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1000 results for “statcat”
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At its apex, driving basslines thunder beneath punchy, rolling kicks, creating an irresistible groove that demands movement. Gated tremolo vocal chops add a layer of texture, their staccato rhythm echoing the heartbeat of a summer romance.
https://retroworldnews.com/nicky-romeros-new-single-love-you-for-the-summer-featuring-ownboss-and-oaks/#NickyRomero #LoveYoufortheSummer #Öwnboss #Oaks #newmusic #summerjam #electronicmusic #dancebeats #musiccollaboration #internationalartists #musicrelease #summeranthem #clubbanger #musicaltalent #hitmakers #songofthesummer #edm #music
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At its apex, driving basslines thunder beneath punchy, rolling kicks, creating an irresistible groove that demands movement. Gated tremolo vocal chops add a layer of texture, their staccato rhythm echoing the heartbeat of a summer romance.
https://retroworldnews.com/nicky-romeros-new-single-love-you-for-the-summer-featuring-ownboss-and-oaks/#NickyRomero #LoveYoufortheSummer #Öwnboss #Oaks #newmusic #summerjam #electronicmusic #dancebeats #musiccollaboration #internationalartists #musicrelease #summeranthem #clubbanger #musicaltalent #hitmakers #songofthesummer #edm #music
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At its apex, driving basslines thunder beneath punchy, rolling kicks, creating an irresistible groove that demands movement. Gated tremolo vocal chops add a layer of texture, their staccato rhythm echoing the heartbeat of a summer romance.
https://retroworldnews.com/nicky-romeros-new-single-love-you-for-the-summer-featuring-ownboss-and-oaks/#NickyRomero #LoveYoufortheSummer #Öwnboss #Oaks #newmusic #summerjam #electronicmusic #dancebeats #musiccollaboration #internationalartists #musicrelease #summeranthem #clubbanger #musicaltalent #hitmakers #songofthesummer #edm #music
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At its apex, driving basslines thunder beneath punchy, rolling kicks, creating an irresistible groove that demands movement. Gated tremolo vocal chops add a layer of texture, their staccato rhythm echoing the heartbeat of a summer romance.
https://retroworldnews.com/nicky-romeros-new-single-love-you-for-the-summer-featuring-ownboss-and-oaks/#NickyRomero #LoveYoufortheSummer #Öwnboss #Oaks #newmusic #summerjam #electronicmusic #dancebeats #musiccollaboration #internationalartists #musicrelease #summeranthem #clubbanger #musicaltalent #hitmakers #songofthesummer #edm #music
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Norfolk …. Here we come
#travel #UKHoliday #staycation -
#introduction I've been here for a few weeks, but have yet to introduce myself! I'm a #cogneuro & #quantpsych researcher at The University of Utah studying #pain #perception & #emotion with a focus on how perceptual and emotional processes interact over time using #psychophysics #intensivelongitudinalmethods #DynamicSystems #bayesianestimation . Lover of all things time #timeperception #temporalanalysis and quant. I love #Stats & #Programming , and enjoy teaching these methods to others.
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#introduction I've been here for a few weeks, but have yet to introduce myself! I'm a #cogneuro & #quantpsych researcher at The University of Utah studying #pain #perception & #emotion with a focus on how perceptual and emotional processes interact over time using #psychophysics #intensivelongitudinalmethods #DynamicSystems #bayesianestimation . Lover of all things time #timeperception #temporalanalysis and quant. I love #Stats & #Programming , and enjoy teaching these methods to others.
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#introduction I've been here for a few weeks, but have yet to introduce myself! I'm a #cogneuro & #quantpsych researcher at The University of Utah studying #pain #perception & #emotion with a focus on how perceptual and emotional processes interact over time using #psychophysics #intensivelongitudinalmethods #DynamicSystems #bayesianestimation . Lover of all things time #timeperception #temporalanalysis and quant. I love #Stats & #Programming , and enjoy teaching these methods to others.
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#introduction I've been here for a few weeks, but have yet to introduce myself! I'm a #cogneuro & #quantpsych researcher at The University of Utah studying #pain #perception & #emotion with a focus on how perceptual and emotional processes interact over time using #psychophysics #intensivelongitudinalmethods #DynamicSystems #bayesianestimation . Lover of all things time #timeperception #temporalanalysis and quant. I love #Stats & #Programming , and enjoy teaching these methods to others.
