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764 results for “metamorphosis30”

slowforward @[email protected] · 2025-12-16 · 12:35 UTC
“poetry after barbarism”, by jennifer scappettone
“In Poetry After Barbarism, Jennifer Scappettone argues for nomadic, miscegenated, ‘xenoglossic’ poetries as fierce forms of linguistic and political resistance. Prodigiously researched cross-cultural readings celebrate a stellar constellation of consequential poets: Elsa von Freytag-Loringhoven, Emilio Villa, Amelia Rosselli, Etel Adnan, and LaTasha N. Nevada Diggs.”
— Charles Bernstein, author of The Kinds of Poetry I Want: Essays and Comedies
- In this book, Jennifer Scappettone argues that the poetry of motherless tongues is the best form of resistance to the rising tide of nationalism, empire, fascism, and authoritarianism.
- Studying experiments between languages by immigrant, refugee, and otherwise stateless authors—from Baroness Elsa von Freytag-Loringhoven to Emilio Villa, Amelia Rosselli, Etel Adnan, LaTasha N. Nevada Diggs, Chika Sagawa, and Sawako Nakayasu—this book explores how poetry can both represent and jumpstart metamorphosis of the shape and sound of citizenship; and it
- untethers identity from territory in favor of a translingual proposition—that tumult’s time is now.
Jennifer Scappettone is a professor of literature, creative writing, gender studies, and environmental humanities at the University of Chicago. She is the author of Killing the Moonlight: Modernism in Venice (Columbia, 2014) and the cross-genre verse books From Dame Quickly and The Republic of Exit 43. She is also the translator of Locomotrix: Selected Poetry and Prose of Amelia Rosselli.
You can find more information about the book at the Columbia University Press website:
Against a backdrop of xenophobic and ethnonationalist fantasies of linguistic purity, Poetry After Barbarism uncovers a stateless, polyglot poetry of resistance—the poetry of motherless tongues. Departing from the national and global paradigms that dominate literary history, Jennifer Scappettone traces the aesthetic and geopolitical resonance of “xenoglossic” poetics: poetry composed in the space of contestation between national languages, concretizing dreams of mending the ruptures traced to the story of Babel. As global migration, aerial bombardment, and the wireless telegraph shrank distances with brute force during the twentieth century, visions of transcultural communication emerged in the hopes of bridging linguistic difference. At the same time, evolving Fascist ideologies denied the reality of cultural admixture and the humanity of the stranger.
Authors who write xenoglossic verse occupy languages without a perceived birthright or sanctioned education; they compose in ecstatic “orphan tongues” that rebuff nationalist ideologies, on the one hand, and globalization, on the other, uprooting notions of belonging ensconced in nativist metaphors of milk, blood, and soil while rendering the reactionary category of the barbarian obsolete. Raised within or in the wake of fascism, these poets practice strategic forms of literary and linguistic barbarism, proposing modes of collectivity that exceed geopolitical definitions. Studying experiments between languages by immigrant, refugee, and otherwise stateless authors—from Baroness Elsa von Freytag-Loringhoven to Emilio Villa, Amelia Rosselli, Etel Adnan, LaTasha N. Nevada Diggs, Chika Sagawa, and Sawako Nakayasu—this book explores how poetry can both represent and jumpstart metamorphosis of the shape and sound of citizenship, modeling paths toward alternative republics in which poetry might assume a central agency.
#againstFascism #alternativeRepublics #AmeliaRosselli #antiFascism #authoritarianism #BaronessElsaVonFreytagLoringhoven #ChikaSagawa #citizenship #ColumbiaUniversityPress #crossGenreVerseBooks #CUP #ElsaVonFreytagLoringhoven #EmilioVilla #essay #EtelAdnan #experimentalPoetry #FromDameQuickly #JenniferScappettone #KillingTheMoonlightModernismInVenice #LaTashaNNevadaDiggs #LocomotrixSelectedPoetryAndProseOfAmeliaRosselli #motherlessTongue #motherlessTongues #poetry #resistance #resistanceToFascism #SawakoNakayasu #TheRepublicOfExit43
#againstfascism #alternativerepublics #ameliarosselli #antifascism #authoritarianism #baronesselsavonfreytagloringhoven
slowforward @[email protected] · 2025-12-16 · 12:35 UTC
“poetry after barbarism”, by jennifer scappettone
“In Poetry After Barbarism, Jennifer Scappettone argues for nomadic, miscegenated, ‘xenoglossic’ poetries as fierce forms of linguistic and political resistance. Prodigiously researched cross-cultural readings celebrate a stellar constellation of consequential poets: Elsa von Freytag-Loringhoven, Emilio Villa, Amelia Rosselli, Etel Adnan, and LaTasha N. Nevada Diggs.”
— Charles Bernstein, author of The Kinds of Poetry I Want: Essays and Comedies
- In this book, Jennifer Scappettone argues that the poetry of motherless tongues is the best form of resistance to the rising tide of nationalism, empire, fascism, and authoritarianism.
- Studying experiments between languages by immigrant, refugee, and otherwise stateless authors—from Baroness Elsa von Freytag-Loringhoven to Emilio Villa, Amelia Rosselli, Etel Adnan, LaTasha N. Nevada Diggs, Chika Sagawa, and Sawako Nakayasu—this book explores how poetry can both represent and jumpstart metamorphosis of the shape and sound of citizenship; and it
- untethers identity from territory in favor of a translingual proposition—that tumult’s time is now.
Jennifer Scappettone is a professor of literature, creative writing, gender studies, and environmental humanities at the University of Chicago. She is the author of Killing the Moonlight: Modernism in Venice (Columbia, 2014) and the cross-genre verse books From Dame Quickly and The Republic of Exit 43. She is also the translator of Locomotrix: Selected Poetry and Prose of Amelia Rosselli.
You can find more information about the book at the Columbia University Press website:
Against a backdrop of xenophobic and ethnonationalist fantasies of linguistic purity, Poetry After Barbarism uncovers a stateless, polyglot poetry of resistance—the poetry of motherless tongues. Departing from the national and global paradigms that dominate literary history, Jennifer Scappettone traces the aesthetic and geopolitical resonance of “xenoglossic” poetics: poetry composed in the space of contestation between national languages, concretizing dreams of mending the ruptures traced to the story of Babel. As global migration, aerial bombardment, and the wireless telegraph shrank distances with brute force during the twentieth century, visions of transcultural communication emerged in the hopes of bridging linguistic difference. At the same time, evolving Fascist ideologies denied the reality of cultural admixture and the humanity of the stranger.
Authors who write xenoglossic verse occupy languages without a perceived birthright or sanctioned education; they compose in ecstatic “orphan tongues” that rebuff nationalist ideologies, on the one hand, and globalization, on the other, uprooting notions of belonging ensconced in nativist metaphors of milk, blood, and soil while rendering the reactionary category of the barbarian obsolete. Raised within or in the wake of fascism, these poets practice strategic forms of literary and linguistic barbarism, proposing modes of collectivity that exceed geopolitical definitions. Studying experiments between languages by immigrant, refugee, and otherwise stateless authors—from Baroness Elsa von Freytag-Loringhoven to Emilio Villa, Amelia Rosselli, Etel Adnan, LaTasha N. Nevada Diggs, Chika Sagawa, and Sawako Nakayasu—this book explores how poetry can both represent and jumpstart metamorphosis of the shape and sound of citizenship, modeling paths toward alternative republics in which poetry might assume a central agency.
#againstFascism #alternativeRepublics #AmeliaRosselli #antiFascism #authoritarianism #BaronessElsaVonFreytagLoringhoven #ChikaSagawa #citizenship #ColumbiaUniversityPress #crossGenreVerseBooks #CUP #ElsaVonFreytagLoringhoven #EmilioVilla #essay #EtelAdnan #experimentalPoetry #FromDameQuickly #JenniferScappettone #KillingTheMoonlightModernismInVenice #LaTashaNNevadaDiggs #LocomotrixSelectedPoetryAndProseOfAmeliaRosselli #motherlessTongue #motherlessTongues #poetry #resistance #resistanceToFascism #SawakoNakayasu #TheRepublicOfExit43
#therepublicofexit43 #sawakonakayasu #resistancetofascism #resistance #poetry #motherlesstongues
DrWeb @[email protected] · 2025-10-12 · 18:11 UTC
Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte
Oct 10, 2025 – News
Sneak peek: Uptown’s $137M, five-story delayed library

By Alexandria Sands
GIF: Alexandria Sands/Axios
Construction is progressing, though behind schedule, on Charlotte Mecklenburg Library’s five-story Uptown branch at 6th and North Tryon streets. The $137 million flagship location is now slated to open in spring 2027, later than the 2026 target.
Why it matters: The main library — a free, critical community resource — has been closed for four years now. Once reopened, leaders expect a million visitors in the first year, making the 115,000-square-foot branch a major Uptown destination.
Driving the news: Project leadersgave reporters a tour Friday of construction progress on the first two floors. Caitlin Moen, library director, attributed the delay to meticulous work necessary to ensure the building’s longevity.
- “This iconic building is something that’s not been built before,” Moen said. “As we try to bring this vision to life, but also ensure that 50-year lifespan, we are doing our due diligence.”
Level three reading room. Rendering: Courtesy of CML
Zoom in: Moen said the features reflect what community members said they wanted in their modern library, including:
- 15 meeting rooms for two to 40 people
- A 225-person, top-floor event space
- A reading room with views
- A courtyard and two outdoor terraces
- Lowe’s Technology Lab with public computers and two laptop dispensing stations with 12 laptops each
- The Bank of America Opportunity Center, offering resume assistance, digital skills training and job support
- A parking deck, built and financed by Mecklenburg County, at the corner of 7th and College streets
Dr. Joyce Davis Waddell event space. Rendering: Courtesy of CML
Between the lines: The main library is geared more toward adults, since ImaginOn, the flagship children’s and teen library, is two blocks away.
Catch up quick: Mecklenburg County provided $72.33 million for the project. Charlotte Mecklenburg Library Foundation still has $8 million to raise in private support to cover the remaining $65 million.
- The construction is on the same site as the original 1903 Carnegie Library. Mecklenburg County’s first free library was rebuilt in 1956, renovated and expanded in 1989, and torn down in 2023 to make way for this modernized version.
Zoom out: The library is expected to accelerate this corner of Uptown’s metamorphosis. It’s right next to the newly renovated Carolina Theatre, which is now hosting movie nights and large speaker events.
- Mecklenburg County had planned a major overhaul of the land surrounding the library, but the master developer for the public-private redevelopment, called Seventh and Tryon, backed out.
- The county isn’t seeking a new master developer anytime soon due to “development market volatility and uncertainty,” a spokesperson told Axios.
Take a look around the construction site: Tryon Plaza
Editor’s Note: Read the rest of the story, at the below link.
Continue/Read Original Article Here: Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte

#137Million #2025 #2025Update #2027Delay #America #Axios #AxiosCharlotte #Books #Charlotte #Construction #Education #History #Libraries #Library #MainLibrary #NorthCarolina #PublicLibrary #Reading #Technology #TryonPlaza #UnitedStates #Uptown
#137million #2025update #2027delay #america #axios #axioscharlotte
DrWeb @[email protected] · 2025-10-12 · 18:11 UTC
Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte
Oct 10, 2025 – News
Sneak peek: Uptown’s $137M, five-story delayed library

