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1000 results for “attila”
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Der *Kino VOD Club* feiert derzeit die große Erni Mangold, die dieser Tage 99 Jahre alt wird. Die Filme zeigen sie allesamt in Altersrollen.
https://www.vodclub.online/magazin/99-jahre-erni-mangold
"Der Engel mit der Posaune", in dem sie bekanntlich die Tochter von Paula Wessely und Attila Hörbiger sowie Schwester von Oskar Werner darstellt, ist entsprechend leider nicht dabei.
#ErniMangold #Video #Film #Spielfilm #Stream #Geburtstag #Schauspiel #Österreich #KinoVodClub
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Der *Kino VOD Club* feiert derzeit die große Erni Mangold, die dieser Tage 99 Jahre alt wird. Die Filme zeigen sie allesamt in Altersrollen.
https://www.vodclub.online/magazin/99-jahre-erni-mangold
"Der Engel mit der Posaune", in dem sie bekanntlich die Tochter von Paula Wessely und Attila Hörbiger sowie Schwester von Oskar Werner darstellt, ist entsprechend leider nicht dabei.
#ErniMangold #Video #Film #Spielfilm #Stream #Geburtstag #Schauspiel #Österreich #KinoVodClub
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Upon a Burning Body – Blood of the Bull Review
By Dear Hollow
Upon a Burning Body is back, baby. Your favorite groovy Texans are ready to lay on the hurt with as many riffs as your ears can muster. Predecessor 2022’s Fury offered a no-frills attack that more substantially simplified the attack, recalling more the groove-oriented likes of Pantera or Lamb of God, as opposed to the longstanding comparisons to deathcore’s partyharders Attila and “fight everyone” breakdowners Emmure to whom they’ve been compared in the past. It seemed like a new direction for the San Antonio quartet, even if hindered by some grunge-inspired cleans and sporadic and uneven homages to their deathcore roots. Blood of the Bull tries to reconcile a new direction and a past that still haunts them.
Blood of the Bull is indeed Upon a Burning Body firing on all cylinders – although its direction remains questionable. Ruben Alvarez’s guitar work is immediately recognizable, a bluesy edge and layered rhythms with manic solos to boot, Tito Felix’s drumming is as unhinged as you’d expect,1 while Danny Leal’s vocals have returned to peak form, honed mids to complement his vicious lows – even bassist/vocalist Thomas Alvarez’s cleans are better than last go. In Blood of the Bull, poppier choruses contrast heavier to its breakneck riffs and metalcore leanings, leaving it slightly below Fury in its effectiveness but remaining a solid installment in Upon a Burning Body’s rodeo of a discography.
In many ways, Blood of the Bull exists as the band’s most experimental outing. While it channels Fury’s propensity for groove, Thomas Alvarez forgoes on the grungy tone almost entirely for the most soulful choruses the band has ever offered, tracks which often feature newfound synth in creeping intros or interludes (“Daywalker,” “Another Ghost,” “Living in a Matrix”). While the presence of these assets could potentially dull the teeth that Upon a Burning Body’s sound naturally possesses, they refuse to let that stop them. Their cleaner tracks feel bigger and more significant than ever before, albeit imperfect: the soaring melodies can feel shoehorned alongside groove or deathcore beatdowns, although the lyricism (for once) sometimes improves this issue (“Another Ghost”) and ruins it for others (“Reckless Love”). The mariachi returns full-force, a welcome homage to the group’s roots (“Sangre del Toro,” “An Insatiable Hunger”).
If the tracks with clean singing are risks with mixed payoff, then, when Upon a Burning Body conjures syncopated grooves and commanding vocals with memorable one-liners offer the best listening on Blood of the Bull. Furious shredding, wild solos, and Leal’s signature vocal attack offer a trifecta of headbanging goodness. No one growls profanity the way Leal does, and while it was noticeably absent in Fury, the “fucking” one-liners pump adrenaline (“Killshot,” “Curse Breaker”) while other tracks manage to feel kickass and brooding simultaneously (“Hand of God”), highlighting Upon a Burning Body’s vocal return to deathcore’s intensity. It can be odd and off-putting when songs that feature the most intense groove riffs can also feature those soulful choruses (“Daywalker,” “Living in a Matrix”), but aside from the aforementioned, these don’t feel as awkward as I expected.
Upon a Burning Body amps almost everything in its attempt to reconcile the old with the new, and if nothing else, the effort is noted. There is more than enough corny lyrics, ham- beef-fisted anthems, and soaring clean choruses aboard Blood of the Bull, but in this way, it feels more like Upon a Burning Body than they’ve been in a hot minute. Thankfully, if you can look past the flaws, the band’s seventh full-length is at its worst full of crunchy grooves, mind-numbing breakdowns, and jarring tonal shifts, but if that’s its worst – with Danny Leal and Ruben Alvarez leading the attack – that’s a worst I can get behind. Also, highlights like “Another Ghost” or “Daywalker” feel like flashes of potential not yet seen in lyrics or songwriting. For now, it’s Upon a Burning Body, love ’em or hate ’em: a whole lotta bull.
Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Self-Released
Websites: uponaburningbody.bandcamp.com | uabbtx.com | facebook.com/uponaburningbody
Releases Worldwide: December 5th, 2025#2025 #30 #AmericanMetal #Attila #BloodOfTheBull #Deathcore #Dec25 #Emmure #GrooveMetal #LambOfGod #Metalcore #Pantera #Review #Reviews #SelfReleased #UponABurningBody
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"Car dans la vidéo où l’on aperçoit uniquement le dos de certains participants, on peut aussi entendre l’élue répondre au maire #SteeveBriois en lui lançant notamment : «Vous êtes ridicule.» Les échanges captés témoignent d’une brimade sexiste de l’ancien eurodéputé qui, tout en la traitant d’«hystérique» qui devrait «aller consulter», suggère à son opposante : «Si vous voulez vendre du poisson, allez sur un marché.»"
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İlk yarıda tam 5 gol attılar ve liderliğe yükseldiler: Trendyol 1. Lig'de Bodrum FK, sahasında Hatayspor'u konuk etti.
Bodrum FK, sahadan 5-0 galip ayrıldı ve 1. Lig'de liderliğe yükseldi.
Bodrum FK'nın gollerini 5'te Celal Dumanlı, 20'de Fredy, 30'da Brazao, 39 ve 44'te Seferi kaydetti.
Bu sonucun ardından Bodrum FK puanını 20 yaptı. Hatayspor ise 3 puanda kaldı.
Sipay Bodrum FK: 5 - Atakaş Hatayspor:… https://www.eshahaber.com.tr/haber/ilk-yarida-tam-5-gol-attilar-ve-liderlige-yukseldiler-261728.html?utm_source=dlvr.it&utm_medium=mastodon EshaHaber.com.tr #BodrumFK #Hatayspor #1Lig #futbol #gol
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İlk yarıda tam 5 gol attılar ve liderliğe yükseldiler: Trendyol 1. Lig'de Bodrum FK, sahasında Hatayspor'u konuk etti.