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Systemic racism in the c/a/n/a/d/a project:
2% are Indigenous women, but they = 48% of the federal prison population, up from 12% a couple decades ago.
Then this: "Despite representing 3.7% of the Canadian adult population in 2021, Black people comprised 6.2% of all accused persons in adult criminal courts from 2016/2017 to 2022/2023."
#cdnpoli #canada #mexico #fascism #antifa #antifascist #elbowsup #bcpoli #vancouver #burnaby #canlab #bcgreens #bcndp #ecosocialism
https://www150.statcan.gc.ca/n1/daily-quotidien/260324/dq260324a-eng.htm
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Systemic racism in the c/a/n/a/d/a project:
2% are Indigenous women, but they = 48% of the federal prison population, up from 12% a couple decades ago.
Then this: "Despite representing 3.7% of the Canadian adult population in 2021, Black people comprised 6.2% of all accused persons in adult criminal courts from 2016/2017 to 2022/2023."
#cdnpoli #canada #mexico #fascism #antifa #antifascist #elbowsup #bcpoli #vancouver #burnaby #canlab #bcgreens #bcndp #ecosocialism
https://www150.statcan.gc.ca/n1/daily-quotidien/260324/dq260324a-eng.htm
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抗癌吳文忻 肺炎留醫
左胸腔亦出現積水
“事情就永遠無咁順利嘅”
病榻中笑對挑戰
“一個人住四人房
感覺有點空虛
但又好自由”因乳癌復發，近年積極接受治療的 #吳文忻（Nathaliie），雖然早前在CT Scan報告發現細胞變異擴散至肝臟，且發現3cm腫瘤，及腦部左右兩邊各長了1cm腫瘤，但仍抱樂觀心態面對身心挑戰。
#抗癌 不止是身體一場仗，還是意志的角力。為讓病榻中的自己，保持開朗心境，吳文忻眼光放在發掘樂事。她現因肺炎留醫，寫道︰「一個人住四人房，感覺有點空虛，但又好自由。」又求網民推介好劇，讓她留院期間煲劇過日晨。還趁空閒敷面膜，病中不忘保養。
昨晚她update身體狀況，指上周到香港大學深圳醫院，原準備接受第二次治療，卻發現患上肺炎，故需留院觀察，令原本復活節假期，訂了酒店跟兩女兒staycation的計劃亦要擱置。
片中吳文忻精神不錯，只是說話時中氣有點不足，她指上次做完化療，回港後不斷乾咳，「其中原因係呢隻新藥好傷肺，有10%嘅人會感染肺炎。你知肺炎可大可小，好多...
https://www.instagram.com/p/DWs5_XLk1Lu/ -
抗癌吳文忻 肺炎留醫
左胸腔亦出現積水
“事情就永遠無咁順利嘅”
病榻中笑對挑戰
“一個人住四人房
感覺有點空虛
但又好自由”因乳癌復發，近年積極接受治療的 #吳文忻（Nathaliie），雖然早前在CT Scan報告發現細胞變異擴散至肝臟，且發現3cm腫瘤，及腦部左右兩邊各長了1cm腫瘤，但仍抱樂觀心態面對身心挑戰。
#抗癌 不止是身體一場仗，還是意志的角力。為讓病榻中的自己，保持開朗心境，吳文忻眼光放在發掘樂事。她現因肺炎留醫，寫道︰「一個人住四人房，感覺有點空虛，但又好自由。」又求網民推介好劇，讓她留院期間煲劇過日晨。還趁空閒敷面膜，病中不忘保養。
昨晚她update身體狀況，指上周到香港大學深圳醫院，原準備接受第二次治療，卻發現患上肺炎，故需留院觀察，令原本復活節假期，訂了酒店跟兩女兒staycation的計劃亦要擱置。
片中吳文忻精神不錯，只是說話時中氣有點不足，她指上次做完化療，回港後不斷乾咳，「其中原因係呢隻新藥好傷肺，有10%嘅人會感染肺炎。你知肺炎可大可小，好多...
https://www.instagram.com/p/DWs5_XLk1Lu/ -
Concert évènement avec Staccato Crew !
Fishbone, les légendes de la scène californienne, débarquent à La Basane de Miramont-de-Guyenne le 18 avril.Plus d'infos ici 👉🏻 https://www.sortir47.fr/evenement/fishbone-capsula/
#sortir47 #sortirdansle47 #sortiren47 #lotetgaronne #nouvelleaquitaine #nouvelleaquitainetourisme #agenda #agendaculturel #agendadessorties #ideessorties #ideesortie #ideedesortie #culture #loisirs #agitateurcultureldepuis2007 #fishbone #rockfusion #fusion #capsula #rockgarage #rock #labasane #staccato
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lo zaino cannibale tagliato e poi buttato (pulizie estive?)
