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612 results for “BassCan”
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Cathedral Candlelight in Cork
A beautiful brass candle stand in St Fin Barre’s Cathedral, Cork. When Helios was on display in the Cathedral, I visited there with Blarney Photography Club and took the opportunity to photograph other parts of the cathedral’s artistic heritage.
The inscription above reads, “Ní mar is toil liomsa, ach mar is toil leatsa”, which roughly translates as, “Not as I will, but as you will”. A reference to the Biblical quote, “Not my will, but thy will be done”.
St Fin Barre’s Cathedral, completed in 1879, is the Church of Ireland cathedral of Cork and is renowned for its French Gothic Revival architecture and exceptional craftsmanship. The cathedral contains numerous examples of fine metalwork, woodcarving, and stained glass, much of it created by Irish artisans.
Apertureƒ/8CameraILCE-7RM5Focal length23mmISO640Shutter speed1/6s#2025 #BlarneyPhotographyClub #brassCandlesticks #cathedralInterior #churchCandles #Cork #CorkCathedral #GaelicInscription #Ireland #IrishChristianity #IrishLanguage #Photo #Photography #prayerCandles #religiousArt #sacredSpace #SaintFinBarreSCathedral #SonyA7RV #StFinBarreSCathedral #StainedGlass #votiveCandles
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Grazil Records pres. Thosar - Album Release Show
Postgarage 2nd Floor, Donnerstag, 16. Oktober um 19:00 MESZ
Grazil Records pres. Thosar - Album Release Show
Crust Black Metal, Death Metal, Doom Metal, Sludge Metal, Hardcore Punk
19:00
VVK:E12 ,-/€AK15,-
Einlass: 19:00 ,Konzertbeginn: 20:00 Uhr
Line up:
Thosar
NEKRODEUS
CHOROSIA
BONDAGE TOES
Info
Thosar is an Austrian sludge/doom duo from Graz founded in 2020. Their music
is characterized by heavy bass riffs, pounding drums, and wailing vocals that
create a dark and intense atmosphere. Their live performances are energetic and
immersive. Thosar builds a wall of sound using HM2, Fuzz, blast- and d-beats.
Lyrically, the band dives into political and societal themes, confronting decay,
oppression and resignation.
They have released four records so far: the debut album Omega (2020), the EP
Grelle Musik Session (2022), the full-length Elementa (2022), and the EP Built on
Bodies (2024). In October 2025, they are touring with their new album, The Bold
Idea of Being Satisfied (2025).
NEKRODEUS was formed 2013 and started with a demo somewhere between Death Metal and Sludgecore. The band and their music have continued to develop throughout the years of their band history. The extremely creative band is now at its current artistic peak and skilfully combines music genres such as Black Metal, HC Punk, Death Metal and Grindcore.
They look back on two albums („Moloch“, „Asbest“), an EP (“Putrid Scent of Grave Perversion”) and the demo with which they started. In their socially critical lyrics it quickly becomes clear that the four-headed band have something to say. The band consists of Sebastian Lackner (guitar- also live member of ELLENDE), Stefan Rindler (vocals), Paul Färber (drums- also KARG & live member of ELLENDE and HARAKIRI FOR THE SKY) and Lukas Benedicic on bass can hardly wait to sweeten your day musically.
"Ruaß" is a shapeshifting feast of crusty black metal punk, a diet of raw violence and moody atmosphere, scratching the itch between your reptilian brain and your emotional intelligence while biting back with its own set of rough-edged teeth
CHOROSIA
Is it progressive sludge? Is it death/doom? To many, it's unclear what genre niche we belong to but one thing is certain — it's heavy, both sonically and emotionally. Since our foundation in 2017, we've been pushing the envelope of this vaguely described genre called progressive sludge album after album, gig after gig. Think of caveman riffs but the caveman just became self-aware. Essentially, we play the music we want to hear. Iommosphere is where we dwell.
BONDAGE TOES
!Keep your toes away from sharp edges while listening! Old school 80ies style Hardcore Punk.
Links
https://gancio.graz.events/event/grazil-records-pres-thosar-album-release-show
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tornano disponibili le “poesie edite e inedite (1947-1991)” di corrado costa
Torna disponibile, in seconda ristampa, presso ArgoLibri, l’indispensabile libro delle Poesie edite e inedite (1947-1991) di Corrado Costa, curato con grande acribia e competenza da Chiara Portesine.
Introduzione di Aldo Tagliaferri
Con interventi di Adriano Spatola, Gian Luca Picconi, Milli Graffi, Giulia Niccolai, Paul Vangelisti, Marco Giovenale e Chiara Portesine.
*
Sempre più, col passare degli anni (soprattutto dal 2013 in avanti), al lettore italiano, Costa si è rivelato e si rivela, non troppo diversamente dal diverso Carlo Bordini, uno degli anelli nodali del percorso della scrittura di ricerca – e delle metamorfosi di questa – al passaggio tra anni Settanta e Novanta. Un vero inconsapevole ponte o nesso tra le esperienze e le levità e follie del Mulino di Bassano e le (allora non conosciute) giovani e meno giovani voci sperimentali che costruivano in Francia una postpoesia carica di futuro.
