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345 results for “tedivm”
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We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
Definately #NSFW. Steer clear of this #nsfwaccount if you're easily offended by #carnalpleasure and #hedonistic pursuits including: #ropes #shibari #sex #swingers #bisexual
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We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
Definately #NSFW. Steer clear of this #nsfwaccount if you're easily offended by #carnalpleasure and #hedonistic pursuits including: #ropes #shibari #sex #swingers #bisexual
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We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
Definately #NSFW. Steer clear of this #nsfwaccount if you're easily offended by #carnalpleasure and #hedonistic pursuits including: #ropes #shibari #sex #swingers #bisexual
-
We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
Definately #NSFW. Steer clear of this #nsfwaccount if you're easily offended by #carnalpleasure and #hedonistic pursuits including: #ropes #shibari #sex #swingers #bisexual
-
We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
Definately #NSFW. Steer clear of this #nsfwaccount if you're easily offended by #carnalpleasure and #hedonistic pursuits including: #ropes #shibari #sex #swingers #bisexual
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Even over #hashtags.
Als je wilt dat je #toots worden gevonden met de zoekfunctie van #Mastodon, zul je hashtags moeten gebruiken. Mastodon heeft geen "full text" #zoekfunctie als #Twitter, maar zoekt alleen op:
• Hashtags
• Usernames
• User URLs
• Post URLsJe kan hashtags volgen, net zoals gebruikers.
Dus wil je terug worden gevonden, gebruik hashtags voor #trefwoorden. Bijv., ik volg #fotografie en zonder die tag zie ik je foto's niet in mijn #tijdlijn.
Zie ook : https://midrange.tedium.co/issues/how-mastodon-search-works/
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Even over #hashtags.
Als je wilt dat je #toots worden gevonden met de zoekfunctie van #Mastodon, zul je hashtags moeten gebruiken. Mastodon heeft geen "full text" #zoekfunctie als #Twitter, maar zoekt alleen op:
• Hashtags
• Usernames
• User URLs
• Post URLsJe kan hashtags volgen, net zoals gebruikers.
Dus wil je terug worden gevonden, gebruik hashtags voor #trefwoorden. Bijv., ik volg #fotografie en zonder die tag zie ik je foto's niet in mijn #tijdlijn.
Zie ook : https://midrange.tedium.co/issues/how-mastodon-search-works/
-
Even over #hashtags.
Als je wilt dat je #toots worden gevonden met de zoekfunctie van #Mastodon, zul je hashtags moeten gebruiken. Mastodon heeft geen "full text" #zoekfunctie als #Twitter, maar zoekt alleen op:
• Hashtags
• Usernames
• User URLs
• Post URLsJe kan hashtags volgen, net zoals gebruikers.
Dus wil je terug worden gevonden, gebruik hashtags voor #trefwoorden. Bijv., ik volg #fotografie en zonder die tag zie ik je foto's niet in mijn #tijdlijn.
Zie ook : https://midrange.tedium.co/issues/how-mastodon-search-works/
-
Even over #hashtags.
Als je wilt dat je #toots worden gevonden met de zoekfunctie van #Mastodon, zul je hashtags moeten gebruiken. Mastodon heeft geen "full text" #zoekfunctie als #Twitter, maar zoekt alleen op:
• Hashtags
• Usernames
• User URLs
• Post URLsJe kan hashtags volgen, net zoals gebruikers.
Dus wil je terug worden gevonden, gebruik hashtags voor #trefwoorden. Bijv., ik volg #fotografie en zonder die tag zie ik je foto's niet in mijn #tijdlijn.
Zie ook : https://midrange.tedium.co/issues/how-mastodon-search-works/
-
Even over #hashtags.
Als je wilt dat je #toots worden gevonden met de zoekfunctie van #Mastodon, zul je hashtags moeten gebruiken. Mastodon heeft geen "full text" #zoekfunctie als #Twitter, maar zoekt alleen op:
• Hashtags
• Usernames
• User URLs
• Post URLsJe kan hashtags volgen, net zoals gebruikers.
Dus wil je terug worden gevonden, gebruik hashtags voor #trefwoorden. Bijv., ik volg #fotografie en zonder die tag zie ik je foto's niet in mijn #tijdlijn.
Zie ook : https://midrange.tedium.co/issues/how-mastodon-search-works/
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Finally finished The Wind Waker HD on stream.
