opeth was charting a course into pure prog sans death metal. I only mention Opeth because Dyed in Grey’s brand of prog death sees clear influences in the titans of the genre, though with a more technical, improvisational imprint. Harbinger marks only their third full-length album in thirteen years. These years have seen inconsistency in the lineup, with 2018’s Anguish and Ardor losing the vocalist and going full instrumental. Now with a new vocalist, Harbinger sees a return to Dyed in Grey’s roots with a more honed vision from founder Adam Edgemont.
Unlike Soen’s cleaner approach to prog, Dyed in Grey is much rawer and rougher around the edges, utilizing plenty of off-key notes. There’s a greater sense of urgency and authenticity in this approach, and songs are carefully crafted to sound improvisational rather than intentional and overly polished. At times, Dyed in Grey plays it light and breezy, such as on the intro track “Sunbird” and the first few minutes of “Ascent,” where you could almost mistake them for a happy-go-lucky Weezer. At other times, they play a rough and tumble of ’90s grunge, with “Silent Symmetry” taking on an Alice in Chains-esque gruffness. Yet behind each arpeggio and light strum lurks an Opethian turn, which can rear its head suddenly with an eruption of heavy guitars and monstrous death growls. These turns prove an effectively cathartic release of emotion; “Mirrored Ruins” in particular takes a brilliant turn with some of the coolest riffs on Harbinger. While Opeth is a clear influence, Dyed in Grey take a novel enough approach to avoid being a mere clone.
Dyed in Grey cite jazz as one of their musical styles, and this is most apparent in the improvisational turns that songs take. Unlike Opeth’s more developed passages of death metal or prog, Dyed in Grey can flip on a dime. “Static Tides” best demonstrates this as it transitions from growls to cleans, arpeggios to blasting riffs, all within short spans of time. Similarly, “Descent” plays off-tune riffs one moment and a sudden melodic lead the next before erupting into death metal with some impressive technical fretwork. I don’t mean to make this sound like a random jumble of song parts. Harbinger still has enough structure for it to contain well-defined tracks. Riffs from the beginning of a tune return at the end (“Ascent,” “Silent Symmetry”) and catchier passages, such as the chorus of “Tempest,” repeat throughout the course of each song. The unpredictable nature of the music keeps you on your toes and provides new surprises with each spin.
As much as there is to enjoy, there’s plenty on Harbinger that makes it a confounding listen. The angular, sometimes atonal, music is certainly off-putting and proves an obstacle to appreciating Dyed in Grey’s strengths. The vocal performances, particularly the cleans, also leave something to be desired.1 The cleans have a gruffer, grungier resonance that fits what Dyed in Grey is going for, but the vocalist struggles with his pitch at times. Despite the strong production values, another issue is that the death metal riffs sound flat and lack the muscular punch needed to truly make these portions pop. The growls, however, deliver enough power to offset this shortcoming. The rougher elements of the band’s sound fit in with their rugged character, yet there’s a fine line in the atonal approach between enjoyable and cringe-worthy music, and fortunately, Dyed in Grey fall on the enjoyable side more often than not.
What started off for me on initial spins as disappointing has since turned into something more interesting, rewarding, and even catchy with repeat and closer listens. Dyed in Grey don’t quite stand with the bands listed in my opening paragraph, but for fans of prog death, Harbinger is a worthy exploration. It also represents a growth in Edgemont’s songwriting. This proves to be a pretty cool amalgamation of styles that doesn’t play it safe yet feels assured in its performances and compositions.
Rating: 3.0/5.0
#2026 #30 #AliceInChains #AmericanMetal #DeathMetal #Dvne #DyedInGrey #Harbinger #Iotunn #Jan26 #Opeth #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SelfReleased #Soen #Tómarúm #Weezer
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026 -
Dyed in Grey – Harbinger Review By ClarkKentFor progressive death metal acts, the shadow of the masters, Opeth, looms large. Yet some recent progressive death acts, like Iotunn, Tómarúm, and Dvne, have carved their own paths in the genre. When Dyed in Grey released their debut, The Abandoned Part, in 2013, Opeth was charting a course into pure prog sans death metal. I only mention Opeth because Dyed in Grey’s brand of prog death sees clear influences in the titans of the genre, though with a more technical, improvisational imprint. Harbinger marks only their third full-length album in thirteen years. These years have seen inconsistency in the lineup, with 2018’s Anguish and Ardor losing the vocalist and going full instrumental. Now with a new vocalist, Harbinger sees a return to Dyed in Grey’s roots with a more honed vision from founder Adam Edgemont.
