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60 results for “ItsBrilliant”
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Crimson Rosella Parrot Decorative Bird Art 🌿🌹🌿
https://jan-matson.pixels.com/featured/crimson-rosella-parrot-decorative-bird-art-jan-matson.html
The Crimson Rosella is one of Australia’s most beautiful native parrots, loved for its brilliant red plumage and striking blue markings.#CrimsonRosella #BirdArt #InteriorDesignArt #DecorativeArt #JanMatsonArt #AustralianWildlifeArt #BirdArt #BirdArtist #birds #bird #artist #painting #BirdsOfMastodon #CreativeToots #parrot #AustralianParrot #AustralianBirds #BirdPainting
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Crimson Rosella Parrot Decorative Bird Art 🌿🌹🌿
https://jan-matson.pixels.com/featured/crimson-rosella-parrot-decorative-bird-art-jan-matson.html
The Crimson Rosella is one of Australia’s most beautiful native parrots, loved for its brilliant red plumage and striking blue markings.#CrimsonRosella #BirdArt #InteriorDesignArt #DecorativeArt #JanMatsonArt #AustralianWildlifeArt #BirdArt #BirdArtist #birds #bird #artist #painting #BirdsOfMastodon #CreativeToots #parrot #AustralianParrot #AustralianBirds #BirdPainting
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Crimson Rosella Parrot Decorative Bird Art 🌿🌹🌿
https://jan-matson.pixels.com/featured/crimson-rosella-parrot-decorative-bird-art-jan-matson.html
The Crimson Rosella is one of Australia’s most beautiful native parrots, loved for its brilliant red plumage and striking blue markings.#CrimsonRosella #BirdArt #InteriorDesignArt #DecorativeArt #JanMatsonArt #AustralianWildlifeArt #BirdArt #BirdArtist #birds #bird #artist #painting #BirdsOfMastodon #CreativeToots #parrot #AustralianParrot #AustralianBirds #BirdPainting
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Devolver's Steam sale is now on, so I'm using it as an excuse to tell you about its brilliant oddball horror adventure Look Outside
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Devolver's Steam sale is now on, so I'm using it as an excuse to tell you about its brilliant oddball horror adventure Look Outside
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Devolver's Steam sale is now on, so I'm using it as an excuse to tell you about its brilliant oddball horror adventure Look Outside
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Devolver's Steam sale is now on, so I'm using it as an excuse to tell you about its brilliant oddball horror adventure Look Outside
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Devolver's Steam sale is now on, so I'm using it as an excuse to tell you about its brilliant oddball horror adventure Look Outside
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“Western Meadowlark” — A western meadowlark wings while perched in winter bull rushes, Central Valley.
Few birds can brighten a gray, foggy morning as well as the western meadowlark. Its brilliant yellow coloration stands out in the blue-gray foggy landscape. But that’s not all — its song is effusive and cheery. I hear that I’m not the only one who counts it as a favorite…continues: https://gdanmitchell.com/2024/02/19/western-meadowlark-2/
#birds #meadowlark #wildlifephotography #wildlife #nature #naturephotography #centralvalley #fog #photography
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Listening to Anna B Savage's brand new album, in|FLUX. Inventive and unusual, and a step on from its brilliant predecessor, A Common Turn.
https://open.spotify.com/album/65k9o0mZEhxBLqeOAP2psB?si=06bKRGqsQoWBa6271K8UyQ
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Listening to Anna B Savage's brand new album, in|FLUX. Inventive and unusual, and a step on from its brilliant predecessor, A Common Turn.
https://open.spotify.com/album/65k9o0mZEhxBLqeOAP2psB?si=06bKRGqsQoWBa6271K8UyQ
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Listening to Anna B Savage's brand new album, in|FLUX. Inventive and unusual, and a step on from its brilliant predecessor, A Common Turn.
