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764 results for “metamorphosis30”
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Episode one hundred and fifty-six is up now! Today's song is Hater's Anthem by Infinity Song.
I discuss the song's use of satire in its lyrics, while still sparing a sympathetic thought for the urge in all of us to be a hater.
https://www.youtube.com/watch?v=08vVTD961PY
#podcast #dailypodcast #pigeon #pigeonsongspod #music #songs #hatersanthem #infinitysong #metamorphosis #haters
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Episode one hundred and fifty-six is up now! Today's song is Hater's Anthem by Infinity Song.
I discuss the song's use of satire in its lyrics, while still sparing a sympathetic thought for the urge in all of us to be a hater.
https://www.youtube.com/watch?v=08vVTD961PY
#podcast #dailypodcast #pigeon #pigeonsongspod #music #songs #hatersanthem #infinitysong #metamorphosis #haters
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Franz Kafka was an author whose writing became famous years after his death in 1924. He is most noted for the novella: “Metamorphosis”.
I studied Metamorphosis and other tales he authored at university. I think he was a true master of his craft.
I read a story about Kafka recently (follow the link) which I think captures an interesting side to his personal life.
Photo by Andrew Neel
#kafka #storyteller #surrealism #saltywave #storywriting
Link: https://www.facebook.com/share/hAniGhNyWM3ZamHf/?mibextid=WC7FNe
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El esperado metroidvaina RPG de acción Gestalt: Steam & Cinder llega el 21 de mayo a PC con textos en español
#IndieGames #Noticias #GestaltSteamCinder #IndieGames #MetamorphosisGames #metroidvania #RPG #TripleiInitiative
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From the fiery depths of personal evolution, the enigmatic and bold multi-instrumentalist, Cindë, emerges with her latest creation, “Villain Origin Story.” This new single carves a narrative of metamorphosis from anguish to empowerment, chronicling the seismic shift from a betrayed lover to worst nightmare. “Villain Origin Story” is streaming now on all digital platforms worldwide via Spooky Action Records.
“Villain
#singer #Top40News #Rock # -
#TheMetalDogArticleList
#BLABBERMOUTH
ROY KHAN Opens Up About Exit From KAMELOT, Embracing Religionhttps://blabbermouth.net/news/roy-khan-opens-up-about-exit-from-kamelot-embracing-religion
#RoyKhan #Kamelot #Religion #Exit #Metamorphosis #PainkillerMagazine
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#TheMetalDogArticleList
#BLABBERMOUTH
ROY KHAN Opens Up About Exit From KAMELOT, Embracing Religionhttps://blabbermouth.net/news/roy-khan-opens-up-about-exit-from-kamelot-embracing-religion
#RoyKhan #Kamelot #Religion #Exit #Metamorphosis #PainkillerMagazine
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#TheMetalDogArticleList
#BLABBERMOUTH
ROY KHAN Opens Up About Exit From KAMELOT, Embracing Religionhttps://blabbermouth.net/news/roy-khan-opens-up-about-exit-from-kamelot-embracing-religion
#RoyKhan #Kamelot #Religion #Exit #Metamorphosis #PainkillerMagazine
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Charoite is a powerful stone of transformation and clarity. Carry one of our Charoite Tumbled Gemstones with you and let it help you think on your feet, aiding you in adapting to new situations and knowledge with grace and understanding.
https://www.inkedgoddesscreations.com/products/charoite-tumbled-gemstone
#Charoite #Metamorphosis #Clarity #Adaptation #Decisions #Understanding #Crystal #Mineral #Gemstone #Magick -
Charoite is a rare, unique stone that embodies chaos made calm. Carry a Charoite Tumbled Gemstone to help you quickly see through all the noise in order to make sensible, informed decisions, and move forward with confidence!
https://bit.ly/41r3Vu8
#Charoite #Metamorphosis #Chaos #Awareness #Order #Influences #Crystal #Mineral #Gemstone #Magick -
Jumping bristletail or in this case the species Trigoniophthalmus alternatus, is a wingless insect of the family Machilidae. It is found throughout the northern Holarctic (excluding China) and undergoes virtually no metamorphosis during its life cycle. Insemination of females takes place indirectly. Males spin silken stalks on which they place droplets of sperm for females to pick up. :ablobcouple:
Photography by 'Pierre Bornand'.