By Alexandria Sands
GIF: Alexandria Sands/Axios
Construction is progressing, though behind schedule, on Charlotte Mecklenburg Library’s five-story Uptown branch at 6th and North Tryon streets. The $137 million flagship location is now slated to open in spring 2027, later than the 2026 target.
Why it matters: The main library — a free, critical community resource — has been closed for four years now. Once reopened, leaders expect a million visitors in the first year, making the 115,000-square-foot branch a major Uptown destination.
Driving the news: Project leadersgave reporters a tour Friday of construction progress on the first two floors. Caitlin Moen, library director, attributed the delay to meticulous work necessary to ensure the building’s longevity.
- “This iconic building is something that’s not been built before,” Moen said. “As we try to bring this vision to life, but also ensure that 50-year lifespan, we are doing our due diligence.”
Level three reading room. Rendering: Courtesy of CML
Zoom in: Moen said the features reflect what community members said they wanted in their modern library, including:
- 15 meeting rooms for two to 40 people
- A 225-person, top-floor event space
- A reading room with views
- A courtyard and two outdoor terraces
- Lowe’s Technology Lab with public computers and two laptop dispensing stations with 12 laptops each
- The Bank of America Opportunity Center, offering resume assistance, digital skills training and job support
- A parking deck, built and financed by Mecklenburg County, at the corner of 7th and College streets
Dr. Joyce Davis Waddell event space. Rendering: Courtesy of CML
Between the lines: The main library is geared more toward adults, since ImaginOn, the flagship children’s and teen library, is two blocks away.
Catch up quick: Mecklenburg County provided $72.33 million for the project. Charlotte Mecklenburg Library Foundation still has $8 million to raise in private support to cover the remaining $65 million.
- The construction is on the same site as the original 1903 Carnegie Library. Mecklenburg County’s first free library was rebuilt in 1956, renovated and expanded in 1989, and torn down in 2023 to make way for this modernized version.
Zoom out: The library is expected to accelerate this corner of Uptown’s metamorphosis. It’s right next to the newly renovated Carolina Theatre, which is now hosting movie nights and large speaker events.
- Mecklenburg County had planned a major overhaul of the land surrounding the library, but the master developer for the public-private redevelopment, called Seventh and Tryon, backed out.
- The county isn’t seeking a new master developer anytime soon due to “development market volatility and uncertainty,” a spokesperson told Axios.
Take a look around the construction site: Tryon Plaza
Editor’s Note: Read the rest of the story, at the below link.
Continue/Read Original Article Here: Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte

#137Million #2025 #2025Update #2027Delay #America #Axios #AxiosCharlotte #Books #Charlotte #Construction #Education #History #Libraries #Library #MainLibrary #NorthCarolina #PublicLibrary #Reading #Technology #TryonPlaza #UnitedStates #Uptown
#137million #2025update #2027delay #america #axios #axioscharlotte
DrWeb @[email protected] · 2025-10-12 · 18:11 UTC
Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte
Oct 10, 2025 – News
Sneak peek: Uptown’s $137M, five-story delayed library

By Alexandria Sands
GIF: Alexandria Sands/Axios
Construction is progressing, though behind schedule, on Charlotte Mecklenburg Library’s five-story Uptown branch at 6th and North Tryon streets. The $137 million flagship location is now slated to open in spring 2027, later than the 2026 target.
Why it matters: The main library — a free, critical community resource — has been closed for four years now. Once reopened, leaders expect a million visitors in the first year, making the 115,000-square-foot branch a major Uptown destination.
Driving the news: Project leadersgave reporters a tour Friday of construction progress on the first two floors. Caitlin Moen, library director, attributed the delay to meticulous work necessary to ensure the building’s longevity.
- “This iconic building is something that’s not been built before,” Moen said. “As we try to bring this vision to life, but also ensure that 50-year lifespan, we are doing our due diligence.”
Level three reading room. Rendering: Courtesy of CML
Zoom in: Moen said the features reflect what community members said they wanted in their modern library, including:
- 15 meeting rooms for two to 40 people
- A 225-person, top-floor event space
- A reading room with views
- A courtyard and two outdoor terraces
- Lowe’s Technology Lab with public computers and two laptop dispensing stations with 12 laptops each
- The Bank of America Opportunity Center, offering resume assistance, digital skills training and job support
- A parking deck, built and financed by Mecklenburg County, at the corner of 7th and College streets
Dr. Joyce Davis Waddell event space. Rendering: Courtesy of CML
Between the lines: The main library is geared more toward adults, since ImaginOn, the flagship children’s and teen library, is two blocks away.
Catch up quick: Mecklenburg County provided $72.33 million for the project. Charlotte Mecklenburg Library Foundation still has $8 million to raise in private support to cover the remaining $65 million.
- The construction is on the same site as the original 1903 Carnegie Library. Mecklenburg County’s first free library was rebuilt in 1956, renovated and expanded in 1989, and torn down in 2023 to make way for this modernized version.
Zoom out: The library is expected to accelerate this corner of Uptown’s metamorphosis. It’s right next to the newly renovated Carolina Theatre, which is now hosting movie nights and large speaker events.
- Mecklenburg County had planned a major overhaul of the land surrounding the library, but the master developer for the public-private redevelopment, called Seventh and Tryon, backed out.
- The county isn’t seeking a new master developer anytime soon due to “development market volatility and uncertainty,” a spokesperson told Axios.
Take a look around the construction site: Tryon Plaza
Editor’s Note: Read the rest of the story, at the below link.
Continue/Read Original Article Here: Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte

#137Million #2025 #2025Update #2027Delay #America #Axios #AxiosCharlotte #Books #Charlotte #Construction #Education #History #Libraries #Library #MainLibrary #NorthCarolina #PublicLibrary #Reading #Technology #TryonPlaza #UnitedStates #Uptown
#137million #2025update #2027delay #america #axios #axioscharlotte
DrWeb @[email protected] · 2025-10-12 · 18:11 UTC
Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte
Oct 10, 2025 – News
Sneak peek: Uptown’s $137M, five-story delayed library

By Alexandria Sands
GIF: Alexandria Sands/Axios
Construction is progressing, though behind schedule, on Charlotte Mecklenburg Library’s five-story Uptown branch at 6th and North Tryon streets. The $137 million flagship location is now slated to open in spring 2027, later than the 2026 target.
Why it matters: The main library — a free, critical community resource — has been closed for four years now. Once reopened, leaders expect a million visitors in the first year, making the 115,000-square-foot branch a major Uptown destination.
Driving the news: Project leadersgave reporters a tour Friday of construction progress on the first two floors. Caitlin Moen, library director, attributed the delay to meticulous work necessary to ensure the building’s longevity.
- “This iconic building is something that’s not been built before,” Moen said. “As we try to bring this vision to life, but also ensure that 50-year lifespan, we are doing our due diligence.”
Level three reading room. Rendering: Courtesy of CML
Zoom in: Moen said the features reflect what community members said they wanted in their modern library, including:
- 15 meeting rooms for two to 40 people
- A 225-person, top-floor event space
- A reading room with views
- A courtyard and two outdoor terraces
- Lowe’s Technology Lab with public computers and two laptop dispensing stations with 12 laptops each
- The Bank of America Opportunity Center, offering resume assistance, digital skills training and job support
- A parking deck, built and financed by Mecklenburg County, at the corner of 7th and College streets
Dr. Joyce Davis Waddell event space. Rendering: Courtesy of CML
Between the lines: The main library is geared more toward adults, since ImaginOn, the flagship children’s and teen library, is two blocks away.
Catch up quick: Mecklenburg County provided $72.33 million for the project. Charlotte Mecklenburg Library Foundation still has $8 million to raise in private support to cover the remaining $65 million.
- The construction is on the same site as the original 1903 Carnegie Library. Mecklenburg County’s first free library was rebuilt in 1956, renovated and expanded in 1989, and torn down in 2023 to make way for this modernized version.
Zoom out: The library is expected to accelerate this corner of Uptown’s metamorphosis. It’s right next to the newly renovated Carolina Theatre, which is now hosting movie nights and large speaker events.
- Mecklenburg County had planned a major overhaul of the land surrounding the library, but the master developer for the public-private redevelopment, called Seventh and Tryon, backed out.
- The county isn’t seeking a new master developer anytime soon due to “development market volatility and uncertainty,” a spokesperson told Axios.
Take a look around the construction site: Tryon Plaza
Editor’s Note: Read the rest of the story, at the below link.
Continue/Read Original Article Here: Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte

#137Million #2025 #2025Update #2027Delay #America #Axios #AxiosCharlotte #Books #Charlotte #Construction #Education #History #Libraries #Library #MainLibrary #NorthCarolina #PublicLibrary #Reading #Technology #TryonPlaza #UnitedStates #Uptown
#uptown #unitedstates #tryonplaza #technology #reading #publiclibrary
DrWeb @[email protected] · 2025-10-12 · 18:11 UTC
Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte
Oct 10, 2025 – News
Sneak peek: Uptown’s $137M, five-story delayed library

By Alexandria Sands
GIF: Alexandria Sands/Axios
Construction is progressing, though behind schedule, on Charlotte Mecklenburg Library’s five-story Uptown branch at 6th and North Tryon streets. The $137 million flagship location is now slated to open in spring 2027, later than the 2026 target.
Why it matters: The main library — a free, critical community resource — has been closed for four years now. Once reopened, leaders expect a million visitors in the first year, making the 115,000-square-foot branch a major Uptown destination.
Driving the news: Project leadersgave reporters a tour Friday of construction progress on the first two floors. Caitlin Moen, library director, attributed the delay to meticulous work necessary to ensure the building’s longevity.
- “This iconic building is something that’s not been built before,” Moen said. “As we try to bring this vision to life, but also ensure that 50-year lifespan, we are doing our due diligence.”
Level three reading room. Rendering: Courtesy of CML
Zoom in: Moen said the features reflect what community members said they wanted in their modern library, including:
- 15 meeting rooms for two to 40 people
- A 225-person, top-floor event space
- A reading room with views
- A courtyard and two outdoor terraces
- Lowe’s Technology Lab with public computers and two laptop dispensing stations with 12 laptops each
- The Bank of America Opportunity Center, offering resume assistance, digital skills training and job support
- A parking deck, built and financed by Mecklenburg County, at the corner of 7th and College streets
Dr. Joyce Davis Waddell event space. Rendering: Courtesy of CML
Between the lines: The main library is geared more toward adults, since ImaginOn, the flagship children’s and teen library, is two blocks away.
Catch up quick: Mecklenburg County provided $72.33 million for the project. Charlotte Mecklenburg Library Foundation still has $8 million to raise in private support to cover the remaining $65 million.
- The construction is on the same site as the original 1903 Carnegie Library. Mecklenburg County’s first free library was rebuilt in 1956, renovated and expanded in 1989, and torn down in 2023 to make way for this modernized version.
Zoom out: The library is expected to accelerate this corner of Uptown’s metamorphosis. It’s right next to the newly renovated Carolina Theatre, which is now hosting movie nights and large speaker events.
- Mecklenburg County had planned a major overhaul of the land surrounding the library, but the master developer for the public-private redevelopment, called Seventh and Tryon, backed out.
- The county isn’t seeking a new master developer anytime soon due to “development market volatility and uncertainty,” a spokesperson told Axios.
Take a look around the construction site: Tryon Plaza
Editor’s Note: Read the rest of the story, at the below link.
Continue/Read Original Article Here: Charlotte’s $137M Uptown library delayed to 2027 – Axios Charlotte

#137Million #2025 #2025Update #2027Delay #America #Axios #AxiosCharlotte #Books #Charlotte #Construction #Education #History #Libraries #Library #MainLibrary #NorthCarolina #PublicLibrary #Reading #Technology #TryonPlaza #UnitedStates #Uptown
#137million #2025update #2027delay #america #axios #axioscharlotte
Angry Metal Guy @[email protected] · 2025-07-03 · 16:12 UTC