https://open.spotify.com/album/65k9o0mZEhxBLqeOAP2psB?si=06bKRGqsQoWBa6271K8UyQ
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Army Corps Cat Calendar Engineered So Bad It's Good
https://www.zmescience.com/other/offbeat-other/the-us-army-corp-of-engineers-new-cat-calendar-is-so-bad-its-brilliant/ via ZME Science
Photo: US Army via ZME Science
#CorpsOfEngineers #USArmy #Cats #Calendars -
Blue-Ringed Octopus: Small, Stunning, and Seriously Dangerous
During a dive trip to Dauin, Philippines, I was fortunate to spot an incredible ocean creature: the fearsome Blue-ringed octopus. Roughly the size of a golf ball, this tiny cephalopod doesn’t look intimidating at first glance. But when threatened, it lights up with neon-blue rings. It’s an unforgettable sight. The display serves as a reminder of just how wild the underwater world can be.
A Mesmerizing and Deadly Defense Mechanism
The Blue-ringed octopus is known for its brilliant iridescent rings, which pulse with color when the animal feels threatened. It’s a mesmerizing display—almost like it’s glowing from within. Behind that beauty is a serious defense mechanism. Its venom contains tetrodotoxin, a powerful neurotoxin. This toxin can paralyze and, in rare cases, kill a human within minutes. It is even more dangerous because it often appears calm and unassuming—until provoked.
Despite its deadly potential, the Blue-ringed octopus is not aggressive. Like most marine life, it only flashes its warning colors when it feels threatened. Responsible divers know to admire from a distance and respect its space.
The Mighty Blue-ringed OctopusMacro Photography in Dauin
Dauin is a dream destination for macro underwater photographers. Black sand slopes and scattered coral patches create a perfect environment for rare critters. Some of these creatures are frogfish, ghost pipefish, flamboyant cuttlefish, and, of course, the Blue-ringed octopus. Finding one on a dive is a mix of luck, timing, and a good spotter—but when it happens, it’s magic.
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So after much community backlash #GATK has reverted back to the ./. representation for no-calls.
The question is, will something like this occur again? and how many people have already switched away to other tools like #bcftools.
I know I have moved all my pipelines back to bcftools and honestly its brilliant.
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#NowPlaying: #TheWake - Here Comes Everybody
2020 UK reissue on clear #vinyl.A friend recommended this album to me and it was a Factory record, so I bought this immediately when I saw it was 50% off. This album has a very mellow, twilight vibe to it, especially Melancholy Man. That song listens like a summer evening. I like how the entirety of the album is very consistent, with every song feeling exactly in place and all tracks sounding alike, but this could very well be this album's pitfall. A track like World Of Her Own stands out, though, because of its brilliant harmonica work. This album is brilliant to put the listener in a contemplative mood.
Side note: the band followed me on (then) Twitter after I had posted a meme about them.
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Looks like someone is making maximum out of the `rpm-ostree`. I definitely need to try Universal Blue. I really have a feeling that immutable distributions are the thing to watch and there is a lot to come in that area.
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CW: Review of TÁR (2022)
Okay, perhaps this is more "aimless gushing" ... but seriously, TÁR slaps. You've heard the critical press, but this film is a cut above many films that are called great.
Its brilliant screenplay is a reminder that sometimes extraordinary films spend a long time being refined.
https://letterboxd.com/attentive/film/tar-2022/
Glad I waited for a big screen.
#Film #FilmReview #Review #Filmastodon #Cinema #Cinemastodon #CateBlanchett #ToddField @film
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#WangYibo #dance #streetdance #hiphop
Found this cute vid on Wang Yibo's dancing. I really love the way Wang Yibo moves. He puts so much thought into everything he does, and his body control is god-like.The vid is kind of tongue in cheek, but her conclusion is that Wang Yibo always takes dance battles seriously. I agree, and its brilliant!
https://www.youtube.com/watch?v=BwmoD9lN40M -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
“When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)commentary
“When Harry Met Sally” is Rob Reiner’s everlasting message of love
A classic scene written to reflect Reiner’s love for his wife, Michele, embraces a brighter future
By Coleman Spilde, Senior Writer, Published December 17, 2025 12:00PM (EST)
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)It’s almost time for the page to turn again. Whether we like it or not, time marches on, the year comes to a close and we reflect on everything that’s happened. It’s a time for old friends, new loves, and speaking to our feelings so that we don’t dare carry a single burden into another year.
