Search
1000 results for “ardram”
-
By Steel Druhm
Just when I thought I’d make it to May without awarding the coveted Steel ov Approval, an unheralded project erupts from the Netherlands and forces my unwilling hand. Structure is the labor of love of Bram Bijlhout, who served seven years as a guitarist in atmo-doom deathers Officium Triste. Now he’s putting his own spin on the genre, handling everything save for vocals and drums. In comes the esteemed Pim Blankenstein, also of Officium Triste and The 11th Hour, to handle the former, with Dirk Bruinenberg (Elegy, ex-Adagio) manning the latter. On the full-length debut, Structure prove this project can honor the doom Heritage that birthed it. This is a massive, monolithic slab of doom that paints a sweeping mural across your head and heart, all in gray and black. Crushing and gorgeous in equal parts, Heritage takes you on an immersive journey through the human experience, teaching you about fathomless despair, undying hope, and ultimately, redemption. It’s a staggering work of heartbreaking genius, and something every doom fan needs to know about.
The album opens with what may be the hands-down winner of Song o’ the Year, “Will I Deserve It.” It’s a monumental doom epic that caves in your chest with its raw power and brings a tear to the most jaded eye with its heart-wrenching beauty. Vaguely Bathorycore riffs thunder away as Pim emits inhumanly death bellows, and soon the melancholic trilling calls to the sadperson in all of us. It’s heavy as fook but maintains a forlorn, tragic air, taking one back to the glory days of the Peaceville Three and those early My Dying Bride and Anathema gems. When Bram cuts loose with his soloing at the 4-minute mark, bittersweet beauty blooms like springtime flowers over the grave of a dearly departed, like a gift to remind you that, no matter where their spirit roams, they’re with you always. I could write 750 words about this song alone, but suffice it to say, it’s brilliant. It’s the rare album that can match a radiant moment like this one, but Heritage is far from done with its smoke show. “What We Have Lost” drags things down into funeral doom territory for rib-cracking density before gradually evolving into a more melodic voyage. Bram’s emotive guitar weaves throughout the heaviness as minimalist piano lines plink mournfully, and Mr. Pim shakes the rafters with unbearable pain. It’s a wonder something this intensely despondent can be so captivating, but despite its nearly 8-minute runtime, when it ends, you’ll wish it hadn’t.
“Long Before Me” is even longer yet no less stunning. It’s so morose and gloriously depressive, it’s almost exhilarating. It sucks you in with its funereal trilling and carries you away in its dark embrace. The guitars from 5 minutes onward are so minimalist but pure perfection. The title track borrows much from Warning’s timeless Watching from a Distance, replicating that album’s unrelenting glumness perfectly, only to switch to Bolt Thrower-esque power chugs that threaten your very existence. Surrounding these moments are bright, melodic bits that take me back to Edge of Sanity’s Crimson. Closer “Until the Last Gasp” is a somber instrumental that imparts the same grim emptiness evoked by the denouement of Agalloch’s Ashes Against the Grain, making one feel as if they stand at the precipice of a swirling, matter-annihilating black hole. As the track advances, small hints of hope creep into the droning doom, imparting faint rays of light into the inky blackness. The album climaxes with horns blaring a sad but cautiously uplifting note, giving you the perfect ending to a truly stupendous journey. At 50 minutes, Heritage somehow feels much shorter, and despite the harrowing despair, you won’t want to escape its bleak cocoon. It almost hurts to hear the last strains fade away into silence. I haven’t had that experience in a long time. I’m at a loss to find flaws, and no song feels overlong or bloated. This is an album you must experience as a whole, and it’s shockingly easy to digest in its entirety.I’m nothing but impressed by what Bram accomplished here. His writing is at another level, and his guitar work is stunning. He does so much by doing so little, always opting for feeling over showboating. His melodic touches are perfect and arrive at ideal times to take some of the burden from the listener’s shoulders. His heavy riffing is spot on, oppressive, pulverizing, and inevitable. He shows a great ability to inject real emotion into the music without leaning too much on Goth idioms. It’s all so well-crafted and defined that Heritage is more like a master’s canvas than a recording. Many moments triggered an emotional response in me, though I strenuously resist such things. Mr. Blankenstein was the perfect choice to provide vocals. His ungodly death roars are powerful and tooth-rattling, and he pairs superbly with the larger-than-life material. He’s the ideal doom-death front man, and this may be his finest hour. Ayreon / Star One singer Robert Soeterboek provides very sparse, understated, clean vocals and does a fine job.