Sarastus – Agony Eternal Review
By Kenstrosity
If you follow the Finnish, or even the wider Scandinavian black metal scene, you might know about Finnish trio Sarastus. I would never have known about them, though, if it weren’t for AMG Hisselves telling Dr. A. N. Grier to listen to them and cover this. Of course, because I’m an opportunistic bastard with a ravenous appetite for shenanigans—and because Grier slept on the promo pool until he was sunburned to a smoking chunk of stinky charcoal—I swiped it right from under his nose. Sucks to suck, loser! Now I’m here, spinning Sarastus’ third opus, Agony Eternal, and reveling in the fact that I stole something that just happened to be worth stealing from not one, but two upper management. You’re welcome.
Undergoing some lineup changes between records before finalizing the current spread in 2023, Sarastus comes alive on Agony Eternal, bursting with vitality and verve. The sonic format at its core remains unchanged from what already exists in the black metal arsenal: blast beats, frigid tremolos, buzzing production, fierce rasps, and fiery melodies. Rarely, though, in the modern school at least, do these ingredients coalesce into a record as blistering and infectious as Agony Eternal. Reminiscent of Kvaen and Rimfrost in its infernal lustiness and musical effervescence, all of Agony Eternal’s nine tightly written tracks offer an array of sharp hooks, meaty riffs, and standout vocal performances that put Sarastus far ahead of the majority of their peers.
Agony Eternal serves as a prime example of a record that doesn’t need to do anything new to make a big splash. Even if opening duo “Gravelust” and “Agony Eternal” snatch my attention with a staggering immediacy—credit for this goes to a surprisingly black n’ roll riffset, dynamic songwriting, and a swaggering sense of confidence—it’s “Into Eternity” and “Where Cruelty Never Ends” that catch my adoring gaze. The melodies that lift me into the stratosphere in both songs create a euphoric state that never fully dissipates. Remarkably smooth transitions in rhythm and structure activate an animal instinct in my brain that ensures headbanging and windmilling at extreme intensities. In concert, these characteristics generate an immense momentum that bestows gravity and heft to the slower mid-paced stomp that pounds “No Horizon” deep into my skull. With all manner of screeches, riffs, leads, and patterns to guide my way forward, the remainder of Agony Eternal follows through on the promise that “Into Eternity” and its neighbors aren’t just a white-hot flash in the pan. Later highlights “Metamorphosis,” “Into the Lair,” and massive closer “1644” stand tall as fast and free explosions of joyous, blackened revelry that recalls Vimur in their vicious attack and vicarious spirit.
Dispensing with a compartmentalized evaluation of its constituent numbers, Agony Eternal still shines. Put another way, Agony Eternal is a nonstop party. With almost poppy energy, Sarastus captured with remarkable simplicity and undeniable effectiveness the passion and conviction that made black metal of this kind a sensation. But, when I listen to songs like “From Pride, to Shame, to Misery,” I can hear more than just black metal purism. I hear a confident, exuberant soul rooted in rock n’ roll rebellion, forged in timeless techniques, and steeped in metallic traditions across the spectrum. In this way, Sarastus honor the great many talents across history that allowed a record like Agony Eternal to exist. In that spirit, this feels like a loving tribute not just to black metal itself, but to the greater community of artists and audiences that laid the groundwork.
Even so, Agony Eternal is imperfect, but only slightly. There are one or two brief moments where the vocals break my immersion by breaking a bit themselves (see the very end of “Where Cruelty Never Ends”), though this disruptive effect dulls with repeat spins and a little patience. I also wish that, despite the wonderfully roomy and natural mix and master, the bass was beefier still and the vocals pulled back just a smidge. Additionally, opener “Gravelust” might be the only song that, mostly in retrospect, doesn’t meet the same lofty standard of its album mates. It’s got all the right attributes, but the execution feels lacking by comparison. As a final nitpick, after a dozen focused listens, I do think a few riffs here and there undergo one or three too many repetitions, especially when they are more than strong enough to stand out with fewer (“1644”). No matter. At the end of the night, Agony Eternal is a resounding success, and I wholeheartedly recommend any metal fan to give it your ear (and your soul)!

Rating: Great!
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dominance of Darkness Records
Websites: sarastus.bandcamp.com | facebook.com/sarastusjaikuisuus
Releases Worldwide: July 1st, 2025
#2025 #40 #AgonyEternal #BlackMetal #DominanceOfDarknessRecords #FinnishMetal #Jul25 #Kvaen #MelodicBlackMetal #Review #Reviews #Rimfrost #Sarastus #Vimur

#agonyeternal #blackmetal #dominanceofdarknessrecords #finnishmetal #jul25 #kvaen
Angry Metal Guy @[email protected] · 2025-07-03 · 16:12 UTC

Sarastus – Agony Eternal Review
By Kenstrosity
If you follow the Finnish, or even the wider Scandinavian black metal scene, you might know about Finnish trio Sarastus. I would never have known about them, though, if it weren’t for AMG Hisselves telling Dr. A. N. Grier to listen to them and cover this. Of course, because I’m an opportunistic bastard with a ravenous appetite for shenanigans—and because Grier slept on the promo pool until he was sunburned to a smoking chunk of stinky charcoal—I swiped it right from under his nose. Sucks to suck, loser! Now I’m here, spinning Sarastus’ third opus, Agony Eternal, and reveling in the fact that I stole something that just happened to be worth stealing from not one, but two upper management. You’re welcome.
Undergoing some lineup changes between records before finalizing the current spread in 2023, Sarastus comes alive on Agony Eternal, bursting with vitality and verve. The sonic format at its core remains unchanged from what already exists in the black metal arsenal: blast beats, frigid tremolos, buzzing production, fierce rasps, and fiery melodies. Rarely, though, in the modern school at least, do these ingredients coalesce into a record as blistering and infectious as Agony Eternal. Reminiscent of Kvaen and Rimfrost in its infernal lustiness and musical effervescence, all of Agony Eternal’s nine tightly written tracks offer an array of sharp hooks, meaty riffs, and standout vocal performances that put Sarastus far ahead of the majority of their peers.
Agony Eternal serves as a prime example of a record that doesn’t need to do anything new to make a big splash. Even if opening duo “Gravelust” and “Agony Eternal” snatch my attention with a staggering immediacy—credit for this goes to a surprisingly black n’ roll riffset, dynamic songwriting, and a swaggering sense of confidence—it’s “Into Eternity” and “Where Cruelty Never Ends” that catch my adoring gaze. The melodies that lift me into the stratosphere in both songs create a euphoric state that never fully dissipates. Remarkably smooth transitions in rhythm and structure activate an animal instinct in my brain that ensures headbanging and windmilling at extreme intensities. In concert, these characteristics generate an immense momentum that bestows gravity and heft to the slower mid-paced stomp that pounds “No Horizon” deep into my skull. With all manner of screeches, riffs, leads, and patterns to guide my way forward, the remainder of Agony Eternal follows through on the promise that “Into Eternity” and its neighbors aren’t just a white-hot flash in the pan. Later highlights “Metamorphosis,” “Into the Lair,” and massive closer “1644” stand tall as fast and free explosions of joyous, blackened revelry that recalls Vimur in their vicious attack and vicarious spirit.
Dispensing with a compartmentalized evaluation of its constituent numbers, Agony Eternal still shines. Put another way, Agony Eternal is a nonstop party. With almost poppy energy, Sarastus captured with remarkable simplicity and undeniable effectiveness the passion and conviction that made black metal of this kind a sensation. But, when I listen to songs like “From Pride, to Shame, to Misery,” I can hear more than just black metal purism. I hear a confident, exuberant soul rooted in rock n’ roll rebellion, forged in timeless techniques, and steeped in metallic traditions across the spectrum. In this way, Sarastus honor the great many talents across history that allowed a record like Agony Eternal to exist. In that spirit, this feels like a loving tribute not just to black metal itself, but to the greater community of artists and audiences that laid the groundwork.
Even so, Agony Eternal is imperfect, but only slightly. There are one or two brief moments where the vocals break my immersion by breaking a bit themselves (see the very end of “Where Cruelty Never Ends”), though this disruptive effect dulls with repeat spins and a little patience. I also wish that, despite the wonderfully roomy and natural mix and master, the bass was beefier still and the vocals pulled back just a smidge. Additionally, opener “Gravelust” might be the only song that, mostly in retrospect, doesn’t meet the same lofty standard of its album mates. It’s got all the right attributes, but the execution feels lacking by comparison. As a final nitpick, after a dozen focused listens, I do think a few riffs here and there undergo one or three too many repetitions, especially when they are more than strong enough to stand out with fewer (“1644”). No matter. At the end of the night, Agony Eternal is a resounding success, and I wholeheartedly recommend any metal fan to give it your ear (and your soul)!

Rating: Great!
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dominance of Darkness Records
Websites: sarastus.bandcamp.com | facebook.com/sarastusjaikuisuus
Releases Worldwide: July 1st, 2025
#2025 #40 #AgonyEternal #BlackMetal #DominanceOfDarknessRecords #FinnishMetal #Jul25 #Kvaen #MelodicBlackMetal #Review #Reviews #Rimfrost #Sarastus #Vimur

#agonyeternal #blackmetal #dominanceofdarknessrecords #finnishmetal #jul25 #kvaen
Angry Metal Guy @[email protected] · 2025-07-03 · 16:12 UTC

Sarastus – Agony Eternal Review
By Kenstrosity
If you follow the Finnish, or even the wider Scandinavian black metal scene, you might know about Finnish trio Sarastus. I would never have known about them, though, if it weren’t for AMG Hisselves telling Dr. A. N. Grier to listen to them and cover this. Of course, because I’m an opportunistic bastard with a ravenous appetite for shenanigans—and because Grier slept on the promo pool until he was sunburned to a smoking chunk of stinky charcoal—I swiped it right from under his nose. Sucks to suck, loser! Now I’m here, spinning Sarastus’ third opus, Agony Eternal, and reveling in the fact that I stole something that just happened to be worth stealing from not one, but two upper management. You’re welcome.
Undergoing some lineup changes between records before finalizing the current spread in 2023, Sarastus comes alive on Agony Eternal, bursting with vitality and verve. The sonic format at its core remains unchanged from what already exists in the black metal arsenal: blast beats, frigid tremolos, buzzing production, fierce rasps, and fiery melodies. Rarely, though, in the modern school at least, do these ingredients coalesce into a record as blistering and infectious as Agony Eternal. Reminiscent of Kvaen and Rimfrost in its infernal lustiness and musical effervescence, all of Agony Eternal’s nine tightly written tracks offer an array of sharp hooks, meaty riffs, and standout vocal performances that put Sarastus far ahead of the majority of their peers.
Agony Eternal serves as a prime example of a record that doesn’t need to do anything new to make a big splash. Even if opening duo “Gravelust” and “Agony Eternal” snatch my attention with a staggering immediacy—credit for this goes to a surprisingly black n’ roll riffset, dynamic songwriting, and a swaggering sense of confidence—it’s “Into Eternity” and “Where Cruelty Never Ends” that catch my adoring gaze. The melodies that lift me into the stratosphere in both songs create a euphoric state that never fully dissipates. Remarkably smooth transitions in rhythm and structure activate an animal instinct in my brain that ensures headbanging and windmilling at extreme intensities. In concert, these characteristics generate an immense momentum that bestows gravity and heft to the slower mid-paced stomp that pounds “No Horizon” deep into my skull. With all manner of screeches, riffs, leads, and patterns to guide my way forward, the remainder of Agony Eternal follows through on the promise that “Into Eternity” and its neighbors aren’t just a white-hot flash in the pan. Later highlights “Metamorphosis,” “Into the Lair,” and massive closer “1644” stand tall as fast and free explosions of joyous, blackened revelry that recalls Vimur in their vicious attack and vicarious spirit.
Dispensing with a compartmentalized evaluation of its constituent numbers, Agony Eternal still shines. Put another way, Agony Eternal is a nonstop party. With almost poppy energy, Sarastus captured with remarkable simplicity and undeniable effectiveness the passion and conviction that made black metal of this kind a sensation. But, when I listen to songs like “From Pride, to Shame, to Misery,” I can hear more than just black metal purism. I hear a confident, exuberant soul rooted in rock n’ roll rebellion, forged in timeless techniques, and steeped in metallic traditions across the spectrum. In this way, Sarastus honor the great many talents across history that allowed a record like Agony Eternal to exist. In that spirit, this feels like a loving tribute not just to black metal itself, but to the greater community of artists and audiences that laid the groundwork.
Even so, Agony Eternal is imperfect, but only slightly. There are one or two brief moments where the vocals break my immersion by breaking a bit themselves (see the very end of “Where Cruelty Never Ends”), though this disruptive effect dulls with repeat spins and a little patience. I also wish that, despite the wonderfully roomy and natural mix and master, the bass was beefier still and the vocals pulled back just a smidge. Additionally, opener “Gravelust” might be the only song that, mostly in retrospect, doesn’t meet the same lofty standard of its album mates. It’s got all the right attributes, but the execution feels lacking by comparison. As a final nitpick, after a dozen focused listens, I do think a few riffs here and there undergo one or three too many repetitions, especially when they are more than strong enough to stand out with fewer (“1644”). No matter. At the end of the night, Agony Eternal is a resounding success, and I wholeheartedly recommend any metal fan to give it your ear (and your soul)!

