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1000 results for “darcher”
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Samedi, c’était enquête inquisitrice au service de l’Omnimessie.
#DarkHeresy -
In about 15 minutes, @LesathAstraea and I are going to be on Hana's channel playing #DarkHeresy again!
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Playing #DarkHeresy on Hana's channel, also with @LesathAstraea !
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No stream today because I'm still recovering from travel...
https://twitch.tv/kittlefishvt
But this Friday will be the start of the #DarkHeresy game on Hana's channel!
https://twitch.tv/hana_p_lovecraft
And even... gasp... a face reveal...
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#RPG Freebies, Bundles, and Sales News for April 2, 2023: #DnD Beyond freebies and sale on digital books, lots of free #AprilFools products including #WorldOfDarkness #VampireTheMasquerade the last week of the #TTRPG for Trans Rights bundle, Humble Bundles for #Shadowrun #OSR #Traveller #Warhammer40k #DarkHeresy map creation software, 3D printed miniatures, and more! https://www.enworld.org/threads/rpg-freebies-bundles-and-sales-news-april-2-2023.696953/
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@Leah40K #w40k ist jedenfalls eins meiner Lieblings Universen, hab auch schon einige Bücher gelesen (Burderkriege, Gaunts Geister und und und) hab auch paar mal schon mehrmals #DarkHeresy angefangen zu Spielen aber leider hat die Gruppe meist nicht lang gehalten :rm_crying:
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'Dächer' von Florenz
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Red trashing her shirt
https://bit.ly/32rY2ml?utm_source=dlvr.it&utm_medium=mastodonPassionately ripping her red shirt.
#PotensialOtotWanita
#femalemuscle
#femalefeatsofstrength
#NaistenVoima
#darcerto -
Although I’m often to be found helping out local siren Darkher in all my usual capacities, last weekend reminded me just why the music draws me in.
The final dates of an intimate candlelit tour alongside Grift and Carcass of Sighs, it fell to Stephen and Karen of The Velvet Sheep to handle merchandise and door duties. With my role in the proceedings relegated to driving and mildly-moral support, I could give Jayn’s performance the attention it deserves.
This weekend was one of contrasts, with Saturday showcasing the full band at Hebden Bridge. Veteran guitarist Daniel Land was drafted back into the fold – also opening with his thoughtful solo work. Grift’s wistful reminiscence stood between, as Erik Gärdefors invited the listener to appreciate tender moments of silence in deference to the Scandinavian wilderness.
Then lush sonic soundscapes spilled from the stage of The Trades Club, and all in attendance were engulfed by Darkher’s doom-swept intensity. A few of us swung our hair at the appropriate moments, but most stood awestruck in appreciation, enraptured by the storm.
A gentler refrain was present on Sunday, where once again Todmorden Unitarian Church was transformed into a temple of introspection. Songs once awash in distortion now pared down to a fragile sincerity. An artist and an acoustic guitar, baring her soul in song. With Gareth Hodgson’s experimental percussion reinforcing, but never overwhelming, the delicate atmosphere.
Many visitors from all over Europe came to Yorkshire and beyond for this tour. With new friendships made and old camaraderie reinforced in conversation, it was more than just a simple set of shows.
It was a homecoming.
Eschewing post-gig sleep to drive Erik to an early-morning flight back to Sweden; the dreamlike qualities of Darkher’s music were ever-prevalent.
I’m proud to have done my part, slight as it may have been.
https://heathenstorm.com/2024/03/13/a-weekends-grift-with-darkher/
#darkher #doommetal #grift #livemusic #thetradesclub #thevelvetsheep #todmordenunitarian
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Although I’m often to be found helping out local siren Darkher in all my usual capacities, last weekend reminded me just why the music draws me in.
The final dates of an intimate candlelit tour alongside Grift and Carcass of Sighs, it fell to Stephen and Karen of The Velvet Sheep to handle merchandise and door duties. With my role in the proceedings relegated to driving and mildly-moral support, I could give Jayn’s performance the attention it deserves.