#nature #biology #photography #zoology #arthropods #ecology #bristletail #insect #entomology -
In Amanda Nell Eu’s vibrant coming-of-age feature debut TIGER STRIPES (2003), "menarche is also monstrous metamorphosis into a wilder, freer femininity": screens 3.10pm today at #BFISouthbank, NFT2, for the #BFILondonFilmFestival #LFF https://projectedfigures.com/2023/10/05/tiger-stripes-2023/
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In Amanda Nell Eu’s vibrant coming-of-age feature debut TIGER STRIPES (2003), "menarche is also monstrous metamorphosis into a wilder, freer femininity": screens 8.25pm tonight at #BFISouthbank, NFT3, for #BFILondonFilmFestival #LFF https://projectedfigures.com/2023/10/05/tiger-stripes-2023/
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Last week, we talked about 1983's The Deadly Spawn. So, how about we look at the sort of 1990 sequel Metamorphosis: The Alien Factor?
Read the new review at https://wp.me/p9XNnZ-5Og
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Lucruri pe care poate nu le cunoșteam, legate de marele și slăvitul praznic al Schimbării la Față a Domnului https://c.aparatorul.md/jq1cl #ŢaraSfântă #Apus #Biserică #IisusHristos #mănăstireortodoxă #Metamorphosis #Minunea #muntelecelsfântalluiDumnezeu #MunteleTabor #Probaje #Răsărit #Sărbătoarea #SchimbarealaFațăaMântuitorului #SfântaLiturghie #SfântaScriptură
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a 2022 highlight:
my stop motion animations included in this exhibit in Sarajevohttps://www.youtube.com/watch?v=AF0WBBZLPXo&t=26s
#graffiti #comics #speedpasterobot #painting #gnarly #monkeymind #hystericontologic #textpainting #franzkafka #gregorsamsa #metamorphosis #speedpaste #squeeek
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Fantastic Fiction: SF in Central/Eastern Europe: The year 1961 brought Anglophonic readers three fascinating works of speculative fiction in translation, two of which were by Jewish authors. Franz Kafka’s Metamorphosis and Other Stories, Isaac Bashevis Singer’s The Spinoza of Market Street, and Witold Gombrowicz’s Ferdydurke are concerned with the world lu… (#FranzKafka #IsaacBashevisSinger #WitoldGombrowicz)
Full post: https://seattlein2025.org/2024/11/22/fantastic-fiction-sf-in-central-eastern-europe/
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The year 1961 brought Anglophonic readers three newly translated and fascinating works of speculative fiction, two of which were by Jewish authors. Franz Kafka’s Die Verwandlung und andere Erzählungen (Metamorphosis and Other Stories), Isaac Bashevis Singer’s Der Spinozist (The Spinoza of Market Street), and Witold Gombrowicz’s Ferdydurke are concerned with the world lurking beneath what we see as reality. Dark fantasy, the occult, magic, and the grotesque come together to make these texts unsettling forays into an alternate way of seeing the world.
Though Kafka had been translated into English since the 1930s, the 1961 edition of Metamorphosis and Other Stories, translated by Willa and Edwin Muir, suggests that, even in a decade that was filled with science fiction that was either written in or translated into English, there was a strong appetite for the absurd and strange. Many speculative fiction readers know the anthology’s included novella The Metamorphosis, in which a man is inexplicably transformed into a bug and must live his life within this strange limitation, unable to interact normally with other humans. Scholars have suggested that Kafka’s life as a Czech Jew writing in German enabled him to more readily explore alternate realities and unexpected points of view.