Rating: Great!
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dominance of Darkness Records
Websites: sarastus.bandcamp.com | facebook.com/sarastusjaikuisuus
Releases Worldwide: July 1st, 2025
#2025 #40 #AgonyEternal #BlackMetal #DominanceOfDarknessRecords #FinnishMetal #Jul25 #Kvaen #MelodicBlackMetal #Review #Reviews #Rimfrost #Sarastus #Vimur

#agonyeternal #blackmetal #dominanceofdarknessrecords #finnishmetal #jul25 #kvaen
Angry Metal Guy @[email protected] · 2025-07-03 · 16:12 UTC

Sarastus – Agony Eternal Review
By Kenstrosity
If you follow the Finnish, or even the wider Scandinavian black metal scene, you might know about Finnish trio Sarastus. I would never have known about them, though, if it weren’t for AMG Hisselves telling Dr. A. N. Grier to listen to them and cover this. Of course, because I’m an opportunistic bastard with a ravenous appetite for shenanigans—and because Grier slept on the promo pool until he was sunburned to a smoking chunk of stinky charcoal—I swiped it right from under his nose. Sucks to suck, loser! Now I’m here, spinning Sarastus’ third opus, Agony Eternal, and reveling in the fact that I stole something that just happened to be worth stealing from not one, but two upper management. You’re welcome.
Undergoing some lineup changes between records before finalizing the current spread in 2023, Sarastus comes alive on Agony Eternal, bursting with vitality and verve. The sonic format at its core remains unchanged from what already exists in the black metal arsenal: blast beats, frigid tremolos, buzzing production, fierce rasps, and fiery melodies. Rarely, though, in the modern school at least, do these ingredients coalesce into a record as blistering and infectious as Agony Eternal. Reminiscent of Kvaen and Rimfrost in its infernal lustiness and musical effervescence, all of Agony Eternal’s nine tightly written tracks offer an array of sharp hooks, meaty riffs, and standout vocal performances that put Sarastus far ahead of the majority of their peers.
Agony Eternal serves as a prime example of a record that doesn’t need to do anything new to make a big splash. Even if opening duo “Gravelust” and “Agony Eternal” snatch my attention with a staggering immediacy—credit for this goes to a surprisingly black n’ roll riffset, dynamic songwriting, and a swaggering sense of confidence—it’s “Into Eternity” and “Where Cruelty Never Ends” that catch my adoring gaze. The melodies that lift me into the stratosphere in both songs create a euphoric state that never fully dissipates. Remarkably smooth transitions in rhythm and structure activate an animal instinct in my brain that ensures headbanging and windmilling at extreme intensities. In concert, these characteristics generate an immense momentum that bestows gravity and heft to the slower mid-paced stomp that pounds “No Horizon” deep into my skull. With all manner of screeches, riffs, leads, and patterns to guide my way forward, the remainder of Agony Eternal follows through on the promise that “Into Eternity” and its neighbors aren’t just a white-hot flash in the pan. Later highlights “Metamorphosis,” “Into the Lair,” and massive closer “1644” stand tall as fast and free explosions of joyous, blackened revelry that recalls Vimur in their vicious attack and vicarious spirit.
Dispensing with a compartmentalized evaluation of its constituent numbers, Agony Eternal still shines. Put another way, Agony Eternal is a nonstop party. With almost poppy energy, Sarastus captured with remarkable simplicity and undeniable effectiveness the passion and conviction that made black metal of this kind a sensation. But, when I listen to songs like “From Pride, to Shame, to Misery,” I can hear more than just black metal purism. I hear a confident, exuberant soul rooted in rock n’ roll rebellion, forged in timeless techniques, and steeped in metallic traditions across the spectrum. In this way, Sarastus honor the great many talents across history that allowed a record like Agony Eternal to exist. In that spirit, this feels like a loving tribute not just to black metal itself, but to the greater community of artists and audiences that laid the groundwork.
Even so, Agony Eternal is imperfect, but only slightly. There are one or two brief moments where the vocals break my immersion by breaking a bit themselves (see the very end of “Where Cruelty Never Ends”), though this disruptive effect dulls with repeat spins and a little patience. I also wish that, despite the wonderfully roomy and natural mix and master, the bass was beefier still and the vocals pulled back just a smidge. Additionally, opener “Gravelust” might be the only song that, mostly in retrospect, doesn’t meet the same lofty standard of its album mates. It’s got all the right attributes, but the execution feels lacking by comparison. As a final nitpick, after a dozen focused listens, I do think a few riffs here and there undergo one or three too many repetitions, especially when they are more than strong enough to stand out with fewer (“1644”). No matter. At the end of the night, Agony Eternal is a resounding success, and I wholeheartedly recommend any metal fan to give it your ear (and your soul)!

Rating: Great!
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dominance of Darkness Records
Websites: sarastus.bandcamp.com | facebook.com/sarastusjaikuisuus
Releases Worldwide: July 1st, 2025
#2025 #40 #AgonyEternal #BlackMetal #DominanceOfDarknessRecords #FinnishMetal #Jul25 #Kvaen #MelodicBlackMetal #Review #Reviews #Rimfrost #Sarastus #Vimur

#vimur #sarastus #rimfrost #reviews #review #melodicblackmetal
Angry Metal Guy @[email protected] · 2025-07-03 · 16:12 UTC

Sarastus – Agony Eternal Review
By Kenstrosity
If you follow the Finnish, or even the wider Scandinavian black metal scene, you might know about Finnish trio Sarastus. I would never have known about them, though, if it weren’t for AMG Hisselves telling Dr. A. N. Grier to listen to them and cover this. Of course, because I’m an opportunistic bastard with a ravenous appetite for shenanigans—and because Grier slept on the promo pool until he was sunburned to a smoking chunk of stinky charcoal—I swiped it right from under his nose. Sucks to suck, loser! Now I’m here, spinning Sarastus’ third opus, Agony Eternal, and reveling in the fact that I stole something that just happened to be worth stealing from not one, but two upper management. You’re welcome.
Undergoing some lineup changes between records before finalizing the current spread in 2023, Sarastus comes alive on Agony Eternal, bursting with vitality and verve. The sonic format at its core remains unchanged from what already exists in the black metal arsenal: blast beats, frigid tremolos, buzzing production, fierce rasps, and fiery melodies. Rarely, though, in the modern school at least, do these ingredients coalesce into a record as blistering and infectious as Agony Eternal. Reminiscent of Kvaen and Rimfrost in its infernal lustiness and musical effervescence, all of Agony Eternal’s nine tightly written tracks offer an array of sharp hooks, meaty riffs, and standout vocal performances that put Sarastus far ahead of the majority of their peers.
Agony Eternal serves as a prime example of a record that doesn’t need to do anything new to make a big splash. Even if opening duo “Gravelust” and “Agony Eternal” snatch my attention with a staggering immediacy—credit for this goes to a surprisingly black n’ roll riffset, dynamic songwriting, and a swaggering sense of confidence—it’s “Into Eternity” and “Where Cruelty Never Ends” that catch my adoring gaze. The melodies that lift me into the stratosphere in both songs create a euphoric state that never fully dissipates. Remarkably smooth transitions in rhythm and structure activate an animal instinct in my brain that ensures headbanging and windmilling at extreme intensities. In concert, these characteristics generate an immense momentum that bestows gravity and heft to the slower mid-paced stomp that pounds “No Horizon” deep into my skull. With all manner of screeches, riffs, leads, and patterns to guide my way forward, the remainder of Agony Eternal follows through on the promise that “Into Eternity” and its neighbors aren’t just a white-hot flash in the pan. Later highlights “Metamorphosis,” “Into the Lair,” and massive closer “1644” stand tall as fast and free explosions of joyous, blackened revelry that recalls Vimur in their vicious attack and vicarious spirit.
Dispensing with a compartmentalized evaluation of its constituent numbers, Agony Eternal still shines. Put another way, Agony Eternal is a nonstop party. With almost poppy energy, Sarastus captured with remarkable simplicity and undeniable effectiveness the passion and conviction that made black metal of this kind a sensation. But, when I listen to songs like “From Pride, to Shame, to Misery,” I can hear more than just black metal purism. I hear a confident, exuberant soul rooted in rock n’ roll rebellion, forged in timeless techniques, and steeped in metallic traditions across the spectrum. In this way, Sarastus honor the great many talents across history that allowed a record like Agony Eternal to exist. In that spirit, this feels like a loving tribute not just to black metal itself, but to the greater community of artists and audiences that laid the groundwork.
Even so, Agony Eternal is imperfect, but only slightly. There are one or two brief moments where the vocals break my immersion by breaking a bit themselves (see the very end of “Where Cruelty Never Ends”), though this disruptive effect dulls with repeat spins and a little patience. I also wish that, despite the wonderfully roomy and natural mix and master, the bass was beefier still and the vocals pulled back just a smidge. Additionally, opener “Gravelust” might be the only song that, mostly in retrospect, doesn’t meet the same lofty standard of its album mates. It’s got all the right attributes, but the execution feels lacking by comparison. As a final nitpick, after a dozen focused listens, I do think a few riffs here and there undergo one or three too many repetitions, especially when they are more than strong enough to stand out with fewer (“1644”). No matter. At the end of the night, Agony Eternal is a resounding success, and I wholeheartedly recommend any metal fan to give it your ear (and your soul)!

Rating: Great!
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dominance of Darkness Records
Websites: sarastus.bandcamp.com | facebook.com/sarastusjaikuisuus
Releases Worldwide: July 1st, 2025
#2025 #40 #AgonyEternal #BlackMetal #DominanceOfDarknessRecords #FinnishMetal #Jul25 #Kvaen #MelodicBlackMetal #Review #Reviews #Rimfrost #Sarastus #Vimur

#agonyeternal #blackmetal #dominanceofdarknessrecords #finnishmetal #jul25 #kvaen
1001 Other Albums @[email protected] · 2025-04-11 · 06:00 UTC
Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
#berlinphilharmonic #clarinet #classicalmusic #claudioabbado #debussy #mozart
1001 Other Albums @[email protected] · 2025-04-11 · 06:00 UTC
Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
#berlinphilharmonic #clarinet #classicalmusic #claudioabbado #debussy #mozart
1001 Other Albums @[email protected] · 2025-04-11 · 06:00 UTC
Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
#berlinphilharmonic #clarinet #classicalmusic #claudioabbado #debussy #mozart
1001 Other Albums @[email protected] · 2025-04-11 · 06:00 UTC
Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
#torutakemitsu #sabinemeyer #musicdiscovery #music #mozart #debussy
Angry Metal Guy @[email protected] · 2025-03-14 · 15:42 UTC