This weekend was one of contrasts, with Saturday showcasing the full band at Hebden Bridge. Veteran guitarist Daniel Land was drafted back into the fold – also opening with his thoughtful solo work. Grift’s wistful reminiscence stood between, as Erik Gärdefors invited the listener to appreciate tender moments of silence in deference to the Scandinavian wilderness.
Then lush sonic soundscapes spilled from the stage of The Trades Club, and all in attendance were engulfed by Darkher’s doom-swept intensity. A few of us swung our hair at the appropriate moments, but most stood awestruck in appreciation, enraptured by the storm.
A gentler refrain was present on Sunday, where once again Todmorden Unitarian Church was transformed into a temple of introspection. Songs once awash in distortion now pared down to a fragile sincerity. An artist and an acoustic guitar, baring her soul in song. With Gareth Hodgson’s experimental percussion reinforcing, but never overwhelming, the delicate atmosphere.
Many visitors from all over Europe came to Yorkshire and beyond for this tour. With new friendships made and old camaraderie reinforced in conversation, it was more than just a simple set of shows.
It was a homecoming.
Eschewing post-gig sleep to drive Erik to an early-morning flight back to Sweden; the dreamlike qualities of Darkher’s music were ever-prevalent.
I’m proud to have done my part, slight as it may have been.
https://heathenstorm.com/2024/03/13/a-weekends-grift-with-darkher/
#darkher #doommetal #grift #livemusic #thetradesclub #thevelvetsheep #todmordenunitarian
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Although I’m often to be found helping out local siren Darkher in all my usual capacities, last weekend reminded me just why the music draws me in.
The final dates of an intimate candlelit tour alongside Grift and Carcass of Sighs, it fell to Stephen and Karen of The Velvet Sheep to handle merchandise and door duties. With my role in the proceedings relegated to driving and mildly-moral support, I could give Jayn’s performance the attention it deserves.
This weekend was one of contrasts, with Saturday showcasing the full band at Hebden Bridge. Veteran guitarist Daniel Land was drafted back into the fold – also opening with his thoughtful solo work. Grift’s wistful reminiscence stood between, as Erik Gärdefors invited the listener to appreciate tender moments of silence in deference to the Scandinavian wilderness.
Then lush sonic soundscapes spilled from the stage of The Trades Club, and all in attendance were engulfed by Darkher’s doom-swept intensity. A few of us swung our hair at the appropriate moments, but most stood awestruck in appreciation, enraptured by the storm.
A gentler refrain was present on Sunday, where once again Todmorden Unitarian Church was transformed into a temple of introspection. Songs once awash in distortion now pared down to a fragile sincerity. An artist and an acoustic guitar, baring her soul in song. With Gareth Hodgson’s experimental percussion reinforcing, but never overwhelming, the delicate atmosphere.
Many visitors from all over Europe came to Yorkshire and beyond for this tour. With new friendships made and old camaraderie reinforced in conversation, it was more than just a simple set of shows.
It was a homecoming.
Eschewing post-gig sleep to drive Erik to an early-morning flight back to Sweden; the dreamlike qualities of Darkher’s music were ever-prevalent.
I’m proud to have done my part, slight as it may have been.