Leggere Corrado Costa significa capire perfettamente come quel cambio di paradigma avviato con gli anni Sessanta non abbia mai nei decenni smesso di mutare, espandersi, dimostrarsi effettivo rinnovamento delle arti e letterature del mondo. Un rinnovamento arginabile solo (e non definitivamente) attraverso uno spregevole ritorno all’ordine, che i padroni del fumo editoriale-distributivo hanno attuato a partire dagli anni Ottanta, e che oggi arriva (con le “poesie” degli improbabili grandi vecchi di mondadori ed einaudi) a sfondare il tetto del ridicolo, e dunque a trovare ascoltatori entusiasti nell’ytalyetta degli anni Venti, canara e neofascista.
Costa ripulisce il parabrezza da questi insetti, e ci mostra cosa era ed è possibile fare con il linguaggio, anche il più ordinario e orizzontale.
#111 #AdrianoSpatola #AldoTagliaferri #Argolibri #cambioDiParadigma #ChiaraPortesine #CorradoCosta #corradocosta #Costa #GianLucaPicconi #GiuliaNiccolai #MarcoGiovenale #MilliGraffi #nonAssertività #PaulVangelisti #PoesieEditeEInedite19471991_ #scritturaDiRicerca #scrittureDiRicerca
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Bass lovers, brace yourselves—Subtronics, Friction, and P Money have collided on a massive new collaboration titled “Legends,” and it’s nothing short of a sonic weapon.
https://retroworldnews.com/subtronics-friction-p-money-unleash-explosive-bass-anthem-legends/#Subtronics #Friction #PMoney #Legends #BassAnthem #EDM #BassMusic #MusicCollaboration #ElectronicDanceMusic #FestivalVibes #NewMusicRelease #BassHeads #SoundCloud #MusicProducers #DanceMusicCommunity #UndergroundBass #BassCulture #LiveDJ #MusicInnovation #EpicBeats #music
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Si trovavano a #Muwasi, un'area dichiarata "zona umanitaria" da Israele.
L'attacco aereo è iniziato la mattina presto. La madre 32enne e il padre 34enne erano stati evacuati lì da #DeirAl_Balah e dormivano in una tenda che avevano affittato per 5 shekel (1,35 $) a notte.La notte del bombardamento, i loro figli Bassan e Ayman sono stati feriti da schegge.
Sono morti per emorragia interna nel giro di 40 minuti.“I miei figli sono morti di fame”, ha detto la madre.
È stata portata in ospedale e lì è crollata sui cadaveri dei suoi figli.
Il personale medico ha confermato che i bambini avevano sofferto di grave malnutrizione.Alla sua morte, Bassan pesava 14 chilogrammi (meno di 31 libbre) e Ayman 12 chili.
Da allora, i bombardamenti e la fame sono continuati.Il numero dei morti dal 18 marzo è salito a più di 1.600. ⬇️4
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With festival season just around the corner, Gryffin, Excision, and Julia Michaels are kicking things off with “Air,” a stunning new collaboration that captures the feeling of floating free.
https://retroworldnews.com/new-bass-anthem-air-sees-gryffin-excision-julia-michaels-in-perfect-harmony/#BassAnthem #Gryffin #Excision #JuliaMichaels #NewMusicRelease #ElectronicMusic #MusicCollaboration #DanceMusic #EDMCommunity #MusicHarmony #BassMusic #MusicIndustry #HitSingle #SoundtrackOfLife #MusicLovers #InTheStudio #MusicProduction #Vibes #FeelTheBeat #ChartToppers #music
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Der #Thunderbird macht mir unfassbar viel Spaß! 🤘😄
Hatte ihn jetzt bei 2 Proben dabei und damit rockt es sich einfach nur geil, wenn der schön tief und der Kopf aber gut greifbar oben hängt.
Alleine klingt der einfach rotzig, knurrig cool. Ich mag seinen Sound sehr!
Es stellte sich aber raus, dass er im Bandcontext untergeht. Er produziert dann eine Basswand, die man spürt, Anschläge und genaue Noten hört man nicht mehr, wenn da 2 Gitarren dazu dröhnen. Da halfen auch keine Einstellungen am Verstärker so wirklich..
Habe gestern dann wieder meinen #Cort #Bass mitgenommen, da hört man dann wieder den Anschlag und die Töne klar durch die Gitarrenwand durch..
Schade.. Der Thunderbird passt scheinbar vom Klang her nicht in eine schnell spielende Punkrock Band. Da braucht es mehr das Klicken des Anschlags, um der "Wand" ein paar Fugen zu geben.
Aber aufgeben tue ich den noch nicht.. Vielleicht brauche ich noch ne Metalband, in die er evtl besser passt.. 🤪 -
Der #Thunderbird macht mir unfassbar viel Spaß! 🤘😄
Hatte ihn jetzt bei 2 Proben dabei und damit rockt es sich einfach nur geil, wenn der schön tief und der Kopf aber gut greifbar oben hängt.
Alleine klingt der einfach rotzig, knurrig cool. Ich mag seinen Sound sehr!
Es stellte sich aber raus, dass er im Bandcontext untergeht. Er produziert dann eine Basswand, die man spürt, Anschläge und genaue Noten hört man nicht mehr, wenn da 2 Gitarren dazu dröhnen. Da halfen auch keine Einstellungen am Verstärker so wirklich..
Habe gestern dann wieder meinen #Cort #Bass mitgenommen, da hört man dann wieder den Anschlag und die Töne klar durch die Gitarrenwand durch..
Schade.. Der Thunderbird passt scheinbar vom Klang her nicht in eine schnell spielende Punkrock Band. Da braucht es mehr das Klicken des Anschlags, um der "Wand" ein paar Fugen zu geben.