Vokodlok – The Egregious Being Review
By Kenstrosity
Hailing from Romania and dealing in Transylvanian mythology, Vokodlok began life as a raw black metal band. Their debut, Mass Murder Genesis, represented that genre in all its sonic roughness, featuring guitar tones worthy only of magnetic tape, a bona fide trash can lid snare, and croaking rasps galore. Shortly after that debut dropped, Vokodlok called it quits until reforming in 2018 with a slightly restructured lineup. But that’s not the only thing that’s transformed since their rebirth. What alchemic concoctions lay in store for this latest incarnation of Vokodlok? Only this sponge can tell, as I dive deep into sophomore outing The Egregious Being.
What once was true blue raw black is now but a ghost. 2025 sees Vokodlok exploring a starkly different sound, sharing much more in kind with death and thrash metal, although still dusted in cold soot. In the spirit of this metamorphosis, The Egregious Being hones in on fast-paced, chunky riffs and thrashy rhythms. Vokodlok’s production shifted to reflect this updated style, warming up considerably—certainly enough to defrost the ice draping from those trem-heavy leads of olde and allow the hellish flame of death to bloom anew. Yet, much of this material retains a level of rawness that belies Vokodlok’s shapeshifting instincts, permitting listeners a window into these Romanians’ past selves and highlighting significant character development in not just their sound but also their songwriting.
This character development showcases Vokodlok’s versatility as musicians while still exhibiting a distinct voice that sets them apart from other bands in this space. Strong cuts such as “The Human,” “Death Terror,” “Bestiarium,” and “jagh ‘lw vlpoQ” explore that voice, but also apply tasteful notes of Death, Úlfúð, Eximperitus, Immolation, and Cell to ground listeners on familiar territory. Whether that influence takes the form of a swaggering lean (“jagh ‘lw vlpoQ”), a ripping classic death metal solo (“Death Terror”), riffs that straddle the fence between styles (“The Human”), or a multifaceted songwriting structure forged from the annals of black, death, and thrash metal combined (“Warzone,” “Bestiarium,” “Denizen”), The Egregious Being thrives on adapting touchstones of multiple disciplines in synchronized unity with their own creativity. More melodic cuts like “The Faces Within” further enliven the experience in its light-footed agility through more exuberant musicality, but it’s never so jubilant or expressive as to create distance between that and their darker, moodier pieces (“The Monster,” “Disdain”).
If there was one aspect of Vokodlok’s songwriting that pulls the material down, it’s their penchant for repetition and ungentle transitions. Blunt force constitutes the majority of these songs’ movements between themes, riffs, and verses. Some tracks, like “The Faces Within” and “Death Terror,” smooth these out a bit more and thereby create fluidity without compromising extremity. However, abrupt and, at times, jarring moments create an unpleasant roughness to this ride that never threaten enjoyment, but sometimes immersion (“Denizen”). Of course, this isn’t helped by the odd production, personified by a weird mix of warm, modern, and murky tones. Not altogether disruptive or bothersome, a handful of motifs across the record seem notably simplistic or overly repetitive in relation to others. While this in and of itself doesn’t warrant much concern, considering Vokodlok’s high level of quality across the board, it creates a disconnect from more intricately constructed or richly layered compositions. In those instances where a single track represents both sides of this dichotomy, any such rift between one moment and another poses the greatest threat to my enjoyment (“Disdain”).
Overall, The Egregious Being is a pleasant and quite unexpected surprise. Where I had every reason to anticipate something raw, ragged, and sloppy (on purpose), I instead received something fresh, well-developed, and mature. The Egregious Being may not be a perfect record, but it does illustrate a willingness to evolve and grow into something more unique, more substantial, and altogether more engaging. If this is just the beginning for Vokodlok, then the future is bright!

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: vokodlok.bandcamp.com | facebook.com/VokodloK-1429971080417504
Releases Worldwide: March 14th, 2025
#2025 #35 #BlackMetal #Cell #Death #DeathMetal #Eximperitus #Immolation #Mar25 #Review #Reviews #RomanianMetal #SelfRelease #TheEgregiousBeing #ThrashMetal #Úlfúð #Vokodlok

#blackmetal #cell #death #deathmetal #eximperitus #immolation
Angry Metal Guy @[email protected] · 2025-03-14 · 15:42 UTC

Vokodlok – The Egregious Being Review
By Kenstrosity
Hailing from Romania and dealing in Transylvanian mythology, Vokodlok began life as a raw black metal band. Their debut, Mass Murder Genesis, represented that genre in all its sonic roughness, featuring guitar tones worthy only of magnetic tape, a bona fide trash can lid snare, and croaking rasps galore. Shortly after that debut dropped, Vokodlok called it quits until reforming in 2018 with a slightly restructured lineup. But that’s not the only thing that’s transformed since their rebirth. What alchemic concoctions lay in store for this latest incarnation of Vokodlok? Only this sponge can tell, as I dive deep into sophomore outing The Egregious Being.
What once was true blue raw black is now but a ghost. 2025 sees Vokodlok exploring a starkly different sound, sharing much more in kind with death and thrash metal, although still dusted in cold soot. In the spirit of this metamorphosis, The Egregious Being hones in on fast-paced, chunky riffs and thrashy rhythms. Vokodlok’s production shifted to reflect this updated style, warming up considerably—certainly enough to defrost the ice draping from those trem-heavy leads of olde and allow the hellish flame of death to bloom anew. Yet, much of this material retains a level of rawness that belies Vokodlok’s shapeshifting instincts, permitting listeners a window into these Romanians’ past selves and highlighting significant character development in not just their sound but also their songwriting.
This character development showcases Vokodlok’s versatility as musicians while still exhibiting a distinct voice that sets them apart from other bands in this space. Strong cuts such as “The Human,” “Death Terror,” “Bestiarium,” and “jagh ‘lw vlpoQ” explore that voice, but also apply tasteful notes of Death, Úlfúð, Eximperitus, Immolation, and Cell to ground listeners on familiar territory. Whether that influence takes the form of a swaggering lean (“jagh ‘lw vlpoQ”), a ripping classic death metal solo (“Death Terror”), riffs that straddle the fence between styles (“The Human”), or a multifaceted songwriting structure forged from the annals of black, death, and thrash metal combined (“Warzone,” “Bestiarium,” “Denizen”), The Egregious Being thrives on adapting touchstones of multiple disciplines in synchronized unity with their own creativity. More melodic cuts like “The Faces Within” further enliven the experience in its light-footed agility through more exuberant musicality, but it’s never so jubilant or expressive as to create distance between that and their darker, moodier pieces (“The Monster,” “Disdain”).
If there was one aspect of Vokodlok’s songwriting that pulls the material down, it’s their penchant for repetition and ungentle transitions. Blunt force constitutes the majority of these songs’ movements between themes, riffs, and verses. Some tracks, like “The Faces Within” and “Death Terror,” smooth these out a bit more and thereby create fluidity without compromising extremity. However, abrupt and, at times, jarring moments create an unpleasant roughness to this ride that never threaten enjoyment, but sometimes immersion (“Denizen”). Of course, this isn’t helped by the odd production, personified by a weird mix of warm, modern, and murky tones. Not altogether disruptive or bothersome, a handful of motifs across the record seem notably simplistic or overly repetitive in relation to others. While this in and of itself doesn’t warrant much concern, considering Vokodlok’s high level of quality across the board, it creates a disconnect from more intricately constructed or richly layered compositions. In those instances where a single track represents both sides of this dichotomy, any such rift between one moment and another poses the greatest threat to my enjoyment (“Disdain”).
Overall, The Egregious Being is a pleasant and quite unexpected surprise. Where I had every reason to anticipate something raw, ragged, and sloppy (on purpose), I instead received something fresh, well-developed, and mature. The Egregious Being may not be a perfect record, but it does illustrate a willingness to evolve and grow into something more unique, more substantial, and altogether more engaging. If this is just the beginning for Vokodlok, then the future is bright!

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: vokodlok.bandcamp.com | facebook.com/VokodloK-1429971080417504
Releases Worldwide: March 14th, 2025
#2025 #35 #BlackMetal #Cell #Death #DeathMetal #Eximperitus #Immolation #Mar25 #Review #Reviews #RomanianMetal #SelfRelease #TheEgregiousBeing #ThrashMetal #Úlfúð #Vokodlok

#blackmetal #cell #death #deathmetal #eximperitus #immolation
Angry Metal Guy @[email protected] · 2025-03-14 · 15:42 UTC

Vokodlok – The Egregious Being Review
By Kenstrosity
Hailing from Romania and dealing in Transylvanian mythology, Vokodlok began life as a raw black metal band. Their debut, Mass Murder Genesis, represented that genre in all its sonic roughness, featuring guitar tones worthy only of magnetic tape, a bona fide trash can lid snare, and croaking rasps galore. Shortly after that debut dropped, Vokodlok called it quits until reforming in 2018 with a slightly restructured lineup. But that’s not the only thing that’s transformed since their rebirth. What alchemic concoctions lay in store for this latest incarnation of Vokodlok? Only this sponge can tell, as I dive deep into sophomore outing The Egregious Being.
What once was true blue raw black is now but a ghost. 2025 sees Vokodlok exploring a starkly different sound, sharing much more in kind with death and thrash metal, although still dusted in cold soot. In the spirit of this metamorphosis, The Egregious Being hones in on fast-paced, chunky riffs and thrashy rhythms. Vokodlok’s production shifted to reflect this updated style, warming up considerably—certainly enough to defrost the ice draping from those trem-heavy leads of olde and allow the hellish flame of death to bloom anew. Yet, much of this material retains a level of rawness that belies Vokodlok’s shapeshifting instincts, permitting listeners a window into these Romanians’ past selves and highlighting significant character development in not just their sound but also their songwriting.
This character development showcases Vokodlok’s versatility as musicians while still exhibiting a distinct voice that sets them apart from other bands in this space. Strong cuts such as “The Human,” “Death Terror,” “Bestiarium,” and “jagh ‘lw vlpoQ” explore that voice, but also apply tasteful notes of Death, Úlfúð, Eximperitus, Immolation, and Cell to ground listeners on familiar territory. Whether that influence takes the form of a swaggering lean (“jagh ‘lw vlpoQ”), a ripping classic death metal solo (“Death Terror”), riffs that straddle the fence between styles (“The Human”), or a multifaceted songwriting structure forged from the annals of black, death, and thrash metal combined (“Warzone,” “Bestiarium,” “Denizen”), The Egregious Being thrives on adapting touchstones of multiple disciplines in synchronized unity with their own creativity. More melodic cuts like “The Faces Within” further enliven the experience in its light-footed agility through more exuberant musicality, but it’s never so jubilant or expressive as to create distance between that and their darker, moodier pieces (“The Monster,” “Disdain”).
If there was one aspect of Vokodlok’s songwriting that pulls the material down, it’s their penchant for repetition and ungentle transitions. Blunt force constitutes the majority of these songs’ movements between themes, riffs, and verses. Some tracks, like “The Faces Within” and “Death Terror,” smooth these out a bit more and thereby create fluidity without compromising extremity. However, abrupt and, at times, jarring moments create an unpleasant roughness to this ride that never threaten enjoyment, but sometimes immersion (“Denizen”). Of course, this isn’t helped by the odd production, personified by a weird mix of warm, modern, and murky tones. Not altogether disruptive or bothersome, a handful of motifs across the record seem notably simplistic or overly repetitive in relation to others. While this in and of itself doesn’t warrant much concern, considering Vokodlok’s high level of quality across the board, it creates a disconnect from more intricately constructed or richly layered compositions. In those instances where a single track represents both sides of this dichotomy, any such rift between one moment and another poses the greatest threat to my enjoyment (“Disdain”).
Overall, The Egregious Being is a pleasant and quite unexpected surprise. Where I had every reason to anticipate something raw, ragged, and sloppy (on purpose), I instead received something fresh, well-developed, and mature. The Egregious Being may not be a perfect record, but it does illustrate a willingness to evolve and grow into something more unique, more substantial, and altogether more engaging. If this is just the beginning for Vokodlok, then the future is bright!