https://heathenstorm.com/2024/03/13/a-weekends-grift-with-darkher/
#darkher #doommetal #grift #livemusic #thetradesclub #thevelvetsheep #todmordenunitarian
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…so viele #Dächer ohne #Fotovoltaik aber, #Atomkraftwerke sollen her
die #Technologieoffenheit von #BR Dr. #Roesti
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…so viele #Dächer ohne #Fotovoltaik aber, #Atomkraftwerke sollen her
die #Technologieoffenheit von #BR Dr. #Roesti
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…so viele #Dächer ohne #Fotovoltaik aber, #Atomkraftwerke sollen her
die #Technologieoffenheit von #BR Dr. #Roesti
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Zum 20. #UNESCO-#Welterbetag heute ein Lesetipp aus dem #Heftarchiv:
➡ Stefanie Samida (@st_samida), #Kulturerbe als Herausforderung: Reflexionen zum ›Heritage-Boom‹ aus fachübergreifender Perspektive, #WerkstattGeschichte 64/2014, https://werkstattgeschichte.de/abstracts/nr-64-stefanie-samida/@histodons @historikerinnen @culturalheritage
#Histodons #CulturalHeritage #WorldHeritageDay #WorldHeritage #Welterbe #WelterbeVerbindet #Kulturwissenschaft #CulturalStudies #DarkHeritage
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By Thus Spoke
In a world where “not metal” is used to deride artists as much as it is to make a factual statement about them, it’s funny how the metalsphere adopts a breadth of musical styles that borrow ‘key’ elements to various minimal degrees. Usually, they end up being grouped under post-metal. So it is that Ellereve lands in the sight of Angry Metal Guy—and more specifically, me. Their sonic palette, which has so far been defined by a largely acoustic, folk-leaning rock, now steps more confidently into post-metal and even post-black, though Elisa Giulia Teschner’s sweet, husky cleans remain the star around which everything orbits. Ellereve’s pivot to a slightly heavier sound is deliberate, reflecting the album’s confrontation of grief and trauma, but maintaining the same distinctive voice (literally and generally).
Like its namesake, Umbra is dark, but in a soft, dreamlike way. The reverberant atmosphere slips between airy weightlessness and dense gravity, as stripped-back liquid plucks and keys trade places with downtuned riffs, and Elisa’s singing also slips between ethereal and ardent. Her voice—along with the music’s overall vibe—recalls some mixture of Darkher, Halsey, and Draconian’s Heike Langhans, and against the smoky backdrop, adds to the music’s shadowy mystique. Sometimes creeping along with shuddering gravity (“An Avalanche of Shudders,” “Crawl”) or weightlessly (“Swallowed & Disguised”), sometimes bursting forth with spirited post-black or post hardcore energy (“Irreversible,” “The Veil of Your Death”), the album ebbs and flows to the fading and resurgence of cymbals, the final breaths of a vocal line, and the gentle crescendo of synth. While traversing several moods in this manner, Ellereve’s heart stays front and centre, making every resonant strum and note, and every switch up into heavier riffs and faster drums ring with honest emotion.
Umbra is an album of opposites, again embodying the metaphor of the shadow that exists only because of the light. Through this, the music possesses a staying power that’s subtle but powerful. The melodies are melancholic and yet often hopeful, as the notes lift an octave, and ambience, or an uptempo, seeps in. This is a synecdoche for the album’s theme, which surrounds the darkness of loss and trauma, but looks to the light on the other side of the pain. Many songs begin with the stillness of hanging plucks, distorted synth, or stripped-back lamenting, but end with uplifting refrains or assertive heaviness—relative to what came prior (“Funeral,” “Irreversible,” “Trauma”). Other songs showcase the duality in a more blended form. This could be through energetic tempos and brighter chords that transmit strength belying their lyrical solemnity (“Like a moth to a flame,” “The veil of your death”),1 or through the severe pathos of mournful tremolo and hanging plucks as the emotive singing delivers lyrics of finding strength and purpose (“Unravel,”2 “Trauma”). Some songs are even palpably onomatopoeic with quavering chords (“An avalanche of shudders”), strange, creeping synth-percussion patterns (“Crawl”), or heartbreakingly sad gaze (“Lost in Longings”) aptly embodying their title. Things thus feel dynamic but not scattershot, expressive but not overwrought.I didn’t realize it, but Ellereve is exactly what I needed to hear. Their particular sound, blurring of elements from doom to post to gaze and more, while not totally novel, is magnetic in its distinctiveness. I feel like I know who Ellereve is, because their music communicates it so well. This is only helped by a strong production that emphasises the space created through any reverb, and centres the vocals without burying the instruments. That said, Umbra is hindered ever so slightly by Ellereve’s ambition, covering a lot of ground and in quite rapid succession, as songs all span three to five minutes. Honing in a little tighter, potentially by expanding material into longer tracks, is all it would take to reach greatness.