Unlike Soen’s cleaner approach to prog, Dyed in Grey is much rawer and rougher around the edges, utilizing plenty of off-key notes. There’s a greater sense of urgency and authenticity in this approach, and songs are carefully crafted to sound improvisational rather than intentional and overly polished. At times, Dyed in Grey plays it light and breezy, such as on the intro track “Sunbird” and the first few minutes of “Ascent,” where you could almost mistake them for a happy-go-lucky Weezer. At other times, they play a rough and tumble of ’90s grunge, with “Silent Symmetry” taking on an Alice in Chains-esque gruffness. Yet behind each arpeggio and light strum lurks an Opethian turn, which can rear its head suddenly with an eruption of heavy guitars and monstrous death growls. These turns prove an effectively cathartic release of emotion; “Mirrored Ruins” in particular takes a brilliant turn with some of the coolest riffs on Harbinger. While Opeth is a clear influence, Dyed in Grey take a novel enough approach to avoid being a mere clone.
Dyed in Grey cite jazz as one of their musical styles, and this is most apparent in the improvisational turns that songs take. Unlike Opeth’s more developed passages of death metal or prog, Dyed in Grey can flip on a dime. “Static Tides” best demonstrates this as it transitions from growls to cleans, arpeggios to blasting riffs, all within short spans of time. Similarly, “Descent” plays off-tune riffs one moment and a sudden melodic lead the next before erupting into death metal with some impressive technical fretwork. I don’t mean to make this sound like a random jumble of song parts. Harbinger still has enough structure for it to contain well-defined tracks. Riffs from the beginning of a tune return at the end (“Ascent,” “Silent Symmetry”) and catchier passages, such as the chorus of “Tempest,” repeat throughout the course of each song. The unpredictable nature of the music keeps you on your toes and provides new surprises with each spin.
As much as there is to enjoy, there’s plenty on Harbinger that makes it a confounding listen. The angular, sometimes atonal, music is certainly off-putting and proves an obstacle to appreciating Dyed in Grey’s strengths. The vocal performances, particularly the cleans, also leave something to be desired.1 The cleans have a gruffer, grungier resonance that fits what Dyed in Grey is going for, but the vocalist struggles with his pitch at times. Despite the strong production values, another issue is that the death metal riffs sound flat and lack the muscular punch needed to truly make these portions pop. The growls, however, deliver enough power to offset this shortcoming. The rougher elements of the band’s sound fit in with their rugged character, yet there’s a fine line in the atonal approach between enjoyable and cringe-worthy music, and fortunately, Dyed in Grey fall on the enjoyable side more often than not.
What started off for me on initial spins as disappointing has since turned into something more interesting, rewarding, and even catchy with repeat and closer listens. Dyed in Grey don’t quite stand with the bands listed in my opening paragraph, but for fans of prog death, Harbinger is a worthy exploration. It also represents a growth in Edgemont’s songwriting. This proves to be a pretty cool amalgamation of styles that doesn’t play it safe yet feels assured in its performances and compositions.
Rating: 3.0/5.0
#2026 #30 #AliceInChains #AmericanMetal #DeathMetal #Dvne #DyedInGrey #Harbinger #Iotunn #Jan26 #Opeth #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SelfReleased #Soen #Tómarúm #Weezer
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026 -
Dyed in Grey – Harbinger Review By ClarkKentFor progressive death metal acts, the shadow of the masters, Opeth, looms large. Yet some recent progressive death acts, like Iotunn, Tómarúm, and Dvne, have carved their own paths in the genre. When Dyed in Grey released their debut, The Abandoned Part, in 2013, Opeth was charting a course into pure prog sans death metal. I only mention Opeth because Dyed in Grey’s brand of prog death sees clear influences in the titans of the genre, though with a more technical, improvisational imprint. Harbinger marks only their third full-length album in thirteen years. These years have seen inconsistency in the lineup, with 2018’s Anguish and Ardor losing the vocalist and going full instrumental. Now with a new vocalist, Harbinger sees a return to Dyed in Grey’s roots with a more honed vision from founder Adam Edgemont.
