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🚨 SMALL BUSINESS OWNERS 🚨
This is your chance to get FREE advertising 👇Get your business listed in Grace Magazine (May 2026 Issue) and reach new customers without spending a dime.
💥 Increase visibility
💥 Grow your brand
💥 Get discovered⏳ Deadline: April 25, 2026
https://gracefullyhers.blog/thegracefullyherscirclenetwork/#SmallBusinessSupport #WomenInBusiness #ShopSmall #EntrepreneurLife #FreeAdvertising #followers
https://gracefullyhers.blog/free-small-business-advertising-grace-magazine/
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🚨 SMALL BUSINESS OWNERS 🚨
This is your chance to get FREE advertising 👇Get your business listed in Grace Magazine (May 2026 Issue) and reach new customers without spending a dime.
💥 Increase visibility
💥 Grow your brand
💥 Get discovered⏳ Deadline: April 25, 2026
https://gracefullyhers.blog/thegracefullyherscirclenetwork/#SmallBusinessSupport #WomenInBusiness #ShopSmall #EntrepreneurLife #FreeAdvertising #followers
https://gracefullyhers.blog/free-small-business-advertising-grace-magazine/
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The thing that surprises me most with #fascism is how that don't even bother to hide their intentions. They don't care, and it doesn't cause them to lose any support
In the #USA they are doing a #currency #coinage redesign and they... just fucking dropped the #OliveBranch from the design of the #Eagle symbol, which has been there for 250 years
Are they going to replace the missing Olive Branch with the fascist #Fasces symbol next year?
Comparison with the #US #Dollar:
https://fortune.com/2026/03/12/us-mint-drops-olive-branch-dime-peace-war/
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Stuck in the Filter: August and September 2024
By Kenstrosity
I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…
In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.
Kenstrosity’s Turgid Truncheons
Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]
Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.
Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]
Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.
The Flaying // Ni dieu, ni maître [September 5th, 2024 – Self Release]
I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni maître proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni maître boasts unbeatable replay value. Highlights “Ni dieu, ni maître,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.
Dolphin Whisperer’s All-Seeing Affirmations
Eye Eater // Alienate [August 1st, 2024 – Self Release]
In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.
Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]
From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.
Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]
Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.
Thus Spoke’s Cursed Collection
Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]
We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.
#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh
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Stuck in the Filter: August and September 2024
By Kenstrosity
I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…
In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.
Kenstrosity’s Turgid Truncheons
Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]
Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.
Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]
Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.
The Flaying // Ni dieu, ni maître [September 5th, 2024 – Self Release]
I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni maître proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni maître boasts unbeatable replay value. Highlights “Ni dieu, ni maître,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.
Dolphin Whisperer’s All-Seeing Affirmations
Eye Eater // Alienate [August 1st, 2024 – Self Release]
In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.
Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]
From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.
Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]
Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.
Thus Spoke’s Cursed Collection
Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]
We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.
#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh
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Stuck in the Filter: August and September 2024
By Kenstrosity
I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…
In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.
Kenstrosity’s Turgid Truncheons
Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]
Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.
Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]
Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.
The Flaying // Ni dieu, ni maître [September 5th, 2024 – Self Release]
I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni maître proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni maître boasts unbeatable replay value. Highlights “Ni dieu, ni maître,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.
Dolphin Whisperer’s All-Seeing Affirmations
Eye Eater // Alienate [August 1st, 2024 – Self Release]
In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.
Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]
From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.
Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]
Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.
Thus Spoke’s Cursed Collection
Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]
We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.
#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh
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Stuck in the Filter: August and September 2024
By Kenstrosity
I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…
In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.
Kenstrosity’s Turgid Truncheons
Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]
Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.
Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]
Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.
The Flaying // Ni dieu, ni maître [September 5th, 2024 – Self Release]
I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni maître proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni maître boasts unbeatable replay value. Highlights “Ni dieu, ni maître,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.
Dolphin Whisperer’s All-Seeing Affirmations
Eye Eater // Alienate [August 1st, 2024 – Self Release]
In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.
Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]
From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.
Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]
Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.
Thus Spoke’s Cursed Collection
Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]
We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.
