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475 results for “naynay”
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Opti-Morons and the Death of Critical Thought
I’m tired. Not the kind of tired that a good night’s sleep or a weekend off the grid can fix. It’s a deeper, more pervasive exhaustion—the fatigue of living in a culture of relentless, performative positivity. In the tech world, we’re told to “crush it,” to “move fast,” and to embrace every new “game-changer” with uncritical enthusiasm. If you’re not a believer, you’re a “naysayer” or, worse, a “blocker” of progress.https://web.brid.gy/r/https://gaggl.com/blogs/2026-04-13-the-tyranny-of-positivity/
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Opti-Morons and the Death of Critical Thought
I’m tired. Not the kind of tired that a good night’s sleep or a weekend off the grid can fix. It’s a deeper, more pervasive exhaustion—the fatigue of living in a culture of relentless, performative positivity. In the tech world, we’re told to “crush it,” to “move fast,” and to embrace every new “game-changer” with uncritical enthusiasm. If you’re not a believer, you’re a “naysayer” or, worse, a “blocker” of progress.https://web.brid.gy/r/https://gaggl.com/blogs/2026-04-13-the-tyranny-of-positivity/
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Opti-Morons and the Death of Critical Thought
I’m tired. Not the kind of tired that a good night’s sleep or a weekend off the grid can fix. It’s a deeper, more pervasive exhaustion—the fatigue of living in a culture of relentless, performative positivity. In the tech world, we’re told to “crush it,” to “move fast,” and to embrace every new “game-changer” with uncritical enthusiasm. If you’re not a believer, you’re a “naysayer” or, worse, a “blocker” of progress.https://web.brid.gy/r/https://gaggl.com/blogs/2026-04-13-the-tyranny-of-positivity/
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Opti-Morons and the Death of Critical Thought
I’m tired. Not the kind of tired that a good night’s sleep or a weekend off the grid can fix. It’s a deeper, more pervasive exhaustion—the fatigue of living in a culture of relentless, performative positivity. In the tech world, we’re told to “crush it,” to “move fast,” and to embrace every new “game-changer” with uncritical enthusiasm. If you’re not a believer, you’re a “naysayer” or, worse, a “blocker” of progress.https://web.brid.gy/r/https://gaggl.com/blogs/2026-04-13-the-tyranny-of-positivity/
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Opti-Morons and the Death of Critical Thought
I’m tired. Not the kind of tired that a good night’s sleep or a weekend off the grid can fix. It’s a deeper, more pervasive exhaustion—the fatigue of living in a culture of relentless, performative positivity. In the tech world, we’re told to “crush it,” to “move fast,” and to embrace every new “game-changer” with uncritical enthusiasm. If you’re not a believer, you’re a “naysayer” or, worse, a “blocker” of progress.https://web.brid.gy/r/https://gaggl.com/blogs/2026-04-13-the-tyranny-of-positivity/
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Guy that delivers soil, gravel and rock got visibly mad when he delivered a load of recycled driveway topper today and just dumped it in a pile instead of spreading it when he saw a pallet of soil Penny got at a big discount during her last order at the lumber yard because he assumed he would be delivering soil for us this year.
He kind of got pissy, too. A lot of these people think I a vulnerable, weak, at their mercy, or a pushover. Nay nay. I'd be happy with a few strands of bobbed wire and a free range pet cow, or goat if we could keep it in, taking care of the yard but Penny wants a nice yard to take care of and nurture.
We were going to order several loads of mulch for beds, trees, etc, crush and run for wheelchair paths in the yard, and some river rock for landscaping but not now. He is overpriced, anyway.
Now, we will just wait a couple weeks until the school, or some charity, does a bulk mulch sale (that happens here in #AppalachianOhio) and pay a little more to have the mulch delivered by them.
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Ompa vaihteeksi paljon päivityksiä SEP:ssa, https://plato.stanford.edu/new.html
Tuo lienee tosiasia https://plato.stanford.edu/entries/facts/, ja voi vain kuvitella https://plato.stanford.edu/entries/imagination/, miltä tuntuisi pureutua mihinkin entryyn (uudestaan). Vai olisiko kyseessä mental imagery https://plato.stanford.edu/entries/mental-imagery/, jonka kirjoittaja Bence Nanay haluaa erottaa prosessista, joka suomentuu samalla tavalla?
Noiden lisäksi jotain uutta pitäisi löytyä myös esimerkiksi kliinisen tutkimuksen etiikasta, hyvinvoinnista ja eläinten tietoisuudesta https://plato.stanford.edu/entries/consciousness-animal/
Jaa mutta taitaakin olla kohta jo nokturnailun aika https://www.liveradio.ie/stations/nocturnes, kun ulkonakin ihanasti pimenee. 🙂
#sep #updates #revised #filosofia #philosophy #imagery #imagination #facts #ontology #animals #consciousness #research #facts #kuvittelu #mielikuvitus
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The #irony is that all these complaints have been voiced by other people for years. I did see some of those complaints already before I started building, but I found the concept compelling enough to try it anyway. If you are an #artist, #inventor or #entrepeneur, you may recognize the adage "don't listen to the naysayers". I still think that adage is correct, but in this case, the naysayers turned out to be right. When doing #creative work, it is better to learn a hard lesson than to discard a good #idea. By having tried something that didn't work, I now much better understand what might work.
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Indigenous organization demands ‘emergency’ to deal with illegal mining #Peru #Bergbau #Indigene #Umwelt
Faced with the acceleration of illegal mining in #Loreto, the organisation ORPIO is calling upon the government to declare a ‘state of environmental emergency’ to eradicate this activity.
The measure should apply immediately to the basins of the Nanay, Tigre, Marañón and Putumayo rivers to protect the ecosystems and health of indigenous communities, said ORPIO.
https://perusupportgroup.org.uk/2025/10/indigenous-organization-demands-emergency-to-deal-with-illegal-mining/ -
Indigenous organization demands ‘emergency’ to deal with illegal mining #Peru #Bergbau #Indigene #Umwelt
Faced with the acceleration of illegal mining in #Loreto, the organisation ORPIO is calling upon the government to declare a ‘state of environmental emergency’ to eradicate this activity.
The measure should apply immediately to the basins of the Nanay, Tigre, Marañón and Putumayo rivers to protect the ecosystems and health of indigenous communities, said ORPIO.
https://perusupportgroup.org.uk/2025/10/indigenous-organization-demands-emergency-to-deal-with-illegal-mining/ -
Signs of the Swarm – To Rid Myself of Truth Review
By Dear Hollow
I think deathcore’s lack of respect in metal circles is due to its subservience to trends. Riding waves of what’s considered too brutal or not, the recent MySpace-style revival and the inevitable shadow of Will Ramos-fronted Lorna Shore have collided to emphasize relentless brutality and utter sonic depravity. Signs of the Swarm has been a victim of this more than most, riding the coattails of the trends rather than setting them, and while offering some of the most intense deathcore offerings within the realm of the “low and slow” template, there’s been nothing to convince naysayers to give their albums a listen. Will To Rid Myself of Truth be the tipping point?