With Umbra, Ellereve step confidently out of the shadows. As a first transition into post-metal proper, it’s impressively well-crafted and is compelling in its own right. Both deeply emotional and easy to listen to repeatedly, it signals potential for brilliance in the artist’s future.3
Rating: Very Good!
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Eisenwald(EU/ROW) | Eisenwald (US)
Websites: Bandcamp | Facebook
Releases Worldwide: November 7th, 2025#2025 #35 #Darkher #Doom #DoomMetal #EisenwaldRecords #Ellereve #Folk #HarakiriForTheSky #Nov25 #PostMetal #Review #Reviews #Shoegaze #Umbra
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By Thus Spoke
In a world where “not metal” is used to deride artists as much as it is to make a factual statement about them, it’s funny how the metalsphere adopts a breadth of musical styles that borrow ‘key’ elements to various minimal degrees. Usually, they end up being grouped under post-metal. So it is that Ellereve lands in the sight of Angry Metal Guy—and more specifically, me. Their sonic palette, which has so far been defined by a largely acoustic, folk-leaning rock, now steps more confidently into post-metal and even post-black, though Elisa Giulia Teschner’s sweet, husky cleans remain the star around which everything orbits. Ellereve’s pivot to a slightly heavier sound is deliberate, reflecting the album’s confrontation of grief and trauma, but maintaining the same distinctive voice (literally and generally).
Like its namesake, Umbra is dark, but in a soft, dreamlike way. The reverberant atmosphere slips between airy weightlessness and dense gravity, as stripped-back liquid plucks and keys trade places with downtuned riffs, and Elisa’s singing also slips between ethereal and ardent. Her voice—along with the music’s overall vibe—recalls some mixture of Darkher, Halsey, and Draconian’s Heike Langhans, and against the smoky backdrop, adds to the music’s shadowy mystique. Sometimes creeping along with shuddering gravity (“An Avalanche of Shudders,” “Crawl”) or weightlessly (“Swallowed & Disguised”), sometimes bursting forth with spirited post-black or post hardcore energy (“Irreversible,” “The Veil of Your Death”), the album ebbs and flows to the fading and resurgence of cymbals, the final breaths of a vocal line, and the gentle crescendo of synth. While traversing several moods in this manner, Ellereve’s heart stays front and centre, making every resonant strum and note, and every switch up into heavier riffs and faster drums ring with honest emotion.
Umbra is an album of opposites, again embodying the metaphor of the shadow that exists only because of the light. Through this, the music possesses a staying power that’s subtle but powerful. The melodies are melancholic and yet often hopeful, as the notes lift an octave, and ambience, or an uptempo, seeps in. This is a synecdoche for the album’s theme, which surrounds the darkness of loss and trauma, but looks to the light on the other side of the pain. Many songs begin with the stillness of hanging plucks, distorted synth, or stripped-back lamenting, but end with uplifting refrains or assertive heaviness—relative to what came prior (“Funeral,” “Irreversible,” “Trauma”). Other songs showcase the duality in a more blended form. This could be through energetic tempos and brighter chords that transmit strength belying their lyrical solemnity (“Like a moth to a flame,” “The veil of your death”),1 or through the severe pathos of mournful tremolo and hanging plucks as the emotive singing delivers lyrics of finding strength and purpose (“Unravel,”2 “Trauma”). Some songs are even palpably onomatopoeic with quavering chords (“An avalanche of shudders”), strange, creeping synth-percussion patterns (“Crawl”), or heartbreakingly sad gaze (“Lost in Longings”) aptly embodying their title. Things thus feel dynamic but not scattershot, expressive but not overwrought.I didn’t realize it, but Ellereve is exactly what I needed to hear. Their particular sound, blurring of elements from doom to post to gaze and more, while not totally novel, is magnetic in its distinctiveness. I feel like I know who Ellereve is, because their music communicates it so well. This is only helped by a strong production that emphasises the space created through any reverb, and centres the vocals without burying the instruments. That said, Umbra is hindered ever so slightly by Ellereve’s ambition, covering a lot of ground and in quite rapid succession, as songs all span three to five minutes. Honing in a little tighter, potentially by expanding material into longer tracks, is all it would take to reach greatness.