Show 2 footnotes
- Remember, they’re French, not English majors. ↩
- This sounds like a horrible backhanded compliment, but when you’re making music this esoteric and long-winded, it’s unironically impressive. ↩
#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh
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Ah, Zutty—because who doesn't want a "zero-cost" #teletype in a world where terminals are already a dime a dozen? 🤦♂️ Enjoy the thrill of deciphering a README that makes Tolstoy look concise just to report your inevitable #bugs. It's like building luxury condos on a pile of old CRT monitors. 🖥️🏗️
https://git.hq.sig7.se/zutty.git #Zutty #ZeroCost #Terminal #CRTMonitors #TechHumor #HackerNews #ngated -
"We fabricate your truth and tell your lies
that a reader may hold you friend or foe
and that your story brackets them with sighs
we do this to share something beautiful
it's not for wealth or fame we give our time
but the burning to pen the words won't slow
yet how cruel to never earn a dime"--Steaphan Kay#AuthorQuotes #IndieAuthor #Author #Writer #WritersCoffeeClub #Writing #WritingCommunity
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CW: 6) Sprint - "Quiet" - Lil' Kim
"In the court of law and drop a DIME like Sprint do".
Lil'Kim is raunchy, uncompromising, and was the first big-name rapper to be an ally to queer people.
“I just feel like family when I’m performing for a mainly LGBTQ crowd,” the rap superstar said. “It just feels like I’m so at home and with family and they’re with me all the time, you know what I mean?”
Strong language from the start and throughout.
#LilKim #TracksAndField #ally
https://www.youtube.com/watch?v=qebkHRMAmjg -
#True or #false, the #SVB rescue won’t cost the public a dime. Go. Https://demo.Factland.org cc @doctorow Factland is a #permissionless #decentralized #FactCheck #community, solve daily #news #puzzles, earn #rewards, be #contrarian, fight #misinformation, have fun!
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Why, #DollarTree went straight past "nickel and dime" directly to "drawn and quartered" with their recent price hike!
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Why, #DollarTree went straight past "nickel and dime" directly to "drawn and quartered" with their recent price hike!
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I don't do this often, nor am I getting paid to say this. I just really like the product.
If you're looking for a video editor for your iPhone or Android without having any watermarks on the free version...
Try VLLO.
I've used it for years and it works great. The free version covers the basics, but the $7.99 a year subscription is worth every dime. Too many features to list.
Go check it out yourself.
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CW: 🕳️💸💸💸💸👈📰👎🤙🛫🛬🌋🏄♂️🌊🤬
' Controls the #news ' ? Not on #Meta. finkD won't pay.
On what planet now, based on #Election2024 rule sets? I can just imagine the whole conversation with the CSuite:
👔 " What HAVEN'T WE TRIED YET?! WHAT?!?! "
👔 " Don't PAY THE NEWS. 🤬 THEM! THEY SHOULD PAY US! 4%!!!! "
👔 " What about just REMOVING THEM... COMPLETELY, FOR THIS CYCLE? "
👔 " PERFECT. I LOVE IT. GO TELL FINKD! "
👔 " LOOK, WE DECIDED FOR YOU. "
🏄♂️ " Uhh, wot? 🤙 "
👔 " NEVERMIND 🏄♂️🤙, WE GOT THIS. WON'T. COST. A. DIME. "
🏄♂️ " 🤙 "
👔 " YOU ARE LESS THAN USELESS! "
🏄♂️ " 🌋, 🛫, 🛬, 🕳️💸💸💸💸🐛🤖💩🤖💩🤖💩👈🏄♂️🌊, 🤙🤙🤙🤙!!! "
👔 " THE BOARD IS GOING TO HEAR ABOUT THIS 🏄♂️!!! 👎!!!!! "
' Moderation ' on #Threads is just ' no swearing filters, it's Election 2024 ', 🤬, where the #Top10CrowdTangleUsers about to lose their minds, because, they gonna delete usage of CT at Aug. 14, 2024, and they CAN'T POST EXTERNAL LINKS TO NEWS WEB SITES ON THE ALT-RIGHT or left wing or even the CENTERISTS W3C sites? 3.5B of #NoNewsMeta by #Policy. Wot could go wrong? 😆📏🤗😁🤨
This is like PornHub pulling out in TX. Admit it!!!! 😆👋
Notes for users & #wordpress :
" Look, just make the #activitypub plugin for #Wordpress , #TikTokNotes support bidirectional, which is waaaay better than reskinned Instagram's ' 5-15mins : wtf are they doing to banner ADLess #fediverse data land ' one way #Threads integration. 💯 4 the WinZ! 💯 " #fediverse development 📝'sOk haole
https://infosec.exchange/@infosec_jcp/112368255578001057 -
Apparently #EricAdams sent the head of his semi-secret crypto focused "Office of Innovation and Emerging Markets" to #Token2049 in #Singapore in 2022 presumably on #NewYork taxpayers' dime (unless she got a free ride on Turkish Airlines lol).