Aber aufgeben tue ich den noch nicht.. Vielleicht brauche ich noch ne Metalband, in die er evtl besser passt.. 🤪 -
Der #Thunderbird macht mir unfassbar viel Spaß! 🤘😄
Hatte ihn jetzt bei 2 Proben dabei und damit rockt es sich einfach nur geil, wenn der schön tief und der Kopf aber gut greifbar oben hängt.
Alleine klingt der einfach rotzig, knurrig cool. Ich mag seinen Sound sehr!
Es stellte sich aber raus, dass er im Bandcontext untergeht. Er produziert dann eine Basswand, die man spürt, Anschläge und genaue Noten hört man nicht mehr, wenn da 2 Gitarren dazu dröhnen. Da halfen auch keine Einstellungen am Verstärker so wirklich..
Habe gestern dann wieder meinen #Cort #Bass mitgenommen, da hört man dann wieder den Anschlag und die Töne klar durch die Gitarrenwand durch..
Schade.. Der Thunderbird passt scheinbar vom Klang her nicht in eine schnell spielende Punkrock Band. Da braucht es mehr das Klicken des Anschlags, um der "Wand" ein paar Fugen zu geben.
Aber aufgeben tue ich den noch nicht.. Vielleicht brauche ich noch ne Metalband, in die er evtl besser passt.. 🤪 -
Der #Thunderbird macht mir unfassbar viel Spaß! 🤘😄
Hatte ihn jetzt bei 2 Proben dabei und damit rockt es sich einfach nur geil, wenn der schön tief und der Kopf aber gut greifbar oben hängt.
Alleine klingt der einfach rotzig, knurrig cool. Ich mag seinen Sound sehr!
Es stellte sich aber raus, dass er im Bandcontext untergeht. Er produziert dann eine Basswand, die man spürt, Anschläge und genaue Noten hört man nicht mehr, wenn da 2 Gitarren dazu dröhnen. Da halfen auch keine Einstellungen am Verstärker so wirklich..
Habe gestern dann wieder meinen #Cort #Bass mitgenommen, da hört man dann wieder den Anschlag und die Töne klar durch die Gitarrenwand durch..
Schade.. Der Thunderbird passt scheinbar vom Klang her nicht in eine schnell spielende Punkrock Band. Da braucht es mehr das Klicken des Anschlags, um der "Wand" ein paar Fugen zu geben.
Aber aufgeben tue ich den noch nicht.. Vielleicht brauche ich noch ne Metalband, in die er evtl besser passt.. 🤪 -
Bass music fans, rejoice! One of the most eagerly awaited tracks of 2024 has officially arrived. “System Shock,” a powerful collaboration between Subtronics, Hedex, and IRAH, has dropped, shaking up the bass scene with its intensity and raw power.
https://retroworldnews.com/subtronics-hedex-and-irah-join-forces-for-the-high-energy-bass-anthem-system-shock/#Subtronics #Hedex #IRAH #SystemShock #BassMusic #EDM #Collaboration #MusicProduction #HighEnergy #BassAnthem #DanceMusic #ElectronicMusic #FestivalVibes #NewMusic #MusicRelease #SoundDesign #BassHeads #RaveCulture #music
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We stopped at Ravensbourne NP on the way home from the Bunya Mountains, and did a short 40min walk. Heard a lot of birds, saw few.
I photographed a juvenile Brush Turkey, & what the iNaturalist auto-ID says is a Russet-tailed Thrush. (It could also be a Bassian Thrush, & since I can't see the tail, who knows??)
VERY low light in this part of the forest. Handheld, 1/25th - 1/30th sec at 600mm ƒ/6.3 ISO 6400.
#AustralianWildlife #WildOz #RussetTailedThrush #AustralianBrushTurkey #Bird
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CW: 📰 Rami og Bassan har betalt den højeste pris i krigen. Alligevel vil de skabe forsoning mellem israelere og palæstinensere
> Man skulle tro, at de to mænd var endt som dødsfjender efter deres tab fra hver deres side af den konflikt, der fik fornyet styrke efter Hamas’ terrorangreb den 7. oktober. Det nemmeste, erkender de, ville være at forfalde til hadet og vreden.
>
> Men hvordan skulle krigen og konflikten nogensinde finde en fredelig afslutning, hvis hadet bare gentager sig, spørger de retorisk.
Læs hele interviewer (læsetid: 7 min.):
🎁 https://www.information.dk/udland/2024/01/rami-bassan-betalt-hoejeste-pris-krigen-alligevel-skabe-forsoning-mellem-israelere-palaestinensere?kupon=eyJpYXQiOjE3MDU5MDk5NTcsInN1YiI6IjE3NDE4MTo4MTIwODIifQ.2HDjs3y3YIkf_K9iwph7zg (gavelink: artiklen kan læses uden abonnement)
#fredsaktivisme
#Gaza
#Israel 🇮🇱
#konfliktløsning
#menneskerettighedspris
#Palæstina 🇵🇸
#ParentsCircle
#Vestbredden
🕊️ Peace now! 🇵🇸 السلام الآن 🇮🇱 שלום עכשיו -
Rienößlgasse?:
Im 4. Wiener Gemeindebezirk, in der Rienößlgasse, wächst ein neues Kunst-Kollektiv heran. Unter dem Titel Palais Rössl finden sich Künstler:innen, Designer:innen und Kulturarbeiter:innen zusammen und werken für sich und die Gemeinschaft. Das Palais Rössl ist die neue Heimat vom Verein Sendeschluss und wird über die nächsten 10 Jahre gemeinschaftlich und selbstverwaltet betrieben.