Bodrum FK, sahadan 5-0 galip ayrıldı ve 1. Lig'de liderliğe yükseldi.
Bodrum FK'nın gollerini 5'te Celal Dumanlı, 20'de Fredy, 30'da Brazao, 39 ve 44'te Seferi kaydetti.
Bu sonucun ardından Bodrum FK puanını 20 yaptı. Hatayspor ise 3 puanda kaldı.
Sipay Bodrum FK: 5 - Atakaş Hatayspor:… https://www.eshahaber.com.tr/haber/ilk-yarida-tam-5-gol-attilar-ve-liderlige-yukseldiler-261728.html?utm_source=dlvr.it&utm_medium=mastodon EshaHaber.com.tr #BodrumFK #Hatayspor #1Lig #futbol #gol
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İlk yarıda tam 5 gol attılar ve liderliğe yükseldiler: Trendyol 1. Lig'de Bodrum FK, sahasında Hatayspor'u konuk etti.
Bodrum FK, sahadan 5-0 galip ayrıldı ve 1. Lig'de liderliğe yükseldi.
Bodrum FK'nın gollerini 5'te Celal Dumanlı, 20'de Fredy, 30'da Brazao, 39 ve 44'te Seferi kaydetti.
Bu sonucun ardından Bodrum FK puanını 20 yaptı. Hatayspor ise 3 puanda kaldı.
Sipay Bodrum FK: 5 - Atakaş Hatayspor:… https://www.eshahaber.com.tr/haber/ilk-yarida-tam-5-gol-attilar-ve-liderlige-yukseldiler-261728.html?utm_source=dlvr.it&utm_medium=mastodon EshaHaber.com.tr #BodrumFK #Hatayspor #1Lig #futbol #gol
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Alle missachtung, volle verachtung dazu!
Ja, und? Ist die „missachtung“ oder gar „verachtung“ von irgendwelchen glaubensüberzeugungen denn neuerdings in der BRD verboten? Muss man das alles achten, was einer glaubt? Den weihnachtsmann? Die erzählungen von reiskanzler Attila Hildmann? Den kwatsch von Joseph Smith, der mit einer g’ttgegebenen hellseherbrille das buch mormon auf goldplatten las und übersetzte, indem er sein gesicht in den hut steckte und diktierte. Die psychjatrisch wertvolle erzählung, dass g’tt so unheilbar sauer auf alle menschen war, dass er erstmal ein kind mit einer menschin machen musste, damit die menschen dieses kind dann dreißig jahre später aus religjöser raserei umbringen, nur, damit er seinen für ihn selbst völlig unbeherrschbaren zorn stillt? Und trotz Mk 2:5 aus euren regalstaubfängern, wo gar keiner für die sündenvergebung am barbarischen römischen foltergalgen verrecken musste? Ach, der mordmobmäßig rasend religjonswahnsinnige Paulus (Apg 8:1) ist für euch ja viel wichtiger als dieser Jesus aus nazaret, der sein ganzes biblisch erzähltes leben lang immer nur vor dieser sekte der farisäer gewarnt hat, der Paulus — >formerly known as Saulus — in allem fanatismus anhing. Natürlich „missachte“ ich das alles erstmal. Jeder mensch mit etwas resthirn tut das, und zwar spätestens nach gründlichem lesen eures zauberbuches. Und wo euer wahnkult mit menschenverachtung, organisierter kriminalität, dummheitsanbetung, sexuellem kindesmissbrauch, als „nächstenliebe“ (caritas) oder „dienst“ (diakonie) verbrämte folter an ausgelieferten menschen, ausbeutung, armenhass, unhl. entgrenzter geldgier, staatsfrömmigkeit, zwangsschulischer kinderindoktrinazjon, militärzauberei und gewaltverherrlichung hand in hand geht, so wie etwa im scheißkristentum der beschissenen und lichtlosen BRD-kwasistaatskirchen in ihrem spirituellen bankrott, da verachte ich sogar, und ich mache das ganz deutlich, wo immer ich nur kann. Das ist mein vom grunzgeschwätz für die BRD eingeräumtes recht, aus dem sich der scheißstaat herauszuhalten hat und für das er mich nicht zu gängeln, zu bestrafen, einzuschüchtern oder zu zensieren hat. Es reicht ja, dass mir nicht jeder glauben muss. Diese selbstbeschränkung, freilich, die kennt ihr monoteisten nicht. Alle miteinander nicht, nicht nur die kristen.
Nein, das stimmt doch alles gar nicht, sagt ihr, ich muss doch nur euch glauben und nicht den anderen? Ach ja, die brutale und jederzeit latent gewalttätige intoleranz eurer scheißreligjon habe ich ganz vergessen. Himmel, arsch und zwirn! Jessemariaundjosef, wie viel friedlicher und erfreulicher diese ganze scheißerde doch wäre, wenn es keine religjon gäbe! Klar, die leute würden sich immer noch gegenseitig die schädel einschlagen, aus allen möglichen und teilweise nachvollziehbaren gründen, aber diese völlig grenzenlose sprengstoffgürtel- und kreuzzugintensität im trockenen vollrausch der dummen scheißpsyche wäre draußen. Vielleicht würden sie sogar öfter mal p’litiker in herrschaftsämter wählen, die noch ein gehirn haben und nicht mit dem geldbeutel und der gier denken und mit dem kontoauszug fühlen.
Liebe gläubige kristinnen und kristen und diverse: wenn euch das nicht passt, dann bittet euren von euch als g’tt angesprochenen, unhl. vater des mordes doch darum, mal wieder einen zünftigen feuer- und schwefelregen über mich kommen zu lassen! So wie früher, in der guten alten zeit eures mordzauberbuches! G’ttseidank macht der das schon lange nicht mehr. Wozu auch? Er hat ja euch. Darauf rasch einen lecker schluck blut, frisch vom pfaffen durch sprechen eines zauberspruchs herbeigezaubert! Für euch vergossen zur vergebung der sünden. Amen!
Der für die „Tagesschau“ zuständige NDR wies in seiner Stellungnahme vom 24. Juli, die der Katholischen Nachrichten-Agentur (KNA) vorliegt, die Programmbeschwerde als unbegründet zurück. „Weder der zugrundeliegende Artikel noch der Instagram-Post hatte in ihrer Ursprungsform die Glaubensfreiheit oder das christliche Bekenntnis der Fußballer infrage gestellt oder abgewertet“, so Marcus Bornheim, Erster Chefredakteur von ARD-aktuell. Der Vorwurf, die Beiträge hätten „eine Missachtung der religiösen Überzeugungen gläubiger Christinnen und Christen dargestellt, halten wir für nicht zutreffend“, so Bornheim weiter. Beide Publikationen entsprächen nach Prüfung „den journalistischen und presserechtlichen Standards und erfüllen die Vorgaben des Staatsvertrags“
Gut so. Religjonsfreiheit ist eine wichtige zivilisatorische errungenschaft und die einzige alternative zum mittelalter. Aber religjonsfreiheit bedeutet nicht, dass man die schnauze halten muss, wenn es um gefährlichen wahnsinn geht. Weder beim islam als p’litisch-totalitärer heilslehre, noch beim kristentum als stütze des staates, der reichen und des militärisch-industriellen mordens. Und ja, auch die juden haben ein recht auf schuld. Grüße auch an Benjamin Netanjahu! Nicht, dass ich hier noch jemanden vergesse.