Sigh.
Graphically, aesthetically the game has aged extremely well--it also handles emulated upscaling IMMACULATELY.
That being said, the overall controls and tedium of the game's traveling coupled with entire sections added to pad the length of the game have mostly aged poorly.
It didn't make for an outstanding streaming experience and by the end I was just happy for it to be over.
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Death of The Key Change
"So what is going on? Both of the shifts can be tied back to two things: the rise of hip-hop and the growing popularity of digital music production, or recording on computers."
I find it fascinating that cultural and technology changes have created a different soundtrack.
The explanation of the latter makes me a bit uneasy but also leads me to believe that additional advances could create another change.
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CW: The Death of Key Changes
An interesting article on how modern pop has gone two-dimensional (compared to pop some decades ago): stuck in a single key with no key changes, and for much of modern pop, a focus on rhythm and lyrics with melody barely acknowledged. (For example, hum a recent hip-hop song.)
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@kensanata My #SearchFu pays off.
"How did the romans trim their toenails" isn't specifically the scope of the question, but does turn up numerous informative results:
https://duckduckgo.com/?q=how+did+romans+trim+toenails&ia=web
("anthropology nail trimming" was ... spectacularly unproductive.)
Two of the better (still not great):
Tedium at least cites texts, including the Bible. Knives seemed in common use:
https://tedium.co/2017/02/07/fingernail-trimming-history/Not very authoritative, though methods are mentioned: "How Did People Trim and Maintain Their Nails in Medieval Times?"
https://about-history.com/how-did-people-trim-and-maintain-their-nails-in-medieval-times/ -
Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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Death Obvious – Death Obvious Review
By Andy-War-Hall
Back in August, I went goo-goo over an avant-black duo under Transcending Obscurity called Hexrot and, as a lowly N00b, awarded their debut Formless Ruin of Oblivion a “Great” designation.1 Flash forward, and sloshing through the promo sump comes an avant-black duo under Transcending Obscurity called Death Obvious, offering their self-titled debut. Composed of vocalist Lea Lavey and everything-else-er Sima Sioux,2 this Finnish duo reveal high aspirations with claims of “crafting music as it suits their demented vision in a recklessly intuitive manner” while pitching Death Obvious for fans of visionary acts like Blut aus Nord, Deathspell Omega, Veilburner and—looky!—Hexrot. My excitement in snagging Death Obvious was, like Death Obvious’ apparent expectations, quite high. Does Death Obvious live up to either?
With Death Obvious, you can pick out distinct moments of black, death and doom metal bubbling to the surface of Death Obvious’ style-soup. Death Obvious is sworn chiefly to the blackened arts, communicating primarily through Lavey’s hideous rasps and Sioux’s tremolo riffs and blast beats, with second-wave inspired ragers “The Third Eye Burning” and “Mercury Off Axis” making no bones about their caustic, reverb-heavy attack. Death and doom are the more secondary sounds of Death Obvious, with death appearing on the chunkier, mid-paced moments of songs like “Sanctuario” and doom manifesting into spacier, drawn-out passages like the start of “The Great Gate Theory,” which put me in mind, surprisingly, of Khemmis’ Hunted. When Death Obvious’ songwriting clicks, like on album highlight “Sanctuario” or portions of closer “Catechismus for the Plagued,” sounds really do hurtle in exciting, dangerous manners that makes Death Obvious a killer listen.
Most of Death Obvious is indistinct, however, due to Death Obvious’ directionless songwriting and murky production. Death Obvious relishes in dissonance both clean (“Total Heavenly Desolation”) and dirty (“Suffer the Spectacle”). But instead of building tension or suspense, Death Obvious creates tedium through dissonance, leading to neither release nor deeper discomfort but to a monotonous drone of black metal murk. This is exacerbated by Sioux’s guitar tone, which in Death Obvious’ faster moments can sound like a totally nebulous melange of reverb. To their credit, Death Obvious’ bass-forward mixing helps mitigate this somewhat, providing plucky, crunchy bass riffs like on “The Great Gate Theory.” It does nothing, however, for the busy, opaque mix that, damn the DR score, sounds boxed-in and flat. Death Obvious’ noise problem is encapsulated right off with “Mercury Off Axis,” opening with an excruciating, high-pitched drill sound that puts me in mind of the dentist and carries on well past its intro. It’s not pleasant, Obviously the point, but it’s not interesting either.