Eröffnungsfeier am 31. Mai 2024. Keep the date!
Beim Palais Rössl Mitwirkende: Bilal Alame, Sheri Avraham, Bassano Bonelli Bassano, Margit Busch, Jorge Sanchez-Chiong, Faris Cuchi Gezahegn, Natalia Gurova, Maria Herold, Lisa Hinterreithner, Göknur Isci, Fabian Lanzmaier, Anna Lerchbaumer, Anto Manhartsberger, Mzamo Nondlwana, Peter Oroszlany, Lale Rodgarkia-Dara, Alejandro Quiñones Roa, Nicole Sabella, Daniel Sea, Lucas Henao Serna, Karl H. Schönswetter, Georgios Tsampounaris, Elisabeth Vlasaty, Brigitte Wilfing, Joanna Zabielska, Julia Zastava
Permalink: https://karlender.net/3739/
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Rienößlgasse?:
Im 4. Wiener Gemeindebezirk, in der Rienößlgasse, wächst ein neues Kunst-Kollektiv heran. Unter dem Titel Palais Rössl finden sich Künstler:innen, Designer:innen und Kulturarbeiter:innen zusammen und werken für sich und die Gemeinschaft. Das Palais Rössl ist die neue Heimat vom Verein Sendeschluss und wird über die nächsten 10 Jahre gemeinschaftlich und selbstverwaltet betrieben.
Eröffnungsfeier am 31. Mai 2024. Keep the date!
Beim Palais Rössl Mitwirkende: Bilal Alame, Sheri Avraham, Bassano Bonelli Bassano, Margit Busch, Jorge Sanchez-Chiong, Faris Cuchi Gezahegn, Natalia Gurova, Maria Herold, Lisa Hinterreithner, Göknur Isci, Fabian Lanzmaier, Anna Lerchbaumer, Anto Manhartsberger, Mzamo Nondlwana, Peter Oroszlany, Lale Rodgarkia-Dara, Alejandro Quiñones Roa, Nicole Sabella, Daniel Sea, Lucas Henao Serna, Karl H. Schönswetter, Georgios Tsampounaris, Elisabeth Vlasaty, Brigitte Wilfing, Joanna Zabielska, Julia Zastava
Permalink: https://karlender.net/3739/
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Rienößlgasse?:
Im 4. Wiener Gemeindebezirk, in der Rienößlgasse, wächst ein neues Kunst-Kollektiv heran. Unter dem Titel Palais Rössl finden sich Künstler:innen, Designer:innen und Kulturarbeiter:innen zusammen und werken für sich und die Gemeinschaft. Das Palais Rössl ist die neue Heimat vom Verein Sendeschluss und wird über die nächsten 10 Jahre gemeinschaftlich und selbstverwaltet betrieben.
Eröffnungsfeier am 31. Mai 2024. Keep the date!
Beim Palais Rössl Mitwirkende: Bilal Alame, Sheri Avraham, Bassano Bonelli Bassano, Margit Busch, Jorge Sanchez-Chiong, Faris Cuchi Gezahegn, Natalia Gurova, Maria Herold, Lisa Hinterreithner, Göknur Isci, Fabian Lanzmaier, Anna Lerchbaumer, Anto Manhartsberger, Mzamo Nondlwana, Peter Oroszlany, Lale Rodgarkia-Dara, Alejandro Quiñones Roa, Nicole Sabella, Daniel Sea, Lucas Henao Serna, Karl H. Schönswetter, Georgios Tsampounaris, Elisabeth Vlasaty, Brigitte Wilfing, Joanna Zabielska, Julia Zastava
Permalink: https://karlender.net/3739/
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Minimisant la présence autochtone, cette carte du Saguenay–Lac-Saint-Jean dressée par Adolphe Larue en 1825 vise à démontrer que ce vaste territoire est propice à la colonisation et à l’agriculture. Carte décrite dans l’Atlas du Québec en Amérique et dans le monde :
http://monde.ccdmd.qc.ca/ressource/?id=137859Image : BAnQ
#Saguenay #BasCanada #Québec #colonisation #colons #Autochtones #Canada #BAnQ #peuplement #science #cartography #cartographie #carte #maps #économie #agriculture #nature #histoire #géographie -
Today's video was one of the last things that we did before lockdown in March 2020... It was filmed in the Great Watching Chamber at Hampton Court Palace, while preparing a section on Elizabethan music for Historic Royal Palace's Futurelearn course on Tudor entertainment.
Augustine Bassano: Pavan
From Egerton MS 3665Robin Jeffrey: lute
Tamsin Lewis: renaissance violinhttps://www.youtube.com/watch?v=R0rC0gVr2ig&ab_channel=Passamezzo
#earlymusic #earlymusicensemble #earlymodern #histodon #histodons #tudor #tudors #16thCentury #sixteenthcentury #hamptoncourt #hamptoncourtpalace #futurelearn #elizabethan #violin #lute #violinist #lutenist #tapestry #elizabethan
@earlymusic @earlymodern @histodons @histodon -
Today's video was one of the last things that we did before lockdown in March 2020... It was filmed in the Great Watching Chamber at Hampton Court Palace, while preparing a section on Elizabethan music for Historic Royal Palace's Futurelearn course on Tudor entertainment.