In many ways, To Rid Myself of Truth is the part 2 of predecessor Amongst the Low & the Empty, but the Pittsburgh quartet has never quite hammered down what their trademark approach to deathcore is. From the slammy gurgles of CJ McCreery’s troubled tenure in Senseless Order and The Disfigurement of Existence, to the husky roars of David Simonich in his contributions to discography highlights Vital Deprivation and Absolvere, Signs of the Swarm has latched onto Low & Empty’s template in being as brutally downtuned and chuggily cutthroat as possible. To Rid Myself of Truth continues the toe-dipping into djent and industrial for maximum heft and devastation, and while it’s better than its predecessor, it still begs the question why you should go out of your way to rid yourself of truth.
To Signs of the Swarm’s credit, To Rid Myself of Truth is a little more than the one-trick pony fucking shit up in the pit the way its predecessor was. Techier flourishes, rabid blastbeats, and rhythmic warbling offer reprieves in the muck, while better songwriting doesn’t end every track with ten-ton demonic breakdowns. Pinch harmonics add a dimension of madness to the already insane brutality (“Natural Selection,” “Iron Sacrament”) and jerky djent rhythms add a bit of variety (“Scars Upon Scars”), while a neat lil’ groove spices things up (“HELLMUSTFEARME,” “Chariot”). Once again, Simonich delivers an absolutely monstrous performance, his horrifying vocals an easy highlight amid low and empty chuggery, including some tasteful grunge-influenced cleans atop eerie industrial-influenced plucking and atmospheric tremolo picking (“Forcing to Forget”). Guest vocalists show up in tasteful areas, including the man, the myth, the Lorna-man Will Ramos (“Clouded Retinas”), Whitechapel’s Phil Bozeman (“Iron Sacrament”), 156/Silence’s Jack Murray, and Prison’s Johnny Crowder (“Fear & Judgement”), providing a bit of reprieve to Simonich’s all-consuming roar. To Rid Myself of Truth can feel like a honed version of Amongst the Low & Empty, utilizing the same tools but with tighter performances.
To Rid Myself of Truth has all the ingredients to a solid album – as Signs of the Swarm has always possessed – but the execution of excessive brutality and stuffy production makes it into a messed up deathcore duck-cake.1 While it felt like Amongst the Low & Empty had almost infinite breadth in its production and mixing, To Rid Myself of Truth is majorly compressed and condensed, perhaps lending itself to the tight galloping of Absolvere. But we can’t have our duck cake and eat it too, because the mix is absolutely suffocating trying to remedy the two approaches. As such, like you insulted Signs of the Swarm’s mother, you’ll be hit with so many concussions in sheer amount of breakdowns and venomous attacks, it’ll be hard to keep track (“HELLMUSTFEARME,” “Chariot,” “Sarkazein” all come to mind). Many of these tracks likewise follow a similar pattern, opening up with the title of the song roared, followed by bone-crushing breakdowns, too often adhering to the “To the Hellfire” formula of “yuuuuuuge” concussive chugs and Simonich sounding as animalistic and demonic as possible.
To Rid Myself of Truth is catharsis for Signs of the Swarm,2 a streamlined potpourri of no-frills deathcore that continually beats you over the head with “ze brootalz.” If this is your bread and butter, then feel free to rid yourself of truth – this album was written for you. Signs of the Swarm, as in the case with Amongst the Low & Empty, constantly impresses with its trendiness and novelty: a relentless breed of brutality with a consistently impressive vocal performance. However, once the novelty wears off, you’re left with brickwalled production and copied-and-pasted brutality. To Rid Myself of Truth? More like To Rid Myself of Tooth.3
Rating: 1.5/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: signsoftheswarm.bandcamp.com | signsoftheswarm.com | facebook.com/signsoftheswarm
Releases Worldwide: August 22nd, 2025#15 #156Silence #2025 #AmericanMetal #Aug25 #CenturyMediaRecords #Deathcore #Djent #LornaShore #Prison #Review #Reviews #SignsOfTheSwarm #ToRidMyselfOfTruth #Whitechapel
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Signs of the Swarm – To Rid Myself of Truth Review
By Dear Hollow
I think deathcore’s lack of respect in metal circles is due to its subservience to trends. Riding waves of what’s considered too brutal or not, the recent MySpace-style revival and the inevitable shadow of Will Ramos-fronted Lorna Shore have collided to emphasize relentless brutality and utter sonic depravity. Signs of the Swarm has been a victim of this more than most, riding the coattails of the trends rather than setting them, and while offering some of the most intense deathcore offerings within the realm of the “low and slow” template, there’s been nothing to convince naysayers to give their albums a listen. Will To Rid Myself of Truth be the tipping point?
In many ways, To Rid Myself of Truth is the part 2 of predecessor Amongst the Low & the Empty, but the Pittsburgh quartet has never quite hammered down what their trademark approach to deathcore is. From the slammy gurgles of CJ McCreery’s troubled tenure in Senseless Order and The Disfigurement of Existence, to the husky roars of David Simonich in his contributions to discography highlights Vital Deprivation and Absolvere, Signs of the Swarm has latched onto Low & Empty’s template in being as brutally downtuned and chuggily cutthroat as possible. To Rid Myself of Truth continues the toe-dipping into djent and industrial for maximum heft and devastation, and while it’s better than its predecessor, it still begs the question why you should go out of your way to rid yourself of truth.
To Signs of the Swarm’s credit, To Rid Myself of Truth is a little more than the one-trick pony fucking shit up in the pit the way its predecessor was. Techier flourishes, rabid blastbeats, and rhythmic warbling offer reprieves in the muck, while better songwriting doesn’t end every track with ten-ton demonic breakdowns. Pinch harmonics add a dimension of madness to the already insane brutality (“Natural Selection,” “Iron Sacrament”) and jerky djent rhythms add a bit of variety (“Scars Upon Scars”), while a neat lil’ groove spices things up (“HELLMUSTFEARME,” “Chariot”). Once again, Simonich delivers an absolutely monstrous performance, his horrifying vocals an easy highlight amid low and empty chuggery, including some tasteful grunge-influenced cleans atop eerie industrial-influenced plucking and atmospheric tremolo picking (“Forcing to Forget”). Guest vocalists show up in tasteful areas, including the man, the myth, the Lorna-man Will Ramos (“Clouded Retinas”), Whitechapel’s Phil Bozeman (“Iron Sacrament”), 156/Silence’s Jack Murray, and Prison’s Johnny Crowder (“Fear & Judgement”), providing a bit of reprieve to Simonich’s all-consuming roar. To Rid Myself of Truth can feel like a honed version of Amongst the Low & Empty, utilizing the same tools but with tighter performances.