Even better Denise Felipe-Adams (one of two "executive directors" of the office, also one of two people working there) posted a picture of herself and tagged #OKX, a major Chinese crypto marketplace that the FBI has explicitly stated does not cooperate with American law enforcement.
#OKX also turns up in a disproportionate number of the criminal indictments I have seen for Chinese #fentanyl traffickers now that #Binance has been brought to heel.
#Election2024 #2024Election #Trump #DonaldTrump #JDVance #uspol #uspolitics #politics #Kamala2024 #KamalaHarris #GOP #MAGA #MAGAts #Vote #Republicans #RVAT #Democrats #HarrisWalz2024 #VoteBlue #HarrisForPresident #NYC #NewYorkCity #BTC #crypto #cryptocurrency #NY
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#TheMetalDogArticleList
#MetalInjection
Spotify Premium Subscription Price Raises, Artists Royalties Will Apparently Remain The Same
Musicians won't get an additional dime.#Spotify
#PremiumSubscription
#PriceIncreases
#ArtistRoyalties
#StatusQuo
#StreamingIndustry -
November 25, 1950
#OTD Rudolph Boysen, #Plant #Hybridizer, died.
On one #June #Morning, he found a new #Fruit on his #Plants - the #Boysenberry (a cross between the #Loganberry, #Raspberry, & #Blackberry).
The grower, Walter Knott, acquired the #Berry & named the plant in Rudy's honor. #Knott made an empire for himself with the proceeds - establishing Knott's Berry #Farm.
Rudolph Boysen never earned a dime from the Boysenberry.#GardenersofMastodon #FollowFriday #Garden #Discovery #Breeder
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November 25, 1950
#OTD Rudolph Boysen, #Plant #Hybridizer, died.
On one #June #Morning, he found a new #Fruit on his #Plants - the #Boysenberry (a cross between the #Loganberry, #Raspberry, & #Blackberry).
The grower, Walter Knott, acquired the #Berry & named the plant in Rudy's honor. #Knott made an empire for himself with the proceeds - establishing Knott's Berry #Farm.
Rudolph Boysen never earned a dime from the Boysenberry.#GardenersofMastodon #FollowFriday #Garden #Discovery #Breeder
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November 25, 1950
#OTD Rudolph Boysen, #Plant #Hybridizer, died.
On one #June #Morning, he found a new #Fruit on his #Plants - the #Boysenberry (a cross between the #Loganberry, #Raspberry, & #Blackberry).
The grower, Walter Knott, acquired the #Berry & named the plant in Rudy's honor. #Knott made an empire for himself with the proceeds - establishing Knott's Berry #Farm.
Rudolph Boysen never earned a dime from the Boysenberry.#GardenersofMastodon #FollowFriday #Garden #Discovery #Breeder
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November 25, 1950
#OTD Rudolph Boysen, #Plant #Hybridizer, died.
On one #June #Morning, he found a new #Fruit on his #Plants - the #Boysenberry (a cross between the #Loganberry, #Raspberry, & #Blackberry).
The grower, Walter Knott, acquired the #Berry & named the plant in Rudy's honor. #Knott made an empire for himself with the proceeds - establishing Knott's Berry #Farm.