Unlike Soen’s cleaner approach to prog, Dyed in Grey is much rawer and rougher around the edges, utilizing plenty of off-key notes. There’s a greater sense of urgency and authenticity in this approach, and songs are carefully crafted to sound improvisational rather than intentional and overly polished. At times, Dyed in Grey plays it light and breezy, such as on the intro track “Sunbird” and the first few minutes of “Ascent,” where you could almost mistake them for a happy-go-lucky Weezer. At other times, they play a rough and tumble of ’90s grunge, with “Silent Symmetry” taking on an Alice in Chains-esque gruffness. Yet behind each arpeggio and light strum lurks an Opethian turn, which can rear its head suddenly with an eruption of heavy guitars and monstrous death growls. These turns prove an effectively cathartic release of emotion; “Mirrored Ruins” in particular takes a brilliant turn with some of the coolest riffs on Harbinger. While Opeth is a clear influence, Dyed in Grey take a novel enough approach to avoid being a mere clone.
Dyed in Grey cite jazz as one of their musical styles, and this is most apparent in the improvisational turns that songs take. Unlike Opeth’s more developed passages of death metal or prog, Dyed in Grey can flip on a dime. “Static Tides” best demonstrates this as it transitions from growls to cleans, arpeggios to blasting riffs, all within short spans of time. Similarly, “Descent” plays off-tune riffs one moment and a sudden melodic lead the next before erupting into death metal with some impressive technical fretwork. I don’t mean to make this sound like a random jumble of song parts. Harbinger still has enough structure for it to contain well-defined tracks. Riffs from the beginning of a tune return at the end (“Ascent,” “Silent Symmetry”) and catchier passages, such as the chorus of “Tempest,” repeat throughout the course of each song. The unpredictable nature of the music keeps you on your toes and provides new surprises with each spin.
As much as there is to enjoy, there’s plenty on Harbinger that makes it a confounding listen. The angular, sometimes atonal, music is certainly off-putting and proves an obstacle to appreciating Dyed in Grey’s strengths. The vocal performances, particularly the cleans, also leave something to be desired.1 The cleans have a gruffer, grungier resonance that fits what Dyed in Grey is going for, but the vocalist struggles with his pitch at times. Despite the strong production values, another issue is that the death metal riffs sound flat and lack the muscular punch needed to truly make these portions pop. The growls, however, deliver enough power to offset this shortcoming. The rougher elements of the band’s sound fit in with their rugged character, yet there’s a fine line in the atonal approach between enjoyable and cringe-worthy music, and fortunately, Dyed in Grey fall on the enjoyable side more often than not.
What started off for me on initial spins as disappointing has since turned into something more interesting, rewarding, and even catchy with repeat and closer listens. Dyed in Grey don’t quite stand with the bands listed in my opening paragraph, but for fans of prog death, Harbinger is a worthy exploration. It also represents a growth in Edgemont’s songwriting. This proves to be a pretty cool amalgamation of styles that doesn’t play it safe yet feels assured in its performances and compositions.
Rating: 3.0/5.0
#2026 #30 #AliceInChains #AmericanMetal #DeathMetal #Dvne #DyedInGrey #Harbinger #Iotunn #Jan26 #Opeth #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SelfReleased #Soen #Tómarúm #Weezer
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026 -
Powerful message. In an age where confusion feels like the default setting, choosing dharma isn’t just noble—it’s radical. One honest choice, one compassionate act, one moment of courage can cut through the fog like a blade of light. We may not control the era we’re born into, but we absolutely control the spark we carry. #Dharma #KaliYuga #SpiritualWisdom #VedicTime #LightInDarkness #YugaCycle #PathOfDharma #ConsciousLiving #HinduPhilosophy
https://medium.com/@skmohindroo9/even-in-the-darkest-yuga-a-single-spark-of-dharma-lights-the-path-c947c15afb47 -
“ #philcollins #onemorenight #80shits TV performance by Phil Collins with 'One More Night' on Dutch popshow “Countdo... / “Phil Collins - One More Night (Countdown, 1985)” (1 user) https://www.youtube.com/watch?v=Z0yqCxJ5HAQ