Like Kafka, Isaac Bashevis Singer was a Jewish author interested in the absurd and inexplicable. Winner of the Nobel Prize for Literature in 1978, Singer was quite prolific and, to date, the only Nobel Prize laureate writing mostly in Yiddish. Multiple collections of his stories have been translated into and published in English in the 1960s. In 1961, Curt Leviant’s translation of The Spinoza of Market Street offered Anglophone readers a unique perspective on a vanishing world: Polish Jewry before the Holocaust. In general, Singer’s stories explore evil temptations, folklore, legends, and mysticism. The earthly and demonic battle it out in Spinoza’s stories with, in the words of Kirkus Reviews, “fanciful worlds inhabited by marriage brokers, derelicts, rabbis possessed by the devil, moneylenders, ghosts, dybbuks, attended by all the rituals, superstitions and behavior of antique Jewish custom.”
The work of Polish author Witold Gombrowicz, like the works of Kafka and Singer, is steeped in the absurd and grotesque. Gombrowicz, like other Polish fantasists writing in the early-to-mid-twentieth century, was fascinated by the world behind or beneath everyday reality, as explored in the artistic movements of Decadence, Surrealism, and Expressionism. Gombrowicz’s first novel, Ferdydurke, which was condemned as scandalous when it was first published in Polish in 1937, is the story of a man who is suddenly transformed into a teenaged boy. He then attempts to live a life without constraints but soon learns that his life is necessarily shaped by his circumstances, and he can never really banish the ghosts of tradition and social mores, no matter how hard he tries. Eric Mosbacher’s 1961 translation of Ferdyduke allowed Anglophonic speculative fiction readers a unique window into Polish life through the experiences of a man limited by the social expectations for boys in 1930s Poland.
All three of these works capture a slice of life alien to Anglophonic readers as they are pulled into foreign worlds and ways of life that were made even more unfamiliar by their slants toward surrealism, grotesquerie, darkness, and social otherness. These stories in translation are as enjoyable and as uncanny today as when they were first written or translated into English.
As you journey to and from Seattle Worldcon 2025, consider spending some of your travel time on bringing some of yesterday’s translated speculative fiction into your today and tomorrow!
https://seattlein2025.org/2024/11/22/fantastic-fiction-sf-in-central-eastern-europe/
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The year 1961 brought Anglophonic readers three newly translated and fascinating works of speculative fiction, two of which were by Jewish authors. Franz Kafka’s Die Verwandlung und andere Erzählungen (Metamorphosis and Other Stories), Isaac Bashevis Singer’s Der Spinozist (The Spinoza of Market Street), and Witold Gombrowicz’s Ferdydurke are concerned with the world lurking beneath what we see as reality. Dark fantasy, the occult, magic, and the grotesque come together to make these texts unsettling forays into an alternate way of seeing the world.
Though Kafka had been translated into English since the 1930s, the 1961 edition of Metamorphosis and Other Stories, translated by Willa and Edwin Muir, suggests that, even in a decade that was filled with science fiction that was either written in or translated into English, there was a strong appetite for the absurd and strange. Many speculative fiction readers know the anthology’s included novella The Metamorphosis, in which a man is inexplicably transformed into a bug and must live his life within this strange limitation, unable to interact normally with other humans. Scholars have suggested that Kafka’s life as a Czech Jew writing in German enabled him to more readily explore alternate realities and unexpected points of view.
Like Kafka, Isaac Bashevis Singer was a Jewish author interested in the absurd and inexplicable. Winner of the Nobel Prize for Literature in 1978, Singer was quite prolific and, to date, the only Nobel Prize laureate writing mostly in Yiddish. Multiple collections of his stories have been translated into and published in English in the 1960s. In 1961, Curt Leviant’s translation of The Spinoza of Market Street offered Anglophone readers a unique perspective on a vanishing world: Polish Jewry before the Holocaust. In general, Singer’s stories explore evil temptations, folklore, legends, and mysticism. The earthly and demonic battle it out in Spinoza’s stories with, in the words of Kirkus Reviews, “fanciful worlds inhabited by marriage brokers, derelicts, rabbis possessed by the devil, moneylenders, ghosts, dybbuks, attended by all the rituals, superstitions and behavior of antique Jewish custom.”