Tra le mani ad oggi ho solo spaccamenti, e quindi non ho davvero molto da dire senza sembrare ancora più fuori di testa del solito… Ma, senza finire per divagare già al primo periodo di questo post, ecco una cosa che ho fatto l’altro giorno che boh, è divertente… ma chissà quanto utile. (Sospetto poco, a causa di problemi di skill che subito diventano evidenti, ma la mia vita è per legge questo.) 🙏
Mio padre doveva buttare un trolley della spesa vecchio l’altro giorno, perché consumato e spacc… ordinaria amministrazione, nella corrente economia, in cui i prodotti puntualmente si rovinano se semplicemente vengono usati, vabbè. Ne ha approfittato per prendere e levare di mezzo anche un altro trolley mezzo scassato, che invece usavo io a scuola, alle elementari (tempi duri, a portare a giro tutti i cazzo di libri, e poi i quaderni pure, noo madonna ragazzi che ne parliamo a fare)… e quello principalmente aveva il manico allungabile rotto, incastrato, che non scendeva più completamente; rumenta a tutti gli effetti. 💩
Per giorni, pur avendo notato lo spostamento dell’oggetto, non ci ho pensato molto… Però, giusto un giorno prima che fossero effettivamente gettati (e se qui non devo ringraziare gli spiriti che mi hanno infuso il giusto pensiero nel giusto momento, davvero non so quando dovrei), mi è salita in mente un’idea: e se cannibalizzassi le ruote, che potrebbero fare sempre comode in magici progetti futuri??? (Tipo, esempio stupido, bombe autocomandate???) E sarebbe stata un’idea perfetta, se all’atto pratico non si fosse rivelata impossibile (almeno, impossibile nella misura di volerlo fare così, per sfizio, per perdere un po’ di tempo prima di cena). Purtroppo, lo zainetto era così cucinato dal tempo che le viti esagonali che tenevano a posto le ruote non volevano saperne di svitarsi con un cacciavite (e io non possiedo le chiavi orizzontali magiche), quelle dell’altro carrello erano molto grandi e fissate non so come, e visto ciò avevo esaurito le opzioni. 😿
Eppure… qualcosa comunque me la dovevo rubare e conservare, da quella carcassa così insensibilmente condannata alla discarica… quindi ho optato per le zip!!! (Zorp!!!) Ho preso inizialmente le forbici, perché sono scema… poi ho visto che non sarei andata da nessuna parte in quel modo, quindi ho preso il taglierino. In qualche minuto quindi, e con non poca fatica, le ben due cerniere le ho staccate… evidentemente non con grandissimo successo, ma sono comunque utilizzabili, ci si può cucire filo filo sul bordo (…o, almeno, alla peggio la più grande dovrebbe essere utilizzabile, e che cazzo…)! Non ricordavo neanche se fosse di buona o cattiva qualità questo zaino, però, a giudicare dal come il tessuto è stato fisicamente molto tosto a tagliarsi, direi non male. 🔪
Comunque, assurdo… Lo zaino blu con dettagli neri e verdi, e fa questa fine…? Mai capirò come mai in questa casa viene sempre la voglia di buttare via la robba… Mio padre dice sempre che bisogna buttare un sacco di cose, perché non ci sarebbe spazio in camera mia, ma è da ormai quasi un quarto di secolo che sento sempre dire questa cosa… eppure, tutti i suoi libri dall’aspetto semi-costoso sono ancora lì al loro posto sulle mie mensole. Ok, in parte sto scherzando, perché oggettivamente non c’è spazio… basta guardare come sono costretta a conservare i miei manga per avere un’idea… però non capisco perché mai ripetere questa cosa svariate volte all’anno, e in alcuni periodi pure svariate volte al mese… 🥴
…Questo zaino che è stato coattamente eliminato dalla mia stanza e piazzato vicino alla mondezza, però, in effetti forse era da buttare, gli darò vinta questa. Era così pieno di polvere, ma veramente così impregnato di marciume arioso, che mentre facevo queste procedure di cannibalizzazione (avendole fatte tutte a pezzetti, una alla volta, 3 in totale) mi sono dovuta lavare le mani ogni volta, per quanto diventavano di quel classico secco scomodo della polvere… nonostante ad occhio tutto sommato non sembri (perché, appunto, sarà proprio il tessuto impregnato, e non solo coperto), se non per il fatto che ha una specie di alone come se fosse renderizzato con della nebbia attorno. Però uffa, il bilancio ottenuto alla fine fa schifo, ho potuto riciclare poca roba! 🤥
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Trying to find a really great recording of Cooley's Reel for my wife who is learning fiddle. I found something by Bothy Band which is of course top notch, but I'd like something with a sparser arrangement. And I did notice that on YouTube most of the videos have a very playing different style for reels than what I learned a couple of decades ago in a land far away...