Der Sender habe sich aber dennoch entschlossen, den Artikel auf tagesschau.de zu überarbeiten, da durch „einzelne Formulierungen der Eindruck entstehen könnte, wir würden Missionsarbeit generell einen Vorwurf machen“. Da sich das Instagram-Video nicht nachträglich bearbeiten lasse, habe man es entfernt.
Nicht so gut.
Stirb, ARD, stirb! Verrecke, BRD-parteienstaatsfunk, verrecke! Freut euch drauf, es geht ja seelehüpf ins wolkenkuckucksheim! Zum loblied auf den vorauseilenden gehorsam in die abteilung dreizehn, dritte reihe links. Jeder nur eine harfe! Halleluja!
#ARD #Blah #BRD #CDU #Christentum #Instagram #JohannesVolkmann #katholischDe #Kotzreiz #Link #Mittelalter20 #Religion #SM #Tagesschau
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Alle missachtung, volle verachtung dazu!
Ja, und? Ist die „missachtung“ oder gar „verachtung“ von irgendwelchen glaubensüberzeugungen denn neuerdings in der BRD verboten? Muss man das alles achten, was einer glaubt? Den weihnachtsmann? Die erzählungen von reiskanzler Attila Hildmann? Den kwatsch von Joseph Smith, der mit einer g’ttgegebenen hellseherbrille das buch mormon auf goldplatten las und übersetzte, indem er sein gesicht in den hut steckte und diktierte. Die psychjatrisch wertvolle erzählung, dass g’tt so unheilbar sauer auf alle menschen war, dass er erstmal ein kind mit einer menschin machen musste, damit die menschen dieses kind dann dreißig jahre später aus religjöser raserei umbringen, nur, damit er seinen für ihn selbst völlig unbeherrschbaren zorn stillt? Und trotz Mk 2:5 aus euren regalstaubfängern, wo gar keiner für die sündenvergebung am barbarischen römischen foltergalgen verrecken musste? Ach, der mordmobmäßig rasend religjonswahnsinnige Paulus (Apg 8:1) ist für euch ja viel wichtiger als dieser Jesus aus nazaret, der sein ganzes biblisch erzähltes leben lang immer nur vor dieser sekte der farisäer gewarnt hat, der Paulus — >formerly known as Saulus — in allem fanatismus anhing. Natürlich „missachte“ ich das alles erstmal. Jeder mensch mit etwas resthirn tut das, und zwar spätestens nach gründlichem lesen eures zauberbuches. Und wo euer wahnkult mit menschenverachtung, organisierter kriminalität, dummheitsanbetung, sexuellem kindesmissbrauch, als „nächstenliebe“ (caritas) oder „dienst“ (diakonie) verbrämte folter an ausgelieferten menschen, ausbeutung, armenhass, unhl. entgrenzter geldgier, staatsfrömmigkeit, zwangsschulischer kinderindoktrinazjon, militärzauberei und gewaltverherrlichung hand in hand geht, so wie etwa im scheißkristentum der beschissenen und lichtlosen BRD-kwasistaatskirchen in ihrem spirituellen bankrott, da verachte ich sogar, und ich mache das ganz deutlich, wo immer ich nur kann. Das ist mein vom grunzgeschwätz für die BRD eingeräumtes recht, aus dem sich der scheißstaat herauszuhalten hat und für das er mich nicht zu gängeln, zu bestrafen, einzuschüchtern oder zu zensieren hat. Es reicht ja, dass mir nicht jeder glauben muss. Diese selbstbeschränkung, freilich, die kennt ihr monoteisten nicht. Alle miteinander nicht, nicht nur die kristen.
Nein, das stimmt doch alles gar nicht, sagt ihr, ich muss doch nur euch glauben und nicht den anderen? Ach ja, die brutale und jederzeit latent gewalttätige intoleranz eurer scheißreligjon habe ich ganz vergessen. Himmel, arsch und zwirn! Jessemariaundjosef, wie viel friedlicher und erfreulicher diese ganze scheißerde doch wäre, wenn es keine religjon gäbe! Klar, die leute würden sich immer noch gegenseitig die schädel einschlagen, aus allen möglichen und teilweise nachvollziehbaren gründen, aber diese völlig grenzenlose sprengstoffgürtel- und kreuzzugintensität im trockenen vollrausch der dummen scheißpsyche wäre draußen. Vielleicht würden sie sogar öfter mal p’litiker in herrschaftsämter wählen, die noch ein gehirn haben und nicht mit dem geldbeutel und der gier denken und mit dem kontoauszug fühlen.
Liebe gläubige kristinnen und kristen und diverse: wenn euch das nicht passt, dann bittet euren von euch als g’tt angesprochenen, unhl. vater des mordes doch darum, mal wieder einen zünftigen feuer- und schwefelregen über mich kommen zu lassen! So wie früher, in der guten alten zeit eures mordzauberbuches! G’ttseidank macht der das schon lange nicht mehr. Wozu auch? Er hat ja euch. Darauf rasch einen lecker schluck blut, frisch vom pfaffen durch sprechen eines zauberspruchs herbeigezaubert! Für euch vergossen zur vergebung der sünden. Amen!
Der für die „Tagesschau“ zuständige NDR wies in seiner Stellungnahme vom 24. Juli, die der Katholischen Nachrichten-Agentur (KNA) vorliegt, die Programmbeschwerde als unbegründet zurück. „Weder der zugrundeliegende Artikel noch der Instagram-Post hatte in ihrer Ursprungsform die Glaubensfreiheit oder das christliche Bekenntnis der Fußballer infrage gestellt oder abgewertet“, so Marcus Bornheim, Erster Chefredakteur von ARD-aktuell. Der Vorwurf, die Beiträge hätten „eine Missachtung der religiösen Überzeugungen gläubiger Christinnen und Christen dargestellt, halten wir für nicht zutreffend“, so Bornheim weiter. Beide Publikationen entsprächen nach Prüfung „den journalistischen und presserechtlichen Standards und erfüllen die Vorgaben des Staatsvertrags“
Gut so. Religjonsfreiheit ist eine wichtige zivilisatorische errungenschaft und die einzige alternative zum mittelalter. Aber religjonsfreiheit bedeutet nicht, dass man die schnauze halten muss, wenn es um gefährlichen wahnsinn geht. Weder beim islam als p’litisch-totalitärer heilslehre, noch beim kristentum als stütze des staates, der reichen und des militärisch-industriellen mordens. Und ja, auch die juden haben ein recht auf schuld. Grüße auch an Benjamin Netanjahu! Nicht, dass ich hier noch jemanden vergesse.