Needless to say, shaking off 2025 will require quite a bit of verbal blotting. The year has felt like a century, at best, and just when things were supposed to wind down and get quiet, a weekend of tumult and tragedy reminded the world just how much we’re suffering.
An antisemitic massacre during a Hanukkah celebration at Australia’s Bondi Beach. A shooting at Brown University killed two students and injured nine others. And, late Sunday night, the horrific, violent deaths of Hollywood legend Rob Reiner and his wife, Michele Singer Reiner, purportedly at the hands of their son, Nick. The extent of the horror is indescribable, and it’s occurring on a global scale. And, yes, it often feels as though the weight of it is too much to bear. All we’re left with is confusion and the frustrating feeling of helplessness. We are at our wits’ end. There is no more avoiding, no more pretending. Something has got to change as soon as possible.
There’s something to that. I don’t mean to sound trite or wilfully glib, but it’s merely the truth that every ending is followed by a beginning. Reiner’s seminal film “When Harry Met Sally” is full of them — beginnings and endings, false starts and full stops. It’s a movie for dreamers, realists and romantics alike, the kind of film that’s so fantastic and so painfully human that its brilliant existence is reason enough to believe in good things. Reiner’s filmography was full of these gems, with stunners like “Stand By Me” and “The Princess Bride” that defined not just their era but people’s entire lives.
(Emma McIntyre/Getty Images for TCM) Rob Reiner, Meg Ryan and Billy Crystal attend The 30th Anniversary Screening of “When Harry Met Sally…” on April 11, 2019 in Hollywood, California.Loving openly and candidly shouldn’t feel like a radical act, but in a world proliferated with violence and hatred, it’s become one.
“When Harry Met Sally,” however, is a special kind of classic. It’s no mere comfort watch, and certainly no chick flick. It’s a film for autumn, winter, spring and summer, just as much of a Christmas and New Year’s movie as it is a Valentine’s Day or anniversary movie. In its bones, there is a deep, true love that is the result of a close working relationship with screenwriter Nora Ephron, stars Billy Crystal and Meg Ryan, and Reiner’s wife, Michele, whom he met and fell in love with during production. Their passion incited a change of the film’s ending, and in turn, one of the all-time great professions of love ever captured on film — a change of fate, right at the stroke of midnight. Call it lightning in a bottle. Call it evidence of magic. Call it a kernel of hope to hold onto as we turn the page.
Related, The questions “When Harry Met Sally” make us consider today
In Kristin Marguerite Doidge’s 2022 biography of Ephron, the author peers into the fascinating details behind Ephron and Reiner’s long-gestating film, which began as an idea tossed toward Ephron from Reiner after a few lunch meetings. It was over those meals where Ephron became intrigued with the way Reiner talked about his bachelorhood. His anecdotes would become the basis for Crystal’s character, Harry, while Ryan’s witty foil, Sally, was the embodiment of Ephron’s sharp and observant eye. “This is a talk piece,” Reiner said about the film in 1985. “There are no chase scenes, no food fights. This is walks, phones, restaurants, movies.”
Editor’s Note: Movie information below, a new feature from DWD. –DrWeb
When Harry Met Sally... Plot: Sex always gets in the way of friendships between men and women. At least, that's what Harry Burns believes. So when Harry meets Sally Albright and a deep friendship blossoms between them, Harry's determined not to let his attraction to Sally destroy it. But when a night of weakness ends in a morning of panic, can the pair avoid succumbing to Harry's fears by remaining friends and admitting they just might be the perfect match for each other? The Movie DB: 7.404/10 Information Runtime: 96 min Genre: Comedy, Romance, Drama Language: English Country: United States of America Budget: $16,000,000 Revenue: $92,823,546 Homepage: Release date: July 12 1989A talk piece, indeed. While it’s Ephron’s characteristically strong dialogue and flair for realism that so many viewers fall head over heels for, Reiner’s blissfully simplistic direction is what captures the spark of two people slowly falling in love. Across years, Reiner follows Harry and Sally from their first meeting during a long-haul drive after college through their reconnection and eventual friendship and flirtation. There are long walks and even longer talks, conversations in book stores, on the leaf-strewn concrete sidewalks of a bygone era of New York City and, of course, on the phone.