When you spin an album as heavy and depressive as this and immediately want to hit replay, there’s something very right about it, and something very wrong with you. Heritage is as close to flawless as it gets, and I’m unable to pinpoint any areas that could be improved upon. This is a stunning accomplishment, and I can’t do Heritage justice with mere words. You need to experience this yourself. A MUST HEAR.
Rating: 4.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Ardua Music
Websites: structure-doom.bandcamp.com | facebook.com/structure.doom
Releases Worldwide: April 25th, 2025#2025 #45 #Anathema #Apr25 #ArduaMusic #DeathMetal #DoomMetal #DutchMetal #Heritage #MyDyingBride #OfficiumTriste #Review #Reviews #Structure #The11thHour #Warning
-
By Steel Druhm
Just when I thought I’d make it to May without awarding the coveted Steel ov Approval, an unheralded project erupts from the Netherlands and forces my unwilling hand. Structure is the labor of love of Bram Bijlhout, who served seven years as a guitarist in atmo-doom deathers Officium Triste. Now he’s putting his own spin on the genre, handling everything save for vocals and drums. In comes the esteemed Pim Blankenstein, also of Officium Triste and The 11th Hour, to handle the former, with Dirk Bruinenberg (Elegy, ex-Adagio) manning the latter. On the full-length debut, Structure prove this project can honor the doom Heritage that birthed it. This is a massive, monolithic slab of doom that paints a sweeping mural across your head and heart, all in gray and black. Crushing and gorgeous in equal parts, Heritage takes you on an immersive journey through the human experience, teaching you about fathomless despair, undying hope, and ultimately, redemption. It’s a staggering work of heartbreaking genius, and something every doom fan needs to know about.
The album opens with what may be the hands-down winner of Song o’ the Year, “Will I Deserve It.” It’s a monumental doom epic that caves in your chest with its raw power and brings a tear to the most jaded eye with its heart-wrenching beauty. Vaguely Bathorycore riffs thunder away as Pim emits inhumanly death bellows, and soon the melancholic trilling calls to the sadperson in all of us. It’s heavy as fook but maintains a forlorn, tragic air, taking one back to the glory days of the Peaceville Three and those early My Dying Bride and Anathema gems. When Bram cuts loose with his soloing at the 4-minute mark, bittersweet beauty blooms like springtime flowers over the grave of a dearly departed, like a gift to remind you that, no matter where their spirit roams, they’re with you always. I could write 750 words about this song alone, but suffice it to say, it’s brilliant. It’s the rare album that can match a radiant moment like this one, but Heritage is far from done with its smoke show. “What We Have Lost” drags things down into funeral doom territory for rib-cracking density before gradually evolving into a more melodic voyage. Bram’s emotive guitar weaves throughout the heaviness as minimalist piano lines plink mournfully, and Mr. Pim shakes the rafters with unbearable pain. It’s a wonder something this intensely despondent can be so captivating, but despite its nearly 8-minute runtime, when it ends, you’ll wish it hadn’t.
