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1000 results for “weezel”
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This week on Deep Cuts in a Lovecraftian Vein we look at Winifred Virginia Jackson—Lovecraft's Lost Romance (1976) by R. Alain Everts & George T. Wetzel and reflect on the problems of research and depending too heavily on unreliable sources.
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Melting of Greenland ice sheet could release large stores of methane
Ilulissat Icefjord in western Greenland Gerald Wetzel, Karlsruhe Institute of Technology, Germany Meltwater flushed frozen methane hydrates out…
#Conflict #Conflicts #War #climatechange #Danmark #denmark #Environment #Greenland #methane #TheArctic
https://www.europesays.com/2988672/ -
It’s weeelllllllll worth the wait… #bluejays #worldseries #ladodgers
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Ich halt Euch einfach mal mein Ding vor die Nase… 😁😋
Hattet Ihr einen guten Wochenstart? 😉
Pic.: @mirco_wenzel @sharpshooter_pics
#livepic #concertphotography #jbolive #vitoc #vito #gibsonsg #gibsonsg90double #pinkgibsonsg90double #pinkgibsonsg #stageposing #liveenergy #fisheyephotography #fisheye
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Hype for the Future 121A: Town of Hundred, West Virginia
Overview The Town of Hundred is situated within the eastern side of Wetzel County, West Virginia, along United States Route 250 and West Virginia Route 7. Today, the community is likely a town of under four hundred (400) residents, with a 2020 Census population of 257. Interestingly, the Town of Hundred in West Virginia is the only town with that name in the entirety of the United States of America.https://novatopflex.wordpress.com/2026/03/01/hype-for-the-future-121a-town-of-hundred-west-virginia/
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Hype for the Future 121A: Town of Hundred, West Virginia
Overview The Town of Hundred is situated within the eastern side of Wetzel County, West Virginia, along United States Route 250 and West Virginia Route 7. Today, the community is likely a town of under four hundred (400) residents, with a 2020 Census population of 257. Interestingly, the Town of Hundred in West Virginia is the only town with that name in the entirety of the United States of America.https://novatopflex.wordpress.com/2026/03/01/hype-for-the-future-121a-town-of-hundred-west-virginia/
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Hype for the Future 121A: Town of Hundred, West Virginia
Overview The Town of Hundred is situated within the eastern side of Wetzel County, West Virginia, along United States Route 250 and West Virginia Route 7. Today, the community is likely a town of under four hundred (400) residents, with a 2020 Census population of 257. Interestingly, the Town of Hundred in West Virginia is the only town with that name in the entirety of the United States of America.https://novatopflex.wordpress.com/2026/03/01/hype-for-the-future-121a-town-of-hundred-west-virginia/
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Hype for the Future 121A: Town of Hundred, West Virginia
Overview The Town of Hundred is situated within the eastern side of Wetzel County, West Virginia, along United States Route 250 and West Virginia Route 7. Today, the community is likely a town of under four hundred (400) residents, with a 2020 Census population of 257. Interestingly, the Town of Hundred in West Virginia is the only town with that name in the entirety of the United States of America.https://novatopflex.wordpress.com/2026/03/01/hype-for-the-future-121a-town-of-hundred-west-virginia/
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Hype for the Future 121A: Town of Hundred, West Virginia
Overview The Town of Hundred is situated within the eastern side of Wetzel County, West Virginia, along United States Route 250 and West Virginia Route 7. Today, the community is likely a town of under four hundred (400) residents, with a 2020 Census population of 257. Interestingly, the Town of Hundred in West Virginia is the only town with that name in the entirety of the United States of America.https://novatopflex.wordpress.com/2026/03/01/hype-for-the-future-121a-town-of-hundred-west-virginia/
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#Affäre um #Vetternwirtschaft #AfD- #Bundestagsfraktion wirft #Abgeordneten raus
Der AfD-Bundestagsabgeordnete #Jan_Wenzel_Schmidt ist von seiner #Fraktion ausgeschlossen worden. Grund sei "parteischädigendes Verhalten". Schmidt hatte die Debatte über Vetternwirtschaft in der Partei ins Rollen gebracht.
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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 -
Die Ampelkoalition wollte den Kohleausstieg auf 2030 vorziehen. Doch wie WELT jetzt erfuhr, untersagt die Bundesnetzagentur die vorzeitige Stilllegung von Kohlekraftwerken. Die Entscheidung klingt wie ein Misstrauensvotum gegen die Kraftwerksstrategie von Wirtschaftsminister Habeck.#Wetzel-Daniel #Kohlekraftwerke #Kohle #Habeck #Robert #Bundesnetzagentur #Energiewende #Germany #Grüne #Brandenburg #Jänschwalde #FDP #SPD #Mannheim #Gelsenkirchen #Scholven #RhineRiver #TransnetBW #RobertHabeck #NearGrevenbroich #EnBW #Kohleausstieg #Reise
Bundesnetzagentur überrascht mit Veto gegen Kohleausstieg -
Im Moment entsteht ein neues Chorbuch für die Schule – seid gespannt!