Rudolph Boysen never earned a dime from the Boysenberry.#GardenersofMastodon #FollowFriday #Garden #Discovery #Breeder
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#JukeboxFridayNight
#DareToBeDifferentBig Country - Time For Leaving
Right here in my time
Right here in my mind
Right here in my life
This is the time for leavingI will not sing the chain gang song
I will not walk the line
The company store won't have my soul
And I won't have his dime
You could take my job and shove it
If I just had one to give
You could take my pain and love it
But you won't know how I live -
#JukeboxFridayNight
#DareToBeDifferentBig Country - Time For Leaving
Right here in my time
Right here in my mind
Right here in my life
This is the time for leavingI will not sing the chain gang song
I will not walk the line
The company store won't have my soul
And I won't have his dime
You could take my job and shove it
If I just had one to give
You could take my pain and love it
But you won't know how I live -
Daily Deals (1-30-2025)
Portable power banks that you can use to charge a smartphone on the go are a dime a dozen these days, but you usually have to spend a bit more if you want one with enough power to charge a laptop.
But right now Amazon is running a sale on a 12,000 mAh UGREEN Nexode power bank with support for up to 100W USB Power Delivery, which should be enough to keep most laptops and other portable […]
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LOL :-D
The #DogeBags haven't saved us a dime. In fact their illegal incineration of valuable services is costing us a fortune in 100 different ways.
but nice to know you're waiting for a $1558 check that will never arrive.
The Cons are gonna borrow $ Trillions and give it all to billionaires.
#uspol #USPolitics #sociopath #elon #musk #elonmusk #FascistTakover #Twitter #Democracy #Freedom #Trump #MAGA #DOGE #DemandMore #media #socialmedia #Resistance #journalism #marker
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Hace 22 años tenía una web dedicada a las sagas #BubbleBobble y #PuzzleBobble.
Volviendo a verla siento una mezcla de nostalgia y vergüenza. 🤣Muy fan de las formas redondeadas pixel perfect: para qué difuminar los bordes cuando puedes hacer que se vean pixelados?
El logo es muy "dime que has visto una guía de Photoshop en PC Actual sin decirme que has visto una guía de Photoshop en PC Actual". 👍🏻
Y las viñetas... esas viñetas! 😳Creado con Macromedia #Dreamweaver, por supuesto.
¿#WebSencilla? -
#Trump starts an unnecessary war at the behest of Israel and the US Israeli lobby that he now doesn’t seem to know how to win or end. So he totally tires of the #IranWar and appears now obsessed with his #ballroom, #VoterSupression and the continuing campaign of vengeance against his perceived enemies. After telling us that taxpayers wouldn’t pay a dime for his ornate, gilded ballroom, he now asks for a billion dollars to fund the project. Uh-huh. The #Republicans war has already cost 14 American lives, hundreds of injured and cost us $25 billion. Not to mention our depleted arsenal. There’s no end in sight - so more of our resources and our $$ down the drain. This at a time when the average American is suffering a severe #affordability crisis and the #TrumpRegime is cutting funding for basic services and our safety net. This is crazy stuff. What’s worse is our descent into #billionaire designed & funded #fascism. At the end of the day, #RepublicansDidThis to us. Remember in November! #USPol #USPolitics
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Sawyer’s Reading Log, 2025
This is my first Reading Log.
One nice thing about writing these end-of-year lists is I get to decide if the ways I’ve used to track a medium actually work. This year, I can say I’ve been disappointed by every single book-tracking method I’ve tried. I tried using Notion, Goodreads, Fable, and Storygraph. Each one has annoyances than make them not very fun to use. For 2026, I’ve decided to return to pen and paper, specifically with a little journal I bought in Japan called “Whisky & Reading Time.” We’ll see if that works any better.