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: vokodlok.bandcamp.com | facebook.com/VokodloK-1429971080417504
Releases Worldwide: March 14th, 2025
#2025 #35 #BlackMetal #Cell #Death #DeathMetal #Eximperitus #Immolation #Mar25 #Review #Reviews #RomanianMetal #SelfRelease #TheEgregiousBeing #ThrashMetal #Úlfúð #Vokodlok

#vokodlok #ulfud #thrashmetal #theegregiousbeing #selfrelease #romanianmetal
Angry Metal Guy @[email protected] · 2025-03-14 · 15:42 UTC

Vokodlok – The Egregious Being Review
By Kenstrosity
Hailing from Romania and dealing in Transylvanian mythology, Vokodlok began life as a raw black metal band. Their debut, Mass Murder Genesis, represented that genre in all its sonic roughness, featuring guitar tones worthy only of magnetic tape, a bona fide trash can lid snare, and croaking rasps galore. Shortly after that debut dropped, Vokodlok called it quits until reforming in 2018 with a slightly restructured lineup. But that’s not the only thing that’s transformed since their rebirth. What alchemic concoctions lay in store for this latest incarnation of Vokodlok? Only this sponge can tell, as I dive deep into sophomore outing The Egregious Being.
What once was true blue raw black is now but a ghost. 2025 sees Vokodlok exploring a starkly different sound, sharing much more in kind with death and thrash metal, although still dusted in cold soot. In the spirit of this metamorphosis, The Egregious Being hones in on fast-paced, chunky riffs and thrashy rhythms. Vokodlok’s production shifted to reflect this updated style, warming up considerably—certainly enough to defrost the ice draping from those trem-heavy leads of olde and allow the hellish flame of death to bloom anew. Yet, much of this material retains a level of rawness that belies Vokodlok’s shapeshifting instincts, permitting listeners a window into these Romanians’ past selves and highlighting significant character development in not just their sound but also their songwriting.
This character development showcases Vokodlok’s versatility as musicians while still exhibiting a distinct voice that sets them apart from other bands in this space. Strong cuts such as “The Human,” “Death Terror,” “Bestiarium,” and “jagh ‘lw vlpoQ” explore that voice, but also apply tasteful notes of Death, Úlfúð, Eximperitus, Immolation, and Cell to ground listeners on familiar territory. Whether that influence takes the form of a swaggering lean (“jagh ‘lw vlpoQ”), a ripping classic death metal solo (“Death Terror”), riffs that straddle the fence between styles (“The Human”), or a multifaceted songwriting structure forged from the annals of black, death, and thrash metal combined (“Warzone,” “Bestiarium,” “Denizen”), The Egregious Being thrives on adapting touchstones of multiple disciplines in synchronized unity with their own creativity. More melodic cuts like “The Faces Within” further enliven the experience in its light-footed agility through more exuberant musicality, but it’s never so jubilant or expressive as to create distance between that and their darker, moodier pieces (“The Monster,” “Disdain”).
If there was one aspect of Vokodlok’s songwriting that pulls the material down, it’s their penchant for repetition and ungentle transitions. Blunt force constitutes the majority of these songs’ movements between themes, riffs, and verses. Some tracks, like “The Faces Within” and “Death Terror,” smooth these out a bit more and thereby create fluidity without compromising extremity. However, abrupt and, at times, jarring moments create an unpleasant roughness to this ride that never threaten enjoyment, but sometimes immersion (“Denizen”). Of course, this isn’t helped by the odd production, personified by a weird mix of warm, modern, and murky tones. Not altogether disruptive or bothersome, a handful of motifs across the record seem notably simplistic or overly repetitive in relation to others. While this in and of itself doesn’t warrant much concern, considering Vokodlok’s high level of quality across the board, it creates a disconnect from more intricately constructed or richly layered compositions. In those instances where a single track represents both sides of this dichotomy, any such rift between one moment and another poses the greatest threat to my enjoyment (“Disdain”).
Overall, The Egregious Being is a pleasant and quite unexpected surprise. Where I had every reason to anticipate something raw, ragged, and sloppy (on purpose), I instead received something fresh, well-developed, and mature. The Egregious Being may not be a perfect record, but it does illustrate a willingness to evolve and grow into something more unique, more substantial, and altogether more engaging. If this is just the beginning for Vokodlok, then the future is bright!

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self Release
Websites: vokodlok.bandcamp.com | facebook.com/VokodloK-1429971080417504
Releases Worldwide: March 14th, 2025
#2025 #35 #BlackMetal #Cell #Death #DeathMetal #Eximperitus #Immolation #Mar25 #Review #Reviews #RomanianMetal #SelfRelease #TheEgregiousBeing #ThrashMetal #Úlfúð #Vokodlok

#blackmetal #cell #death #deathmetal #eximperitus #immolation
Angry Metal Guy @[email protected] · 2024-09-16 · 15:44 UTC

Invocation – The Archaic Sanctuary (Ritual Body Postures) Review
By Mark Z.
Chile has given us some great records in recent years, with Mayhemic’s Toba and Inanna’s Void of Unending Depths being two notable examples of fantastic albums that have earned a spot in my collection. Thus, when I saw a new Chilean black-death metal band were releasing their debut album via Iron Bonehead Productions—the ever-reliable purveyors of all that is raw and trve—my interest was piqued. With their previous demo and two EPs, Invocation showcased a dark and atmospheric style that earned them comparisons to the musty music of Grave Miasma. Now nine years since their formation, this trio are truly coming into their own with their first proper album, The Archaic Sanctuary (Ritual Body Postures).
When I first listened to Invocation, they sounded quite a bit different than I expected. Whereas Grave Miasma conjure an archaic atmosphere with extended groaning tremolos, Invocation maintain a similar vibe with a more immediate approach. Upon hitting play on opener “Ecstatic Trance,” the onslaught of riffs begins and—for the next 34 minutes—never truly ceases. These riffs gyrate and jab, moving deftly and sometimes violently, at times escalating into layered chords or suggestions of emotive melody, but never acting without purpose. The album has a restlessness about it, and that feeling is only furthered by the drumming. Contrary to what one might expect, the tempos never approach anything remotely doomy, instead shifting fluidly between blast beats and confident mid-paced rhythms. Sometimes these rhythms are even the highlights themselves, as with the snappy beat that helps make “Metamorphosis” one of the catchiest tracks on the record.
Given that these eight tracks average four minutes, the sheer quantity of riffs here could have easily made this album a mess. Instead, the band’s compositional maturity helps these songs stay focused and captivating. Each track progresses naturally and fluidly from one great moment to the next, giving each riff its time in the light yet rarely lingering on one idea for too long. Invocation have a brevity not often embraced by their peers, with many of these songs feeling like eight-minute epics that were trimmed tighter and tighter without ever losing their inherent sense of mystery. Yet while the band love crafting nooks and crannies within these songs, the tracks often return to a core idea, keeping them anchored and helping them stand on their own. Penultimate track “Venus of Laussel,” for instance, stands out with a big and terrific main riff that sounds like temple walls being forcefully rearranged by some immense subterranean creature.
Other aspects of the band’s sound are equally notable. Guitarist “Sense of Premonition” also serves as the band’s vocalist, and he delivers a manic and guttural holler that sounds like he’s striving as hard as possible to keep his inner madman under control. The approach is a perfect fit for the band’s lyrical themes, which center on “ancestral techniques of self-hypnosis and possession.” Yet ultimately, the guitars and drumming are the real standouts here. From the wailing grandeur of “Opium Tebiacum (Somniferum)” to the ascending tremolos of closer “Hypnosis” to the more measured approach of “The Serpent of Faardal,” Sense of Premonition consistently delivers one great idea after another, skillfully navigating his fretboard as the guitars contort in ever-interesting ways. Drummer “Sense of Clairaudience” likewise feels both tight and utterly natural with his smooth and dynamic performance. The production is also fantastic. Everything has plenty of space to breathe, and yet the riffs still hit hard enough to leave a mark.
Simply put, The Archaic Sanctuary is a triumph. From the compositions to the performances to the atmosphere, this is the rare album that excels in almost every way. The band’s knack for combining a musty ambiance with restless riffing reminds me of Throneum or Mystifier, yet Invocation just feel a notch above both them and almost everything else in the style. Here, the riffs are stronger, the songs are more focused, and the overall effect is simply captivating. As a result, The Archaic Sanctuary is a record I’d heartily recommend to any fan of extreme metal, regardless of how often you tread the types of shadowy underworlds that this record creates. For me, Invocation is a band to watch, and this is an album I’ll be revisiting for a long time to come.

Rating: 4.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: invocationtemple.bandcamp.com | facebook.com/invocationchile
Releases Worldwide: September 20th, 2024
#2024 #45 #BlackMetal #ChileanMetal #DeathMetal #GraveMiasma #Invocation #IronBoneheadProductions #Mystifier #Review #Reviews #Sep24 #TheArchaicSanctuaryRitualBodyPostures_ #Throneum

#blackmetal #chileanmetal #deathmetal #gravemiasma #invocation #ironboneheadproductions
Angry Metal Guy @[email protected] · 2024-09-16 · 15:44 UTC

Invocation – The Archaic Sanctuary (Ritual Body Postures) Review
By Mark Z.
Chile has given us some great records in recent years, with Mayhemic’s Toba and Inanna’s Void of Unending Depths being two notable examples of fantastic albums that have earned a spot in my collection. Thus, when I saw a new Chilean black-death metal band were releasing their debut album via Iron Bonehead Productions—the ever-reliable purveyors of all that is raw and trve—my interest was piqued. With their previous demo and two EPs, Invocation showcased a dark and atmospheric style that earned them comparisons to the musty music of Grave Miasma. Now nine years since their formation, this trio are truly coming into their own with their first proper album, The Archaic Sanctuary (Ritual Body Postures).
When I first listened to Invocation, they sounded quite a bit different than I expected. Whereas Grave Miasma conjure an archaic atmosphere with extended groaning tremolos, Invocation maintain a similar vibe with a more immediate approach. Upon hitting play on opener “Ecstatic Trance,” the onslaught of riffs begins and—for the next 34 minutes—never truly ceases. These riffs gyrate and jab, moving deftly and sometimes violently, at times escalating into layered chords or suggestions of emotive melody, but never acting without purpose. The album has a restlessness about it, and that feeling is only furthered by the drumming. Contrary to what one might expect, the tempos never approach anything remotely doomy, instead shifting fluidly between blast beats and confident mid-paced rhythms. Sometimes these rhythms are even the highlights themselves, as with the snappy beat that helps make “Metamorphosis” one of the catchiest tracks on the record.
Given that these eight tracks average four minutes, the sheer quantity of riffs here could have easily made this album a mess. Instead, the band’s compositional maturity helps these songs stay focused and captivating. Each track progresses naturally and fluidly from one great moment to the next, giving each riff its time in the light yet rarely lingering on one idea for too long. Invocation have a brevity not often embraced by their peers, with many of these songs feeling like eight-minute epics that were trimmed tighter and tighter without ever losing their inherent sense of mystery. Yet while the band love crafting nooks and crannies within these songs, the tracks often return to a core idea, keeping them anchored and helping them stand on their own. Penultimate track “Venus of Laussel,” for instance, stands out with a big and terrific main riff that sounds like temple walls being forcefully rearranged by some immense subterranean creature.
Other aspects of the band’s sound are equally notable. Guitarist “Sense of Premonition” also serves as the band’s vocalist, and he delivers a manic and guttural holler that sounds like he’s striving as hard as possible to keep his inner madman under control. The approach is a perfect fit for the band’s lyrical themes, which center on “ancestral techniques of self-hypnosis and possession.” Yet ultimately, the guitars and drumming are the real standouts here. From the wailing grandeur of “Opium Tebiacum (Somniferum)” to the ascending tremolos of closer “Hypnosis” to the more measured approach of “The Serpent of Faardal,” Sense of Premonition consistently delivers one great idea after another, skillfully navigating his fretboard as the guitars contort in ever-interesting ways. Drummer “Sense of Clairaudience” likewise feels both tight and utterly natural with his smooth and dynamic performance. The production is also fantastic. Everything has plenty of space to breathe, and yet the riffs still hit hard enough to leave a mark.
Simply put, The Archaic Sanctuary is a triumph. From the compositions to the performances to the atmosphere, this is the rare album that excels in almost every way. The band’s knack for combining a musty ambiance with restless riffing reminds me of Throneum or Mystifier, yet Invocation just feel a notch above both them and almost everything else in the style. Here, the riffs are stronger, the songs are more focused, and the overall effect is simply captivating. As a result, The Archaic Sanctuary is a record I’d heartily recommend to any fan of extreme metal, regardless of how often you tread the types of shadowy underworlds that this record creates. For me, Invocation is a band to watch, and this is an album I’ll be revisiting for a long time to come.