The work of Polish author Witold Gombrowicz, like the works of Kafka and Singer, is steeped in the absurd and grotesque. Gombrowicz, like other Polish fantasists writing in the early-to-mid-twentieth century, was fascinated by the world behind or beneath everyday reality, as explored in the artistic movements of Decadence, Surrealism, and Expressionism. Gombrowicz’s first novel, Ferdydurke, which was condemned as scandalous when it was first published in Polish in 1937, is the story of a man who is suddenly transformed into a teenaged boy. He then attempts to live a life without constraints but soon learns that his life is necessarily shaped by his circumstances, and he can never really banish the ghosts of tradition and social mores, no matter how hard he tries. Eric Mosbacher’s 1961 translation of Ferdyduke allowed Anglophonic speculative fiction readers a unique window into Polish life through the experiences of a man limited by the social expectations for boys in 1930s Poland.
All three of these works capture a slice of life alien to Anglophonic readers as they are pulled into foreign worlds and ways of life that were made even more unfamiliar by their slants toward surrealism, grotesquerie, darkness, and social otherness. These stories in translation are as enjoyable and as uncanny today as when they were first written or translated into English.
As you journey to and from Seattle Worldcon 2025, consider spending some of your travel time on bringing some of yesterday’s translated speculative fiction into your today and tomorrow!
https://seattlein2025.org/2024/11/22/fantastic-fiction-sf-in-central-eastern-europe/
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The SideQuest LIVE! November 3, 2024: Waking Up Alone With A Pokemon
Go vote, fellow nerds! But also join us to talk about VIDEO GAMES!
https://www.sidequesting.com/2024/11/the-sidequest-live-november-3-2024-waking-up-alone-with-a-pokemon/
#Podcasts #TheSideQuest #alarmo #HatchTales #MetamorphosisCollection #nintendo #NintendoMusic #podcast #pokemon #PokemonPocket #SideQuestLIVE #TheSideQuest -
The SideQuest LIVE! November 3, 2024: Waking Up Alone With A Pokemon
Go vote, fellow nerds! But also join us to talk about VIDEO GAMES!
https://www.sidequesting.com/2024/11/the-sidequest-live-november-3-2024-waking-up-alone-with-a-pokemon/
#Podcasts #TheSideQuest #alarmo #HatchTales #MetamorphosisCollection #nintendo #NintendoMusic #podcast #pokemon #PokemonPocket #SideQuestLIVE #TheSideQuest -
The SideQuest LIVE! November 3, 2024: Waking Up Alone With A Pokemon
Go vote, fellow nerds! But also join us to talk about VIDEO GAMES!
https://www.sidequesting.com/2024/11/the-sidequest-live-november-3-2024-waking-up-alone-with-a-pokemon/
#Podcasts #TheSideQuest #alarmo #HatchTales #MetamorphosisCollection #nintendo #NintendoMusic #podcast #pokemon #PokemonPocket #SideQuestLIVE #TheSideQuest -
RIP Jim Ward
he made some of my favorite early TSR RPG games & game books like Deities & Demigods, and Metamorphosis Alpha. The latter an influence/source for both Gamma World and the classic AD&D adventure module Expedition to the Barrier Peaks. I played all of them
Jim Ward's work was also a big influence on my own WIP computer game Slartboz (set in a post-apoc Normerika of 2100 CE.)
#TSR
#TTRPG
#DungeonsDragons
#TheGameWizards
#MetamorphosisAlpha -
By Dear Hollow
Perhaps I misjudged Agrypnie in 2021. Perhaps that 1.5 was a little harsh – maybe I read the words “avant-garde” and saw red. Still, Metamorphosis was a hodgepodge of all things post-y and melodic, dragging the lake with melodeath and symphonic black in reckless abandon, sporting vocal tirades with more propensity for destroying its crystallinity than creating it. In this way, Erg is better, streamlining its attack. It’s still your favorite post-black, with all the frills and hearts prominently planted on their sleeves you expect, but armed with a more prominent riff and a trver vibe, your favorite German post-black duo is back and badder than ever.