Books read in 2025
- Wonder Boys by Michael Chabon
- The Creative Act by Rick Rubin
- The Watch that Ends the Night by Hugh MacLennan
- Welcome to Dorley Hall by Alyson Greaves
- Let This Radicalize You by Kelly Hayes
- Service by Sarah Gilmartin
- Good Girl by Anna Fitzpatrick
- Everyone on this Train is a Suspect by Benjamin Stevenson
- The Monocle Companion: Fifty Ideas for a Better World
- I Who Have Never Known Men by Jacqueline Harpman
- Creation Lake by Rachel Kushner
- You Didn’t Hear This From Me by Kelsey McKinney
- A Physical Education by Casey Johnston
- All Fours by Miranda July
- Colored Television by Danzy Senna
- Trouble is My Business by Raymond Chandler
- Atmosphere by Taylor Jenkins Reid
- Heart the Lover by Lily King
Manga/Graphic Novels read in 2025
- Ducks: two years in the oil sands by Kate Beaton
- Black Lagoon
- Love Bullet
- Dan Da Dan
- Freiren
- Marriage Toxin
- Smoking Behind the Supermarket with You
Magazine Rack, 2025
I hear a lot of praise for free-with-library-card services Kanopy and Libby, but I don’t hear enough praise for Pressreader, an app that lets you read newspapers and magazines the same way. Here’s my current list of subscriptions. I’m not necessarily reading every single edition, but I rarely go 2-3 issues without perusing these:
- Bon Appetit
- Digital Camera World
- Dime (Japan)
- Edge
- Esquire
- Foreign Affairs
- Ginza
- ImagineFX
- National Post Canada
- New York Magazine
- PC Gamer
- Poets & Writers
- Popeye
- Prairie Fire
- Retro Gamer
- The Guardian
- The Hollywood Reporter
- The Walrus
- Toronto Life
- Toronto Star
- Wallpaper*
- Wired
- Writer’s Digest
- Writing Magazine
- WSJ Magazine
Blog Roll, 2025
This is a time capsule blogroll of sites I subscribed to via RSS in 2025, organized by loose category. I’m not necessarily looking at these every day.
📰 News:
- Spacing | Canadian Urbanism Uncovered | Spacing
- Alberta Views – The Magazine for Engaged Citizens
- Breaking News, World News and Video from Al Jazeera
- CBC.ca
- Literary Review of Canada | A Journal of Ideas
- Our World in Data
- Semafor
- The Guardian
- NextDraft
- The Local | In-depth Toronto journalism.
- The Maple
- Toronto Life
- West End Phoenix – Community Newspaper in Toronto
- Political Wire
- The Nation
- The 19th News | An independent, nonprofit newsroom.
- The Walrus
- Dame Magazine
- Slate Magazine
- Spacing | Canadian Urbanism
📚 Magazines:
📗 Journals:
- Granta
- Lapham’s Quarterly
- Maisonneuve
- Believer Magazine
- Electric Literature
- Hazlitt
- Noema Magazine
- Paris Review
- ROOM Magazine
- Literary Hub
- Aeon
🖇️ Linked Lists:
- things magazine
- Dense Discovery
- Futility Closet
- kottke.org
- LinkMachineGo
- Phil Gyford
- swissmiss
- Today in Tabs
- Waxy.org
🪑 Design:
🎮 Games:
💾 Tech
📖 Books:
🎧 Music:
Readwise
I’ve been a Readwise subscriber for a few years now. It’s what I use to read most online text, and an increasing number of digital books. I adore its spaced repetition quotes. It’s the first app that opens on my phone in the morning.
As of this post, I have 99 rss feeds. Many of these are subscriptions to newsletters, not blogs (though really, what’s the difference?)
According to the site, I’ve made highlights to 204 articles/books this year. Considering I have 854 total highlights, I’d say I’ve used the app considerably.
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@rbreich I have not given a dime to Amazon since Bezos refused to endorse Harris. And I will purchase direct and wait or go without from now to eternity. #boycottBezos #boycottAmazon #boycottWaPo
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By Carcharodon
We all slow down in our old age. Our own Steel Druhm is no exception. As he closes in on his third millennium, he finds himself overwhelmed more and more often.1 And so verily it came to pass that, to help out our tiring patriarch, Dolph and I agreed to double team his beloved Italian psych-doom weirdos, Messa.2 To be fair, this is no hardship. All three of Messa’s albums to date have been absolutely killer, from the drone-doom of debut Belfry (2016), through personal fav, the post-bluesy Feast for Water (2018) to progressive opus Close (2022). To say the band is enigmatic would be something of an understatement. The quartet, which has held together without any line-up changes for over a decade, seamlessly knit together a dizzying array of styles, modulating the focus on each release. Where will the dial land on fourth outing, The Spin?