To Rid Myself of Truth has all the ingredients to a solid album – as Signs of the Swarm has always possessed – but the execution of excessive brutality and stuffy production makes it into a messed up deathcore duck-cake.1 While it felt like Amongst the Low & Empty had almost infinite breadth in its production and mixing, To Rid Myself of Truth is majorly compressed and condensed, perhaps lending itself to the tight galloping of Absolvere. But we can’t have our duck cake and eat it too, because the mix is absolutely suffocating trying to remedy the two approaches. As such, like you insulted Signs of the Swarm’s mother, you’ll be hit with so many concussions in sheer amount of breakdowns and venomous attacks, it’ll be hard to keep track (“HELLMUSTFEARME,” “Chariot,” “Sarkazein” all come to mind). Many of these tracks likewise follow a similar pattern, opening up with the title of the song roared, followed by bone-crushing breakdowns, too often adhering to the “To the Hellfire” formula of “yuuuuuuge” concussive chugs and Simonich sounding as animalistic and demonic as possible.
To Rid Myself of Truth is catharsis for Signs of the Swarm,2 a streamlined potpourri of no-frills deathcore that continually beats you over the head with “ze brootalz.” If this is your bread and butter, then feel free to rid yourself of truth – this album was written for you. Signs of the Swarm, as in the case with Amongst the Low & Empty, constantly impresses with its trendiness and novelty: a relentless breed of brutality with a consistently impressive vocal performance. However, once the novelty wears off, you’re left with brickwalled production and copied-and-pasted brutality. To Rid Myself of Truth? More like To Rid Myself of Tooth.3
Rating: 1.5/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: signsoftheswarm.bandcamp.com | signsoftheswarm.com | facebook.com/signsoftheswarm
Releases Worldwide: August 22nd, 2025#15 #156Silence #2025 #AmericanMetal #Aug25 #CenturyMediaRecords #Deathcore #Djent #LornaShore #Prison #Review #Reviews #SignsOfTheSwarm #ToRidMyselfOfTruth #Whitechapel
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Signs of the Swarm – To Rid Myself of Truth Review
By Dear Hollow
I think deathcore’s lack of respect in metal circles is due to its subservience to trends. Riding waves of what’s considered too brutal or not, the recent MySpace-style revival and the inevitable shadow of Will Ramos-fronted Lorna Shore have collided to emphasize relentless brutality and utter sonic depravity. Signs of the Swarm has been a victim of this more than most, riding the coattails of the trends rather than setting them, and while offering some of the most intense deathcore offerings within the realm of the “low and slow” template, there’s been nothing to convince naysayers to give their albums a listen. Will To Rid Myself of Truth be the tipping point?
In many ways, To Rid Myself of Truth is the part 2 of predecessor Amongst the Low & the Empty, but the Pittsburgh quartet has never quite hammered down what their trademark approach to deathcore is. From the slammy gurgles of CJ McCreery’s troubled tenure in Senseless Order and The Disfigurement of Existence, to the husky roars of David Simonich in his contributions to discography highlights Vital Deprivation and Absolvere, Signs of the Swarm has latched onto Low & Empty’s template in being as brutally downtuned and chuggily cutthroat as possible. To Rid Myself of Truth continues the toe-dipping into djent and industrial for maximum heft and devastation, and while it’s better than its predecessor, it still begs the question why you should go out of your way to rid yourself of truth.
To Signs of the Swarm’s credit, To Rid Myself of Truth is a little more than the one-trick pony fucking shit up in the pit the way its predecessor was. Techier flourishes, rabid blastbeats, and rhythmic warbling offer reprieves in the muck, while better songwriting doesn’t end every track with ten-ton demonic breakdowns. Pinch harmonics add a dimension of madness to the already insane brutality (“Natural Selection,” “Iron Sacrament”) and jerky djent rhythms add a bit of variety (“Scars Upon Scars”), while a neat lil’ groove spices things up (“HELLMUSTFEARME,” “Chariot”). Once again, Simonich delivers an absolutely monstrous performance, his horrifying vocals an easy highlight amid low and empty chuggery, including some tasteful grunge-influenced cleans atop eerie industrial-influenced plucking and atmospheric tremolo picking (“Forcing to Forget”). Guest vocalists show up in tasteful areas, including the man, the myth, the Lorna-man Will Ramos (“Clouded Retinas”), Whitechapel’s Phil Bozeman (“Iron Sacrament”), 156/Silence’s Jack Murray, and Prison’s Johnny Crowder (“Fear & Judgement”), providing a bit of reprieve to Simonich’s all-consuming roar. To Rid Myself of Truth can feel like a honed version of Amongst the Low & Empty, utilizing the same tools but with tighter performances.
To Rid Myself of Truth has all the ingredients to a solid album – as Signs of the Swarm has always possessed – but the execution of excessive brutality and stuffy production makes it into a messed up deathcore duck-cake.1 While it felt like Amongst the Low & Empty had almost infinite breadth in its production and mixing, To Rid Myself of Truth is majorly compressed and condensed, perhaps lending itself to the tight galloping of Absolvere. But we can’t have our duck cake and eat it too, because the mix is absolutely suffocating trying to remedy the two approaches. As such, like you insulted Signs of the Swarm’s mother, you’ll be hit with so many concussions in sheer amount of breakdowns and venomous attacks, it’ll be hard to keep track (“HELLMUSTFEARME,” “Chariot,” “Sarkazein” all come to mind). Many of these tracks likewise follow a similar pattern, opening up with the title of the song roared, followed by bone-crushing breakdowns, too often adhering to the “To the Hellfire” formula of “yuuuuuuge” concussive chugs and Simonich sounding as animalistic and demonic as possible.