I don't know if it's just a newer style, faster, more aggressive, staccato, or if it's a difference in style between the Island and the diaspora (I've never been in Ireland but I had the privilege of learning from recordings and even live teachers who were from the tradition. I once got an informal lesson from John McSherry in the lobby of a concert hall in exchange for some B&Hs!). But I prefer reels that give me the feeling of water running over river stones, tumbling over itself, splashing and eddying in a fluid monologue.
Anyway, if anyone has any suggestions, she needs a professional recording. I used to play it with Maid Behind the Bar, I think.
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Trying to find a really great recording of Cooley's Reel for my wife who is learning fiddle. I found something by Bothy Band which is of course top notch, but I'd like something with a sparser arrangement. And I did notice that on YouTube most of the videos have a very playing different style for reels than what I learned a couple of decades ago in a land far away...
I don't know if it's just a newer style, faster, more aggressive, staccato, or if it's a difference in style between the Island and the diaspora (I've never been in Ireland but I had the privilege of learning from recordings and even live teachers who were from the tradition. I once got an informal lesson from John McSherry in the lobby of a concert hall in exchange for some B&Hs!). But I prefer reels that give me the feeling of water running over river stones, tumbling over itself, splashing and eddying in a fluid monologue.
Anyway, if anyone has any suggestions, she needs a professional recording. I used to play it with Maid Behind the Bar, I think.
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Trying to find a really great recording of Cooley's Reel for my wife who is learning fiddle. I found something by Bothy Band which is of course top notch, but I'd like something with a sparser arrangement. And I did notice that on YouTube most of the videos have a very playing different style for reels than what I learned a couple of decades ago in a land far away...
I don't know if it's just a newer style, faster, more aggressive, staccato, or if it's a difference in style between the Island and the diaspora (I've never been in Ireland but I had the privilege of learning from recordings and even live teachers who were from the tradition. I once got an informal lesson from John McSherry in the lobby of a concert hall in exchange for some B&Hs!). But I prefer reels that give me the feeling of water running over river stones, tumbling over itself, splashing and eddying in a fluid monologue.
Anyway, if anyone has any suggestions, she needs a professional recording. I used to play it with Maid Behind the Bar, I think.
-
Trying to find a really great recording of Cooley's Reel for my wife who is learning fiddle. I found something by Bothy Band which is of course top notch, but I'd like something with a sparser arrangement. And I did notice that on YouTube most of the videos have a very playing different style for reels than what I learned a couple of decades ago in a land far away...
I don't know if it's just a newer style, faster, more aggressive, staccato, or if it's a difference in style between the Island and the diaspora (I've never been in Ireland but I had the privilege of learning from recordings and even live teachers who were from the tradition. I once got an informal lesson from John McSherry in the lobby of a concert hall in exchange for some B&Hs!). But I prefer reels that give me the feeling of water running over river stones, tumbling over itself, splashing and eddying in a fluid monologue.
Anyway, if anyone has any suggestions, she needs a professional recording. I used to play it with Maid Behind the Bar, I think.
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Raising the ceiling hight in the basement, doing foundation underpinning. #diy #underpinning #staycation
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Star Catcher completes first ground test for space power beaming service
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Star Catcher lands Space Florida support for satellite power beaming tests
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By Steel Druhm
Written By: Nameless_N00b_87
It’s hard to believe Gojira’s From Mars to Sirius will be celebrating its twenty-year anniversary next year. The now famous metal quartet from Bayonne, France has ascended the metal hierarchy since the release of their landmark record, culminating this year in a mainstage spot in the opening ceremonies of the 2024 Summer Olympics. But as a longtime fan, I feared that their performance, no matter how awe-inspiring, would add further fuel to an ever-growing wildfire of imitation by a legion of aspiring musicians seeking to emulate their captivating sound. Enter Septaria, one such young aspiring band from Southern France who are ready to unleash their debut album Astar.1 The foursome has garnered somewhat of a buzz with their existential blend of Gojira’s modern metal and Slowdive’s dreamy post- rock, resulting in the group becoming the latest signees to Guillaume Bernard’s2 Klonosphere label. Let’s find out if these young lads can escape the shadow of their Godzilla-like influences and carve out their own path.