With Umbra, Ellereve step confidently out of the shadows. As a first transition into post-metal proper, it’s impressively well-crafted and is compelling in its own right. Both deeply emotional and easy to listen to repeatedly, it signals potential for brilliance in the artist’s future.3
Rating: Very Good!
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Eisenwald(EU/ROW) | Eisenwald (US)
Websites: Bandcamp | Facebook
Releases Worldwide: November 7th, 2025#2025 #35 #Darkher #Doom #DoomMetal #EisenwaldRecords #Ellereve #Folk #HarakiriForTheSky #Nov25 #PostMetal #Review #Reviews #Shoegaze #Umbra
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By Thus Spoke
In a world where “not metal” is used to deride artists as much as it is to make a factual statement about them, it’s funny how the metalsphere adopts a breadth of musical styles that borrow ‘key’ elements to various minimal degrees. Usually, they end up being grouped under post-metal. So it is that Ellereve lands in the sight of Angry Metal Guy—and more specifically, me. Their sonic palette, which has so far been defined by a largely acoustic, folk-leaning rock, now steps more confidently into post-metal and even post-black, though Elisa Giulia Teschner’s sweet, husky cleans remain the star around which everything orbits. Ellereve’s pivot to a slightly heavier sound is deliberate, reflecting the album’s confrontation of grief and trauma, but maintaining the same distinctive voice (literally and generally).
Like its namesake, Umbra is dark, but in a soft, dreamlike way. The reverberant atmosphere slips between airy weightlessness and dense gravity, as stripped-back liquid plucks and keys trade places with downtuned riffs, and Elisa’s singing also slips between ethereal and ardent. Her voice—along with the music’s overall vibe—recalls some mixture of Darkher, Halsey, and Draconian’s Heike Langhans, and against the smoky backdrop, adds to the music’s shadowy mystique. Sometimes creeping along with shuddering gravity (“An Avalanche of Shudders,” “Crawl”) or weightlessly (“Swallowed & Disguised”), sometimes bursting forth with spirited post-black or post hardcore energy (“Irreversible,” “The Veil of Your Death”), the album ebbs and flows to the fading and resurgence of cymbals, the final breaths of a vocal line, and the gentle crescendo of synth. While traversing several moods in this manner, Ellereve’s heart stays front and centre, making every resonant strum and note, and every switch up into heavier riffs and faster drums ring with honest emotion.
Umbra is an album of opposites, again embodying the metaphor of the shadow that exists only because of the light. Through this, the music possesses a staying power that’s subtle but powerful. The melodies are melancholic and yet often hopeful, as the notes lift an octave, and ambience, or an uptempo, seeps in. This is a synecdoche for the album’s theme, which surrounds the darkness of loss and trauma, but looks to the light on the other side of the pain. Many songs begin with the stillness of hanging plucks, distorted synth, or stripped-back lamenting, but end with uplifting refrains or assertive heaviness—relative to what came prior (“Funeral,” “Irreversible,” “Trauma”). Other songs showcase the duality in a more blended form. This could be through energetic tempos and brighter chords that transmit strength belying their lyrical solemnity (“Like a moth to a flame,” “The veil of your death”),1 or through the severe pathos of mournful tremolo and hanging plucks as the emotive singing delivers lyrics of finding strength and purpose (“Unravel,”2 “Trauma”). Some songs are even palpably onomatopoeic with quavering chords (“An avalanche of shudders”), strange, creeping synth-percussion patterns (“Crawl”), or heartbreakingly sad gaze (“Lost in Longings”) aptly embodying their title. Things thus feel dynamic but not scattershot, expressive but not overwrought.I didn’t realize it, but Ellereve is exactly what I needed to hear. Their particular sound, blurring of elements from doom to post to gaze and more, while not totally novel, is magnetic in its distinctiveness. I feel like I know who Ellereve is, because their music communicates it so well. This is only helped by a strong production that emphasises the space created through any reverb, and centres the vocals without burying the instruments. That said, Umbra is hindered ever so slightly by Ellereve’s ambition, covering a lot of ground and in quite rapid succession, as songs all span three to five minutes. Honing in a little tighter, potentially by expanding material into longer tracks, is all it would take to reach greatness.