“Long Before Me” is even longer yet no less stunning. It’s so morose and gloriously depressive, it’s almost exhilarating. It sucks you in with its funereal trilling and carries you away in its dark embrace. The guitars from 5 minutes onward are so minimalist but pure perfection. The title track borrows much from Warning’s timeless Watching from a Distance, replicating that album’s unrelenting glumness perfectly, only to switch to Bolt Thrower-esque power chugs that threaten your very existence. Surrounding these moments are bright, melodic bits that take me back to Edge of Sanity’s Crimson. Closer “Until the Last Gasp” is a somber instrumental that imparts the same grim emptiness evoked by the denouement of Agalloch’s Ashes Against the Grain, making one feel as if they stand at the precipice of a swirling, matter-annihilating black hole. As the track advances, small hints of hope creep into the droning doom, imparting faint rays of light into the inky blackness. The album climaxes with horns blaring a sad but cautiously uplifting note, giving you the perfect ending to a truly stupendous journey. At 50 minutes, Heritage somehow feels much shorter, and despite the harrowing despair, you won’t want to escape its bleak cocoon. It almost hurts to hear the last strains fade away into silence. I haven’t had that experience in a long time. I’m at a loss to find flaws, and no song feels overlong or bloated. This is an album you must experience as a whole, and it’s shockingly easy to digest in its entirety.I’m nothing but impressed by what Bram accomplished here. His writing is at another level, and his guitar work is stunning. He does so much by doing so little, always opting for feeling over showboating. His melodic touches are perfect and arrive at ideal times to take some of the burden from the listener’s shoulders. His heavy riffing is spot on, oppressive, pulverizing, and inevitable. He shows a great ability to inject real emotion into the music without leaning too much on Goth idioms. It’s all so well-crafted and defined that Heritage is more like a master’s canvas than a recording. Many moments triggered an emotional response in me, though I strenuously resist such things. Mr. Blankenstein was the perfect choice to provide vocals. His ungodly death roars are powerful and tooth-rattling, and he pairs superbly with the larger-than-life material. He’s the ideal doom-death front man, and this may be his finest hour. Ayreon / Star One singer Robert Soeterboek provides very sparse, understated, clean vocals and does a fine job.
When you spin an album as heavy and depressive as this and immediately want to hit replay, there’s something very right about it, and something very wrong with you. Heritage is as close to flawless as it gets, and I’m unable to pinpoint any areas that could be improved upon. This is a stunning accomplishment, and I can’t do Heritage justice with mere words. You need to experience this yourself. A MUST HEAR.
Rating: 4.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Ardua Music
Websites: structure-doom.bandcamp.com | facebook.com/structure.doom
Releases Worldwide: April 25th, 2025#2025 #45 #Anathema #Apr25 #ArduaMusic #DeathMetal #DoomMetal #DutchMetal #Heritage #MyDyingBride #OfficiumTriste #Review #Reviews #Structure #The11thHour #Warning
-
By Steel Druhm
Just when I thought I’d make it to May without awarding the coveted Steel ov Approval, an unheralded project erupts from the Netherlands and forces my unwilling hand. Structure is the labor of love of Bram Bijlhout, who served seven years as a guitarist in atmo-doom deathers Officium Triste. Now he’s putting his own spin on the genre, handling everything save for vocals and drums. In comes the esteemed Pim Blankenstein, also of Officium Triste and The 11th Hour, to handle the former, with Dirk Bruinenberg (Elegy, ex-Adagio) manning the latter. On the full-length debut, Structure prove this project can honor the doom Heritage that birthed it. This is a massive, monolithic slab of doom that paints a sweeping mural across your head and heart, all in gray and black. Crushing and gorgeous in equal parts, Heritage takes you on an immersive journey through the human experience, teaching you about fathomless despair, undying hope, and ultimately, redemption. It’s a staggering work of heartbreaking genius, and something every doom fan needs to know about.
The album opens with what may be the hands-down winner of Song o’ the Year, “Will I Deserve It.” It’s a monumental doom epic that caves in your chest with its raw power and brings a tear to the most jaded eye with its heart-wrenching beauty. Vaguely Bathorycore riffs thunder away as Pim emits inhumanly death bellows, and soon the melancholic trilling calls to the sadperson in all of us. It’s heavy as fook but maintains a forlorn, tragic air, taking one back to the glory days of the Peaceville Three and those early My Dying Bride and Anathema gems. When Bram cuts loose with his soloing at the 4-minute mark, bittersweet beauty blooms like springtime flowers over the grave of a dearly departed, like a gift to remind you that, no matter where their spirit roams, they’re with you always. I could write 750 words about this song alone, but suffice it to say, it’s brilliant. It’s the rare album that can match a radiant moment like this one, but Heritage is far from done with its smoke show. “What We Have Lost” drags things down into funeral doom territory for rib-cracking density before gradually evolving into a more melodic voyage. Bram’s emotive guitar weaves throughout the heaviness as minimalist piano lines plink mournfully, and Mr. Pim shakes the rafters with unbearable pain. It’s a wonder something this intensely despondent can be so captivating, but despite its nearly 8-minute runtime, when it ends, you’ll wish it hadn’t.