Septaria wastes little time channeling Gojira’s signature sound. From the rhythmic staccatos and pummeling double-kicks of From Mars to Sirius, to the double octave pitch shifts highlighted on Magma‘s “Centaure,” to the harmonic tremolos and melodic tapping of L’Enfant Sauvage, the Gojira tropes dominate Astar’s drawn-out runtime with lackluster results. And to cover the vocal inconsistencies that shredders Hugo Thevenot and Maxime Ayasse produce, the duo run their ethereal cleans, guttural roars, and reverberating screams under thick layers of reverb and delay while toying about with periodic bouts of throat singing and ethnic chants. Drummer Hugo Leydet, who offers his best impersonation of Mario Duplantier’s heavy grooves in both performance and tone, teams up with the low rumble of Baptise Trébuchon’s bass to round out the quartet’s familiar backbone. Though clearly talented, Septaria fail to show much originality outside of a few strong swelling and groove-laden moments peppered throughout Astar that provide a glimpse of the ensemble’s artistic vision.
Septaria’s overindulgence and lack of originality make Astar’s excessive length unjustifiable, bloated, and monotonous. Clocking in at 68 minutes, Septaria’s twelve lengthy, Gojira-inspired tracks rely on post-rock’s epic builds stretched out beyond necessity, resulting in a listless and tedious listening experience. “Being,” for example, is an immense ten-minute track that takes forever to arrive at its apex before the energy dies against four minutes of atmospheric feedback and ominous bass tones. Elsewhere, the lifeforce of Ledet’s hypnotic drumming in “Skys Words” deflates in the song’s bloated second half, offering an uninspired, spacey, and drawn-out construction that clashes with its grandiose form. And the cacophony of whammy bar manipulations and screams of “Saggitarius” shatter all momentum after its midpoint. Meant to offer respite, Septaria attempts to combat Astar’s bloat through strategically positioned intermezzos (“Abyss,” “Persephone”) intended to break the record’s flow into more palatable portions. Instead, these diversions quickly devolve into filler, serving as stagnant pools of rogue riffs.
Astar’s stronger moments appear when Septaria rely on their post-rock and groove-laden core to drive creativity. The dreamlike and celestial bridge that triggers the ending in opener “Moment Présent” signals that these Frenchmen have the capacity to write catchy, somber, and atmospheric grooves with emotional impact. Astar’s best moment arrives with the closing of “Embers” where Ledet’s back-beat shuffle coalesces with Thevenot’s and Ayasse’s harmonic tapping and ominous low tremolos to create a head-bobbing groove. Despite these highlights, however, Septaria’s hesitancy to escape the comfort of their predecessors’ shadow stifles their creativity, leading them to eventually revert to a predictable, borrowed riff.
Septaria is a young band that possesses loads of talent and ambition. However, Astar falls victim to Septaria’s overindulgence and lack of originality. This reliance on a well-established formula, coupled with the inability to craft compelling and concise compositions, results in tedious and underwhelming listen. Astar is a testament to Septaria‘s potential, but it is potential that remains largely untapped. I’m left disappointed with what could have been with Astar, and hope Septaria strives to step outside of the confines of imitation with their next steps.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Klonosphere Records
Websites: septariaofficial.bandcamp.com | facebook.com/septaria.band
Releases Worldwide: November 15, 2024#20 #2024 #Astar #FrenchMetal #Gojira #KlonosphereRecords #Nov24 #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Septaria #Slowdive
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By Steel Druhm
Written By: Nameless_N00b_87
It’s hard to believe Gojira’s From Mars to Sirius will be celebrating its twenty-year anniversary next year. The now famous metal quartet from Bayonne, France has ascended the metal hierarchy since the release of their landmark record, culminating this year in a mainstage spot in the opening ceremonies of the 2024 Summer Olympics. But as a longtime fan, I feared that their performance, no matter how awe-inspiring, would add further fuel to an ever-growing wildfire of imitation by a legion of aspiring musicians seeking to emulate their captivating sound. Enter Septaria, one such young aspiring band from Southern France who are ready to unleash their debut album Astar.1 The foursome has garnered somewhat of a buzz with their existential blend of Gojira’s modern metal and Slowdive’s dreamy post- rock, resulting in the group becoming the latest signees to Guillaume Bernard’s2 Klonosphere label. Let’s find out if these young lads can escape the shadow of their Godzilla-like influences and carve out their own path.