With Umbra, Ellereve step confidently out of the shadows. As a first transition into post-metal proper, it’s impressively well-crafted and is compelling in its own right. Both deeply emotional and easy to listen to repeatedly, it signals potential for brilliance in the artist’s future.3
Rating: Very Good!
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Eisenwald(EU/ROW) | Eisenwald (US)
Websites: Bandcamp | Facebook
Releases Worldwide: November 7th, 2025#2025 #35 #Darkher #Doom #DoomMetal #EisenwaldRecords #Ellereve #Folk #HarakiriForTheSky #Nov25 #PostMetal #Review #Reviews #Shoegaze #Umbra
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Patricia in heavy metal destruction
https://bit.ly/3DAsMhD?utm_source=dlvr.it&utm_medium=mastodonBrutal Patricia shreds metal with fury.
#UnrivaledStrength
#ForcefulFemmes
#СилаЖенщин
#gunshow
#darcerto -
LIVE: Mathieu Darche Press Conference https://www.rawchili.com/4292216/ #Darche #hockey #MathieuDarche #NewYorkIslanders #NewYorkIslanders #NHL #nyi #NYIPRESSCONFERENCE #PHI" #PressConference #UbsArena
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ITM well wishers!
May today find you in good stead.
Some more pieces of a beautiful future arrived on my doorstep today.
Sometimes in life, you just hafta take the rough with the smooth and recognise when to reward yourself for the fortitude to fulfill decent intentions.
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Glauce hates noise phone
https://bit.ly/3JnspKx?utm_source=dlvr.it&utm_medium=mastodonGlauce despises loud phone calls.
#Muscleféminin
#MuscleMania
#StrengthUnleashed
#VroulikeSpierkrag
#darcerto -
Marta Strong red top flexing
https://bit.ly/3xJf8HQ?utm_source=dlvr.it&utm_medium=mastodonMarta red top shows her strength.
#UnbreakablePower
#muscularwoman
#KraftDerFrauen
#MuscleDestruction
#darcerto -
https://www.minenest.com/252242/ DARKHEROES: UNKNOWN ENTITY SAVED ME IN MINECRAFT [S3 EPISODE 9] #darkheroes #DarkheroesEpisode9 #DarkheroesSeason3Episode9 #DarkheroesSeries #EpicFightMinecraft #Minecraft #MinecraftJunkeyyRobot #MinecraftSteve #MinecraftTimeTravell #MinecraftVideos #proboiz #Proboiz95 #UnknownEntityInMinecraft
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Weiße oder reflektierende #Dächer könnten #Städte wie #London effektiv vor #Hitzewellen schützen, zeigt eine Studie der UCL. Diese "kühlen Dächer" reflektieren Wärme und senken die #Außentemperaturen um bis zu 2 Grad Celsius. Andere Maßnahmen wie #Stadtbegrünung oder #Solarkollektoren haben geringere #Kühleffekte. Weiße Dächer bieten zudem den Vorteil, dass sie sowohl das Gebäudeinnere als auch die Umgebung kühlen.