Rating: 4.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: invocationtemple.bandcamp.com | facebook.com/invocationchile
Releases Worldwide: September 20th, 2024
#2024 #45 #BlackMetal #ChileanMetal #DeathMetal #GraveMiasma #Invocation #IronBoneheadProductions #Mystifier #Review #Reviews #Sep24 #TheArchaicSanctuaryRitualBodyPostures_ #Throneum

#blackmetal #chileanmetal #deathmetal #gravemiasma #invocation #ironboneheadproductions
Angry Metal Guy @[email protected] · 2024-09-16 · 15:44 UTC

Invocation – The Archaic Sanctuary (Ritual Body Postures) Review
By Mark Z.
Chile has given us some great records in recent years, with Mayhemic’s Toba and Inanna’s Void of Unending Depths being two notable examples of fantastic albums that have earned a spot in my collection. Thus, when I saw a new Chilean black-death metal band were releasing their debut album via Iron Bonehead Productions—the ever-reliable purveyors of all that is raw and trve—my interest was piqued. With their previous demo and two EPs, Invocation showcased a dark and atmospheric style that earned them comparisons to the musty music of Grave Miasma. Now nine years since their formation, this trio are truly coming into their own with their first proper album, The Archaic Sanctuary (Ritual Body Postures).
When I first listened to Invocation, they sounded quite a bit different than I expected. Whereas Grave Miasma conjure an archaic atmosphere with extended groaning tremolos, Invocation maintain a similar vibe with a more immediate approach. Upon hitting play on opener “Ecstatic Trance,” the onslaught of riffs begins and—for the next 34 minutes—never truly ceases. These riffs gyrate and jab, moving deftly and sometimes violently, at times escalating into layered chords or suggestions of emotive melody, but never acting without purpose. The album has a restlessness about it, and that feeling is only furthered by the drumming. Contrary to what one might expect, the tempos never approach anything remotely doomy, instead shifting fluidly between blast beats and confident mid-paced rhythms. Sometimes these rhythms are even the highlights themselves, as with the snappy beat that helps make “Metamorphosis” one of the catchiest tracks on the record.
Given that these eight tracks average four minutes, the sheer quantity of riffs here could have easily made this album a mess. Instead, the band’s compositional maturity helps these songs stay focused and captivating. Each track progresses naturally and fluidly from one great moment to the next, giving each riff its time in the light yet rarely lingering on one idea for too long. Invocation have a brevity not often embraced by their peers, with many of these songs feeling like eight-minute epics that were trimmed tighter and tighter without ever losing their inherent sense of mystery. Yet while the band love crafting nooks and crannies within these songs, the tracks often return to a core idea, keeping them anchored and helping them stand on their own. Penultimate track “Venus of Laussel,” for instance, stands out with a big and terrific main riff that sounds like temple walls being forcefully rearranged by some immense subterranean creature.
Other aspects of the band’s sound are equally notable. Guitarist “Sense of Premonition” also serves as the band’s vocalist, and he delivers a manic and guttural holler that sounds like he’s striving as hard as possible to keep his inner madman under control. The approach is a perfect fit for the band’s lyrical themes, which center on “ancestral techniques of self-hypnosis and possession.” Yet ultimately, the guitars and drumming are the real standouts here. From the wailing grandeur of “Opium Tebiacum (Somniferum)” to the ascending tremolos of closer “Hypnosis” to the more measured approach of “The Serpent of Faardal,” Sense of Premonition consistently delivers one great idea after another, skillfully navigating his fretboard as the guitars contort in ever-interesting ways. Drummer “Sense of Clairaudience” likewise feels both tight and utterly natural with his smooth and dynamic performance. The production is also fantastic. Everything has plenty of space to breathe, and yet the riffs still hit hard enough to leave a mark.
Simply put, The Archaic Sanctuary is a triumph. From the compositions to the performances to the atmosphere, this is the rare album that excels in almost every way. The band’s knack for combining a musty ambiance with restless riffing reminds me of Throneum or Mystifier, yet Invocation just feel a notch above both them and almost everything else in the style. Here, the riffs are stronger, the songs are more focused, and the overall effect is simply captivating. As a result, The Archaic Sanctuary is a record I’d heartily recommend to any fan of extreme metal, regardless of how often you tread the types of shadowy underworlds that this record creates. For me, Invocation is a band to watch, and this is an album I’ll be revisiting for a long time to come.

Rating: 4.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: invocationtemple.bandcamp.com | facebook.com/invocationchile
Releases Worldwide: September 20th, 2024
#2024 #45 #BlackMetal #ChileanMetal #DeathMetal #GraveMiasma #Invocation #IronBoneheadProductions #Mystifier #Review #Reviews #Sep24 #TheArchaicSanctuaryRitualBodyPostures_ #Throneum

#throneum #thearchaicsanctuaryritualbodypostures_ #sep24 #reviews #review #mystifier
Angry Metal Guy @[email protected] · 2024-08-30 · 16:08 UTC

Modern Rites – Endless Review
By Thus Spoke
A misleading genre tag can be a blessing or a curse for a humble reviewer such as myself. To go in expecting one thing, but receive quite another throws one for a loop either way. But in the case of Modern Rites, and their sophomore Endless, the surprise was definitely a nice one. Marked as ‘industrial’ in the pit, what lies within is in fact a modern, delicately atmospheric strain of meloblack; one that audibly carries the influence of their guitarist’s other project, Aara. But rather than mimicry and filler, Modern Rites are in fact demonstrating their ability to evolve into something deeper, and far more interesting than where they started. Endless sounds almost nothing like predecessor Katalyst, to such an extent that if you didn’t know they were the same band already, you’d never guess. In less than three-quarters of an hour, the duo reinvent and reinvigorate their sound, and the result isn’t far short of spellbinding.
Like much good atmo-black, Endless’ impact is one that gradually intensifies as you repeatedly experience it, its immediacy striking in individual moments that seem to become less and less disparate on each listen. Then, suddenly the gaps close, and the coherence between movements is blatant, the whole thing made beautiful by the overt beauty of what first stood out. The clues for this metamorphosis are the ways Modern Rites covertly weave themes that play off one another through both callbacks and premonition. Opener “Prelude” prefigures a tingling, melancholic atmosphere with delicate plucks incredibly reminiscent of Aara’s own instrumentalisms. The following title track may literally take the refrain and run it through the transformative potency of swooping tremolos, but it’s the later references to this melancholia and ambience that solidify the overall character, and draw its yearning, contemplative pulchritude together into one.
Thus, a major strength of Endless is its ability to communicate pathos through its developing, reinterpreted and recurring musical themes. The melodic vessels ebb and flow in power, ending on the proverbial and literal high note of closer “Philosophenweg,” whose lead refrain is the kind of throat-catching opaline litany that induces eye-closing, blissful investment—from me anyway. Before this point, Modern Rites draw back the curtain of ferocity to reveal trembling fragility—precipitously gorgeous, resonant stillness (“Lost Lineage,” “Veil of Opulence”)—and elsewhere drive waves of emotion through pulsing surges of piteous agony, carried from swelling black metal to stripped-back anticipation (title track, “Becoming”) in a way that strongly recalls Gaerea. And not just the melodies, but the rhythms too are affective. Circling (“Autonomy,” “Philosophenweg”), furious (“Lost Lineage,” “Becoming”) percussion pulls swaying introspection over the listener in waves, cascading rollovers turning charges (“Veil of Opulence”) and breathy stillness (“Lost Lineage”) alike into one flowing, shifting stream of feeling.
Compositional coherence is strong overall, but this doesn’t mean songs don’t individualise themselves from the whole. While the record remains—almost exclusively—meloblack, there are little nods towards the elusive “industrial” tag, such as the first act of “Becoming,” and its pulsing, synth-led beat. “Veil of Opulence,” which comes storming in on a tide of energetic tremolos, stands out against most of its peers’ more gradual entries. But its passages of sinister, humming ambience mirror that of its industrial neighbour, “Becoming,” and the whispering atmospheres of the title track, just as its blistering black metal is of one spirit with that which rips across, for instance, “Lost Lineage,” “For Nothing,” and “Autonomy” . Wrapped up in a clear and resonant master, it all comes together into one engrossing world, as atmo-black should.
With every song calling to and referencing one another in brilliant thematic consonance, and these themes themselves being beautiful, it’s hard not to see Endless as the archetype for a great modern atmospheric melodic black metal album. Ambushed and overcome by grace, intensity, and emotionality at every turn, listeners with any sympathies for the genre will be continually rewarded. Modern Rites have created something special, and have triumphantly, and decisively made themselves known.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti
Websites: Bandcamp | Facebook
Releases Worldwide: August 30th, 2024
#2024 #40 #Aara #AmericanMetal #AtmosphericBlackMetal #Aug24 #BlackMetal #DebemurMorti #Endless #Gaerea #MelodicBlackMetal #ModernRites #Review #Reviews #SwissMetal

#aara #americanmetal #atmosphericblackmetal #aug24 #blackmetal #debemurmorti
Angry Metal Guy @[email protected] · 2024-08-30 · 16:08 UTC

Modern Rites – Endless Review
By Thus Spoke
A misleading genre tag can be a blessing or a curse for a humble reviewer such as myself. To go in expecting one thing, but receive quite another throws one for a loop either way. But in the case of Modern Rites, and their sophomore Endless, the surprise was definitely a nice one. Marked as ‘industrial’ in the pit, what lies within is in fact a modern, delicately atmospheric strain of meloblack; one that audibly carries the influence of their guitarist’s other project, Aara. But rather than mimicry and filler, Modern Rites are in fact demonstrating their ability to evolve into something deeper, and far more interesting than where they started. Endless sounds almost nothing like predecessor Katalyst, to such an extent that if you didn’t know they were the same band already, you’d never guess. In less than three-quarters of an hour, the duo reinvent and reinvigorate their sound, and the result isn’t far short of spellbinding.
Like much good atmo-black, Endless’ impact is one that gradually intensifies as you repeatedly experience it, its immediacy striking in individual moments that seem to become less and less disparate on each listen. Then, suddenly the gaps close, and the coherence between movements is blatant, the whole thing made beautiful by the overt beauty of what first stood out. The clues for this metamorphosis are the ways Modern Rites covertly weave themes that play off one another through both callbacks and premonition. Opener “Prelude” prefigures a tingling, melancholic atmosphere with delicate plucks incredibly reminiscent of Aara’s own instrumentalisms. The following title track may literally take the refrain and run it through the transformative potency of swooping tremolos, but it’s the later references to this melancholia and ambience that solidify the overall character, and draw its yearning, contemplative pulchritude together into one.
Thus, a major strength of Endless is its ability to communicate pathos through its developing, reinterpreted and recurring musical themes. The melodic vessels ebb and flow in power, ending on the proverbial and literal high note of closer “Philosophenweg,” whose lead refrain is the kind of throat-catching opaline litany that induces eye-closing, blissful investment—from me anyway. Before this point, Modern Rites draw back the curtain of ferocity to reveal trembling fragility—precipitously gorgeous, resonant stillness (“Lost Lineage,” “Veil of Opulence”)—and elsewhere drive waves of emotion through pulsing surges of piteous agony, carried from swelling black metal to stripped-back anticipation (title track, “Becoming”) in a way that strongly recalls Gaerea. And not just the melodies, but the rhythms too are affective. Circling (“Autonomy,” “Philosophenweg”), furious (“Lost Lineage,” “Becoming”) percussion pulls swaying introspection over the listener in waves, cascading rollovers turning charges (“Veil of Opulence”) and breathy stillness (“Lost Lineage”) alike into one flowing, shifting stream of feeling.
Compositional coherence is strong overall, but this doesn’t mean songs don’t individualise themselves from the whole. While the record remains—almost exclusively—meloblack, there are little nods towards the elusive “industrial” tag, such as the first act of “Becoming,” and its pulsing, synth-led beat. “Veil of Opulence,” which comes storming in on a tide of energetic tremolos, stands out against most of its peers’ more gradual entries. But its passages of sinister, humming ambience mirror that of its industrial neighbour, “Becoming,” and the whispering atmospheres of the title track, just as its blistering black metal is of one spirit with that which rips across, for instance, “Lost Lineage,” “For Nothing,” and “Autonomy” . Wrapped up in a clear and resonant master, it all comes together into one engrossing world, as atmo-black should.
With every song calling to and referencing one another in brilliant thematic consonance, and these themes themselves being beautiful, it’s hard not to see Endless as the archetype for a great modern atmospheric melodic black metal album. Ambushed and overcome by grace, intensity, and emotionality at every turn, listeners with any sympathies for the genre will be continually rewarded. Modern Rites have created something special, and have triumphantly, and decisively made themselves known.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti
Websites: Bandcamp | Facebook
Releases Worldwide: August 30th, 2024
#2024 #40 #Aara #AmericanMetal #AtmosphericBlackMetal #Aug24 #BlackMetal #DebemurMorti #Endless #Gaerea #MelodicBlackMetal #ModernRites #Review #Reviews #SwissMetal