I underrated Metamorphosis. Its lasting impression was one of stagnation rather than offensiveness, so I would rate it somewhere in the 2.0 ballpark if I reviewed today.1 Just like in 2021, Agrypnie focuses on subtle and interwoven melodies with plodding guitar riffs, juggled with vocalist/guitarist/bassist Torsten’s grungy barks, significantly toning down the outside influence for something that feels like a more rushed Harakiri for the Sky. Drummer Flo is a tour-de-force as usual, whirlwinds of blastbeats and catchy fills saturating the palette. Sporting a thinner, trver production that still manages muscularity periodically, Erg is nothing but consistent. Erg is redemption, and I’m gonna rate Agrpynie correctly this time.
Erg is at its best when subtle melodies shine through the blazing riffs, and instruments do this effectively. Tracks like opener “Aus rauchlosem Feuer,” “Sturm,” and “Blut – Teil II” offer this balance aplenty, Agrypnie letting its ghostly leads and subtle symphonics float in and out of the main down-tuned riffs. It adds an appropriately haunted aura, dark and unsettling, but ultimately forsakes its roots in sanguinity, a shapeshifting melody that balances between ominous and beautiful. The best tracks here are “Entitat” and “Geister,” due to their incorporation of more muscular riffage that balances out the fragile Deafheaven-esque melody and collaborates with Torsten’s rough vocals more effectively. Each track within Erg is a fairly lengthy affair, with instrumental interlude “Blut – Teil I” alone dipping below five minutes, so Agrypnie divides the workload. Particularly in the first half, each track is composed of two parts, the melody in the exposition creeping and ominous, only to explode in frantic climax in the second. This gives these tracks a definite sense of direction, a comfortable predictability, and a smoother dynamic – as usually the second halves compose the more memorable material. The paper-thin production benefits the more tremolo-guided tracks like “Meer ohne Wasser” and “Entitat,” giving them a razor edge.
The most glaring problem for Agrypnie is a remnant from last go: Torsten’s vocals. You would expect his bark to permeate more hardcore-influenced or post-metal-adjacent in bulkier stylings, but it remains a detriment to the fragile structures that compose post-black’s trademarks.2 Each track, even the highlights, grow weary with the bark swinging in like Miley Cyrus on a wrecking ball. “Meer ohne Wasser,” “Blut – Teil II,” and “Stunde des Wolfes” are derailed painfully by this element, and effective instrumental compositions feel all for naught. While the instruments are effectively performed, the frustration with the thinner production is that it puts all elements on the same level, with riffs, melodies, and vocals all battling for the spotlight, only Flo’s drumming anchoring the proceedings – worsened by Erg’s bloated fifty-four-minute runtime. Unfortunately for Agrypnie, the equilibrium between riff, melody, and vocals remain elusive, and remain in the shadow of better acts in a divisive style.
Harakiri for the Sky may not be upper tier yet, but their effective balance between heart-wrenching melody, head-bobbing riffs, and emotive vocals remains a highlight within post-black. Agrypnie can afford no such luxury. While Erg is a better accomplishment than its predecessor in a more streamlined approach that dispenses of unnecessary influences and scattershot songwriting, it is nonetheless held back by painfully anachronistic vocals and damagingly thin mix. It’s one step in the right direction for Torsten and Flo, but Agrypnie takes one step back. Behold, the correct score.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: agrypnie.bandcamp.com | facebook.com/agrypnie.official
Releases Worldwide: September 13th, 2024#20 #2024 #Agrypnie #AOPRecords #BlackMetal #Blackgaze #Deafheaven #Erg #GermanMetal #HarakiriForTheSky #PostBlackMetal #Review #Reviews #Sep24
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By Dear Hollow
Perhaps I misjudged Agrypnie in 2021. Perhaps that 1.5 was a little harsh – maybe I read the words “avant-garde” and saw red. Still, Metamorphosis was a hodgepodge of all things post-y and melodic, dragging the lake with melodeath and symphonic black in reckless abandon, sporting vocal tirades with more propensity for destroying its crystallinity than creating it. In this way, Erg is better, streamlining its attack. It’s still your favorite post-black, with all the frills and hearts prominently planted on their sleeves you expect, but armed with a more prominent riff and a trver vibe, your favorite German post-black duo is back and badder than ever.