To Rid Myself of Truth is catharsis for Signs of the Swarm,2 a streamlined potpourri of no-frills deathcore that continually beats you over the head with “ze brootalz.” If this is your bread and butter, then feel free to rid yourself of truth – this album was written for you. Signs of the Swarm, as in the case with Amongst the Low & Empty, constantly impresses with its trendiness and novelty: a relentless breed of brutality with a consistently impressive vocal performance. However, once the novelty wears off, you’re left with brickwalled production and copied-and-pasted brutality. To Rid Myself of Truth? More like To Rid Myself of Tooth.3
Rating: 1.5/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: signsoftheswarm.bandcamp.com | signsoftheswarm.com | facebook.com/signsoftheswarm
Releases Worldwide: August 22nd, 2025#15 #156Silence #2025 #AmericanMetal #Aug25 #CenturyMediaRecords #Deathcore #Djent #LornaShore #Prison #Review #Reviews #SignsOfTheSwarm #ToRidMyselfOfTruth #Whitechapel
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Signs of the Swarm – To Rid Myself of Truth Review
By Dear Hollow
I think deathcore’s lack of respect in metal circles is due to its subservience to trends. Riding waves of what’s considered too brutal or not, the recent MySpace-style revival and the inevitable shadow of Will Ramos-fronted Lorna Shore have collided to emphasize relentless brutality and utter sonic depravity. Signs of the Swarm has been a victim of this more than most, riding the coattails of the trends rather than setting them, and while offering some of the most intense deathcore offerings within the realm of the “low and slow” template, there’s been nothing to convince naysayers to give their albums a listen. Will To Rid Myself of Truth be the tipping point?
In many ways, To Rid Myself of Truth is the part 2 of predecessor Amongst the Low & the Empty, but the Pittsburgh quartet has never quite hammered down what their trademark approach to deathcore is. From the slammy gurgles of CJ McCreery’s troubled tenure in Senseless Order and The Disfigurement of Existence, to the husky roars of David Simonich in his contributions to discography highlights Vital Deprivation and Absolvere, Signs of the Swarm has latched onto Low & Empty’s template in being as brutally downtuned and chuggily cutthroat as possible. To Rid Myself of Truth continues the toe-dipping into djent and industrial for maximum heft and devastation, and while it’s better than its predecessor, it still begs the question why you should go out of your way to rid yourself of truth.
To Signs of the Swarm’s credit, To Rid Myself of Truth is a little more than the one-trick pony fucking shit up in the pit the way its predecessor was. Techier flourishes, rabid blastbeats, and rhythmic warbling offer reprieves in the muck, while better songwriting doesn’t end every track with ten-ton demonic breakdowns. Pinch harmonics add a dimension of madness to the already insane brutality (“Natural Selection,” “Iron Sacrament”) and jerky djent rhythms add a bit of variety (“Scars Upon Scars”), while a neat lil’ groove spices things up (“HELLMUSTFEARME,” “Chariot”). Once again, Simonich delivers an absolutely monstrous performance, his horrifying vocals an easy highlight amid low and empty chuggery, including some tasteful grunge-influenced cleans atop eerie industrial-influenced plucking and atmospheric tremolo picking (“Forcing to Forget”). Guest vocalists show up in tasteful areas, including the man, the myth, the Lorna-man Will Ramos (“Clouded Retinas”), Whitechapel’s Phil Bozeman (“Iron Sacrament”), 156/Silence’s Jack Murray, and Prison’s Johnny Crowder (“Fear & Judgement”), providing a bit of reprieve to Simonich’s all-consuming roar. To Rid Myself of Truth can feel like a honed version of Amongst the Low & Empty, utilizing the same tools but with tighter performances.
To Rid Myself of Truth has all the ingredients to a solid album – as Signs of the Swarm has always possessed – but the execution of excessive brutality and stuffy production makes it into a messed up deathcore duck-cake.1 While it felt like Amongst the Low & Empty had almost infinite breadth in its production and mixing, To Rid Myself of Truth is majorly compressed and condensed, perhaps lending itself to the tight galloping of Absolvere. But we can’t have our duck cake and eat it too, because the mix is absolutely suffocating trying to remedy the two approaches. As such, like you insulted Signs of the Swarm’s mother, you’ll be hit with so many concussions in sheer amount of breakdowns and venomous attacks, it’ll be hard to keep track (“HELLMUSTFEARME,” “Chariot,” “Sarkazein” all come to mind). Many of these tracks likewise follow a similar pattern, opening up with the title of the song roared, followed by bone-crushing breakdowns, too often adhering to the “To the Hellfire” formula of “yuuuuuuge” concussive chugs and Simonich sounding as animalistic and demonic as possible.
To Rid Myself of Truth is catharsis for Signs of the Swarm,2 a streamlined potpourri of no-frills deathcore that continually beats you over the head with “ze brootalz.” If this is your bread and butter, then feel free to rid yourself of truth – this album was written for you. Signs of the Swarm, as in the case with Amongst the Low & Empty, constantly impresses with its trendiness and novelty: a relentless breed of brutality with a consistently impressive vocal performance. However, once the novelty wears off, you’re left with brickwalled production and copied-and-pasted brutality. To Rid Myself of Truth? More like To Rid Myself of Tooth.3
Rating: 1.5/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: signsoftheswarm.bandcamp.com | signsoftheswarm.com | facebook.com/signsoftheswarm
Releases Worldwide: August 22nd, 2025#15 #156Silence #2025 #AmericanMetal #Aug25 #CenturyMediaRecords #Deathcore #Djent #LornaShore #Prison #Review #Reviews #SignsOfTheSwarm #ToRidMyselfOfTruth #Whitechapel
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Signs of the Swarm – To Rid Myself of Truth Review
By Dear Hollow
I think deathcore’s lack of respect in metal circles is due to its subservience to trends. Riding waves of what’s considered too brutal or not, the recent MySpace-style revival and the inevitable shadow of Will Ramos-fronted Lorna Shore have collided to emphasize relentless brutality and utter sonic depravity. Signs of the Swarm has been a victim of this more than most, riding the coattails of the trends rather than setting them, and while offering some of the most intense deathcore offerings within the realm of the “low and slow” template, there’s been nothing to convince naysayers to give their albums a listen. Will To Rid Myself of Truth be the tipping point?
In many ways, To Rid Myself of Truth is the part 2 of predecessor Amongst the Low & the Empty, but the Pittsburgh quartet has never quite hammered down what their trademark approach to deathcore is. From the slammy gurgles of CJ McCreery’s troubled tenure in Senseless Order and The Disfigurement of Existence, to the husky roars of David Simonich in his contributions to discography highlights Vital Deprivation and Absolvere, Signs of the Swarm has latched onto Low & Empty’s template in being as brutally downtuned and chuggily cutthroat as possible. To Rid Myself of Truth continues the toe-dipping into djent and industrial for maximum heft and devastation, and while it’s better than its predecessor, it still begs the question why you should go out of your way to rid yourself of truth.