Septaria wastes little time channeling Gojira’s signature sound. From the rhythmic staccatos and pummeling double-kicks of From Mars to Sirius, to the double octave pitch shifts highlighted on Magma‘s “Centaure,” to the harmonic tremolos and melodic tapping of L’Enfant Sauvage, the Gojira tropes dominate Astar’s drawn-out runtime with lackluster results. And to cover the vocal inconsistencies that shredders Hugo Thevenot and Maxime Ayasse produce, the duo run their ethereal cleans, guttural roars, and reverberating screams under thick layers of reverb and delay while toying about with periodic bouts of throat singing and ethnic chants. Drummer Hugo Leydet, who offers his best impersonation of Mario Duplantier’s heavy grooves in both performance and tone, teams up with the low rumble of Baptise Trébuchon’s bass to round out the quartet’s familiar backbone. Though clearly talented, Septaria fail to show much originality outside of a few strong swelling and groove-laden moments peppered throughout Astar that provide a glimpse of the ensemble’s artistic vision.
Septaria’s overindulgence and lack of originality make Astar’s excessive length unjustifiable, bloated, and monotonous. Clocking in at 68 minutes, Septaria’s twelve lengthy, Gojira-inspired tracks rely on post-rock’s epic builds stretched out beyond necessity, resulting in a listless and tedious listening experience. “Being,” for example, is an immense ten-minute track that takes forever to arrive at its apex before the energy dies against four minutes of atmospheric feedback and ominous bass tones. Elsewhere, the lifeforce of Ledet’s hypnotic drumming in “Skys Words” deflates in the song’s bloated second half, offering an uninspired, spacey, and drawn-out construction that clashes with its grandiose form. And the cacophony of whammy bar manipulations and screams of “Saggitarius” shatter all momentum after its midpoint. Meant to offer respite, Septaria attempts to combat Astar’s bloat through strategically positioned intermezzos (“Abyss,” “Persephone”) intended to break the record’s flow into more palatable portions. Instead, these diversions quickly devolve into filler, serving as stagnant pools of rogue riffs.
Astar’s stronger moments appear when Septaria rely on their post-rock and groove-laden core to drive creativity. The dreamlike and celestial bridge that triggers the ending in opener “Moment Présent” signals that these Frenchmen have the capacity to write catchy, somber, and atmospheric grooves with emotional impact. Astar’s best moment arrives with the closing of “Embers” where Ledet’s back-beat shuffle coalesces with Thevenot’s and Ayasse’s harmonic tapping and ominous low tremolos to create a head-bobbing groove. Despite these highlights, however, Septaria’s hesitancy to escape the comfort of their predecessors’ shadow stifles their creativity, leading them to eventually revert to a predictable, borrowed riff.
Septaria is a young band that possesses loads of talent and ambition. However, Astar falls victim to Septaria’s overindulgence and lack of originality. This reliance on a well-established formula, coupled with the inability to craft compelling and concise compositions, results in tedious and underwhelming listen. Astar is a testament to Septaria‘s potential, but it is potential that remains largely untapped. I’m left disappointed with what could have been with Astar, and hope Septaria strives to step outside of the confines of imitation with their next steps.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Klonosphere Records
Websites: septariaofficial.bandcamp.com | facebook.com/septaria.band
Releases Worldwide: November 15, 2024#20 #2024 #Astar #FrenchMetal #Gojira #KlonosphereRecords #Nov24 #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Septaria #Slowdive
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By Steel Druhm
Written By: Nameless_N00b_87
It’s hard to believe Gojira’s From Mars to Sirius will be celebrating its twenty-year anniversary next year. The now famous metal quartet from Bayonne, France has ascended the metal hierarchy since the release of their landmark record, culminating this year in a mainstage spot in the opening ceremonies of the 2024 Summer Olympics. But as a longtime fan, I feared that their performance, no matter how awe-inspiring, would add further fuel to an ever-growing wildfire of imitation by a legion of aspiring musicians seeking to emulate their captivating sound. Enter Septaria, one such young aspiring band from Southern France who are ready to unleash their debut album Astar.1 The foursome has garnered somewhat of a buzz with their existential blend of Gojira’s modern metal and Slowdive’s dreamy post- rock, resulting in the group becoming the latest signees to Guillaume Bernard’s2 Klonosphere label. Let’s find out if these young lads can escape the shadow of their Godzilla-like influences and carve out their own path.