Der Sender habe sich aber dennoch entschlossen, den Artikel auf tagesschau.de zu überarbeiten, da durch „einzelne Formulierungen der Eindruck entstehen könnte, wir würden Missionsarbeit generell einen Vorwurf machen“. Da sich das Instagram-Video nicht nachträglich bearbeiten lasse, habe man es entfernt.
Nicht so gut.
Stirb, ARD, stirb! Verrecke, BRD-parteienstaatsfunk, verrecke! Freut euch drauf, es geht ja seelehüpf ins wolkenkuckucksheim! Zum loblied auf den vorauseilenden gehorsam in die abteilung dreizehn, dritte reihe links. Jeder nur eine harfe! Halleluja!
#ARD #Blah #BRD #CDU #Christentum #Instagram #JohannesVolkmann #katholischDe #Kotzreiz #Link #Mittelalter20 #Religion #SM #Tagesschau
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#T3CVie won the Best #TYPO3 Camp award. (Congratulations!) Touching the trophy is, however, restricted. Here’s #TYPO3Company CEO Daniel Fau defending the (very heavy) granite slab with a microphone, while event organizer Attila János tries to pass through the surrounding energy barrier. @typo3
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Alex Tamécylia, retransmission de la rencontre à la librairie Terra Nova
Rencontre avec #AlexTamécylia poétexsse, performeureuse et auteurice de "Les Féministes t’encouragent à quitter ton mari, #TuerTesEnfants, #PratiquerLaSorcellerie, détruire le capitalisme et devenir trans-pédé-gouine" paru aux éditions le nouvel attila, animée par Al Baylac.
✏️ Par Tv Bruits | En accès libre › https://blogs.mediapart.fr/tv-bruits/blog/120325/alex-tamecylia-retransmission-de-la-rencontre-la-librairie-terra-nova?at_medium=rs-cm&at_campaign=mastodon&at_account=mediapartblogs
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DNA-Analysen
Masse der Hunnen waren genetisch Europäer
mdr WISSEN, 25. Februar 2025
"Die #Hunnen gelten als Paradebeispiel für jene asiatischen Reitervölker, die einst über Europa herrschten. (..) [Die] Masse der Hunnen Europas waren genetische Europäer, so eine umfassende #DNA-Analyse unter Beteiligung des Max-Planck-Instituts für evolutionäre #Anthropologie in Leipzig."
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DNA-Analysen
Masse der Hunnen waren genetisch Europäer
mdr WISSEN, 25. Februar 2025
"Die #Hunnen gelten als Paradebeispiel für jene asiatischen Reitervölker, die einst über Europa herrschten. (..) [Die] Masse der Hunnen Europas waren genetische Europäer, so eine umfassende #DNA-Analyse unter Beteiligung des Max-Planck-Instituts für evolutionäre #Anthropologie in Leipzig."
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DNA-Analysen
Masse der Hunnen waren genetisch Europäer
mdr WISSEN, 25. Februar 2025
"Die #Hunnen gelten als Paradebeispiel für jene asiatischen Reitervölker, die einst über Europa herrschten. (..) [Die] Masse der Hunnen Europas waren genetische Europäer, so eine umfassende #DNA-Analyse unter Beteiligung des Max-Planck-Instituts für evolutionäre #Anthropologie in Leipzig."
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Kress: Neue Perspektive: Wie Medienprofis für ihre berufliche Zukunft planen
Zwischen beruflichem Stress, familiären Verpflichtungen und dem nächsten Urlaub vergessen viele Medienprofis, an ihre langfristige Perspektive zu denken. Das ist verständlich, aber riskant, sagt Karrierecoach Attila Albert.
Neue Perspektive: Wie Medienprofis für ihre berufliche Zukunft planen -
@phanecak Mne príde toto celé smiešne, najmä Rytmaus s tým jeho videjkom pred voľbami, kde tvrdí, že je apolitický a potom 4 minútu opakuje Pellegriniho naučené frázy, až nakoniec ho podporí vo voľbách. Evidentne nechápe význam slova "apolitický" 🤷🏻♂️
Attila je rovnaký, nepozná význam slova #demokracia a že súkromná firma sa môže slobodne rozhodnúť koho bude platiť za ich propagáciu. Slovo #komunizmus mu tiež evidentne robí problém, keďže ho sám podporuje a potom je prekvapený, že sa vracia 🤷🏻♂️
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Dan Jones hat ein Buch geschrieben, das man schon immer einmal lesen wollte: einen kompakten und fundierten Überblick über die Geschichte des Mittelalters. Eine Rezension
Rund elf Jahrhunderte rechnet man dem Mittelalter zu. Dan Jones erzählt seine Geschichte neu: fundiert und unterhaltsam. Eine Rezension (Rezension zu Mächte und Throne von Dan Jones)#Geschichte #Mittelalter #Luther #Migration #Architektur #Venedig #Attila #DschingisKhan #EleonorevonAquitanien #Entdeckung #Epoche #Frühalter #Hochmittelalter #Spätmittelalter #Kirche #Kolumbus #Kreuzfahrer #Kreuzzüge #Mönche #Päpste #Papst #Pest #Mohammed #Rechtsgeschichte #Seuche #Kultur
»Mächte und Throne«: Der Heilige im Pökelfass -
I'm very happy that this paper that Ulf Büntgen and I wrote together has finally come out. Using annually resolved #hydroclimate data we found that central Europe experienced increasingly dry summers from the 420 to the 450s CE (and beyond). This coincided with some of the most devastating raids by #Huns on #Roman territory. We argue that Huns used raiding as a buffering strategy to mitigate against dry summers which made it harder for them to pasture their herds. https://www.cam.ac.uk/research/news/drought-encouraged-attilas-huns-to-attack-the-roman-empire-tree-rings-suggest
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Im Reich der Verschwörungen
"Einst waren sie Stars oder renommierte Experten. Doch dann glitten sie ins krude Reich der Verschwörungen ab. Eine Übersicht über die größten Abstürze."
Hörig, Hildmann, Homburg, Naidoo, Krone-Schmalz, Guérot, Schiffmann...
(okay, letzterer eher nicht renommiert...😂 ) -
#SexySaxon #Metaljourney update.
I'll be frank, after almost 3 days of listening exclusively to #Saxon, my motivation fades a bit. Boy, they do have an extensive discography...
Anyone here to cheering me on?
Here's Attila the Hun coming for you:
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sorry to disappoing you, guys, but raviollis are... meh. at least here in the nothern america (granted, though, almost everything tastes not only different, but just bland most of the time, in comparison to european food). but even in europe ― once you try #ukrainian #varenyky (#pyrogy) with one of the traditional gravies or just sour cream, you're never going back to those microscopic raviollis =)
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[ #ÀlairLibre ] Jean-Michel Blanquer, le ministre que les profs détestent à l’air libre
Nouvelle vague de Covid, nouveau protocole dans les écoles. Enseignants, élèves et parents sont à bout. Le ministre est mis en cause, et pas seulement pour sa gestion de la pandémie. Pour en parler: Pascal Bouchard, auteur de «#JeanMichelBlanquer. L’Attila des écoles», et Guislaine David, du SNUipp-FSU.