To Signs of the Swarm’s credit, To Rid Myself of Truth is a little more than the one-trick pony fucking shit up in the pit the way its predecessor was. Techier flourishes, rabid blastbeats, and rhythmic warbling offer reprieves in the muck, while better songwriting doesn’t end every track with ten-ton demonic breakdowns. Pinch harmonics add a dimension of madness to the already insane brutality (“Natural Selection,” “Iron Sacrament”) and jerky djent rhythms add a bit of variety (“Scars Upon Scars”), while a neat lil’ groove spices things up (“HELLMUSTFEARME,” “Chariot”). Once again, Simonich delivers an absolutely monstrous performance, his horrifying vocals an easy highlight amid low and empty chuggery, including some tasteful grunge-influenced cleans atop eerie industrial-influenced plucking and atmospheric tremolo picking (“Forcing to Forget”). Guest vocalists show up in tasteful areas, including the man, the myth, the Lorna-man Will Ramos (“Clouded Retinas”), Whitechapel’s Phil Bozeman (“Iron Sacrament”), 156/Silence’s Jack Murray, and Prison’s Johnny Crowder (“Fear & Judgement”), providing a bit of reprieve to Simonich’s all-consuming roar. To Rid Myself of Truth can feel like a honed version of Amongst the Low & Empty, utilizing the same tools but with tighter performances.
To Rid Myself of Truth has all the ingredients to a solid album – as Signs of the Swarm has always possessed – but the execution of excessive brutality and stuffy production makes it into a messed up deathcore duck-cake.1 While it felt like Amongst the Low & Empty had almost infinite breadth in its production and mixing, To Rid Myself of Truth is majorly compressed and condensed, perhaps lending itself to the tight galloping of Absolvere. But we can’t have our duck cake and eat it too, because the mix is absolutely suffocating trying to remedy the two approaches. As such, like you insulted Signs of the Swarm’s mother, you’ll be hit with so many concussions in sheer amount of breakdowns and venomous attacks, it’ll be hard to keep track (“HELLMUSTFEARME,” “Chariot,” “Sarkazein” all come to mind). Many of these tracks likewise follow a similar pattern, opening up with the title of the song roared, followed by bone-crushing breakdowns, too often adhering to the “To the Hellfire” formula of “yuuuuuuge” concussive chugs and Simonich sounding as animalistic and demonic as possible.
To Rid Myself of Truth is catharsis for Signs of the Swarm,2 a streamlined potpourri of no-frills deathcore that continually beats you over the head with “ze brootalz.” If this is your bread and butter, then feel free to rid yourself of truth – this album was written for you. Signs of the Swarm, as in the case with Amongst the Low & Empty, constantly impresses with its trendiness and novelty: a relentless breed of brutality with a consistently impressive vocal performance. However, once the novelty wears off, you’re left with brickwalled production and copied-and-pasted brutality. To Rid Myself of Truth? More like To Rid Myself of Tooth.3
Rating: 1.5/5.0
DR: 3 | Format Reviewed: 320 kb/s mp3
Label: Century Media Records
Websites: signsoftheswarm.bandcamp.com | signsoftheswarm.com | facebook.com/signsoftheswarm
Releases Worldwide: August 22nd, 2025#15 #156Silence #2025 #AmericanMetal #Aug25 #CenturyMediaRecords #Deathcore #Djent #LornaShore #Prison #Review #Reviews #SignsOfTheSwarm #ToRidMyselfOfTruth #Whitechapel
-
I might regret it sometime in September,
but I just removed two air conditioners and one double window fan from active duty in my apartment for the season.
I still have several fans set up in the apartmernt, including a little desktop #Dreo that keeps my Mac cool.
Also … just after 1:00 pm Sunday, twenty-six years ago today (three and a half days after I set out from #BristolRI)
I arrived at #BlackRockCity for #BurningMan ’99.
Ignore the naysayers … it was an incredible experience.
-
I might regret it sometime in September,
but I just removed two air conditioners and one double window fan from active duty in my apartment for the season.
I still have several fans set up in the apartmernt, including a little desktop #Dreo that keeps my Mac cool.
Also … just after 1:00 pm Sunday, twenty-six years ago today (three and a half days after I set out from #BristolRI)
I arrived at #BlackRockCity for #BurningMan ’99.
Ignore the naysayers … it was an incredible experience.
-
I might regret it sometime in September,
but I just removed two air conditioners and one double window fan from active duty in my apartment for the season.
I still have several fans set up in the apartmernt, including a little desktop #Dreo that keeps my Mac cool.
Also … just after 1:00 pm Sunday, twenty-six years ago today (three and a half days after I set out from #BristolRI)
I arrived at #BlackRockCity for #BurningMan ’99.
Ignore the naysayers … it was an incredible experience.
-
BE ABOUT IT FEST: Saturday
toscadura, Saturday, August 23 at 03:00 PM EDT
BE ABOUT IT PROUDLY PRESENTS…
Be About It Fest Vol 01. August 22nd and 23rd. All Ages. For the youth and the keepers of the faith.Saturday
Doors: 3:00pm
Repossessed: 4:00pm
Sold Short: 4:35pm
Square One: 5:10pm
Headless World: 5:45pm
Iron Crusaders: 6:20pm
Kings Command: 6:55pm
The Next Level: 7:30pm
Cutdown: 8:05pm
Cesspool: 8:40pm
Chain Block: 9:15pm
All 4 All: 9:50pm
Bad Beat: 10:25pm
Restraining Order: 11:00pm
Naysayer: ENDTickets: https://beaboutitzine.bigcartel.com/
Sorry no links to the bands ¯\(ツ)/¯
https://montreal.askapunk.net/event/be-about-it-fest-saturday
-
From pulpit high
those foam at the mouth
phony pious guys
are ragging again
at their demons du jourFanning irrational fears
against those with different ideas
and skewed beliefs
as they cherry pick
biblical doctrine
to make their hateful caseWhat these hypocritical
fire and brimstone
self appointed
defenders of the faith
and persecutors
of perceived #deviants
will never understand
is that Jesus LOVED freaksTruth be told
he was viewed
as one himself
by the religious establishment
who in fact
went out of their way
to persecute his sacrilegious assSuch is the fate
of all who poke
the rigid boundaries
set by the naysayer classSo the next time
you get crucified
for your non conformity
remember that you're in good company
throughout recorded history -
Just had a deeply human, highly effective coaching call with a client.
#iLoveMyJob #lifeCoachUp next: a call about
A WoNdErFuL AI* Coaching** Innovation!!!* so-called "AI".
** so-called "coaching".
I'm working hard to contain my disgust.
But if all the naysayers stay away, who will keep this nonsense in check? 😭
#AI #LLM
#dystopia -
Labyrinthus Stellarum – Rift in Reality Review
By GardensTale
Last year, two shockingly young lads from the war-torn Odesa, Ukraine, released an absolute gobsmacker of an album that wound up monopolizing my non-review rotation for weeks. Vortex of the Worlds was only the second album from Labyrinthus Stellarum, but the cosmic black metal within had power, depth, and hooks for days. Obviously, I wanted more, and the Andronati brothers expedited delivery, leaving less than 13 months between releases. You can strike when the iron is hot, but slow and steady wins the race. Which idiom is idiotic regarding Rift in Reality?