Death Obvious falters because Death Obvious simply doesn’t bring enough to the table. Not only is structure neglected on Death Obvious, but individual songs largely have little going for them beyond the black metal basics; over-repetition is chronic on tracks like “As Absence Expands over Everything,” and monotony abounds because of it. Beyond rare instances of effective piano and non-dental sound effects, Death Obvious blurs together in limited patterns played ad nauseam, making it an effort for the listener to stay focused throughout. Like how Death Obvious’ style issues were made plain by its opener, its songwriting woes are exemplified by its eight-minute closer, “Catechismus for the Plagued.” Half of “Catechismus…” anyway: the half that is one (1) riff, two (2) chords sharing one (1) root note hammered on and off at straight eighth notes with zero variation in dynamics or accent.3 The other half with creepy keys and an otherworldly soundscape shows what Death Obvious can be when playing inspired material. The one riff is what Death Obvious mostly offers: after a while, it doesn’t really sound like anything.
Death Obvious embodies the obtuse nature of avant-garde music with little of the adventurousness of its best practitioners. Instead of sounding unbound, it feels as though Death Obvious let the songs get away from them. I’m not sure if Death Obvious needs more editing, further drafting or both, but as is I can hardly pay attention for the entirety of one listen through. Death Obvious are a talented duo, and I believe they’ll have better material down the line, as moments throughout their debut hint at better things to come. However, not only did I not go goo-goo over Death Obvious, but I’m sure I won’t be returning to it much at all.
Rating: Bad
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Transcending Obscurity Records
Websites: deathobvious.bandcamp.com | facebook.com/DeathObvious
Releases Worldwide: December 5th, 2025#15 #2025 #avanteGarde #blackMetal #blutAusNord #deathMetal #deathObvious #deathspellOmega #dec25 #doomMetal #finnishMetal #hexrot #khemmis #review #reviews #transcendingObscurityRecords #veilburner #vomitheist
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back in the early 90s, it was very difficult to find a means for connecting to the internet.
for the very few who did have (pre-www) internet access, it was via their university or (much less likely) through a large corporation.
and then, in october of 1994, a local nonprofit started Edmonton FreeNet: for $25 per year, you got an e-mail address, usenet access, shell access to lynx and pine, and 1mb of file storage
i hung on to my account so i'd always have access to a shell no matter where I was in the world. my friends used it as a cheap ISP for years; they would eventually add SLIP/PPP.
i always wondered how the freenet initiative got started - and learned recently that it was all thanks to the NPTN Blue Book: a National Public Telecomputing Network that distributed a software package called FreePort, containing all of the sub-modules necessary to delivery dial-up access to a small community.
the whole NTPN concept itself was way ahead of its time, and i'd love to read a book on it some day.
for the time being, i'm overjoyed to see that there have been many articles written on freenets, and @ernie's is one of the best:
https://tedium.co/2022/04/13/internet-free-net-history/ -
By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025Show 3 footnotes
- Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
- DiGiorgio has been known to rock a 3-string bass too! ↩
- Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩
#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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Rivers of Nihil – Rivers of Nihil Review
By ClarkKent
With the decision to make their fifth album self-titled, Rivers of Nihil signal a rebirth of their sound—both a return to their roots and a new direction. This makes sense when considering that long-time lead singer Jake Dieffenbach departed in 2022. Taking his stead is bassist Adam Biggs, who was already a backup singer, and newcomer Andy Thomas (Black Crown Initiate), who lends his guitars as well as a significant vocal presence. It’s no secret that Rivers of Nihil’s prior albums haven’t met the warmest reception at AMG headquarters, but Kronos saw a clear improvement in their last two albums. Does Rivers of Nihil continue this line of progress, or does the new lineup take the band in the wrong direction?
In their latest iteration, Rivers of Nihil takes steps forward and some steps back. They largely strip away the progressive song structures that were successful on Where the Owls Know My Name and The Work. Tracks are more repetitive, coupled with industrial beats and simple chugging riffs. Not that many lauded Rivers of Nihil for their killer riffage—the inability to strum actual tunes was a constant complaint throughout Kronos’s reviews. The addition of Andy Thomas’s cleans and the return of the saxophone (handled by Patrick Corona of Cyborg Octopus) help offset this problem to an extent. Songs like “The Sub-Orbital Blues” work despite the simple guitar work due to its high energy on the drums, the seamless blending of Thomas’s and Biggs’s singing, and some sexy sax riffs. Rivers of Nihil is at its best when it embraces its proggy side. Songs like “Water & Time” and “House of Light” balance the gentle, the rough, and even the uplifting as Thomas belts out some stunning choruses.