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Ein Schlagersänger und andere Verschwörungstheoretiker sagten für September den Tod der meisten gegen Corona Geimpften voraus. Das Massensterben blieb aus, aber der nächste Weltuntergang kommt sicher, meint Joscha Weber.
Glosse: Hurra, wir leben noch! | DW | 30.09.2021
#Coronavirus #Corona #Impfung #Corona-Skeptiker #Verschwörungstheorien #FakeNews #MichaelWendler #QAnon #Apokalypse #AttilaHildmann #XavierNaidoo #Glosse -
"Da war ein Typ, der keine Kontrolle mehr über sich hat", der gesagt habe "die Antifa hat sein Leben zerstört, er bringt alle um, da habe ich das sofort der Polizei gemeldet, die meinten, sie gucken ihn sich an, es kam nie was zurück."
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Unmother – State Dependent Memory Review By TymeIndependent U.K. undergrounder’s, Unmother, have been holding a mirror up to urban dystopian dehumanization since forming in 2019. Their 2021 debut, Lay Down the Sun, garnered significant underground acclaim that, according to the promo kit, established Unmother “as a restless and forward-thinking presence within the scene.” Foregoing the nature-scapes and mythological motifs of other post-black metal outfits, Unmother draws inspiration from the streets and, with their sophomore effort, State Dependent Memory,1 examines “urban isolation, inner dislocation, and moral decline, reflecting a world formed by concrete environments and social erosion.”2 After swapping their first “V” vocalist, Venla,3 for their second, V. (VOAK), Unmother prepares to take the next step on their evolving musical journey. Does State Dependent Memory offer a solution that might save our base, dehumanized society, from itself, or will it amount to so much piss in the wind?
State Dependent Memory crackles with gritty, asphaltic energy, casting Unmother as conscientious agitators, decrying societal urban decay in veins similar to acts like Chat Pile or Ashenspire, even if avoiding any direct auricular comparison. Departing from the rawer, denser claustrophobia of Lay Down the Sun, Unmother sought slightly warmer sonic climes on State Dependent Memory, weaving undulating post-metal textures into its mostly traditional black-metal framework. Sure, plenty of blast beats and tremolos (“My Armor,” “Bear Hug”) remain, courtesy of drummer B. and guitarists Azoso and Declwa (who also handles bass). Still, it’s what Unmother does with the spaces between that adds the most character, which begins with the varied vocal approach of V., who, like Attila Csihar, possesses a wider range of barks, croaks, shouts, and screams than his more one-dimensional predecessor, whose hissier, raw-blackened rasp overpowered much of Lay Down the Sun for me. Without dulling any of the sharp edges that, well, make them edgy, Unmother benefits from their take on “post” as a counterpoint to tradition.
State Dependent Memory tips the scales of orthodoxy with atmospheres that are as hypnotizing as they are abrasive. Pensive and creepy, the leads that skulk through the shadowed alleys of “Modern Dystopia” are effective and shroud the track with an almost Marilyn Manson-like pall, while Declwa’s bass notes thrum and throb like slow-strobing traffic lights on a dark, misty night. Venla makes a guest appearance here as well; his croaking rasp at this dose ups the fear factor and complements V.’s tortured delivery. Satisfying, too, is the eerie, haunted-jewelry-box melody and desperate howling of V., which make up the slower-paced interlude within the trad-black assault of “Bear Hug,” offering a sprinkling of Shining-like glitter. Ironically, the most black metal track on State Dependent Memory is Unmother’s cover of “Αττική – Βικτώρια” (“Attiki Victoria”) by Greek synthwave outfit ΟΔΟΣ 55, which distills the eight-minute-long original’s main melody down to a viscerally efficient, tremolo-forward beast. It’s poppy, new-wave-esque movements, filled with an almost hopeful melodicism, are set effectively against V.’s pleading screams and shouts.
Angeliki Mourgela’s mix and Roland Rodas’ master capture the essence of Unmother’s talents. With a foggy production that reminded me of Mayhem’s Ordo ad Chao, I enjoyed Lay Down the Sun but had to strain to pick out much of its instrumental intricacy. State Dependent Memory doesn’t suffer the same issue, as each instrument glows brightly in its own space, with B.’s varied drum performance and Declwa’s excellent bass work being the biggest beneficiaries. And while I can’t say Unmother wasted any of State Dependent Memory’s thirty-eight-minute runtime, closing the album with the no-burn instrumental “Magda” was a miss. The track fades in with some reflective, organ-like synths, foreign-spoke voice samples,4 and gently plucked guitar lines bolstered with tension-building but delicately strummed chords, which all continue to build slightly over the next four minutes and twenty seconds only to fade out again. No satisfying payoff, just a segue to silence. Whether this move was intentional or not, the addition of another well-executed track proper could have avoided such a deflating ending.Acerbically moody, Unmother possesses a maturity that belies their short existence. This quartet of relative unknowns continues to carve their mark into the U.K.’s underground metal scene, and if State Dependent Memory is any indication, they may not be toiling down there for long.
Rating: 3.0/5.0
#2026 #30 #Ashenspire #BlackMetal #ChatPile #Feb26 #Independent #MarilynManson #PostMetal #Review #Shining #StateDependentMemory #UKMetal #Unmother
DR: 9 | Format Reviewed: 320kb/s mp3
Label: Independent
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026 -
Unmother – State Dependent Memory Review By TymeIndependent U.K. undergrounder’s, Unmother, have been holding a mirror up to urban dystopian dehumanization since forming in 2019. Their 2021 debut, Lay Down the Sun, garnered significant underground acclaim that, according to the promo kit, established Unmother “as a restless and forward-thinking presence within the scene.” Foregoing the nature-scapes and mythological motifs of other post-black metal outfits, Unmother draws inspiration from the streets and, with their sophomore effort, State Dependent Memory,1 examines “urban isolation, inner dislocation, and moral decline, reflecting a world formed by concrete environments and social erosion.”2 After swapping their first “V” vocalist, Venla,3 for their second, V. (VOAK), Unmother prepares to take the next step on their evolving musical journey. Does State Dependent Memory offer a solution that might save our base, dehumanized society, from itself, or will it amount to so much piss in the wind?
State Dependent Memory crackles with gritty, asphaltic energy, casting Unmother as conscientious agitators, decrying societal urban decay in veins similar to acts like Chat Pile or Ashenspire, even if avoiding any direct auricular comparison. Departing from the rawer, denser claustrophobia of Lay Down the Sun, Unmother sought slightly warmer sonic climes on State Dependent Memory, weaving undulating post-metal textures into its mostly traditional black-metal framework. Sure, plenty of blast beats and tremolos (“My Armor,” “Bear Hug”) remain, courtesy of drummer B. and guitarists Azoso and Declwa (who also handles bass). Still, it’s what Unmother does with the spaces between that adds the most character, which begins with the varied vocal approach of V., who, like Attila Csihar, possesses a wider range of barks, croaks, shouts, and screams than his more one-dimensional predecessor, whose hissier, raw-blackened rasp overpowered much of Lay Down the Sun for me. Without dulling any of the sharp edges that, well, make them edgy, Unmother benefits from their take on “post” as a counterpoint to tradition.