Augustine Bassano: Pavan
From Egerton MS 3665Robin Jeffrey: lute
Tamsin Lewis: renaissance violinhttps://www.youtube.com/watch?v=R0rC0gVr2ig&ab_channel=Passamezzo
#earlymusic #earlymusicensemble #earlymodern #histodon #histodons #tudor #tudors #16thCentury #sixteenthcentury #hamptoncourt #hamptoncourtpalace #futurelearn #elizabethan #violin #lute #violinist #lutenist #tapestry #elizabethan
@earlymusic @earlymodern @histodons @histodon -
Today's video was one of the last things that we did before lockdown in March 2020... It was filmed in the Great Watching Chamber at Hampton Court Palace, while preparing a section on Elizabethan music for Historic Royal Palace's Futurelearn course on Tudor entertainment.
Augustine Bassano: Pavan
From Egerton MS 3665Robin Jeffrey: lute
Tamsin Lewis: renaissance violinhttps://www.youtube.com/watch?v=R0rC0gVr2ig&ab_channel=Passamezzo
#earlymusic #earlymusicensemble #earlymodern #histodon #histodons #tudor #tudors #16thCentury #sixteenthcentury #hamptoncourt #hamptoncourtpalace #futurelearn #elizabethan #violin #lute #violinist #lutenist #tapestry #elizabethan
@earlymusic @earlymodern @histodons @histodon -
Today's video was one of the last things that we did before lockdown in March 2020... It was filmed in the Great Watching Chamber at Hampton Court Palace, while preparing a section on Elizabethan music for Historic Royal Palace's Futurelearn course on Tudor entertainment.
Augustine Bassano: Pavan
From Egerton MS 3665Robin Jeffrey: lute
Tamsin Lewis: renaissance violinhttps://www.youtube.com/watch?v=R0rC0gVr2ig&ab_channel=Passamezzo
#earlymusic #earlymusicensemble #earlymodern #histodon #histodons #tudor #tudors #16thCentury #sixteenthcentury #hamptoncourt #hamptoncourtpalace #futurelearn #elizabethan #violin #lute #violinist #lutenist #tapestry #elizabethan
@earlymusic @earlymodern @histodons @histodon -
Today's video was one of the last things that we did before lockdown in March 2020... It was filmed in the Great Watching Chamber at Hampton Court Palace, while preparing a section on Elizabethan music for Historic Royal Palace's Futurelearn course on Tudor entertainment.
Augustine Bassano: Pavan
From Egerton MS 3665Robin Jeffrey: lute
Tamsin Lewis: renaissance violinhttps://www.youtube.com/watch?v=R0rC0gVr2ig&ab_channel=Passamezzo
#earlymusic #earlymusicensemble #earlymodern #histodon #histodons #tudor #tudors #16thCentury #sixteenthcentury #hamptoncourt #hamptoncourtpalace #futurelearn #elizabethan #violin #lute #violinist #lutenist #tapestry #elizabethan
@earlymusic @earlymodern @histodons @histodon -
CW: astronomical hyper, cum inflation
Stuck between a rock-hard Rioluff and a, uh, pretty soft, squishy, burgeoning, boundlessly stretching cosmic displacement.
For https://twitter.com/dusk_rioluff and https://www.furaffinity.net/user/bassman97
#mink_art #furry #furryart #hyper #astronomical_hyper #cum_inflation #cum #riolu #rockruff #rioluff
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Insomniac – Om Moksha Ritam Review
By Samguineous Maximus
The terms “psychedelic” and “post-metal” are usually enough for me to approach any new release with caution—not because those genres lack excellent music, but because they’re so often associated with overlong, unfocused songs. For every Cult of Luna or Oranssi Pazuzu, there are fifty bands peddling overlong, riffless dirges that mistake “atmosphere” for actual songwriting. Atlanta supergroup Insomniac has arrived with their debut record Om Moksha Ritam, with the ominous self-designation of “post-doom.” The title, loosely translated from Sanskrit as “Liberation through merging with the Universal Rhythm,”1 foregrounds its ambitions as a concept album designed to “guide listeners through an aural and spiritual journey across multiple extreme environments.” Have Insomniac crafted a narrative listening experience that successfully conveys its metaphysical aspirations? Or is their debut the “post-doom” equivalent of a bad trip?
On Om Moksha Ritam, Insomniac manages to craft a sound that is immediately recognizable yet distinctly their own. They merge the progressive psychedelia of Elder with the layered, textural approach of REZN, all filtered through the Southern-gothic tinge of fellow Georgians Baroness. The result is a body of songs that draw equally from the contemplative exploration of ’70s prog, Americana-dipped blues rock, and the anthemic heft of post-metal’s sludgier, power-chord-driven moments. What makes this combination work is not just the intuitive chemistry of the instrumentalists, but the commanding presence of vocalist Van Bassman. Each track is surprisingly vocal-driven, and Bassman conjures a sound somewhere between a bluesier Dax Riggs and a John Baizley who’s actually capable of singing. His baritone sits front and center for much of Om Moksha Ritam, often accompanied by vocal layers and effects, creating a kaleidoscopic swirl that amplifies the ebb and flow of the music as it moves between peaks and valleys.