“Long Before Me” is even longer yet no less stunning. It’s so morose and gloriously depressive, it’s almost exhilarating. It sucks you in with its funereal trilling and carries you away in its dark embrace. The guitars from 5 minutes onward are so minimalist but pure perfection. The title track borrows much from Warning’s timeless Watching from a Distance, replicating that album’s unrelenting glumness perfectly, only to switch to Bolt Thrower-esque power chugs that threaten your very existence. Surrounding these moments are bright, melodic bits that take me back to Edge of Sanity’s Crimson. Closer “Until the Last Gasp” is a somber instrumental that imparts the same grim emptiness evoked by the denouement of Agalloch’s Ashes Against the Grain, making one feel as if they stand at the precipice of a swirling, matter-annihilating black hole. As the track advances, small hints of hope creep into the droning doom, imparting faint rays of light into the inky blackness. The album climaxes with horns blaring a sad but cautiously uplifting note, giving you the perfect ending to a truly stupendous journey. At 50 minutes, Heritage somehow feels much shorter, and despite the harrowing despair, you won’t want to escape its bleak cocoon. It almost hurts to hear the last strains fade away into silence. I haven’t had that experience in a long time. I’m at a loss to find flaws, and no song feels overlong or bloated. This is an album you must experience as a whole, and it’s shockingly easy to digest in its entirety.I’m nothing but impressed by what Bram accomplished here. His writing is at another level, and his guitar work is stunning. He does so much by doing so little, always opting for feeling over showboating. His melodic touches are perfect and arrive at ideal times to take some of the burden from the listener’s shoulders. His heavy riffing is spot on, oppressive, pulverizing, and inevitable. He shows a great ability to inject real emotion into the music without leaning too much on Goth idioms. It’s all so well-crafted and defined that Heritage is more like a master’s canvas than a recording. Many moments triggered an emotional response in me, though I strenuously resist such things. Mr. Blankenstein was the perfect choice to provide vocals. His ungodly death roars are powerful and tooth-rattling, and he pairs superbly with the larger-than-life material. He’s the ideal doom-death front man, and this may be his finest hour. Ayreon / Star One singer Robert Soeterboek provides very sparse, understated, clean vocals and does a fine job.
When you spin an album as heavy and depressive as this and immediately want to hit replay, there’s something very right about it, and something very wrong with you. Heritage is as close to flawless as it gets, and I’m unable to pinpoint any areas that could be improved upon. This is a stunning accomplishment, and I can’t do Heritage justice with mere words. You need to experience this yourself. A MUST HEAR.
Rating: 4.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Ardua Music
Websites: structure-doom.bandcamp.com | facebook.com/structure.doom
Releases Worldwide: April 25th, 2025#2025 #45 #Anathema #Apr25 #ArduaMusic #DeathMetal #DoomMetal #DutchMetal #Heritage #MyDyingBride #OfficiumTriste #Review #Reviews #Structure #The11thHour #Warning
-
A VIRTUAL TOUR OF SCOTLAND
We travel a couple of miles SW by boat or on foot, or rather futher by road, to reach Ardnamurchan Point and its lighthouse, which first shone out to allow mariners to locate the point at night in 1849. Mainland Great Britain's westernmost point is a three-quarters mile walk SW from here. More pics and info: https://www.undiscoveredscotland.co.uk/kilchoan/ardnamurchanpoint/index.html
Where to next? Vote via the poll attached as a reply.