If you’re looking to place The Spin in Messa’s discography, it’s probably closest in tone to Feast for Water. However, it’s a smoother experience. Rather like using a velvetiser to make your hot chocolate. It’s still hot chocolate. But it’s thicker, richer, and, well, velvet-ier. The Spin has been velvetised in two key ways. First, Sara’s smouldering, siren-like vocals have hit a whole new level, with the power on her sustains (“Fire on the Roof” and “Void Meridian,” in particular) imbuing The Spin with such a sense of power. Secondly, guitarist Alberto has leant harder into the progressive doom of Vanishing Kids, paired with the languid blues of his solo debut (Little Albert’s Swamp King), all buried in a guitar tone that Pink Floyd would be delighted by (“Reveal” and the gorgeous back end of “Immolation”). Where Feast had a slightly roughened, old-school Trouble or Pentagram edge to its haunting, crooning vibe, Messa are now operating in bigger, more expansive—and, frankly, more expensive-sounding—territories, recalling the likes of recent Green Lung (“At Races”) and Beth Hart (“Fire on the Roof” and “Immolation”).
And yet, Messa are still unmistakably Messa. From the yawing electronica that opens The Spin on “Void Meridian,” through The Gathering-meets-psychedelic-lounge-jazz of “The Dress” to the oppressive, brooding heaviness of closer “Thicker Blood,” the constantly shifting sonic palette draws on soundscapes that are familiar from each record in the band’s back catalogue. At the same time, The Spin is more anthemic than previous albums, with almost-nailed-on song o’ the year “Fire on the Roof” leading the way, its huge, trad doom chorus a thing of beauty, while the smoky, mesmerising verses find Sara almost chanting. In fact, “Fire…” is the start of a three-track run that, for me, is pretty well the best material Messa has written, as it leads into the fragile keys and bluesy, cathartic build of “Immolation” before “The Dress” hits. It is this that sets The Spin slightly apart from previous Messa albums, which have an organic flow to them, where this latest offering feels slightly more like a collection of songs.
While The Spin does feel less like a single, flowing composition than previous Messa records, it doesn’t lack cohesion, and the massive, standout highs offer plenty of compensation for that slight loss in flow. This may be explained by the fact that, unlike Close, the band chose to record this album separately, across several locations and periods, with (apparently) a lot of rearrangement of the material to get to the finished record. Messa also focused on simplifying and stripping back the song structures, which makes them more digestible. Although there are no weak songs on The Spin, opener “Void Meridian” lacks bite and never quite hits its stride, while penultimate cut “Reveal” feels like it belongs on an earlier Messa album, particularly in its chugging middle passage. I touched above on the beautiful guitar tone that Alberto and Mark Sade have found, so thick and meaty you can practically bite into it. Apparently, the band focused on using as much original 80s equipment as possible, which could have something to do with it.
At this point, it’s becoming apparent that Messa basically can’t miss. Whatever they turn their hand to, they manage to retain their identity, while writing diverse, interesting and, most importantly, absolutely banging albums. The Spin is no exception, from the bright, propulsive energy of “At Races” to the stark beauty of “Immolation,” Messa have done it again. At a tight 43 minutes, this album races by and, when it finishes, the only reason I don’t simply start it again is that I usually want to listen to “Fire on the Roof” a couple of times first. Less challenging and more immediate than previous records, but no less beautiful for it, The Spin perhaps shows the influence of bigger label Metal Blade on the band. I hope it earns them some deserved dollar bills.