It helps that Om Moksha Ritam’s tracklist is dynamic and well-paced, with each of its 7 songs offering subtle differentiation on Insomniac’s core formula. Much of this can be attributed to the interplay between guitarists Alex Avedissian and Mike Morris,2 whose willingness to balance acoustic and effects-laden electric timbres gives the record a versatile and interesting palette. The guitars ferry the songs between quiet reflection and crushing grandeur. Whether it’s weaving intricate folky arpeggios together with tripped-out leads (“Desert”), harmonizing across doomy atmospheres (“Mountain”) or using post-rock tremolos to punctuate a well-earned climax (“Meditation), the guitar work on Om Moksha Ritam is consistently engaging and varied. Of course, this would be for naught without a strong rhythm section, but Insomniac has that as well. Drummer Amos Rifkin brings a loose, delicate touch to softer tracks like “Sea” and “Forest,” but escalates with thunderous weight when the music demands greater intensity. Meanwhile, bassist Juan Garcia provides a warm, full-bodied tone that both supports and embellishes the melodic core, keeping the songs anchored amid the dense layering of guitars and vocals, which is important on a track like the expansive and sprawling “Snow and Ice.”
Only a few minor inconsistencies keep Om Moksha Ritam from reaching the apex of Insomniac’s sound. The B-side leans away from emphatic “Hell yes” moments in favor of slower, navel-gazing jams. These tracks reward repeat listens but aren’t as immediately gripping. Closer “Awakening” falls just shy of the monumental highs of the opening salvo, with a climactic chorus that doesn’t land as powerfully as it could. For the most part, the record sounds fantastic and balances its many intricate layers, though there are moments (the refrains of “Mountain” and “Sea”) where Bassman’s voice overpowers the rest of the band in a psychedelic spiral. These issues don’t detract too heavily from the record’s overall impact, but they are worth noting.
Om Moksha Ritam takes you on a hallucinogenic trek across the desert, riffs shimmering like heat mirages, the atmosphere thick enough to choke a camel. Insomniac has delivered an album that takes listeners on a true musical journey, drenched in smoke-filled vibes, yet immediately rewarding. Their unique, psychedelic strain of “post-doom” metal blends familiar elements from beloved bands into something greater than the sum of its parts. If Insomniac invite me on another spiritual vision quest through the wastelands of sound, I’ll happily lace up my sandals, pack my water skin, and follow them straight into the void.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Blues Funeral Recording
Websites: insomniacvibes.bandcamp.com | facebook.com/insomniacatl
Releases Worldwide: September 1st, 2025#2025 #35 #AmeircanMetal #Baroness #BluesFuneralRecording #BluesRock #CultOfLuna #DoomMetal #Elder #Insomniac #OmMokshaRitam #OranssiPazuzu #PostRock #PostMetal #ProgressiveMetal #PsychedelicMetal #PsychedelicRock #Review #Reviews #REZN #Sep25
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Insomniac – Om Moksha Ritam Review
By Samguineous Maximus
The terms “psychedelic” and “post-metal” are usually enough for me to approach any new release with caution—not because those genres lack excellent music, but because they’re so often associated with overlong, unfocused songs. For every Cult of Luna or Oranssi Pazuzu, there are fifty bands peddling overlong, riffless dirges that mistake “atmosphere” for actual songwriting. Atlanta supergroup Insomniac has arrived with their debut record Om Moksha Ritam, with the ominous self-designation of “post-doom.” The title, loosely translated from Sanskrit as “Liberation through merging with the Universal Rhythm,”1 foregrounds its ambitions as a concept album designed to “guide listeners through an aural and spiritual journey across multiple extreme environments.” Have Insomniac crafted a narrative listening experience that successfully conveys its metaphysical aspirations? Or is their debut the “post-doom” equivalent of a bad trip?
On Om Moksha Ritam, Insomniac manages to craft a sound that is immediately recognizable yet distinctly their own. They merge the progressive psychedelia of Elder with the layered, textural approach of REZN, all filtered through the Southern-gothic tinge of fellow Georgians Baroness. The result is a body of songs that draw equally from the contemplative exploration of ’70s prog, Americana-dipped blues rock, and the anthemic heft of post-metal’s sludgier, power-chord-driven moments. What makes this combination work is not just the intuitive chemistry of the instrumentalists, but the commanding presence of vocalist Van Bassman. Each track is surprisingly vocal-driven, and Bassman conjures a sound somewhere between a bluesier Dax Riggs and a John Baizley who’s actually capable of singing. His baritone sits front and center for much of Om Moksha Ritam, often accompanied by vocal layers and effects, creating a kaleidoscopic swirl that amplifies the ebb and flow of the music as it moves between peaks and valleys.
It helps that Om Moksha Ritam’s tracklist is dynamic and well-paced, with each of its 7 songs offering subtle differentiation on Insomniac’s core formula. Much of this can be attributed to the interplay between guitarists Alex Avedissian and Mike Morris,2 whose willingness to balance acoustic and effects-laden electric timbres gives the record a versatile and interesting palette. The guitars ferry the songs between quiet reflection and crushing grandeur. Whether it’s weaving intricate folky arpeggios together with tripped-out leads (“Desert”), harmonizing across doomy atmospheres (“Mountain”) or using post-rock tremolos to punctuate a well-earned climax (“Meditation), the guitar work on Om Moksha Ritam is consistently engaging and varied. Of course, this would be for naught without a strong rhythm section, but Insomniac has that as well. Drummer Amos Rifkin brings a loose, delicate touch to softer tracks like “Sea” and “Forest,” but escalates with thunderous weight when the music demands greater intensity. Meanwhile, bassist Juan Garcia provides a warm, full-bodied tone that both supports and embellishes the melodic core, keeping the songs anchored amid the dense layering of guitars and vocals, which is important on a track like the expansive and sprawling “Snow and Ice.”