State Dependent Memory tips the scales of orthodoxy with atmospheres that are as hypnotizing as they are abrasive. Pensive and creepy, the leads that skulk through the shadowed alleys of “Modern Dystopia” are effective and shroud the track with an almost Marilyn Manson-like pall, while Declwa’s bass notes thrum and throb like slow-strobing traffic lights on a dark, misty night. Venla makes a guest appearance here as well; his croaking rasp at this dose ups the fear factor and complements V.’s tortured delivery. Satisfying, too, is the eerie, haunted-jewelry-box melody and desperate howling of V., which make up the slower-paced interlude within the trad-black assault of “Bear Hug,” offering a sprinkling of Shining-like glitter. Ironically, the most black metal track on State Dependent Memory is Unmother’s cover of “Αττική – Βικτώρια” (“Attiki Victoria”) by Greek synthwave outfit ΟΔΟΣ 55, which distills the eight-minute-long original’s main melody down to a viscerally efficient, tremolo-forward beast. It’s poppy, new-wave-esque movements, filled with an almost hopeful melodicism, are set effectively against V.’s pleading screams and shouts.
Angeliki Mourgela’s mix and Roland Rodas’ master capture the essence of Unmother’s talents. With a foggy production that reminded me of Mayhem’s Ordo ad Chao, I enjoyed Lay Down the Sun but had to strain to pick out much of its instrumental intricacy. State Dependent Memory doesn’t suffer the same issue, as each instrument glows brightly in its own space, with B.’s varied drum performance and Declwa’s excellent bass work being the biggest beneficiaries. And while I can’t say Unmother wasted any of State Dependent Memory’s thirty-eight-minute runtime, closing the album with the no-burn instrumental “Magda” was a miss. The track fades in with some reflective, organ-like synths, foreign-spoke voice samples,4 and gently plucked guitar lines bolstered with tension-building but delicately strummed chords, which all continue to build slightly over the next four minutes and twenty seconds only to fade out again. No satisfying payoff, just a segue to silence. Whether this move was intentional or not, the addition of another well-executed track proper could have avoided such a deflating ending.Acerbically moody, Unmother possesses a maturity that belies their short existence. This quartet of relative unknowns continues to carve their mark into the U.K.’s underground metal scene, and if State Dependent Memory is any indication, they may not be toiling down there for long.
Rating: 3.0/5.0
#2026 #30 #Ashenspire #BlackMetal #ChatPile #Feb26 #Independent #MarilynManson #PostMetal #Review #Shining #StateDependentMemory #UKMetal #Unmother
DR: 9 | Format Reviewed: 320kb/s mp3
Label: Independent
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026 -
Unmother – State Dependent Memory Review By TymeIndependent U.K. undergrounder’s, Unmother, have been holding a mirror up to urban dystopian dehumanization since forming in 2019. Their 2021 debut, Lay Down the Sun, garnered significant underground acclaim that, according to the promo kit, established Unmother “as a restless and forward-thinking presence within the scene.” Foregoing the nature-scapes and mythological motifs of other post-black metal outfits, Unmother draws inspiration from the streets and, with their sophomore effort, State Dependent Memory,1 examines “urban isolation, inner dislocation, and moral decline, reflecting a world formed by concrete environments and social erosion.”2 After swapping their first “V” vocalist, Venla,3 for their second, V. (VOAK), Unmother prepares to take the next step on their evolving musical journey. Does State Dependent Memory offer a solution that might save our base, dehumanized society, from itself, or will it amount to so much piss in the wind?
State Dependent Memory crackles with gritty, asphaltic energy, casting Unmother as conscientious agitators, decrying societal urban decay in veins similar to acts like Chat Pile or Ashenspire, even if avoiding any direct auricular comparison. Departing from the rawer, denser claustrophobia of Lay Down the Sun, Unmother sought slightly warmer sonic climes on State Dependent Memory, weaving undulating post-metal textures into its mostly traditional black-metal framework. Sure, plenty of blast beats and tremolos (“My Armor,” “Bear Hug”) remain, courtesy of drummer B. and guitarists Azoso and Declwa (who also handles bass). Still, it’s what Unmother does with the spaces between that adds the most character, which begins with the varied vocal approach of V., who, like Attila Csihar, possesses a wider range of barks, croaks, shouts, and screams than his more one-dimensional predecessor, whose hissier, raw-blackened rasp overpowered much of Lay Down the Sun for me. Without dulling any of the sharp edges that, well, make them edgy, Unmother benefits from their take on “post” as a counterpoint to tradition.
State Dependent Memory tips the scales of orthodoxy with atmospheres that are as hypnotizing as they are abrasive. Pensive and creepy, the leads that skulk through the shadowed alleys of “Modern Dystopia” are effective and shroud the track with an almost Marilyn Manson-like pall, while Declwa’s bass notes thrum and throb like slow-strobing traffic lights on a dark, misty night. Venla makes a guest appearance here as well; his croaking rasp at this dose ups the fear factor and complements V.’s tortured delivery. Satisfying, too, is the eerie, haunted-jewelry-box melody and desperate howling of V., which make up the slower-paced interlude within the trad-black assault of “Bear Hug,” offering a sprinkling of Shining-like glitter. Ironically, the most black metal track on State Dependent Memory is Unmother’s cover of “Αττική – Βικτώρια” (“Attiki Victoria”) by Greek synthwave outfit ΟΔΟΣ 55, which distills the eight-minute-long original’s main melody down to a viscerally efficient, tremolo-forward beast. It’s poppy, new-wave-esque movements, filled with an almost hopeful melodicism, are set effectively against V.’s pleading screams and shouts.
Angeliki Mourgela’s mix and Roland Rodas’ master capture the essence of Unmother’s talents. With a foggy production that reminded me of Mayhem’s Ordo ad Chao, I enjoyed Lay Down the Sun but had to strain to pick out much of its instrumental intricacy. State Dependent Memory doesn’t suffer the same issue, as each instrument glows brightly in its own space, with B.’s varied drum performance and Declwa’s excellent bass work being the biggest beneficiaries. And while I can’t say Unmother wasted any of State Dependent Memory’s thirty-eight-minute runtime, closing the album with the no-burn instrumental “Magda” was a miss. The track fades in with some reflective, organ-like synths, foreign-spoke voice samples,4 and gently plucked guitar lines bolstered with tension-building but delicately strummed chords, which all continue to build slightly over the next four minutes and twenty seconds only to fade out again. No satisfying payoff, just a segue to silence. Whether this move was intentional or not, the addition of another well-executed track proper could have avoided such a deflating ending.Acerbically moody, Unmother possesses a maturity that belies their short existence. This quartet of relative unknowns continues to carve their mark into the U.K.’s underground metal scene, and if State Dependent Memory is any indication, they may not be toiling down there for long.