Laugh at the naysayers and scoff at the unbelievers, citizens, because Rift in Reality is everything one could want from a sequel to Vortex. Labyrinthus Stellarum is great at many different things: thick and evocative deep space atmosphere, enticing melodic lines on guitar as well as keys, dexterous energetic assaults, methodically constructed grandeur, and more. But whereas Vortex put some of everything in every track, the songs on Rift in Reality are more focused, more singular. The variety across the 37-minute album is astounding. Opener “Voyagers” is fast and furious, even bright, sketching a Star Trek-style expedition to boldly go where no one has gone before in its energetic riffs and supporting synthwork. It’s a colossal contrast with the gorgeous centerpiece “Lost in the Void,” where the understated keys and heavy mood paint the vivid picture of an astronaut gone adrift, life support slowly ticking down to the red as the music takes us through their stages of grief.
This kind of imagery invoked is purely down to the music, as the vocals are, by and large,e unintelligible. Not that it detracts from elder brother Alexander’s emphatic, biting snarl, which manages to induce an emotional response with only minute variations. His cleans might prove more polarizing, as the heavy layering and vocode effects are often unpopular in the metal sphere, but these production choices fit the themes too well to be a detraction or distraction for me. Even where they are used more heavily, such as the abject heartsick of “Take Us Home,” they effectively serve to conjure a long-range transmission through interplanetary space. It all further boosts the diversity and recognizability of each individual track, and Labyrinthus Stellarum has even begun incorporating new sounds and songwriting elements; just check the brief but effective breakdown in “Rift in Reality” or the spacetime warping bends of “Ravenous Planet”‘s main riff.
Put it all together and Rift in Reality is an excellent, highly effective, and thoroughly addictive trip across the darkest corners of the universe. The only thing that detracts from the tracklist is closer “Nirlakh,” a fully electronic instrumental that would be great in a Metroid soundtrack but sounds curiously out of place here. Aside from that, the production has its good and bad sides. As with Vortex, I’ve come to enjoy the choice for mood over pure fidelity here. There’s a slightly hollow, muffled sound across the album, which supports the notion of being in a cramped spaceship with an unimaginable void all around you. But this should be possible with a little more breathing room on the master. In its current state, the programmed drums sound flatter than I believe they ought to. The mix does help retain enough depth to the music overall, but I do think Labyrinthus Stellarum can still improve on this point.
It will have to suffice for a list of improvements, because there’s scant little else to complain about regarding Rift in Reality. Despite a fast turnaround and the ongoing war, the Andronati brothers have not only retained the quality of its predecessor, but are clearly pushing themselves to evolve and diversify. Every track here feels like an episode in a sci-fi anthology series, jumping between infectious earworms and affecting atmosphere with practiced ease. It’s fun without sacrificing depth, it’s addictive like crack, and you can put it on repeat for a week without growing tired of it. One great album can put you on the map, but two in a row gets you a spot amongst the stars, and with Rift in Reality, Labyrinthus Stellarum have earned a constellation of their own.
Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Northern Silence Productions
Websites: labyrinthusstellarum.bandcamp.com | facebook.com/LabyrinthusStellarum
Releases Worldwide: May 2nd, 2025#2025 #40 #LabyrinthusStellarum #May25 #MelodicBlackMetal #NorthernSilenceProductions #Review #Reviews #RiftInReality #UkrainianMetal
-
Labyrinthus Stellarum – Rift in Reality Review
By GardensTale
Last year, two shockingly young lads from the war-torn Odesa, Ukraine, released an absolute gobsmacker of an album that wound up monopolizing my non-review rotation for weeks. Vortex of the Worlds was only the second album from Labyrinthus Stellarum, but the cosmic black metal within had power, depth, and hooks for days. Obviously, I wanted more, and the Andronati brothers expedited delivery, leaving less than 13 months between releases. You can strike when the iron is hot, but slow and steady wins the race. Which idiom is idiotic regarding Rift in Reality?
Laugh at the naysayers and scoff at the unbelievers, citizens, because Rift in Reality is everything one could want from a sequel to Vortex. Labyrinthus Stellarum is great at many different things: thick and evocative deep space atmosphere, enticing melodic lines on guitar as well as keys, dexterous energetic assaults, methodically constructed grandeur, and more. But whereas Vortex put some of everything in every track, the songs on Rift in Reality are more focused, more singular. The variety across the 37-minute album is astounding. Opener “Voyagers” is fast and furious, even bright, sketching a Star Trek-style expedition to boldly go where no one has gone before in its energetic riffs and supporting synthwork. It’s a colossal contrast with the gorgeous centerpiece “Lost in the Void,” where the understated keys and heavy mood paint the vivid picture of an astronaut gone adrift, life support slowly ticking down to the red as the music takes us through their stages of grief.
This kind of imagery invoked is purely down to the music, as the vocals are, by and large,e unintelligible. Not that it detracts from elder brother Alexander’s emphatic, biting snarl, which manages to induce an emotional response with only minute variations. His cleans might prove more polarizing, as the heavy layering and vocode effects are often unpopular in the metal sphere, but these production choices fit the themes too well to be a detraction or distraction for me. Even where they are used more heavily, such as the abject heartsick of “Take Us Home,” they effectively serve to conjure a long-range transmission through interplanetary space. It all further boosts the diversity and recognizability of each individual track, and Labyrinthus Stellarum has even begun incorporating new sounds and songwriting elements; just check the brief but effective breakdown in “Rift in Reality” or the spacetime warping bends of “Ravenous Planet”‘s main riff.
Put it all together and Rift in Reality is an excellent, highly effective, and thoroughly addictive trip across the darkest corners of the universe. The only thing that detracts from the tracklist is closer “Nirlakh,” a fully electronic instrumental that would be great in a Metroid soundtrack but sounds curiously out of place here. Aside from that, the production has its good and bad sides. As with Vortex, I’ve come to enjoy the choice for mood over pure fidelity here. There’s a slightly hollow, muffled sound across the album, which supports the notion of being in a cramped spaceship with an unimaginable void all around you. But this should be possible with a little more breathing room on the master. In its current state, the programmed drums sound flatter than I believe they ought to. The mix does help retain enough depth to the music overall, but I do think Labyrinthus Stellarum can still improve on this point.
It will have to suffice for a list of improvements, because there’s scant little else to complain about regarding Rift in Reality. Despite a fast turnaround and the ongoing war, the Andronati brothers have not only retained the quality of its predecessor, but are clearly pushing themselves to evolve and diversify. Every track here feels like an episode in a sci-fi anthology series, jumping between infectious earworms and affecting atmosphere with practiced ease. It’s fun without sacrificing depth, it’s addictive like crack, and you can put it on repeat for a week without growing tired of it. One great album can put you on the map, but two in a row gets you a spot amongst the stars, and with Rift in Reality, Labyrinthus Stellarum have earned a constellation of their own.
Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Northern Silence Productions
Websites: labyrinthusstellarum.bandcamp.com | facebook.com/LabyrinthusStellarum
Releases Worldwide: May 2nd, 2025#2025 #40 #LabyrinthusStellarum #May25 #MelodicBlackMetal #NorthernSilenceProductions #Review #Reviews #RiftInReality #UkrainianMetal
-
Labyrinthus Stellarum – Rift in Reality Review
By GardensTale
Last year, two shockingly young lads from the war-torn Odesa, Ukraine, released an absolute gobsmacker of an album that wound up monopolizing my non-review rotation for weeks. Vortex of the Worlds was only the second album from Labyrinthus Stellarum, but the cosmic black metal within had power, depth, and hooks for days. Obviously, I wanted more, and the Andronati brothers expedited delivery, leaving less than 13 months between releases. You can strike when the iron is hot, but slow and steady wins the race. Which idiom is idiotic regarding Rift in Reality?
Laugh at the naysayers and scoff at the unbelievers, citizens, because Rift in Reality is everything one could want from a sequel to Vortex. Labyrinthus Stellarum is great at many different things: thick and evocative deep space atmosphere, enticing melodic lines on guitar as well as keys, dexterous energetic assaults, methodically constructed grandeur, and more. But whereas Vortex put some of everything in every track, the songs on Rift in Reality are more focused, more singular. The variety across the 37-minute album is astounding. Opener “Voyagers” is fast and furious, even bright, sketching a Star Trek-style expedition to boldly go where no one has gone before in its energetic riffs and supporting synthwork. It’s a colossal contrast with the gorgeous centerpiece “Lost in the Void,” where the understated keys and heavy mood paint the vivid picture of an astronaut gone adrift, life support slowly ticking down to the red as the music takes us through their stages of grief.
This kind of imagery invoked is purely down to the music, as the vocals are, by and large,e unintelligible. Not that it detracts from elder brother Alexander’s emphatic, biting snarl, which manages to induce an emotional response with only minute variations. His cleans might prove more polarizing, as the heavy layering and vocode effects are often unpopular in the metal sphere, but these production choices fit the themes too well to be a detraction or distraction for me. Even where they are used more heavily, such as the abject heartsick of “Take Us Home,” they effectively serve to conjure a long-range transmission through interplanetary space. It all further boosts the diversity and recognizability of each individual track, and Labyrinthus Stellarum has even begun incorporating new sounds and songwriting elements; just check the brief but effective breakdown in “Rift in Reality” or the spacetime warping bends of “Ravenous Planet”‘s main riff.
Put it all together and Rift in Reality is an excellent, highly effective, and thoroughly addictive trip across the darkest corners of the universe. The only thing that detracts from the tracklist is closer “Nirlakh,” a fully electronic instrumental that would be great in a Metroid soundtrack but sounds curiously out of place here. Aside from that, the production has its good and bad sides. As with Vortex, I’ve come to enjoy the choice for mood over pure fidelity here. There’s a slightly hollow, muffled sound across the album, which supports the notion of being in a cramped spaceship with an unimaginable void all around you. But this should be possible with a little more breathing room on the master. In its current state, the programmed drums sound flatter than I believe they ought to. The mix does help retain enough depth to the music overall, but I do think Labyrinthus Stellarum can still improve on this point.
It will have to suffice for a list of improvements, because there’s scant little else to complain about regarding Rift in Reality. Despite a fast turnaround and the ongoing war, the Andronati brothers have not only retained the quality of its predecessor, but are clearly pushing themselves to evolve and diversify. Every track here feels like an episode in a sci-fi anthology series, jumping between infectious earworms and affecting atmosphere with practiced ease. It’s fun without sacrificing depth, it’s addictive like crack, and you can put it on repeat for a week without growing tired of it. One great album can put you on the map, but two in a row gets you a spot amongst the stars, and with Rift in Reality, Labyrinthus Stellarum have earned a constellation of their own.
Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Northern Silence Productions
Websites: labyrinthusstellarum.bandcamp.com | facebook.com/LabyrinthusStellarum
Releases Worldwide: May 2nd, 2025#2025 #40 #LabyrinthusStellarum #May25 #MelodicBlackMetal #NorthernSilenceProductions #Review #Reviews #RiftInReality #UkrainianMetal
-
Labyrinthus Stellarum – Rift in Reality Review
By GardensTale
Last year, two shockingly young lads from the war-torn Odesa, Ukraine, released an absolute gobsmacker of an album that wound up monopolizing my non-review rotation for weeks. Vortex of the Worlds was only the second album from Labyrinthus Stellarum, but the cosmic black metal within had power, depth, and hooks for days. Obviously, I wanted more, and the Andronati brothers expedited delivery, leaving less than 13 months between releases. You can strike when the iron is hot, but slow and steady wins the race. Which idiom is idiotic regarding Rift in Reality?
Laugh at the naysayers and scoff at the unbelievers, citizens, because Rift in Reality is everything one could want from a sequel to Vortex. Labyrinthus Stellarum is great at many different things: thick and evocative deep space atmosphere, enticing melodic lines on guitar as well as keys, dexterous energetic assaults, methodically constructed grandeur, and more. But whereas Vortex put some of everything in every track, the songs on Rift in Reality are more focused, more singular. The variety across the 37-minute album is astounding. Opener “Voyagers” is fast and furious, even bright, sketching a Star Trek-style expedition to boldly go where no one has gone before in its energetic riffs and supporting synthwork. It’s a colossal contrast with the gorgeous centerpiece “Lost in the Void,” where the understated keys and heavy mood paint the vivid picture of an astronaut gone adrift, life support slowly ticking down to the red as the music takes us through their stages of grief.
This kind of imagery invoked is purely down to the music, as the vocals are, by and large,e unintelligible. Not that it detracts from elder brother Alexander’s emphatic, biting snarl, which manages to induce an emotional response with only minute variations. His cleans might prove more polarizing, as the heavy layering and vocode effects are often unpopular in the metal sphere, but these production choices fit the themes too well to be a detraction or distraction for me. Even where they are used more heavily, such as the abject heartsick of “Take Us Home,” they effectively serve to conjure a long-range transmission through interplanetary space. It all further boosts the diversity and recognizability of each individual track, and Labyrinthus Stellarum has even begun incorporating new sounds and songwriting elements; just check the brief but effective breakdown in “Rift in Reality” or the spacetime warping bends of “Ravenous Planet”‘s main riff.