Only a few minor inconsistencies keep Om Moksha Ritam from reaching the apex of Insomniac’s sound. The B-side leans away from emphatic “Hell yes” moments in favor of slower, navel-gazing jams. These tracks reward repeat listens but aren’t as immediately gripping. Closer “Awakening” falls just shy of the monumental highs of the opening salvo, with a climactic chorus that doesn’t land as powerfully as it could. For the most part, the record sounds fantastic and balances its many intricate layers, though there are moments (the refrains of “Mountain” and “Sea”) where Bassman’s voice overpowers the rest of the band in a psychedelic spiral. These issues don’t detract too heavily from the record’s overall impact, but they are worth noting.
Om Moksha Ritam takes you on a hallucinogenic trek across the desert, riffs shimmering like heat mirages, the atmosphere thick enough to choke a camel. Insomniac has delivered an album that takes listeners on a true musical journey, drenched in smoke-filled vibes, yet immediately rewarding. Their unique, psychedelic strain of “post-doom” metal blends familiar elements from beloved bands into something greater than the sum of its parts. If Insomniac invite me on another spiritual vision quest through the wastelands of sound, I’ll happily lace up my sandals, pack my water skin, and follow them straight into the void.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Blues Funeral Recording
Websites: insomniacvibes.bandcamp.com | facebook.com/insomniacatl
Releases Worldwide: September 1st, 2025#2025 #35 #AmeircanMetal #Baroness #BluesFuneralRecording #BluesRock #CultOfLuna #DoomMetal #Elder #Insomniac #OmMokshaRitam #OranssiPazuzu #PostRock #PostMetal #ProgressiveMetal #PsychedelicMetal #PsychedelicRock #Review #Reviews #REZN #Sep25
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Insomniac – Om Moksha Ritam Review
By Samguineous Maximus
The terms “psychedelic” and “post-metal” are usually enough for me to approach any new release with caution—not because those genres lack excellent music, but because they’re so often associated with overlong, unfocused songs. For every Cult of Luna or Oranssi Pazuzu, there are fifty bands peddling overlong, riffless dirges that mistake “atmosphere” for actual songwriting. Atlanta supergroup Insomniac has arrived with their debut record Om Moksha Ritam, with the ominous self-designation of “post-doom.” The title, loosely translated from Sanskrit as “Liberation through merging with the Universal Rhythm,”1 foregrounds its ambitions as a concept album designed to “guide listeners through an aural and spiritual journey across multiple extreme environments.” Have Insomniac crafted a narrative listening experience that successfully conveys its metaphysical aspirations? Or is their debut the “post-doom” equivalent of a bad trip?
On Om Moksha Ritam, Insomniac manages to craft a sound that is immediately recognizable yet distinctly their own. They merge the progressive psychedelia of Elder with the layered, textural approach of REZN, all filtered through the Southern-gothic tinge of fellow Georgians Baroness. The result is a body of songs that draw equally from the contemplative exploration of ’70s prog, Americana-dipped blues rock, and the anthemic heft of post-metal’s sludgier, power-chord-driven moments. What makes this combination work is not just the intuitive chemistry of the instrumentalists, but the commanding presence of vocalist Van Bassman. Each track is surprisingly vocal-driven, and Bassman conjures a sound somewhere between a bluesier Dax Riggs and a John Baizley who’s actually capable of singing. His baritone sits front and center for much of Om Moksha Ritam, often accompanied by vocal layers and effects, creating a kaleidoscopic swirl that amplifies the ebb and flow of the music as it moves between peaks and valleys.
It helps that Om Moksha Ritam’s tracklist is dynamic and well-paced, with each of its 7 songs offering subtle differentiation on Insomniac’s core formula. Much of this can be attributed to the interplay between guitarists Alex Avedissian and Mike Morris,2 whose willingness to balance acoustic and effects-laden electric timbres gives the record a versatile and interesting palette. The guitars ferry the songs between quiet reflection and crushing grandeur. Whether it’s weaving intricate folky arpeggios together with tripped-out leads (“Desert”), harmonizing across doomy atmospheres (“Mountain”) or using post-rock tremolos to punctuate a well-earned climax (“Meditation), the guitar work on Om Moksha Ritam is consistently engaging and varied. Of course, this would be for naught without a strong rhythm section, but Insomniac has that as well. Drummer Amos Rifkin brings a loose, delicate touch to softer tracks like “Sea” and “Forest,” but escalates with thunderous weight when the music demands greater intensity. Meanwhile, bassist Juan Garcia provides a warm, full-bodied tone that both supports and embellishes the melodic core, keeping the songs anchored amid the dense layering of guitars and vocals, which is important on a track like the expansive and sprawling “Snow and Ice.”
Only a few minor inconsistencies keep Om Moksha Ritam from reaching the apex of Insomniac’s sound. The B-side leans away from emphatic “Hell yes” moments in favor of slower, navel-gazing jams. These tracks reward repeat listens but aren’t as immediately gripping. Closer “Awakening” falls just shy of the monumental highs of the opening salvo, with a climactic chorus that doesn’t land as powerfully as it could. For the most part, the record sounds fantastic and balances its many intricate layers, though there are moments (the refrains of “Mountain” and “Sea”) where Bassman’s voice overpowers the rest of the band in a psychedelic spiral. These issues don’t detract too heavily from the record’s overall impact, but they are worth noting.