#Scotland #ArdnamurchanPoint #Ardnamurchan #Lighthouse #UndiscoveredScotland
-
Su #fazzolari che dice di "prevedere un canale privilegiato di assunzione per le #forzedipolizia" (si sentono fin qui le unghie che si arrampicano sugli specchi) viene in mente solo questa immagine:
-
Su #fazzolari che dice di "prevedere un canale privilegiato di assunzione per le #forzedipolizia" (si sentono fin qui le unghie che si arrampicano sugli specchi) viene in mente solo questa immagine:
-
Su #fazzolari che dice di "prevedere un canale privilegiato di assunzione per le #forzedipolizia" (si sentono fin qui le unghie che si arrampicano sugli specchi) viene in mente solo questa immagine:
-
الدراما دورها معالجة الواقع لا تعميمه والمجتمع المصري زاخر بالقيم والأخلاق
https://misryoum.com/aldrama-dwrha-maaljh-alwaqa-tamymh-walmjtma/
تتصاعد الحوارات حول دور الإعلام والدراما في تشكيل التصور العام للمجتمع، وتبرز الحاجة إلى تقديم صورة متوازنة تجمع بين الواقعية والتوجه نحو قيم المجتمع ونموذجه الإيجابي. قال الدكتور شوقي علام، مفتي الديار المصرية السابق، إن على الدراما أن تكون صوتًا...
#الدراما #دورها #معالجة #الواقع #تعميمه #والمجتمع #المصري #زاخر #بالقيم #والأخلاق #منصة_مصر_اليوم_الاخبارية #misryoum_com
-
الدراما دورها معالجة الواقع لا تعميمه والمجتمع المصري زاخر بالقيم والأخلاق
https://misryoum.com/aldrama-dwrha-maaljh-alwaqa-tamymh-walmjtma/
تتصاعد الحوارات حول دور الإعلام والدراما في تشكيل التصور العام للمجتمع، وتبرز الحاجة إلى تقديم صورة متوازنة تجمع بين الواقعية والتوجه نحو قيم المجتمع ونموذجه الإيجابي. قال الدكتور شوقي علام، مفتي الديار المصرية السابق، إن على الدراما أن تكون صوتًا...
#الدراما #دورها #معالجة #الواقع #تعميمه #والمجتمع #المصري #زاخر #بالقيم #والأخلاق #منصة_مصر_اليوم_الاخبارية #misryoum_com
-
الدراما دورها معالجة الواقع لا تعميمه والمجتمع المصري زاخر بالقيم والأخلاق
https://misryoum.com/aldrama-dwrha-maaljh-alwaqa-tamymh-walmjtma/
تتصاعد الحوارات حول دور الإعلام والدراما في تشكيل التصور العام للمجتمع، وتبرز الحاجة إلى تقديم صورة متوازنة تجمع بين الواقعية والتوجه نحو قيم المجتمع ونموذجه الإيجابي. قال الدكتور شوقي علام، مفتي الديار المصرية السابق، إن على الدراما أن تكون صوتًا...
#الدراما #دورها #معالجة #الواقع #تعميمه #والمجتمع #المصري #زاخر #بالقيم #والأخلاق #منصة_مصر_اليوم_الاخبارية #misryoum_com
-
Mediapart
Après Bétharram, François Bayrou rattrapé par le scandale Pélussin
https://mcinformactions.net/apres-betharram-francois-bayrou-rattrape-par-le-scandale-pelussin
#Betharram #Bayrou #commissiondEnquete #ScandalePelussin -
Mediapart
Après Bétharram, François Bayrou rattrapé par le scandale Pélussin
https://mcinformactions.net/apres-betharram-francois-bayrou-rattrape-par-le-scandale-pelussin
#Betharram #Bayrou #commissiondEnquete #ScandalePelussin -
Mediapart
Après Bétharram, François Bayrou rattrapé par le scandale Pélussin
https://mcinformactions.net/apres-betharram-francois-bayrou-rattrape-par-le-scandale-pelussin
#Betharram #Bayrou #commissiondEnquete #ScandalePelussin -
Lovely rolling clouds over the hills on the island of Mull just now. #Mull #innerhebrides
Just imagine walking up through the clouds and seeing the sun over #ardnamurchan from there.
#beautifulplanet -
Thank you, Wareside Entertainers, for a thoroughly enjoyable evening continuing the tradition of British village theatre.
-
Well. That came out alright! #amdram #theatre #3dprinting
A 3d model of the Sharnbrook Mill Theatre auditorium! -
Delighted to announce Sharnbrook Mill Theatre's 2026 Season!