Bringing Andy Thomas aboard was a brilliant move. His presence lifts good songs and even elevates some mediocre ones, like “Despair Church,” where his soaring croons deliver a gut punch. This isn’t to say anything against Adam Biggs, whose growls are punchy and effective. Rivers of Nihil are most effective when songs highlight the contrast between Biggs and Thomas. Also brilliant was giving Corona’s sax more play time. With the poor production values, the sax stands out in the mix better than the guitars and it adds layers and depth to the music. “House of Light” mixes the vocal and sax elements perfectly, with Biggs and Thomas taking turns demonstrating their strengths, and the sax adding melody over the guitars. Unfortunately, the inconsistent songwriting often lets Rivers of Nihil down.
While the front half is more mixed, the back half of Rivers of Nihil (except “House of Light”) takes a nosedive. Here, the band’s worst instincts rear their ugly head. With the slow tempo, uninspired guitar play, and anemic choruses, these songs could effectively replace your soporific of choice. The worst offender of this bunch is “American Death.” Its combination of blast beats and chug-a-chug riffs is the audio equivalent of a strobe light. Demonstrating a lack of imagination is the awkward chorus, whose lyric, “I can’t believe anything you say,” is word-for-word the same as the chorus on Mushroomhead’s “Eternal,” and the delivery is also uncannily similar. Even the album’s strongest elements fail to overcome the tedium of these final tracks. For example, the sax solo in “The Logical End” is an attempt to jazz up a dull song, but this has the same effect as trying to cover up a smelly poo with air freshener—it still stinks.
As a fan of Rivers of Nihil’s previous work, I had higher hopes when I plucked this from the promo bin. Rivers of Nihil likely won’t deter the band’s loyalest fans, nor will it sway its detractors. Those hoping for them to continue in the interesting direction of The Work will be largely disappointed, however. With one album under their belt, this new version of Rivers of Nihil is now at a crossroads. They can build upon the progressive foundations of “Water & Time,” or develop the energetic fun of “The Sub-Orbital Blues,” or continue the unimaginative performances of “The Logical End.” One can hope they can strike a balance between the first two options and leave the last one behind.
Rating: 2.0/5.0
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: riversofnihil.bandcamp.com | riversofnihil.com
Releases Worldwide: May 30th, 2025#20 #2025 #AmericanMetal #BlackCrownInitiate #CyborgOctopus #DeathMetal #May25 #MetalBladeRecords #Mushroomhead #ProgressiveMetal #Review #Reviews #RiversOfNihil
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Rivers of Nihil – Rivers of Nihil Review
By ClarkKent
With the decision to make their fifth album self-titled, Rivers of Nihil signal a rebirth of their sound—both a return to their roots and a new direction. This makes sense when considering that long-time lead singer Jake Dieffenbach departed in 2022. Taking his stead is bassist Adam Biggs, who was already a backup singer, and newcomer Andy Thomas (Black Crown Initiate), who lends his guitars as well as a significant vocal presence. It’s no secret that Rivers of Nihil’s prior albums haven’t met the warmest reception at AMG headquarters, but Kronos saw a clear improvement in their last two albums. Does Rivers of Nihil continue this line of progress, or does the new lineup take the band in the wrong direction?
In their latest iteration, Rivers of Nihil takes steps forward and some steps back. They largely strip away the progressive song structures that were successful on Where the Owls Know My Name and The Work. Tracks are more repetitive, coupled with industrial beats and simple chugging riffs. Not that many lauded Rivers of Nihil for their killer riffage—the inability to strum actual tunes was a constant complaint throughout Kronos’s reviews. The addition of Andy Thomas’s cleans and the return of the saxophone (handled by Patrick Corona of Cyborg Octopus) help offset this problem to an extent. Songs like “The Sub-Orbital Blues” work despite the simple guitar work due to its high energy on the drums, the seamless blending of Thomas’s and Biggs’s singing, and some sexy sax riffs. Rivers of Nihil is at its best when it embraces its proggy side. Songs like “Water & Time” and “House of Light” balance the gentle, the rough, and even the uplifting as Thomas belts out some stunning choruses.