Om Moksha Ritam takes you on a hallucinogenic trek across the desert, riffs shimmering like heat mirages, the atmosphere thick enough to choke a camel. Insomniac has delivered an album that takes listeners on a true musical journey, drenched in smoke-filled vibes, yet immediately rewarding. Their unique, psychedelic strain of “post-doom” metal blends familiar elements from beloved bands into something greater than the sum of its parts. If Insomniac invite me on another spiritual vision quest through the wastelands of sound, I’ll happily lace up my sandals, pack my water skin, and follow them straight into the void.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Blues Funeral Recording
Websites: insomniacvibes.bandcamp.com | facebook.com/insomniacatl
Releases Worldwide: September 1st, 2025#2025 #35 #AmeircanMetal #Baroness #BluesFuneralRecording #BluesRock #CultOfLuna #DoomMetal #Elder #Insomniac #OmMokshaRitam #OranssiPazuzu #PostRock #PostMetal #ProgressiveMetal #PsychedelicMetal #PsychedelicRock #Review #Reviews #REZN #Sep25
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Insomniac – Om Moksha Ritam Review
By Samguineous Maximus
The terms “psychedelic” and “post-metal” are usually enough for me to approach any new release with caution—not because those genres lack excellent music, but because they’re so often associated with overlong, unfocused songs. For every Cult of Luna or Oranssi Pazuzu, there are fifty bands peddling overlong, riffless dirges that mistake “atmosphere” for actual songwriting. Atlanta supergroup Insomniac has arrived with their debut record Om Moksha Ritam, with the ominous self-designation of “post-doom.” The title, loosely translated from Sanskrit as “Liberation through merging with the Universal Rhythm,”1 foregrounds its ambitions as a concept album designed to “guide listeners through an aural and spiritual journey across multiple extreme environments.” Have Insomniac crafted a narrative listening experience that successfully conveys its metaphysical aspirations? Or is their debut the “post-doom” equivalent of a bad trip?
On Om Moksha Ritam, Insomniac manages to craft a sound that is immediately recognizable yet distinctly their own. They merge the progressive psychedelia of Elder with the layered, textural approach of REZN, all filtered through the Southern-gothic tinge of fellow Georgians Baroness. The result is a body of songs that draw equally from the contemplative exploration of ’70s prog, Americana-dipped blues rock, and the anthemic heft of post-metal’s sludgier, power-chord-driven moments. What makes this combination work is not just the intuitive chemistry of the instrumentalists, but the commanding presence of vocalist Van Bassman. Each track is surprisingly vocal-driven, and Bassman conjures a sound somewhere between a bluesier Dax Riggs and a John Baizley who’s actually capable of singing. His baritone sits front and center for much of Om Moksha Ritam, often accompanied by vocal layers and effects, creating a kaleidoscopic swirl that amplifies the ebb and flow of the music as it moves between peaks and valleys.
It helps that Om Moksha Ritam’s tracklist is dynamic and well-paced, with each of its 7 songs offering subtle differentiation on Insomniac’s core formula. Much of this can be attributed to the interplay between guitarists Alex Avedissian and Mike Morris,2 whose willingness to balance acoustic and effects-laden electric timbres gives the record a versatile and interesting palette. The guitars ferry the songs between quiet reflection and crushing grandeur. Whether it’s weaving intricate folky arpeggios together with tripped-out leads (“Desert”), harmonizing across doomy atmospheres (“Mountain”) or using post-rock tremolos to punctuate a well-earned climax (“Meditation), the guitar work on Om Moksha Ritam is consistently engaging and varied. Of course, this would be for naught without a strong rhythm section, but Insomniac has that as well. Drummer Amos Rifkin brings a loose, delicate touch to softer tracks like “Sea” and “Forest,” but escalates with thunderous weight when the music demands greater intensity. Meanwhile, bassist Juan Garcia provides a warm, full-bodied tone that both supports and embellishes the melodic core, keeping the songs anchored amid the dense layering of guitars and vocals, which is important on a track like the expansive and sprawling “Snow and Ice.”
Only a few minor inconsistencies keep Om Moksha Ritam from reaching the apex of Insomniac’s sound. The B-side leans away from emphatic “Hell yes” moments in favor of slower, navel-gazing jams. These tracks reward repeat listens but aren’t as immediately gripping. Closer “Awakening” falls just shy of the monumental highs of the opening salvo, with a climactic chorus that doesn’t land as powerfully as it could. For the most part, the record sounds fantastic and balances its many intricate layers, though there are moments (the refrains of “Mountain” and “Sea”) where Bassman’s voice overpowers the rest of the band in a psychedelic spiral. These issues don’t detract too heavily from the record’s overall impact, but they are worth noting.
Om Moksha Ritam takes you on a hallucinogenic trek across the desert, riffs shimmering like heat mirages, the atmosphere thick enough to choke a camel. Insomniac has delivered an album that takes listeners on a true musical journey, drenched in smoke-filled vibes, yet immediately rewarding. Their unique, psychedelic strain of “post-doom” metal blends familiar elements from beloved bands into something greater than the sum of its parts. If Insomniac invite me on another spiritual vision quest through the wastelands of sound, I’ll happily lace up my sandals, pack my water skin, and follow them straight into the void.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Blues Funeral Recording
Websites: insomniacvibes.bandcamp.com | facebook.com/insomniacatl
Releases Worldwide: September 1st, 2025#2025 #35 #AmeircanMetal #Baroness #BluesFuneralRecording #BluesRock #CultOfLuna #DoomMetal #Elder #Insomniac #OmMokshaRitam #OranssiPazuzu #PostRock #PostMetal #ProgressiveMetal #PsychedelicMetal #PsychedelicRock #Review #Reviews #REZN #Sep25