Rating: 3.0/5.0
#2026 #30 #Ashenspire #BlackMetal #ChatPile #Feb26 #Independent #MarilynManson #PostMetal #Review #Shining #StateDependentMemory #UKMetal #Unmother
DR: 9 | Format Reviewed: 320kb/s mp3
Label: Independent
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026 -
Unmother – State Dependent Memory Review By Tyme
Independent U.K. undergrounder’s, Unmother, have been holding a mirror up to urban dystopian dehumanization since forming in 2019. Their 2021 debut, Lay Down the Sun, garnered significant underground acclaim that, according to the promo kit, established Unmother “as a restless and forward-thinking presence within the scene.” Foregoing the nature-scapes and mythological motifs of other post-black metal outfits, Unmother draws inspiration from the streets and, with their sophomore effort, State Dependent Memory,1 examines “urban isolation, inner dislocation, and moral decline, reflecting a world formed by concrete environments and social erosion.”2 After swapping their first “V” vocalist, Venla,3 for their second, V. (VOAK), Unmother prepares to take the next step on their evolving musical journey. Does State Dependent Memory offer a solution that might save our base, dehumanized society, from itself, or will it amount to so much piss in the wind?
State Dependent Memory crackles with gritty, asphaltic energy, casting Unmother as conscientious agitators, decrying societal urban decay in veins similar to acts like Chat Pile or Ashenspire, even if avoiding any direct auricular comparison. Departing from the rawer, denser claustrophobia of Lay Down the Sun, Unmother sought slightly warmer sonic climes on State Dependent Memory, weaving undulating post-metal textures into its mostly traditional black-metal framework. Sure, plenty of blast beats and tremolos (“My Armor,” “Bear Hug”) remain, courtesy of drummer B. and guitarists Azoso and Declwa (who also handles bass). Still, it’s what Unmother does with the spaces between that adds the most character, which begins with the varied vocal approach of V., who, like Attila Csihar, possesses a wider range of barks, croaks, shouts, and screams than his more one-dimensional predecessor, whose hissier, raw-blackened rasp overpowered much of Lay Down the Sun for me. Without dulling any of the sharp edges that, well, make them edgy, Unmother benefits from their take on “post” as a counterpoint to tradition.
State Dependent Memory tips the scales of orthodoxy with atmospheres that are as hypnotizing as they are abrasive. Pensive and creepy, the leads that skulk through the shadowed alleys of “Modern Dystopia” are effective and shroud the track with an almost Marilyn Manson-like pall, while Declwa’s bass notes thrum and throb like slow-strobing traffic lights on a dark, misty night. Venla makes a guest appearance here as well; his croaking rasp at this dose ups the fear factor and complements V.’s tortured delivery. Satisfying, too, is the eerie, haunted-jewelry-box melody and desperate howling of V., which make up the slower-paced interlude within the trad-black assault of “Bear Hug,” offering a sprinkling of Shining-like glitter. Ironically, the most black metal track on State Dependent Memory is Unmother’s cover of “Αττική – Βικτώρια” (“Attiki Victoria”) by Greek synthwave outfit ΟΔΟΣ 55, which distills the eight-minute-long original’s main melody down to a viscerally efficient, tremolo-forward beast. It’s poppy, new-wave-esque movements, filled with an almost hopeful melodicism, are set effectively against V.’s pleading screams and shouts.
Angeliki Mourgela’s mix and Roland Rodas’ master capture the essence of Unmother’s talents. With a foggy production that reminded me of Mayhem’s Ordo ad Chao, I enjoyed Lay Down the Sun but had to strain to pick out much of its instrumental intricacy. State Dependent Memory doesn’t suffer the same issue, as each instrument glows brightly in its own space, with B.’s varied drum performance and Declwa’s excellent bass work being the biggest beneficiaries. And while I can’t say Unmother wasted any of State Dependent Memory’s thirty-eight-minute runtime, closing the album with the no-burn instrumental “Magda” was a miss. The track fades in with some reflective, organ-like synths, foreign-spoke voice samples,4 and gently plucked guitar lines bolstered with tension-building but delicately strummed chords, which all continue to build slightly over the next four minutes and twenty seconds only to fade out again. No satisfying payoff, just a segue to silence. Whether this move was intentional or not, the addition of another well-executed track proper could have avoided such a deflating ending.Acerbically moody, Unmother possesses a maturity that belies their short existence. This quartet of relative unknowns continues to carve their mark into the U.K.’s underground metal scene, and if State Dependent Memory is any indication, they may not be toiling down there for long.
Rating: 3.0/5.0
#2026 #30 #Ashenspire #BlackMetal #ChatPile #Feb26 #Independent #MarilynManson #PostMetal #Review #Shining #StateDependentMemory #UKMetal #Unmother
DR: 9 | Format Reviewed: 320kb/s mp3
Label: Independent
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026 -
Unmother – State Dependent Memory Review By TymeIndependent U.K. undergrounder’s, Unmother, have been holding a mirror up to urban dystopian dehumanization since forming in 2019. Their 2021 debut, Lay Down the Sun, garnered significant underground acclaim that, according to the promo kit, established Unmother “as a restless and forward-thinking presence within the scene.” Foregoing the nature-scapes and mythological motifs of other post-black metal outfits, Unmother draws inspiration from the streets and, with their sophomore effort, State Dependent Memory,1 examines “urban isolation, inner dislocation, and moral decline, reflecting a world formed by concrete environments and social erosion.”2 After swapping their first “V” vocalist, Venla,3 for their second, V. (VOAK), Unmother prepares to take the next step on their evolving musical journey. Does State Dependent Memory offer a solution that might save our base, dehumanized society, from itself, or will it amount to so much piss in the wind?
State Dependent Memory crackles with gritty, asphaltic energy, casting Unmother as conscientious agitators, decrying societal urban decay in veins similar to acts like Chat Pile or Ashenspire, even if avoiding any direct auricular comparison. Departing from the rawer, denser claustrophobia of Lay Down the Sun, Unmother sought slightly warmer sonic climes on State Dependent Memory, weaving undulating post-metal textures into its mostly traditional black-metal framework. Sure, plenty of blast beats and tremolos (“My Armor,” “Bear Hug”) remain, courtesy of drummer B. and guitarists Azoso and Declwa (who also handles bass). Still, it’s what Unmother does with the spaces between that adds the most character, which begins with the varied vocal approach of V., who, like Attila Csihar, possesses a wider range of barks, croaks, shouts, and screams than his more one-dimensional predecessor, whose hissier, raw-blackened rasp overpowered much of Lay Down the Sun for me. Without dulling any of the sharp edges that, well, make them edgy, Unmother benefits from their take on “post” as a counterpoint to tradition.