Einige junge Sängerinnen und Sänger unseres Kinderchors SingsalaSing waren dafür im Tonstudio AREAL 51 in Stuttgart, um die dazugehörigen Aufnahmen zu produzieren.
Es war ein aufregender und spannender Tag, gemeinsam mit Akademiedirektor Klaus Weigele und Akademiedozentin Christine Wetzel. -
Im Moment entsteht ein neues Chorbuch für die Schule – seid gespannt!
Einige junge Sängerinnen und Sänger unseres Kinderchors SingsalaSing waren dafür im Tonstudio AREAL 51 in Stuttgart, um die dazugehörigen Aufnahmen zu produzieren.
Es war ein aufregender und spannender Tag, gemeinsam mit Akademiedirektor Klaus Weigele und Akademiedozentin Christine Wetzel. -
#纽约时报 剧院版：
『Beyoncé and Taylor Swift Join National Recording Registry』
The collection at the Library of Congress also added works by Weezer and Vince Gill, and a radio broadcast of a fight between Muhammad Ali and Joe Frazier.:sys_link: https://www.nytimes.com/2026/05/14/arts/music/national-recording-registry-beyonce-taylor-swift.html
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#纽约时报 剧院版：
『Beyoncé and Taylor Swift Join National Recording Registry』
The collection at the Library of Congress also added works by Weezer and Vince Gill, and a radio broadcast of a fight between Muhammad Ali and Joe Frazier.:sys_link: https://www.nytimes.com/2026/05/14/arts/music/national-recording-registry-beyonce-taylor-swift.html
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#introduction
Hiiii I make #indie and #folk music and sometimes #hyperpop with my friend and I’m really passionate about #coding and am currently mostly working on #webdev stuff.Some of my favorite artists:
#animalcollective #bladee #thaiboydigital #ecco2k #draingang #elliottsmith #ofmontreal #radiohead #weezerAlso big fan of #jjba and also sometimes #ssbm and other #nintendo stuff and uhhh I guess that’s mostly it.
I hate using this many hashtags… 😭
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#NowPlaying #NowPlaying #Music #SaturdayNightPlaylist
2/
After All - Collective Soul
You Were Meant For Me - Jewel
Wonder - Gin Blossoms
Push - Matchbox 20
Buddy Holly - Weezer
Runaway Train - Soul Asylum
When You’re Gone - The Cranberries
The Old Apartment - Barenaked Ladies
Always Something There To Remind Me - Naked Eyes
#CollectiveSoul #Jewel #GinBlossoms #Matchbox20 #MatchboxTwenty #Weezer #SoulAsylum #TheCranberries #BareNakedLadies #BNL #NakedEyes
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Neue Poststation von DHL und Deutsche Post startet in Verl
Deutsche Post und DHL haben in Verl eine neue Poststation eröffnet. Der Automat steht am Fürst-Wenzel-Platz 4 hinter…
#Bielefeld #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #DeutschePost #DHL #Germany #Nordrhein-Westfalen #Poststation #Verl
https://www.europesays.com/de/1011163/ -
#HEIC vs #JPEG/ #JPG explained strategically in under five minutes: https://youtu.be/iqZLIZMNJlk #Apple
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Volgens Natascha van Weezel kunnen Nederlandse joden helemaal niks doen tegen #Netanyahu en het Israëlisch geweld.
Dat is natuurlijk waar, maar ze kunnen zich daar op zijn minst, net als veel andere Joodse Nederlanders ook doen, keihard tegen uitspreken en zij in haar positie kan dat zeker:
#Eva #CIDI #VanWeezel #Israel #Gaza #antisemitisme #moslimhaat #islam
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Elk jaar worden meer muskusratten gedood. Maar niet alleen muskusratten, ook aalscholvers, wilde eenden, hermelijnen, wezels, knobbelzwanen en meer, duizenden extra dieren vinden een gruwelijke dood.
Nu wil het waterschap nóg meer vallen zetten. Dat vinden wij onacceptabel.
We zijn blij dat een meerderheid ons voorstel steunt om dit te bespreken in de commissie van mei 2026. Tijd voor een diervriendelijkere koers!#Dierenleed #Muskusrat #Waterschap #PvdD #Natuur #Bijvangst #Dierenrechten #HHNK
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New #openaccess publication #SciPost #Physics Core
Stochastic field dynamics in models of spontaneous unitarity violation
Lotte Mertens, Matthijs Wesseling, Jasper van Wezel
SciPost Phys. Core 7, 012 (2024)
https://scipost.org/SciPostPhysCore.7.1.012