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: messa.bandcamp.com | facebook.com/MESSAproject
Releases Worldwide: April 11th, 2025Dolphin Whisperer
My brother-in-law loves metal, and I don’t think he’d be offended if I were also to say that he’s not particularly invested in finding new metal to listen to in the modern scene. However, on one ride in the car, I had Messa’s 2022 opus Close on at a moderate volume, prompting him to investigate what exactly was enchanting his ears. After that outing, he and my sister returned to their home, another five-plus hour drive, and she sent me a text saying that they binged Messa’s discog a couple times on the way back; he was in love. You see, despite the quirks that give Messa their mystical air, the crafty Italians possess the secret to all great rock music: volume-scaling power, a unique and soaring vocal presence, and big, fat hooks. The Spin, of course, is no exception.
In that regard, Messa follows their own lineage by never delivering the same album twice. The journey from post/drone atmospherics of Belfry to the heavier occult/doom worn Feast for Water to the MENA jazz-loaded snake charming Close, each entry in their catalog serves as an ode to their inherent tendency to experiment while holding true to a base of doom weight and rock attitude. Vocalist Sara Bianchin has transformed alongside Messa’s journey too, with her earliest performances reflecting the youth of her experience in rawer mic reflections. But The Spin leans on sounds from the ’80s, and, in turn, Bianchin’s now studied attack runs recklessly through swirling and swelling layers of echo and shrill serenade. Elsewhere, chorus pedal abuse, gothy reverb, and low-end synth propulsions mark The Spin’s throwback dance in the Messa stride—Disintegration-echoing bass leads (“Void Meridian,” “At Races”) crashing against Tears for Fears brooding throbs (“The Dress,” “Thicker Blood”) running through call-and-response guitar lead explosions (every. song.). It’s easy to fall prey to the sense of nostalgia that such sounds stimulate.
However, in a sense of reverence for the past, not just a wistful longing, The Spin weaves its own home in familiar textures. Messa finds a comfort in dreamy textures indebted to foundational post-punk works—those of The Sound or Joy Division—while still injecting a metallic edge of heavyweight chord drives and aggressive rhythms (“Fire on the Roof,” “Thicker Blood”). Doom anchors the drama, as always, in slow builds and syllable stretches that crawl and lurch against Messa’s chosen palette of Roland-modulated simmers and proto-shoegaze dissonance (“Void Meridian,” “The Dress”). And, of course, Messa lives life in the fast lane switching and melding identities on a dime, with late album cut “Reveal” pairing a heavy blues twang, frantic bursts of blast beats, and Bianchin’s wailing narrative for an anachronistic detour that both upends and upholds The Spin’s playful historical lens.
As Messa’s shortest album to date, The Spin’s seven cuts go down smooth but lacking in the kind of wholeness that other works have held. On one hand, it’s easy to work in The Spin to whatever length of time allows—a quick hit or two of your favorites as you dress for the day ahead, a longer commute as the sun moves from straight in the eyes to waving from the side, a jog around the neighborhood with canine companions. Movement, or rather transience, sits at the core of Messa’s themes here after all: the chase for meaning in a strained world (“Void Meridian”), the weight of choice that can’t decide a push or pull (“Immolation”), and accepting what lurks around the corner (“Thicker Blood”). And so The Spin demands more as an encapsulation of wandering, but it’s a human quest that’s easy to indulge as you see fit.
Neither a slow-burn nor a peel out, The Spin saunters at a breathing, bustling pace that manages to hustle ahead of a growing movement gazey and hazey doom wielders. I, too find solace in genre cousins like the jazzy and equally textured Moths or the pleading missions of Slumbering Sun, but Messa continues to find ways to wield weaponized guitar heroism, fat-bottomed tones, and sultry synthesis in a way that feels true to their growing discography while reaching to new fans and new sounds. Music this powerful stands ready to inspire binge listening, tone envy, and, with any luck, another generation hopelessly addicted to six strings screaming at unadvisable volumes.
Rating: 4.0/5.0
#2025 #40 #Apr25 #BethHart #Blues #DoomJazz #DoomMetal #Eagles #GothicRock #GreenLung #HeavyMetal #ItalianMetal #JoyDivision #LittleAlbert #Messa #MetalBladeRecords #Pentagram #PinkFloyd #postPunk #PsychedelicRock #Review #Reviews #TearsForFears #TheCure #TheGathering #TheSound #TheSpin #Trouble #VanishingKids