Search
1000 results for “Casura”
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https://www.kpopnsfw.com/172068/251119-tzuyu-having-a-casual-conversation-while-dancing-to-gee/ 251119 – Tzuyu having a casual conversation while dancing to GEE #Casual #ChouTzuyu #conversation #dancing #GEE #Twice #tzuyu
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Casual reminder that Universities MUST have a zero-tolerance FOSS policy https://news.ycombinator.com/item?id=46083357
They should also:
- host Tor exit nodes;
- mirror Anna's Archive, Library Genesis, and Sci-Hub;
- not allow police on campus.#aaltoyliopisto #UtrechtUniversity #Microsoft #microsoft365 #academia #libraries #internetarchive
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Planet of Lana is gorgeous.
#Games #VideoGames #PlanetOfLana #Art #PuzzlePlatformer #Casual
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c'è chi fa qualcosa
e rischia
come Ranuccic'è chi cerca di far qualcosa via internet
https://casarayuela.eu/
e dimostra che la comunicazione interpersonale "in rete" non esiste
soprattutto quella che avrebbe dovuto iniziare ad essere
"peer to peer"
a partire da quando internet fu dotato di funzionalità
WEB
da una comunità di utenti territorialmente distribuiti [CERN]
socialmente organizzata in modo adeguato -
Casual fall fit for a rainy day running errands. #ootd #fallfashion
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Casual fall fit for a rainy day running errands. #ootd #fallfashion
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Casual fall fit for a rainy day running errands. #ootd #fallfashion
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Casual fall fit for a rainy day running errands. #ootd #fallfashion
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Casual fall fit for a rainy day running errands. #ootd #fallfashion
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6 di N
da quando internet non ha potuto evolvere come rete di sistemi aperti
https://spectrum.ieee.org/osi-the-internet-that-wasntun fallimento sistemico sta meccanizzando l'umano
https://mastodon.uno/@casarayuela/115291814100281618i giovani devono sapere come doveva evolvere internet
https://simonezanella.it/aggiustare-il-mondo-3/per umanizzare il mondo
https://mastodon.uno/@casarayuela/115134196181656037chi lo sa può essere capito solo se si emula il dialogo tra sistemi tecnici eterogenei che comunicano grazie a un "gateway"
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3 di N
a proposito di
"sovranità digitale dell'Europa"
da raggiungere con l'Open Sourcevisti gli argomenti discussi dalla
Open Source Initiative [OSI]
https://mastodon.uno/@casarayuela/115269257437269624l'opinione della politica europea non può essere adeguata perché fu
ASSENTE
quando OSI significava
Open System Interconnection [OSI]
anni 80 e 90Altre informazioni nel testo ALTernativo che commenta una schermata [screenshot] di https://summit.openforumeurope.org/
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2 di N
a proposito di
POLITICA EUROPEA per una
INFRASTRUTTURA OPEN SOURCEhttps://summit.openforumeurope.org/
le considerazioni relative a
1 di N
"Il dilemma degli standard"
https://mastodon.uno/@casarayuela/115259447465895866devono indurre a chiedersi:
all'Europa serve
SOVRANITÀ
digitale basata sul software open source?oppure serve
AUTONOMIA
realizzata grazie a un
AMBIENTE
di gestione di una infrastruttura digitale
APERTA
alla partecipazione di comunità locali di utenti? -
Castramóvel vai percorrer os bairros de Novo Hamburgo; há demanda reprimida desde 2024
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Hi @laura
Re: https://laurahargreaves.com/the-old-internet/
in my old guy too-long-to-be-told view
Uneducated Upcoming Grandparents
should go for
A Community Rebootbased on a
PROgressive LOCalisation of Web Territoriality
prolocwt at casarayuela dot euCheers from the third of the "9 Systems of the Italian Dolomites"
https://www.dolomitiunesco.info/en/the-dolomites-unesco-world-heritage-site/the-nine-systems-of-the-dolomiteswhere Mount Agner shows the way ahead
https://casarayuela.eu/210905_HeartAndMountAgner.jpgand "localisation" means "finding some/body/thing whereabouts"
Luigi
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Castrator – Coronation of the Grotesque Review
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate…
#NewsBeep #News #Music #2025 #3.5 #Aug25 #CannibalCorpse #Castrator #CoronationoftheGrotesque #DarkDescentRecords #DeathMetal #Deicide #Entertainment #MorbidAngelDeathMetal #NewYorkDeathMetal #review #UK #UnitedKingdom
https://www.newsbeep.com/uk/61050/ -
Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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Castrator – Coronation of the Grotesque Review
By Tyme
With Burdizzo‘s ready, New York’s female death metal foursome Castrator are back to crush spermatic cords and eviscerate eardrums with their second album, Coronation of the Grotesque. Despite forming in 2013, Castrator didn’t release Defiled in Oblivion until 2022, that debut finding its way into the hairy palms and ears of our very own, stun baton-wielding overlord Steel, who gave it a respectable 3.0/5.0. While founding drummer Carolina Peréz (Hypoxia, Mama Killa), bassist Robin Mazen (Derkéta, Gruesome), and Defiled in Oblivion vocalist Clarissa Badini (Vicious Blade)1 return for another go-round, guitarist Kimberly Orellana, lauded by Steel as one of Castrator’s biggest assets, was replaced by Sara Loerlein from The Breathing Process. With some concern about the impact this lineup change would have, I soldiered on to determine if Coronation of the Grotesque finds Castrator at their most vicious, or serves as a signal this beast needs spayed.