I underrated Metamorphosis. Its lasting impression was one of stagnation rather than offensiveness, so I would rate it somewhere in the 2.0 ballpark if I reviewed today.1 Just like in 2021, Agrypnie focuses on subtle and interwoven melodies with plodding guitar riffs, juggled with vocalist/guitarist/bassist Torsten’s grungy barks, significantly toning down the outside influence for something that feels like a more rushed Harakiri for the Sky. Drummer Flo is a tour-de-force as usual, whirlwinds of blastbeats and catchy fills saturating the palette. Sporting a thinner, trver production that still manages muscularity periodically, Erg is nothing but consistent. Erg is redemption, and I’m gonna rate Agrpynie correctly this time.
Erg is at its best when subtle melodies shine through the blazing riffs, and instruments do this effectively. Tracks like opener “Aus rauchlosem Feuer,” “Sturm,” and “Blut – Teil II” offer this balance aplenty, Agrypnie letting its ghostly leads and subtle symphonics float in and out of the main down-tuned riffs. It adds an appropriately haunted aura, dark and unsettling, but ultimately forsakes its roots in sanguinity, a shapeshifting melody that balances between ominous and beautiful. The best tracks here are “Entitat” and “Geister,” due to their incorporation of more muscular riffage that balances out the fragile Deafheaven-esque melody and collaborates with Torsten’s rough vocals more effectively. Each track within Erg is a fairly lengthy affair, with instrumental interlude “Blut – Teil I” alone dipping below five minutes, so Agrypnie divides the workload. Particularly in the first half, each track is composed of two parts, the melody in the exposition creeping and ominous, only to explode in frantic climax in the second. This gives these tracks a definite sense of direction, a comfortable predictability, and a smoother dynamic – as usually the second halves compose the more memorable material. The paper-thin production benefits the more tremolo-guided tracks like “Meer ohne Wasser” and “Entitat,” giving them a razor edge.
The most glaring problem for Agrypnie is a remnant from last go: Torsten’s vocals. You would expect his bark to permeate more hardcore-influenced or post-metal-adjacent in bulkier stylings, but it remains a detriment to the fragile structures that compose post-black’s trademarks.2 Each track, even the highlights, grow weary with the bark swinging in like Miley Cyrus on a wrecking ball. “Meer ohne Wasser,” “Blut – Teil II,” and “Stunde des Wolfes” are derailed painfully by this element, and effective instrumental compositions feel all for naught. While the instruments are effectively performed, the frustration with the thinner production is that it puts all elements on the same level, with riffs, melodies, and vocals all battling for the spotlight, only Flo’s drumming anchoring the proceedings – worsened by Erg’s bloated fifty-four-minute runtime. Unfortunately for Agrypnie, the equilibrium between riff, melody, and vocals remain elusive, and remain in the shadow of better acts in a divisive style.
Harakiri for the Sky may not be upper tier yet, but their effective balance between heart-wrenching melody, head-bobbing riffs, and emotive vocals remains a highlight within post-black. Agrypnie can afford no such luxury. While Erg is a better accomplishment than its predecessor in a more streamlined approach that dispenses of unnecessary influences and scattershot songwriting, it is nonetheless held back by painfully anachronistic vocals and damagingly thin mix. It’s one step in the right direction for Torsten and Flo, but Agrypnie takes one step back. Behold, the correct score.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: agrypnie.bandcamp.com | facebook.com/agrypnie.official
Releases Worldwide: September 13th, 2024#20 #2024 #Agrypnie #AOPRecords #BlackMetal #Blackgaze #Deafheaven #Erg #GermanMetal #HarakiriForTheSky #PostBlackMetal #Review #Reviews #Sep24
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By Dear Hollow
Perhaps I misjudged Agrypnie in 2021. Perhaps that 1.5 was a little harsh – maybe I read the words “avant-garde” and saw red. Still, Metamorphosis was a hodgepodge of all things post-y and melodic, dragging the lake with melodeath and symphonic black in reckless abandon, sporting vocal tirades with more propensity for destroying its crystallinity than creating it. In this way, Erg is better, streamlining its attack. It’s still your favorite post-black, with all the frills and hearts prominently planted on their sleeves you expect, but armed with a more prominent riff and a trver vibe, your favorite German post-black duo is back and badder than ever.