Ephron based the late-night phone conversations between Sally and Harry on Reiner’s frequent talks with Crystal, when the two would watch something on television together and provide commentary throughout. From Sally’s overly particular restaurant orders to Harry’s shock that women fake orgasms, all of it came out in the development process between Ephron and Reiner, and made it into the script. “When Harry Met Sally” rings so true because there isn’t a single false note in its lovely sonata.
Continue/Read Original Article Here: “When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
#1989 #BillyCrystal #Director #Everlasting #MegRyan #MessageOfLove #NoraEphron #RobReiner #Salon #SalonCom #WhenHarryMetSally -
“When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)commentary
“When Harry Met Sally” is Rob Reiner’s everlasting message of love
A classic scene written to reflect Reiner’s love for his wife, Michele, embraces a brighter future
By Coleman Spilde, Senior Writer, Published December 17, 2025 12:00PM (EST)
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)It’s almost time for the page to turn again. Whether we like it or not, time marches on, the year comes to a close and we reflect on everything that’s happened. It’s a time for old friends, new loves, and speaking to our feelings so that we don’t dare carry a single burden into another year.
Needless to say, shaking off 2025 will require quite a bit of verbal blotting. The year has felt like a century, at best, and just when things were supposed to wind down and get quiet, a weekend of tumult and tragedy reminded the world just how much we’re suffering.
An antisemitic massacre during a Hanukkah celebration at Australia’s Bondi Beach. A shooting at Brown University killed two students and injured nine others. And, late Sunday night, the horrific, violent deaths of Hollywood legend Rob Reiner and his wife, Michele Singer Reiner, purportedly at the hands of their son, Nick. The extent of the horror is indescribable, and it’s occurring on a global scale. And, yes, it often feels as though the weight of it is too much to bear. All we’re left with is confusion and the frustrating feeling of helplessness. We are at our wits’ end. There is no more avoiding, no more pretending. Something has got to change as soon as possible.
There’s something to that. I don’t mean to sound trite or wilfully glib, but it’s merely the truth that every ending is followed by a beginning. Reiner’s seminal film “When Harry Met Sally” is full of them — beginnings and endings, false starts and full stops. It’s a movie for dreamers, realists and romantics alike, the kind of film that’s so fantastic and so painfully human that its brilliant existence is reason enough to believe in good things. Reiner’s filmography was full of these gems, with stunners like “Stand By Me” and “The Princess Bride” that defined not just their era but people’s entire lives.
(Emma McIntyre/Getty Images for TCM) Rob Reiner, Meg Ryan and Billy Crystal attend The 30th Anniversary Screening of “When Harry Met Sally…” on April 11, 2019 in Hollywood, California.Loving openly and candidly shouldn’t feel like a radical act, but in a world proliferated with violence and hatred, it’s become one.
“When Harry Met Sally,” however, is a special kind of classic. It’s no mere comfort watch, and certainly no chick flick. It’s a film for autumn, winter, spring and summer, just as much of a Christmas and New Year’s movie as it is a Valentine’s Day or anniversary movie. In its bones, there is a deep, true love that is the result of a close working relationship with screenwriter Nora Ephron, stars Billy Crystal and Meg Ryan, and Reiner’s wife, Michele, whom he met and fell in love with during production. Their passion incited a change of the film’s ending, and in turn, one of the all-time great professions of love ever captured on film — a change of fate, right at the stroke of midnight. Call it lightning in a bottle. Call it evidence of magic. Call it a kernel of hope to hold onto as we turn the page.