Bringing Andy Thomas aboard was a brilliant move. His presence lifts good songs and even elevates some mediocre ones, like “Despair Church,” where his soaring croons deliver a gut punch. This isn’t to say anything against Adam Biggs, whose growls are punchy and effective. Rivers of Nihil are most effective when songs highlight the contrast between Biggs and Thomas. Also brilliant was giving Corona’s sax more play time. With the poor production values, the sax stands out in the mix better than the guitars and it adds layers and depth to the music. “House of Light” mixes the vocal and sax elements perfectly, with Biggs and Thomas taking turns demonstrating their strengths, and the sax adding melody over the guitars. Unfortunately, the inconsistent songwriting often lets Rivers of Nihil down.
While the front half is more mixed, the back half of Rivers of Nihil (except “House of Light”) takes a nosedive. Here, the band’s worst instincts rear their ugly head. With the slow tempo, uninspired guitar play, and anemic choruses, these songs could effectively replace your soporific of choice. The worst offender of this bunch is “American Death.” Its combination of blast beats and chug-a-chug riffs is the audio equivalent of a strobe light. Demonstrating a lack of imagination is the awkward chorus, whose lyric, “I can’t believe anything you say,” is word-for-word the same as the chorus on Mushroomhead’s “Eternal,” and the delivery is also uncannily similar. Even the album’s strongest elements fail to overcome the tedium of these final tracks. For example, the sax solo in “The Logical End” is an attempt to jazz up a dull song, but this has the same effect as trying to cover up a smelly poo with air freshener—it still stinks.
As a fan of Rivers of Nihil’s previous work, I had higher hopes when I plucked this from the promo bin. Rivers of Nihil likely won’t deter the band’s loyalest fans, nor will it sway its detractors. Those hoping for them to continue in the interesting direction of The Work will be largely disappointed, however. With one album under their belt, this new version of Rivers of Nihil is now at a crossroads. They can build upon the progressive foundations of “Water & Time,” or develop the energetic fun of “The Sub-Orbital Blues,” or continue the unimaginative performances of “The Logical End.” One can hope they can strike a balance between the first two options and leave the last one behind.
Rating: 2.0/5.0
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: riversofnihil.bandcamp.com | riversofnihil.com
Releases Worldwide: May 30th, 2025#20 #2025 #AmericanMetal #BlackCrownInitiate #CyborgOctopus #DeathMetal #May25 #MetalBladeRecords #Mushroomhead #ProgressiveMetal #Review #Reviews #RiversOfNihil
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Rivers of Nihil – Rivers of Nihil Review
By ClarkKent
With the decision to make their fifth album self-titled, Rivers of Nihil signal a rebirth of their sound—both a return to their roots and a new direction. This makes sense when considering that long-time lead singer Jake Dieffenbach departed in 2022. Taking his stead is bassist Adam Biggs, who was already a backup singer, and newcomer Andy Thomas (Black Crown Initiate), who lends his guitars as well as a significant vocal presence. It’s no secret that Rivers of Nihil’s prior albums haven’t met the warmest reception at AMG headquarters, but Kronos saw a clear improvement in their last two albums. Does Rivers of Nihil continue this line of progress, or does the new lineup take the band in the wrong direction?
In their latest iteration, Rivers of Nihil takes steps forward and some steps back. They largely strip away the progressive song structures that were successful on Where the Owls Know My Name and The Work. Tracks are more repetitive, coupled with industrial beats and simple chugging riffs. Not that many lauded Rivers of Nihil for their killer riffage—the inability to strum actual tunes was a constant complaint throughout Kronos’s reviews. The addition of Andy Thomas’s cleans and the return of the saxophone (handled by Patrick Corona of Cyborg Octopus) help offset this problem to an extent. Songs like “The Sub-Orbital Blues” work despite the simple guitar work due to its high energy on the drums, the seamless blending of Thomas’s and Biggs’s singing, and some sexy sax riffs. Rivers of Nihil is at its best when it embraces its proggy side. Songs like “Water & Time” and “House of Light” balance the gentle, the rough, and even the uplifting as Thomas belts out some stunning choruses.