Put it all together and Rift in Reality is an excellent, highly effective, and thoroughly addictive trip across the darkest corners of the universe. The only thing that detracts from the tracklist is closer “Nirlakh,” a fully electronic instrumental that would be great in a Metroid soundtrack but sounds curiously out of place here. Aside from that, the production has its good and bad sides. As with Vortex, I’ve come to enjoy the choice for mood over pure fidelity here. There’s a slightly hollow, muffled sound across the album, which supports the notion of being in a cramped spaceship with an unimaginable void all around you. But this should be possible with a little more breathing room on the master. In its current state, the programmed drums sound flatter than I believe they ought to. The mix does help retain enough depth to the music overall, but I do think Labyrinthus Stellarum can still improve on this point.
It will have to suffice for a list of improvements, because there’s scant little else to complain about regarding Rift in Reality. Despite a fast turnaround and the ongoing war, the Andronati brothers have not only retained the quality of its predecessor, but are clearly pushing themselves to evolve and diversify. Every track here feels like an episode in a sci-fi anthology series, jumping between infectious earworms and affecting atmosphere with practiced ease. It’s fun without sacrificing depth, it’s addictive like crack, and you can put it on repeat for a week without growing tired of it. One great album can put you on the map, but two in a row gets you a spot amongst the stars, and with Rift in Reality, Labyrinthus Stellarum have earned a constellation of their own.
Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Northern Silence Productions
Websites: labyrinthusstellarum.bandcamp.com | facebook.com/LabyrinthusStellarum
Releases Worldwide: May 2nd, 2025#2025 #40 #LabyrinthusStellarum #May25 #MelodicBlackMetal #NorthernSilenceProductions #Review #Reviews #RiftInReality #UkrainianMetal
-
BE ABOUT IT FEST 2025
toscadura, Friday, August 22 at 05:00 PM EDT
BE ABOUT IT PROUDLY PRESENTS…
Be About It Fest Vol 01. August 22nd and 23rd. All Ages. For the youth and the keepers of the faith.CONTENTION
RAW BRIGADE
NAYSAYER
BAD BEAT
CASINO
CESSPOOL
CHAIN BLOCK
CUTDOWN
DIE ALONE
FREEZERBURN
HEADLESS WORLD
HEAVENSCOLDHANDS
IRON CRUSADERS
KING'S COMMAND
THE NEXT LEVEL
REPOSSESSED
RUFF PUFF
SOLD SHORT
SQUARE ONE
STATEMENT OF PRIDE
UNMOVED
WILL TO SPEAK
Early bird tickets are up now…first 50 tickets available at a discount. Limited capacity so act fast and don’t come crying about it later.https://beaboutitzine.bigcartel.com/product/be-about-it-fest
-
BE ABOUT IT FEST 2025
toscadura, Friday, August 22 at 05:00 PM EDT
BE ABOUT IT PROUDLY PRESENTS…
Be About It Fest Vol 01. August 22nd and 23rd. All Ages. For the youth and the keepers of the faith.CONTENTION
RAW BRIGADE
NAYSAYER
BAD BEAT
CASINO
CESSPOOL
CHAIN BLOCK
CUTDOWN
DIE ALONE
FREEZERBURN
HEADLESS WORLD
HEAVENSCOLDHANDS
IRON CRUSADERS
KING'S COMMAND
THE NEXT LEVEL
REPOSSESSED
RUFF PUFF
SOLD SHORT
SQUARE ONE
STATEMENT OF PRIDE
UNMOVED
WILL TO SPEAK
Early bird tickets are up now…first 50 tickets available at a discount. Limited capacity so act fast and don’t come crying about it later.https://beaboutitzine.bigcartel.com/product/be-about-it-fest
-
BE ABOUT IT FEST 2025
toscadura, Friday, August 22 at 05:00 PM EDT
BE ABOUT IT PROUDLY PRESENTS…
Be About It Fest Vol 01. August 22nd and 23rd. All Ages. For the youth and the keepers of the faith.CONTENTION
RAW BRIGADE
NAYSAYER
BAD BEAT
CASINO
CESSPOOL
CHAIN BLOCK
CUTDOWN
DIE ALONE
FREEZERBURN
HEADLESS WORLD
HEAVENSCOLDHANDS
IRON CRUSADERS
KING'S COMMAND
THE NEXT LEVEL
REPOSSESSED
RUFF PUFF
SOLD SHORT
SQUARE ONE
STATEMENT OF PRIDE
UNMOVED
WILL TO SPEAK
Early bird tickets are up now…first 50 tickets available at a discount. Limited capacity so act fast and don’t come crying about it later.https://beaboutitzine.bigcartel.com/product/be-about-it-fest
-
BE ABOUT IT FEST 2025
toscadura, Friday, August 22 at 05:00 PM EDT
BE ABOUT IT PROUDLY PRESENTS…
Be About It Fest Vol 01. August 22nd and 23rd. All Ages. For the youth and the keepers of the faith.CONTENTION
RAW BRIGADE
NAYSAYER
BAD BEAT
CASINO
CESSPOOL
CHAIN BLOCK
CUTDOWN
DIE ALONE
FREEZERBURN
HEADLESS WORLD
HEAVENSCOLDHANDS
IRON CRUSADERS
KING'S COMMAND
THE NEXT LEVEL
REPOSSESSED
RUFF PUFF
SOLD SHORT
SQUARE ONE
STATEMENT OF PRIDE
UNMOVED
WILL TO SPEAK
Early bird tickets are up now…first 50 tickets available at a discount. Limited capacity so act fast and don’t come crying about it later.https://beaboutitzine.bigcartel.com/product/be-about-it-fest
-
BE ABOUT IT presents: FESTINY 2025
toscadura, Friday, August 22 at 05:00 PM EDT
BE ABOUT IT PROUDLY PRESENTS…
Be About It Fest Vol 01. August 22nd and 23rd. All Ages. For the youth and the keepers of the faith.CONTENTION
RAW BRIGADE
NAYSAYER
BAD BEAT
CASINO
CESSPOOL
CHAIN BLOCK
CUTDOWN
DIE ALONE
FREEZERBURN
HEADLESS WORLD
HEAVENSCOLDHANDS
IRON CRUSADERS
KING'S COMMAND
THE NEXT LEVEL
REPOSSESSED
RUFF PUFF
SOLD SHORT
SQUARE ONE
STATEMENT OF PRIDE
UNMOVED
WILL TO SPEAK
Early bird tickets are up now…first 50 tickets available at a discount. Limited capacity so act fast and don’t come crying about it later.https://beaboutitzine.bigcartel.com/product/be-about-it-fest
https://montreal.askapunk.net/event/be-about-it-presents-festiny-2025