Posters for Waiting for Godot, My Fair Lady, Dinner, Matilda Jr and Come From Away designed by me. #theatre #bedfordshire #amdram
https://www.sharnbrookmilltheatre.co.uk/2026-season-launch/ -
Delighted to announce Sharnbrook Mill Theatre's 2026 Season!
Posters for Waiting for Godot, My Fair Lady, Dinner, Matilda Jr and Come From Away designed by me. #theatre #bedfordshire #amdram
https://www.sharnbrookmilltheatre.co.uk/2026-season-launch/ -
Delighted to announce Sharnbrook Mill Theatre's 2026 Season!
Posters for Waiting for Godot, My Fair Lady, Dinner, Matilda Jr and Come From Away designed by me. #theatre #bedfordshire #amdram
https://www.sharnbrookmilltheatre.co.uk/2026-season-launch/ -
Video promo for No Drama's Real Inspector Hound
#dublin #DublinTheatre #SmockAlleyTheatre #IrishCulture #events #amdramIreland #teaservideo
-
More “Porgy & Bess”? MORE “Porgy & Bess”! This (https://youtu.be/No2zwaibsWg?si=mdBhNI1LMjqFaum0) is the cast of the 2011 revival of the show featuring Audra McDonald as Bess, Norm Lewis as Porgy, David Alan Grier as Sportin' Life. You can listen to the cast recording here (https://youtube.com/playlist?list=OLAK5uy_lAIKqvRuw-durC_ekE6epw6uqf7I76H1c&si=9slpJvkU2NDftKDN)
#RetroView #PorgyAndBess #AudraMcDonald #NormLewis #DavidAlanGrier #BlackHistoryMonth -
More “Porgy & Bess”? MORE “Porgy & Bess”! This (https://youtu.be/No2zwaibsWg?si=mdBhNI1LMjqFaum0) is the cast of the 2011 revival of the show featuring Audra McDonald as Bess, Norm Lewis as Porgy, David Alan Grier as Sportin' Life. You can listen to the cast recording here (https://youtube.com/playlist?list=OLAK5uy_lAIKqvRuw-durC_ekE6epw6uqf7I76H1c&si=9slpJvkU2NDftKDN)
#RetroView #PorgyAndBess #AudraMcDonald #NormLewis #DavidAlanGrier #BlackHistoryMonth -
More “Porgy & Bess”? MORE “Porgy & Bess”! This (https://youtu.be/No2zwaibsWg?si=mdBhNI1LMjqFaum0) is the cast of the 2011 revival of the show featuring Audra McDonald as Bess, Norm Lewis as Porgy, David Alan Grier as Sportin' Life. You can listen to the cast recording here (https://youtube.com/playlist?list=OLAK5uy_lAIKqvRuw-durC_ekE6epw6uqf7I76H1c&si=9slpJvkU2NDftKDN)
#RetroView #PorgyAndBess #AudraMcDonald #NormLewis #DavidAlanGrier #BlackHistoryMonth -
‘Gypsy’ Theater Review: Audra McDonald Climbs the Mountain of One of the All-Time Greatest Musicals and Plants a Triumphant Flag
#Arts #Lifestyle #AudraMcDonald #Broadway #Dannyburstein #GeorgeCWolfe #Gypsy #StephenSondheim #Theater -
‘Gypsy’ Theater Review: Audra McDonald Climbs the Mountain of One of the All-Time Greatest Musicals and Plants a Triumphant Flag
#Arts #Lifestyle #AudraMcDonald #Broadway #Dannyburstein #GeorgeCWolfe #Gypsy #StephenSondheim #Theater -
‘Gypsy’ Theater Review: Audra McDonald Climbs the Mountain of One of the All-Time Greatest Musicals and Plants a Triumphant Flag
#Arts #Lifestyle #AudraMcDonald #Broadway #Dannyburstein #GeorgeCWolfe #Gypsy #StephenSondheim #Theater -
‘Gypsy’ Theater Review: Audra McDonald Climbs the Mountain of One of the All-Time Greatest Musicals and Plants a Triumphant Flag
#Arts #Lifestyle #AudraMcDonald #Broadway #Dannyburstein #GeorgeCWolfe #Gypsy #StephenSondheim #Theater