Bringing Andy Thomas aboard was a brilliant move. His presence lifts good songs and even elevates some mediocre ones, like “Despair Church,” where his soaring croons deliver a gut punch. This isn’t to say anything against Adam Biggs, whose growls are punchy and effective. Rivers of Nihil are most effective when songs highlight the contrast between Biggs and Thomas. Also brilliant was giving Corona’s sax more play time. With the poor production values, the sax stands out in the mix better than the guitars and it adds layers and depth to the music. “House of Light” mixes the vocal and sax elements perfectly, with Biggs and Thomas taking turns demonstrating their strengths, and the sax adding melody over the guitars. Unfortunately, the inconsistent songwriting often lets Rivers of Nihil down.
While the front half is more mixed, the back half of Rivers of Nihil (except “House of Light”) takes a nosedive. Here, the band’s worst instincts rear their ugly head. With the slow tempo, uninspired guitar play, and anemic choruses, these songs could effectively replace your soporific of choice. The worst offender of this bunch is “American Death.” Its combination of blast beats and chug-a-chug riffs is the audio equivalent of a strobe light. Demonstrating a lack of imagination is the awkward chorus, whose lyric, “I can’t believe anything you say,” is word-for-word the same as the chorus on Mushroomhead’s “Eternal,” and the delivery is also uncannily similar. Even the album’s strongest elements fail to overcome the tedium of these final tracks. For example, the sax solo in “The Logical End” is an attempt to jazz up a dull song, but this has the same effect as trying to cover up a smelly poo with air freshener—it still stinks.
As a fan of Rivers of Nihil’s previous work, I had higher hopes when I plucked this from the promo bin. Rivers of Nihil likely won’t deter the band’s loyalest fans, nor will it sway its detractors. Those hoping for them to continue in the interesting direction of The Work will be largely disappointed, however. With one album under their belt, this new version of Rivers of Nihil is now at a crossroads. They can build upon the progressive foundations of “Water & Time,” or develop the energetic fun of “The Sub-Orbital Blues,” or continue the unimaginative performances of “The Logical End.” One can hope they can strike a balance between the first two options and leave the last one behind.
Rating: 2.0/5.0
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: riversofnihil.bandcamp.com | riversofnihil.com
Releases Worldwide: May 30th, 2025#20 #2025 #AmericanMetal #BlackCrownInitiate #CyborgOctopus #DeathMetal #May25 #MetalBladeRecords #Mushroomhead #ProgressiveMetal #Review #Reviews #RiversOfNihil
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Rivers of Nihil – Rivers of Nihil Review
By ClarkKent
With the decision to make their fifth album self-titled, Rivers of Nihil signal a rebirth of their sound—both a return to their roots and a new direction. This makes sense when considering that long-time lead singer Jake Dieffenbach departed in 2022. Taking his stead is bassist Adam Biggs, who was already a backup singer, and newcomer Andy Thomas (Black Crown Initiate), who lends his guitars as well as a significant vocal presence. It’s no secret that Rivers of Nihil’s prior albums haven’t met the warmest reception at AMG headquarters, but Kronos saw a clear improvement in their last two albums. Does Rivers of Nihil continue this line of progress, or does the new lineup take the band in the wrong direction?
In their latest iteration, Rivers of Nihil takes steps forward and some steps back. They largely strip away the progressive song structures that were successful on Where the Owls Know My Name and The Work. Tracks are more repetitive, coupled with industrial beats and simple chugging riffs. Not that many lauded Rivers of Nihil for their killer riffage—the inability to strum actual tunes was a constant complaint throughout Kronos’s reviews. The addition of Andy Thomas’s cleans and the return of the saxophone (handled by Patrick Corona of Cyborg Octopus) help offset this problem to an extent. Songs like “The Sub-Orbital Blues” work despite the simple guitar work due to its high energy on the drums, the seamless blending of Thomas’s and Biggs’s singing, and some sexy sax riffs. Rivers of Nihil is at its best when it embraces its proggy side. Songs like “Water & Time” and “House of Light” balance the gentle, the rough, and even the uplifting as Thomas belts out some stunning choruses.