Septaria wastes little time channeling Gojira’s signature sound. From the rhythmic staccatos and pummeling double-kicks of From Mars to Sirius, to the double octave pitch shifts highlighted on Magma‘s “Centaure,” to the harmonic tremolos and melodic tapping of L’Enfant Sauvage, the Gojira tropes dominate Astar’s drawn-out runtime with lackluster results. And to cover the vocal inconsistencies that shredders Hugo Thevenot and Maxime Ayasse produce, the duo run their ethereal cleans, guttural roars, and reverberating screams under thick layers of reverb and delay while toying about with periodic bouts of throat singing and ethnic chants. Drummer Hugo Leydet, who offers his best impersonation of Mario Duplantier’s heavy grooves in both performance and tone, teams up with the low rumble of Baptise Trébuchon’s bass to round out the quartet’s familiar backbone. Though clearly talented, Septaria fail to show much originality outside of a few strong swelling and groove-laden moments peppered throughout Astar that provide a glimpse of the ensemble’s artistic vision.
Septaria’s overindulgence and lack of originality make Astar’s excessive length unjustifiable, bloated, and monotonous. Clocking in at 68 minutes, Septaria’s twelve lengthy, Gojira-inspired tracks rely on post-rock’s epic builds stretched out beyond necessity, resulting in a listless and tedious listening experience. “Being,” for example, is an immense ten-minute track that takes forever to arrive at its apex before the energy dies against four minutes of atmospheric feedback and ominous bass tones. Elsewhere, the lifeforce of Ledet’s hypnotic drumming in “Skys Words” deflates in the song’s bloated second half, offering an uninspired, spacey, and drawn-out construction that clashes with its grandiose form. And the cacophony of whammy bar manipulations and screams of “Saggitarius” shatter all momentum after its midpoint. Meant to offer respite, Septaria attempts to combat Astar’s bloat through strategically positioned intermezzos (“Abyss,” “Persephone”) intended to break the record’s flow into more palatable portions. Instead, these diversions quickly devolve into filler, serving as stagnant pools of rogue riffs.
Astar’s stronger moments appear when Septaria rely on their post-rock and groove-laden core to drive creativity. The dreamlike and celestial bridge that triggers the ending in opener “Moment Présent” signals that these Frenchmen have the capacity to write catchy, somber, and atmospheric grooves with emotional impact. Astar’s best moment arrives with the closing of “Embers” where Ledet’s back-beat shuffle coalesces with Thevenot’s and Ayasse’s harmonic tapping and ominous low tremolos to create a head-bobbing groove. Despite these highlights, however, Septaria’s hesitancy to escape the comfort of their predecessors’ shadow stifles their creativity, leading them to eventually revert to a predictable, borrowed riff.
Septaria is a young band that possesses loads of talent and ambition. However, Astar falls victim to Septaria’s overindulgence and lack of originality. This reliance on a well-established formula, coupled with the inability to craft compelling and concise compositions, results in tedious and underwhelming listen. Astar is a testament to Septaria‘s potential, but it is potential that remains largely untapped. I’m left disappointed with what could have been with Astar, and hope Septaria strives to step outside of the confines of imitation with their next steps.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Klonosphere Records
Websites: septariaofficial.bandcamp.com | facebook.com/septaria.band
Releases Worldwide: November 15, 2024#20 #2024 #Astar #FrenchMetal #Gojira #KlonosphereRecords #Nov24 #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Septaria #Slowdive
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By Steel Druhm
Written By: Nameless_N00b_87
It’s hard to believe Gojira’s From Mars to Sirius will be celebrating its twenty-year anniversary next year. The now famous metal quartet from Bayonne, France has ascended the metal hierarchy since the release of their landmark record, culminating this year in a mainstage spot in the opening ceremonies of the 2024 Summer Olympics. But as a longtime fan, I feared that their performance, no matter how awe-inspiring, would add further fuel to an ever-growing wildfire of imitation by a legion of aspiring musicians seeking to emulate their captivating sound. Enter Septaria, one such young aspiring band from Southern France who are ready to unleash their debut album Astar.1 The foursome has garnered somewhat of a buzz with their existential blend of Gojira’s modern metal and Slowdive’s dreamy post- rock, resulting in the group becoming the latest signees to Guillaume Bernard’s2 Klonosphere label. Let’s find out if these young lads can escape the shadow of their Godzilla-like influences and carve out their own path.