Related, The questions “When Harry Met Sally” make us consider today
In Kristin Marguerite Doidge’s 2022 biography of Ephron, the author peers into the fascinating details behind Ephron and Reiner’s long-gestating film, which began as an idea tossed toward Ephron from Reiner after a few lunch meetings. It was over those meals where Ephron became intrigued with the way Reiner talked about his bachelorhood. His anecdotes would become the basis for Crystal’s character, Harry, while Ryan’s witty foil, Sally, was the embodiment of Ephron’s sharp and observant eye. “This is a talk piece,” Reiner said about the film in 1985. “There are no chase scenes, no food fights. This is walks, phones, restaurants, movies.”
Editor’s Note: Movie information below, a new feature from DWD. –DrWeb
When Harry Met Sally... Plot: Sex always gets in the way of friendships between men and women. At least, that's what Harry Burns believes. So when Harry meets Sally Albright and a deep friendship blossoms between them, Harry's determined not to let his attraction to Sally destroy it. But when a night of weakness ends in a morning of panic, can the pair avoid succumbing to Harry's fears by remaining friends and admitting they just might be the perfect match for each other? The Movie DB: 7.404/10 Information Runtime: 96 min Genre: Comedy, Romance, Drama Language: English Country: United States of America Budget: $16,000,000 Revenue: $92,823,546 Homepage: Release date: July 12 1989A talk piece, indeed. While it’s Ephron’s characteristically strong dialogue and flair for realism that so many viewers fall head over heels for, Reiner’s blissfully simplistic direction is what captures the spark of two people slowly falling in love. Across years, Reiner follows Harry and Sally from their first meeting during a long-haul drive after college through their reconnection and eventual friendship and flirtation. There are long walks and even longer talks, conversations in book stores, on the leaf-strewn concrete sidewalks of a bygone era of New York City and, of course, on the phone.
Ephron based the late-night phone conversations between Sally and Harry on Reiner’s frequent talks with Crystal, when the two would watch something on television together and provide commentary throughout. From Sally’s overly particular restaurant orders to Harry’s shock that women fake orgasms, all of it came out in the development process between Ephron and Reiner, and made it into the script. “When Harry Met Sally” rings so true because there isn’t a single false note in its lovely sonata.
Continue/Read Original Article Here: “When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
#1989 #BillyCrystal #Director #Everlasting #MegRyan #MessageOfLove #NoraEphron #RobReiner #Salon #SalonCom #WhenHarryMetSally -
Kev Johns on life as Swansea’s panto dame — 30 years of sparkle at the Grand
Swansea’s favourite pantomime star Kev Johns is back in the spotlight this Christmas, starring in Aladdin at the Grand Theatre. With nearly three decades of panto under his belt, Kev gave Swansea Bay News a glimpse into the glamour, chaos and community spirit that make the festive season so special.
7:00 a.m. Rise and Shine
My wake-up call is 7am. To be honest it’s a bit hard for me to believe I’m now an early riser. Back in college, I was always the last to get out of bed! These days, I like to get up early, I check the news, enjoy my breakfast, and then it’s on with the day…
7.30am. On the Road
I like to leave early as I’m always wary of traffic and I hate the idea of getting stuck and being late even though I only live a few miles away from the theatre. Also, I actually LOVE my dressing room and make it’ home’ for the season, so getting in early suits me fine. For a 10am show I like to be in the theatre just after 8am.
8:30 a.m. A festive wander
If I do arrive early, I love nothing more than a walk around town, soaking up the atmosphere. I love Swansea all the time, but I particularly love it at Christmas. I’ll take the chance to pop into the Market and pick up my cockles and lava bread (You can’t be a Welsh dame unless you enjoy cockles and lava bread – it’s a staple part of the panto diet!).
I’ve been lucky enough to perform in panto in Swansea for most of my career, so a lot of people know me and I like to stop and chat to them. Everybody you see in the city talks about the panto… if they’ve seen it, when they’ll see it, what their favourite bit is! Its brilliant so it can take me quite some time to get through town!