I underrated Metamorphosis. Its lasting impression was one of stagnation rather than offensiveness, so I would rate it somewhere in the 2.0 ballpark if I reviewed today.1 Just like in 2021, Agrypnie focuses on subtle and interwoven melodies with plodding guitar riffs, juggled with vocalist/guitarist/bassist Torsten’s grungy barks, significantly toning down the outside influence for something that feels like a more rushed Harakiri for the Sky. Drummer Flo is a tour-de-force as usual, whirlwinds of blastbeats and catchy fills saturating the palette. Sporting a thinner, trver production that still manages muscularity periodically, Erg is nothing but consistent. Erg is redemption, and I’m gonna rate Agrpynie correctly this time.
Erg is at its best when subtle melodies shine through the blazing riffs, and instruments do this effectively. Tracks like opener “Aus rauchlosem Feuer,” “Sturm,” and “Blut – Teil II” offer this balance aplenty, Agrypnie letting its ghostly leads and subtle symphonics float in and out of the main down-tuned riffs. It adds an appropriately haunted aura, dark and unsettling, but ultimately forsakes its roots in sanguinity, a shapeshifting melody that balances between ominous and beautiful. The best tracks here are “Entitat” and “Geister,” due to their incorporation of more muscular riffage that balances out the fragile Deafheaven-esque melody and collaborates with Torsten’s rough vocals more effectively. Each track within Erg is a fairly lengthy affair, with instrumental interlude “Blut – Teil I” alone dipping below five minutes, so Agrypnie divides the workload. Particularly in the first half, each track is composed of two parts, the melody in the exposition creeping and ominous, only to explode in frantic climax in the second. This gives these tracks a definite sense of direction, a comfortable predictability, and a smoother dynamic – as usually the second halves compose the more memorable material. The paper-thin production benefits the more tremolo-guided tracks like “Meer ohne Wasser” and “Entitat,” giving them a razor edge.
The most glaring problem for Agrypnie is a remnant from last go: Torsten’s vocals. You would expect his bark to permeate more hardcore-influenced or post-metal-adjacent in bulkier stylings, but it remains a detriment to the fragile structures that compose post-black’s trademarks.2 Each track, even the highlights, grow weary with the bark swinging in like Miley Cyrus on a wrecking ball. “Meer ohne Wasser,” “Blut – Teil II,” and “Stunde des Wolfes” are derailed painfully by this element, and effective instrumental compositions feel all for naught. While the instruments are effectively performed, the frustration with the thinner production is that it puts all elements on the same level, with riffs, melodies, and vocals all battling for the spotlight, only Flo’s drumming anchoring the proceedings – worsened by Erg’s bloated fifty-four-minute runtime. Unfortunately for Agrypnie, the equilibrium between riff, melody, and vocals remain elusive, and remain in the shadow of better acts in a divisive style.
Harakiri for the Sky may not be upper tier yet, but their effective balance between heart-wrenching melody, head-bobbing riffs, and emotive vocals remains a highlight within post-black. Agrypnie can afford no such luxury. While Erg is a better accomplishment than its predecessor in a more streamlined approach that dispenses of unnecessary influences and scattershot songwriting, it is nonetheless held back by painfully anachronistic vocals and damagingly thin mix. It’s one step in the right direction for Torsten and Flo, but Agrypnie takes one step back. Behold, the correct score.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: agrypnie.bandcamp.com | facebook.com/agrypnie.official
Releases Worldwide: September 13th, 2024#20 #2024 #Agrypnie #AOPRecords #BlackMetal #Blackgaze #Deafheaven #Erg #GermanMetal #HarakiriForTheSky #PostBlackMetal #Review #Reviews #Sep24