Septaria wastes little time channeling Gojira’s signature sound. From the rhythmic staccatos and pummeling double-kicks of From Mars to Sirius, to the double octave pitch shifts highlighted on Magma‘s “Centaure,” to the harmonic tremolos and melodic tapping of L’Enfant Sauvage, the Gojira tropes dominate Astar’s drawn-out runtime with lackluster results. And to cover the vocal inconsistencies that shredders Hugo Thevenot and Maxime Ayasse produce, the duo run their ethereal cleans, guttural roars, and reverberating screams under thick layers of reverb and delay while toying about with periodic bouts of throat singing and ethnic chants. Drummer Hugo Leydet, who offers his best impersonation of Mario Duplantier’s heavy grooves in both performance and tone, teams up with the low rumble of Baptise Trébuchon’s bass to round out the quartet’s familiar backbone. Though clearly talented, Septaria fail to show much originality outside of a few strong swelling and groove-laden moments peppered throughout Astar that provide a glimpse of the ensemble’s artistic vision.
Septaria’s overindulgence and lack of originality make Astar’s excessive length unjustifiable, bloated, and monotonous. Clocking in at 68 minutes, Septaria’s twelve lengthy, Gojira-inspired tracks rely on post-rock’s epic builds stretched out beyond necessity, resulting in a listless and tedious listening experience. “Being,” for example, is an immense ten-minute track that takes forever to arrive at its apex before the energy dies against four minutes of atmospheric feedback and ominous bass tones. Elsewhere, the lifeforce of Ledet’s hypnotic drumming in “Skys Words” deflates in the song’s bloated second half, offering an uninspired, spacey, and drawn-out construction that clashes with its grandiose form. And the cacophony of whammy bar manipulations and screams of “Saggitarius” shatter all momentum after its midpoint. Meant to offer respite, Septaria attempts to combat Astar’s bloat through strategically positioned intermezzos (“Abyss,” “Persephone”) intended to break the record’s flow into more palatable portions. Instead, these diversions quickly devolve into filler, serving as stagnant pools of rogue riffs.
Astar’s stronger moments appear when Septaria rely on their post-rock and groove-laden core to drive creativity. The dreamlike and celestial bridge that triggers the ending in opener “Moment Présent” signals that these Frenchmen have the capacity to write catchy, somber, and atmospheric grooves with emotional impact. Astar’s best moment arrives with the closing of “Embers” where Ledet’s back-beat shuffle coalesces with Thevenot’s and Ayasse’s harmonic tapping and ominous low tremolos to create a head-bobbing groove. Despite these highlights, however, Septaria’s hesitancy to escape the comfort of their predecessors’ shadow stifles their creativity, leading them to eventually revert to a predictable, borrowed riff.
Septaria is a young band that possesses loads of talent and ambition. However, Astar falls victim to Septaria’s overindulgence and lack of originality. This reliance on a well-established formula, coupled with the inability to craft compelling and concise compositions, results in tedious and underwhelming listen. Astar is a testament to Septaria‘s potential, but it is potential that remains largely untapped. I’m left disappointed with what could have been with Astar, and hope Septaria strives to step outside of the confines of imitation with their next steps.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Klonosphere Records
Websites: septariaofficial.bandcamp.com | facebook.com/septaria.band
Releases Worldwide: November 15, 2024Show 2 footnotes
- Stylized as A*. Seriously… – Dolph ↩
- The guitarist and founding member of art rock band Klone. ↩
#20 #2024 #Astar #FrenchMetal #Gojira #KlonosphereRecords #Nov24 #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Septaria #Slowdive
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Another help for planning out your #summer!
30 must-read books for summer
https://www.latimes.com/entertainment-arts/books/story/2025-05-14/best-books-summer-2025-recommendations#reading #summervacation #staycation #TValternative #entertainment # #amreading #mentalbreak #vacation
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In case you're looking for something to do with the kids this #summer -
‘I’m still not tired of it’: the best #books to read aloud to kids, according to parents
https://buff.ly/pQn55tK#reading #summervacation #staycation #TValternative #limitscreentime #entertainment