9:00 a.m. Getting into character
Panto is my one chance in the year to be ‘glamorous’ my makeup kit is bigger than my wife and daughters put together! After all these years I’m actually pretty quick at getting my ‘face’ on – shattering the myth that ladies need a long time to get ready. But then I am a natural beauty!
Kev Johns and co-star dazzle in full panto glamour during Aladdin at Swansea Grand Theatre.
(Image: Imagine Theatre)9:30am Dressed to impress
On a three-show day, if we’ve got a 10 a.m. performance I like to be in costume early. The wardrobe team is brilliant, But I try to do as much as I can myself before my dresser knocks. Costumes this year are incredible. My opening number is Barry Manilow’s Copacabana “yellow feathers in my hair”… it’s very Carmen Miranda. For someone who outside of panto usually wears football gear and Doc Martens, stepping out in these costumes always gets a brilliant reaction just in itself!
I have so many different costumes and I have a little area in the wings where I do my quick changes some of which are lightning fast. Each costume has been lovingly crafted and I love to give each one it’s moment.
Funnily enough I don’t struggle with heels. I’m surprisingly natural in them. They wouldn’t let me onto the football pitch in them, mind you! But they’re part of the transformation, and I enjoy that moment when the look comes together.
10:00am – SHOWTIME
Before I go on stage, I always take a quiet moment to focus. Even after all these years and I’ve been doing pantomime since 1992 (not just at the Grand but all over) there’s still that little bit of fear. I think once you lose that, you lose your edge. You can’t be too confident. I always remember an old producer telling us, “It might be your last show of the season, but for the audience, it’s their first.” Every single performance is unique; things happen in panto that don’t happen in any other show, and you have to give 100% every time. I can forgive many things, but never ‘walking it’. You have to be warm, committed, and generous in every performance. And for me, that starts with taking a moment to focus and say a little prayer before I go on – that’s really important to me.
The show itself is a mixture of magic and mayhem – everyone is different and every time I walk onto stage at the grand it’s like a dream come true for me because that’s the theatre, I grew up watching Panto. And you know, the saying is true, there’s no place like home and there is NOTHING like performing in panto. It’s just magical.
Kev Johns brings bath-time brilliance to the stage in one of Aladdin’s most outrageous costumes.Kev Johns and cast bring the magic of Aladdin to life at Swansea Grand Theatre.12.30pm – A quick break
Some days we have three shows others its two, but I tend to stay in the theatre and don’t see the outside again til I leave! I’ll probably eat my lava bread and cockles and relax with a bit of telly. On days like Christmas Eve, when we have a 1 p.m. and a 5 p.m. show, I love a quick wander around town. Grab tea, say hello to people, feel the festive buzz. Sometimes I’ll pop out through the front of house just to hear the chatter about the show. Or I just look out to the empty auditorium – it’s such a beautiful theatre!
2pm – We’ll have to do it again then won’t we!
We are off again! The orchestra strikes up and I’m ready to meet a whole new lot of friends. I love to see the theatre full of children, parents, grandchildren, sometimes four generations. of a family, watching a show together, knowing that this could be the start of their love of theatre and what will keep the industry going. That gives you all the energy you need to do the shows. I’m quite annoyingly energetic but maybe that’s because I love life and I love what I do.
10:00 p.m. – Heading Home in Glitter
Even after a good wash there’s always a little leftover sparkle around my eyes, so I have extra glam on for Christmas My wife just looks at me and tuts. But it feels right. A bit of magic from the Grand!
Kev Johns is joined on stage this year by panto legend Joe Pasquale and Welsh singer Celyn Cartwright, promising a magical family adventure full of laughter, music and sparkle.
Aladdin runs at Swansea Grand Theatre throughout the festive season.
#Aladdin #CelynCartwright #GrandTheatre #GrandTheatrePantomime #JoePasquale #KevJohns #panto #pantomime #PantomimeDame #Swansea #SwanseaGrandTheatre #theatre
🎟️ Tickets are available at swanseagrand.co.uk.