Clinging to many of the ’80s and ’90s death metal tropes that fueled the fires of their debut, Castrator didn’t steer Coronation of the Grotesque into any new, uncharted territory. Still sonically sliced from the same loins as Cannibal Corpse, Deicide, and Morbid Angel, the formula repeats as bludgeoning bass lines and battering ram drumming set the boundaries within which all the brutal riffs, shredding solos, chugging breakdowns, and bestial vocals do their work—standard fare, yes, but excellently executed. Within seconds of the opening throat punch that is “Fragments of Defiance,” a barbarous ballbuster full of powerhouse riffage and lots of Rick Rozz-inspired whammy dives, it’s apparent that Castrator has upped their game. Clarissa Badini, in particular, has further refined her technique, inflections of David Vincent and traces of Glen Benton intact; her gutturals are even more rib-rattling, and when positioned against or layered under her higher-pitched raspy screams, the effect is absolute devastation. Bucking the predominantly masculine milieu in which they operate, Castrator continues their march toward the death metal elite, and Coronation of the Grotesque is the staircase they ascend.
From performance to production, each aspect of Coronation of the Grotesque improves on Castrator’s past. As good as Orellana was on Defiled in Oblivion, Sara Loerlein completely shreds her way through Coronation of the Grotesque’s thirty-seven-minute runtime. From the frenzied, dissonant leads and Deicide-ic chugs of “I Am Eunuch” to the thrashy, speedy riffs and Celtic Frost-ian breakdowns of “Deviant Miscreant,” Loerlein proves an upgrade, and her soloing, whether melodically melancholic (“Remnants of Chaos”) or full-on fretboard furious (“Blood Bind’s Curse,” “Mortem Opeterie”), is excellent. Spotlighted in its space by Noah Buchanan’s great production work, which also manages to bring more power to Pérez’s drums and allows Manzen’s bass work to shine through in a way it never did on Defiled in Oblivion. Castrator infused Coronation of the Grotesque with an altogether better flow as well, filled with stronger songwriting.
From the tragic, ruthless killing of Mahsa Amini to the abhorrent deeds of predator Naasón Joaquín García (“Covenant of Deceit”) and the ancient Sumerian eunuchization of males meant for slavery and servitude (“I Am Eunuch”), Castrator forgoes pedestrian blood-n-guts to focus more on the societal ills of injustice and human suffering, which adds a layer of gravitas and intelligence to the proceedings. Coronation of the Grotesque packs a walloping punch, and my quibbles with it are few, my biggest being what seems to be Castrator’s habit of tacking a cover song on the end of their albums. Defiled in Oblivion’s version of “Countess Bathory” was fine but unnecessary, as too is the superfluous inclusion of Castrator’s version of Exodus’ excellent “Metal Command” here. I didn’t find it engaging at all, and it diminished what could have been a more visceral conclusion had “Discordant Rumination,” with its final bits sounding reminiscent of the mid-section in Pantera’s “Strength Beyond Strength,” ushered things to a close.
I walked away from Coronation of the Grotesque with the same “Fuck yah!” feeling I had when watching that scene from G.I. Jane, when a bloodied and beaten Demi Moore raises her battered head to scream “Suck my dick!” at her domineering master chief. Castrator are legit, no doubt, and their excellence shouldn’t be any more impressive because they’re all female, but it is, and I am here for it. If you liked Defiled in Oblivion, you’ll love this. If you’re hearing about Castrator for the first time, Coronation of the Grotesque is definitely worth spinning. I can’t wait to see what they do next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Dark Descent Records
Websites: Bandcamp | Facebook
Releases Worldwide: August 15th, 2025#2025 #35 #Aug25 #CannibalCorpse #Castrator #CoronationOfTheGrotesque #DarkDescentRecords #DeathMetal #Deicide #MorbidAngelDeathMetal #NewYorkDeathMetal #Review
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This time they will, right? 🤖👾 The markets are right in their assessment that the cash rate is on a downward-sloping trajectory. Last month’s decision to HOLD does not contradict this. Unsurprisingly, this month, similarly to July, my predictions indicate a CUT. 👽🚀 The predictive intervals do not contain the current cash rate value, but they include a 25bp cut. The forecast mean suggests a 15bp decrease.
My forecasts are available at: https://forecasting-cash-rate.github.io/
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Casual search from this non-expert makes me think this is a Boeing 777. Any plane-spotters out there? #planespotting #Boeing777
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Casual search from this non-expert makes me think this is a Boeing 777. Any plane-spotters out there? #planespotting #Boeing777
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Casual search from this non-expert makes me think this is a Boeing 777. Any plane-spotters out there? #planespotting #Boeing777
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Casual Over #Commitment: Why So Many Choose Low-Stake #Relationships— and What It’s Doing to Our #Emotional Lives
Why do so many people choose #casual relationships over commitment? This article explores the #psychology behind modern love, emotional #avoidance, and the cost of surface-level #connection.
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Vislivin Womens Supersoft Vest Tops Stretch #Casual Tank Tops Pack of four
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Only £19.94
This womans #sleeveless tanks tops fits comfortbaly to your upper bady for a beautiful top. Our womens stretch tank #tops are designed with wide strap and scoop neck, this ingenious design and #superb processing technology can perfectly show your body. Put on our womens basic tanks and camisoles, you can look #fashionable but not exposed. -
✨ This is to celebrate a 12-correctly-predicted-decision streak for my forecasting system... that is now over! 🤣
⭐ My system predicted last twelve decisions right, which reaches back to November 2023! ⭐
This time it predicted a decisive CUT but the RBA kept the cash rate at the current level. That's OK!
After another cut, I'll write more about the mid-to-long-term trajectories for cash rate.
In the meantime, enjoy my gif 💜 💙