Bringing Andy Thomas aboard was a brilliant move. His presence lifts good songs and even elevates some mediocre ones, like “Despair Church,” where his soaring croons deliver a gut punch. This isn’t to say anything against Adam Biggs, whose growls are punchy and effective. Rivers of Nihil are most effective when songs highlight the contrast between Biggs and Thomas. Also brilliant was giving Corona’s sax more play time. With the poor production values, the sax stands out in the mix better than the guitars and it adds layers and depth to the music. “House of Light” mixes the vocal and sax elements perfectly, with Biggs and Thomas taking turns demonstrating their strengths, and the sax adding melody over the guitars. Unfortunately, the inconsistent songwriting often lets Rivers of Nihil down.
While the front half is more mixed, the back half of Rivers of Nihil (except “House of Light”) takes a nosedive. Here, the band’s worst instincts rear their ugly head. With the slow tempo, uninspired guitar play, and anemic choruses, these songs could effectively replace your soporific of choice. The worst offender of this bunch is “American Death.” Its combination of blast beats and chug-a-chug riffs is the audio equivalent of a strobe light. Demonstrating a lack of imagination is the awkward chorus, whose lyric, “I can’t believe anything you say,” is word-for-word the same as the chorus on Mushroomhead’s “Eternal,” and the delivery is also uncannily similar. Even the album’s strongest elements fail to overcome the tedium of these final tracks. For example, the sax solo in “The Logical End” is an attempt to jazz up a dull song, but this has the same effect as trying to cover up a smelly poo with air freshener—it still stinks.
As a fan of Rivers of Nihil’s previous work, I had higher hopes when I plucked this from the promo bin. Rivers of Nihil likely won’t deter the band’s loyalest fans, nor will it sway its detractors. Those hoping for them to continue in the interesting direction of The Work will be largely disappointed, however. With one album under their belt, this new version of Rivers of Nihil is now at a crossroads. They can build upon the progressive foundations of “Water & Time,” or develop the energetic fun of “The Sub-Orbital Blues,” or continue the unimaginative performances of “The Logical End.” One can hope they can strike a balance between the first two options and leave the last one behind.
Rating: 2.0/5.0
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: riversofnihil.bandcamp.com | riversofnihil.com
Releases Worldwide: May 30th, 2025#20 #2025 #AmericanMetal #BlackCrownInitiate #CyborgOctopus #DeathMetal #May25 #MetalBladeRecords #Mushroomhead #ProgressiveMetal #Review #Reviews #RiversOfNihil
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Wagakki Band (和楽器バンド) – Yasouemaki (八奏絵巻) (2015, Japan)
Our next spotlight is on number 1011 on The List, submitted by ChrisJagged.
Founded by singer, composer, lyricist, Shigin master, Kenshibu dancer, and classical pianist Suzuhana Yuko, Wagakki Band (和楽器バンド) is named after the traditional Japanese instruments that are prominent in their music, wagakki. Originating out of Suzuhana’s acoustic folk trio Hanafugetsu (which is still active), the band essentially merged with folk punk/visual kei band Crow×Class to result in a 8-member group with a sound that lands somewhere in-between the folk rock and folk metal spheres. Wagakki Band first gained popularity via their adaptations of Vocaloid songs, with their first LP, Vocalo Zanmai (ボカロ三昧) (2014), consisting solely of Vocaloid covers. The album we look at here is their second studio album and first to contain original material. It incorporates methods of Shigin, a traditional poetry form performed/recited in a particular manner, as would their following albums.
Following the release of Yasouemaki, Wagakki Band’s popularity would continue to grow both at home and internationally, and the band would go on to release five more LPs, with Tokyo Singing (2020) featuring a collaboration with Amy Lee of Evanescence. As of the end of 2024, the band has gone on indefinite hiatus.
Even if you, like me, don’t know much about J-rock/J-pop, if you have an interest in folk rock/metal (and love/miss[1] key changes!), this is a really fun band to check out.
Happy listening!
- Here’s a fun Tedium article that was referenced in a toot I saw recently, exploring the demise of the key change in pop music over the last 60 years: “The Death of the Key Change” by Chris Dalla Riva (Nov 9, 2022). The article looks specifically at pop music that hit the Billboard Hot 100 charts so I can’t help but wonder now if the key change is still alive and well in J-pop. Anyone know? ↩︎
#CrowxClass #folkMetal #folkRock #Hanafugetsu #JPop #JRock #music #musicDiscovery #Shigin #SuzuhanaYuko #WagakkiBand