State Dependent Memory tips the scales of orthodoxy with atmospheres that are as hypnotizing as they are abrasive. Pensive and creepy, the leads that skulk through the shadowed alleys of “Modern Dystopia” are effective and shroud the track with an almost Marilyn Manson-like pall, while Declwa’s bass notes thrum and throb like slow-strobing traffic lights on a dark, misty night. Venla makes a guest appearance here as well; his croaking rasp at this dose ups the fear factor and complements V.’s tortured delivery. Satisfying, too, is the eerie, haunted-jewelry-box melody and desperate howling of V., which make up the slower-paced interlude within the trad-black assault of “Bear Hug,” offering a sprinkling of Shining-like glitter. Ironically, the most black metal track on State Dependent Memory is Unmother’s cover of “Αττική – Βικτώρια” (“Attiki Victoria”) by Greek synthwave outfit ΟΔΟΣ 55, which distills the eight-minute-long original’s main melody down to a viscerally efficient, tremolo-forward beast. It’s poppy, new-wave-esque movements, filled with an almost hopeful melodicism, are set effectively against V.’s pleading screams and shouts.
Angeliki Mourgela’s mix and Roland Rodas’ master capture the essence of Unmother’s talents. With a foggy production that reminded me of Mayhem’s Ordo ad Chao, I enjoyed Lay Down the Sun but had to strain to pick out much of its instrumental intricacy. State Dependent Memory doesn’t suffer the same issue, as each instrument glows brightly in its own space, with B.’s varied drum performance and Declwa’s excellent bass work being the biggest beneficiaries. And while I can’t say Unmother wasted any of State Dependent Memory’s thirty-eight-minute runtime, closing the album with the no-burn instrumental “Magda” was a miss. The track fades in with some reflective, organ-like synths, foreign-spoke voice samples,4 and gently plucked guitar lines bolstered with tension-building but delicately strummed chords, which all continue to build slightly over the next four minutes and twenty seconds only to fade out again. No satisfying payoff, just a segue to silence. Whether this move was intentional or not, the addition of another well-executed track proper could have avoided such a deflating ending.Acerbically moody, Unmother possesses a maturity that belies their short existence. This quartet of relative unknowns continues to carve their mark into the U.K.’s underground metal scene, and if State Dependent Memory is any indication, they may not be toiling down there for long.
Rating: 3.0/5.0
#2026 #30 #Ashenspire #BlackMetal #ChatPile #Feb26 #Independent #MarilynManson #PostMetal #Review #Shining #StateDependentMemory #UKMetal #Unmother
DR: 9 | Format Reviewed: 320kb/s mp3
Label: Independent
Websites: Bandcamp | Facebook
Releases Worldwide: February 20th, 2026 -
Mayhem – Liturgy of Death Review By Grin Reaper
Mayhem’s reputation will forever be linked to their early days, inescapably tethered to the chaos of death. While it’s impossible not to acknowledge those grisly events when considering the band’s legacy, they detract from the unyielding musical vision Mayhem has etched into metal mythology. From the beginning, Mayhem has been at the forefront as one of black metal’s tastemakers and breath-takers. Over four decades in, Mayhem returns with Liturgy of Death—a fitting subject considering the band’s sordid origins and their penchant for metaphysical musings. This far into their career, does Mayhem still command the black metal magic that has shaped the genre for decades?
Before Mysteriisly disappearing, Diabolus in Muzaka astutely observed in Daemon’s review, ‘Mayhem’s career is an anthology, not an arc.’ This neatly summarizes the band’s approach, as they take their time to craft each album around a central motif. Sure, there’s been discourse around the direction they take at times, and while not every album pleases every fan, I can’t deny that each time Mayhem releases a new LP, I’m reliably presented with a fully committed statement. On Liturgy of Death, Mayhem unravels the threads of mortality and, from various perspectives, examines fate’s inexorable call, confronting one of life’s unifying truths with cold clarity.
Liturgy of Death (24-bit HD audio) by Mayhem
Musically, Mayhem is in top form throughout Liturgy of Death, with each musician discharging devastating drama. Attila Csihar delivers an inspired performance, croaking and growling in animalistic throes and belting out grandiose, operatic cleans that are jarring yet effective (“Despair”). His diverse stylings cover an extensive array of emotions surrounding death’s isolating embrace, from primal denial to stoic acceptance, and throughout Attila oozes poise and pathos. Instrumentally, Mayhem’s rhythm section drives Liturgy of Death’s momentum with unabashed candor, rarely reaching for frills or frippery while impressing with unapologetic assuredness. Hellhammer pounds and pummels with punishing grooves, maintaining steady blast beats for herculean stretches (“Ephemeral Eternity,” “Aeon’s End”) and bursting forth with exacting fills and skull-battering rolls when needed (“Propitious Death”). Necrobutcher wields the bass with a malicious punch, rumbling with dour fluidity and occasionally thrumming into the spotlight (“Realm of Endless Misery”). Guitarists Teloch and Ghul torch proceedings with six-string truculence, whipping out spidery riffs (“Weep for Nothing”) in between furious, second-wave trems (“Funeral of Existence”) and erratic solos (“Aeon’s End”). Liturgy of Death culminates in “The Sentence of Absolution,” Mayhem’s most powerful closer to date. After a slow-build intro, dissonant guitars bleat as Hellhammer’s calculated fury propels the track into swirling, hypnotic rhythms that fade into tribal drumming and chanting, climaxing in a restrained denouement that’s unparalleled in Mayhem’s oeuvre.1
Considering the strength of Mayhem’s thematic and musical execution, Liturgy of Death leaves little fault to find. At a reasonable forty-nine minutes, the Norwegian outfit’s latest offering crams in oodles of ideas and perspectives. Given the aural onslaught on tap, the mix affords ample space to discern what the guitars, bass, and drums are doing while the vocals retain presence and coherence. At its busiest, Liturgy of Death can sound compressed and overloud, but these moments are rare and don’t distract or overwhelm.2 Otherwise, the only drawback to a composition this dense is that it’s easy to let Mayhem’s subtle wiles slip past during casual spins. I enjoyed Liturgy of Death from the outset, but only after multiple active listens did I come to truly appreciate its dizzying ambition. This ultimately acts as a boon for Liturgy, as dedicated time with it rewards listeners with a surfeit of concepts and conclusions, and leaves me wanting to replay it once more as soon as the last track ends.
With Liturgy of Death, Mayhem presents a tightly wound and philosophical composition on one of life’s most unsettling inevitabilities, and in doing so continues to defy AMG’s Law of Diminishing Recordings™. Above all, Mayhem endures, reaffirming their place amongst metal’s most lionized acts, bearing a relevant and thought-provoking theme that’s as inescapable as it is multifaceted. Never content to compromise, Mayhem once again demonstrates why they’re the standard so many black metal bands are measured by. It’s always refreshing to see influential bands muster this kind of success so far into their careers. Don’t take my word for it, though—grab your corpse paint and go get liturgical!
Rating: Excellent
#2026 #45 #BlackMetal #CenturyMediaRecords #Feb26 #LiturgyOfDeath #Mayhem #NorwegianMetal #Review #Reviews
DR: N/A | Format Reviewed: De Misery Dom Streamthanas
Label: Century Media Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: February 6th, 2026