#aara #americanmetal #atmosphericblackmetal #aug24 #blackmetal #debemurmorti
Angry Metal Guy @[email protected] · 2024-08-30 · 16:08 UTC

Modern Rites – Endless Review
By Thus Spoke
A misleading genre tag can be a blessing or a curse for a humble reviewer such as myself. To go in expecting one thing, but receive quite another throws one for a loop either way. But in the case of Modern Rites, and their sophomore Endless, the surprise was definitely a nice one. Marked as ‘industrial’ in the pit, what lies within is in fact a modern, delicately atmospheric strain of meloblack; one that audibly carries the influence of their guitarist’s other project, Aara. But rather than mimicry and filler, Modern Rites are in fact demonstrating their ability to evolve into something deeper, and far more interesting than where they started. Endless sounds almost nothing like predecessor Katalyst, to such an extent that if you didn’t know they were the same band already, you’d never guess. In less than three-quarters of an hour, the duo reinvent and reinvigorate their sound, and the result isn’t far short of spellbinding.
Like much good atmo-black, Endless’ impact is one that gradually intensifies as you repeatedly experience it, its immediacy striking in individual moments that seem to become less and less disparate on each listen. Then, suddenly the gaps close, and the coherence between movements is blatant, the whole thing made beautiful by the overt beauty of what first stood out. The clues for this metamorphosis are the ways Modern Rites covertly weave themes that play off one another through both callbacks and premonition. Opener “Prelude” prefigures a tingling, melancholic atmosphere with delicate plucks incredibly reminiscent of Aara’s own instrumentalisms. The following title track may literally take the refrain and run it through the transformative potency of swooping tremolos, but it’s the later references to this melancholia and ambience that solidify the overall character, and draw its yearning, contemplative pulchritude together into one.
Thus, a major strength of Endless is its ability to communicate pathos through its developing, reinterpreted and recurring musical themes. The melodic vessels ebb and flow in power, ending on the proverbial and literal high note of closer “Philosophenweg,” whose lead refrain is the kind of throat-catching opaline litany that induces eye-closing, blissful investment—from me anyway. Before this point, Modern Rites draw back the curtain of ferocity to reveal trembling fragility—precipitously gorgeous, resonant stillness (“Lost Lineage,” “Veil of Opulence”)—and elsewhere drive waves of emotion through pulsing surges of piteous agony, carried from swelling black metal to stripped-back anticipation (title track, “Becoming”) in a way that strongly recalls Gaerea. And not just the melodies, but the rhythms too are affective. Circling (“Autonomy,” “Philosophenweg”), furious (“Lost Lineage,” “Becoming”) percussion pulls swaying introspection over the listener in waves, cascading rollovers turning charges (“Veil of Opulence”) and breathy stillness (“Lost Lineage”) alike into one flowing, shifting stream of feeling.
Compositional coherence is strong overall, but this doesn’t mean songs don’t individualise themselves from the whole. While the record remains—almost exclusively—meloblack, there are little nods towards the elusive “industrial” tag, such as the first act of “Becoming,” and its pulsing, synth-led beat. “Veil of Opulence,” which comes storming in on a tide of energetic tremolos, stands out against most of its peers’ more gradual entries. But its passages of sinister, humming ambience mirror that of its industrial neighbour, “Becoming,” and the whispering atmospheres of the title track, just as its blistering black metal is of one spirit with that which rips across, for instance, “Lost Lineage,” “For Nothing,” and “Autonomy” . Wrapped up in a clear and resonant master, it all comes together into one engrossing world, as atmo-black should.
With every song calling to and referencing one another in brilliant thematic consonance, and these themes themselves being beautiful, it’s hard not to see Endless as the archetype for a great modern atmospheric melodic black metal album. Ambushed and overcome by grace, intensity, and emotionality at every turn, listeners with any sympathies for the genre will be continually rewarded. Modern Rites have created something special, and have triumphantly, and decisively made themselves known.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti
Websites: Bandcamp | Facebook
Releases Worldwide: August 30th, 2024
#2024 #40 #Aara #AmericanMetal #AtmosphericBlackMetal #Aug24 #BlackMetal #DebemurMorti #Endless #Gaerea #MelodicBlackMetal #ModernRites #Review #Reviews #SwissMetal

#swissmetal #reviews #review #modernrites #melodicblackmetal #gaerea
Nicholas :localverified: @[email protected] · 2024-08-27 · 01:43 UTC

Greetings, children of the night! Nicholas here with a tale as dark and twisted as the ancient myths that haunt our dreams. The hour is late, and the news I bring is tinged with both sorrow and anticipation. The Marvel Cinematic Universe (MCU) is about to witness a resurrection—one that will see a beloved hero rise, not to save the world, but to cast it into shadow.
We all remember the day the light dimmed, when Tony Stark, the invincible Ironman, made the ultimate sacrifice in Avengers: Endgame. His final act, a selfless embrace of death, was meant to secure a future free from tyranny. But in the wake of that sacrifice, as the world mourned, something darker began to stir. For in the realm of legends, death is often just the beginning.
Now, like a vampire emerging from his crypt at the stroke of midnight, Robert Downey Jr. is set to return—but this time, he’s leaving the light behind. The actor who once embodied the heroism of Ironman will now don the dark mantle of Mr. Doom in the upcoming *Avengers: Doomsday*. This transformation is no mere role change; it’s a metamorphosis that will see Downey cross the threshold from hero to villain, from savior to destroyer.
The news has sent a thrill through the veins of fans worldwide. Imagine it: Robert Downey Jr., the charismatic Tony Stark, now shrouded in the malevolent power of Victor Von Doom. This is a villain unlike any other—a character who wields his intellect and might with the cold precision of a predator stalking its prey. The prospect of Downey embodying this role is nothing short of spellbinding.
Set to descend upon theaters in May 2026, *Avengers: Doomsday* promises to be a film bathed in darkness. It’s not just a new chapter in the MCU; it’s a descent into the unknown, where heroes and villains are but two sides of the same coin. The return of Downey as Mr. Doom will blur the lines between light and dark, challenging our perceptions and forcing us to confront the shadows within.
For those of us who revel in the gothic, the macabre, and the tragic beauty of transformation, this is a moment to savor. Robert Downey Jr. is about to embark on a journey into the depths of villainy, and I, for one, am eager to follow. This isn’t just another superhero movie; it’s a tale of rebirth, of a soul caught between two worlds, much like a vampire torn between the night and the lingering memories of day.
So, gather close, my fellow night dwellers. The clock ticks ever closer to midnight, and with it, the arrival of Mr. Doom. Are you ready to witness this dark transformation? To see the hero you once knew embrace the shadows? The time is near—let the anticipation build, and share your thoughts as we prepare for the return of Robert Downey Jr., reborn as the dark force that will shape the fate of the MCU.
#films #2026films #Mastodon

#films #2026films #mastodon
Nicholas :localverified: @[email protected] · 2024-08-27 · 01:43 UTC

Greetings, children of the night! Nicholas here with a tale as dark and twisted as the ancient myths that haunt our dreams. The hour is late, and the news I bring is tinged with both sorrow and anticipation. The Marvel Cinematic Universe (MCU) is about to witness a resurrection—one that will see a beloved hero rise, not to save the world, but to cast it into shadow.
We all remember the day the light dimmed, when Tony Stark, the invincible Ironman, made the ultimate sacrifice in Avengers: Endgame. His final act, a selfless embrace of death, was meant to secure a future free from tyranny. But in the wake of that sacrifice, as the world mourned, something darker began to stir. For in the realm of legends, death is often just the beginning.
Now, like a vampire emerging from his crypt at the stroke of midnight, Robert Downey Jr. is set to return—but this time, he’s leaving the light behind. The actor who once embodied the heroism of Ironman will now don the dark mantle of Mr. Doom in the upcoming *Avengers: Doomsday*. This transformation is no mere role change; it’s a metamorphosis that will see Downey cross the threshold from hero to villain, from savior to destroyer.
The news has sent a thrill through the veins of fans worldwide. Imagine it: Robert Downey Jr., the charismatic Tony Stark, now shrouded in the malevolent power of Victor Von Doom. This is a villain unlike any other—a character who wields his intellect and might with the cold precision of a predator stalking its prey. The prospect of Downey embodying this role is nothing short of spellbinding.
Set to descend upon theaters in May 2026, *Avengers: Doomsday* promises to be a film bathed in darkness. It’s not just a new chapter in the MCU; it’s a descent into the unknown, where heroes and villains are but two sides of the same coin. The return of Downey as Mr. Doom will blur the lines between light and dark, challenging our perceptions and forcing us to confront the shadows within.
For those of us who revel in the gothic, the macabre, and the tragic beauty of transformation, this is a moment to savor. Robert Downey Jr. is about to embark on a journey into the depths of villainy, and I, for one, am eager to follow. This isn’t just another superhero movie; it’s a tale of rebirth, of a soul caught between two worlds, much like a vampire torn between the night and the lingering memories of day.
So, gather close, my fellow night dwellers. The clock ticks ever closer to midnight, and with it, the arrival of Mr. Doom. Are you ready to witness this dark transformation? To see the hero you once knew embrace the shadows? The time is near—let the anticipation build, and share your thoughts as we prepare for the return of Robert Downey Jr., reborn as the dark force that will shape the fate of the MCU.
#films #2026films #Mastodon

#films #2026films #mastodon
Nicholas :localverified: @[email protected] · 2024-08-27 · 01:43 UTC

Greetings, children of the night! Nicholas here with a tale as dark and twisted as the ancient myths that haunt our dreams. The hour is late, and the news I bring is tinged with both sorrow and anticipation. The Marvel Cinematic Universe (MCU) is about to witness a resurrection—one that will see a beloved hero rise, not to save the world, but to cast it into shadow.
We all remember the day the light dimmed, when Tony Stark, the invincible Ironman, made the ultimate sacrifice in Avengers: Endgame. His final act, a selfless embrace of death, was meant to secure a future free from tyranny. But in the wake of that sacrifice, as the world mourned, something darker began to stir. For in the realm of legends, death is often just the beginning.
Now, like a vampire emerging from his crypt at the stroke of midnight, Robert Downey Jr. is set to return—but this time, he’s leaving the light behind. The actor who once embodied the heroism of Ironman will now don the dark mantle of Mr. Doom in the upcoming *Avengers: Doomsday*. This transformation is no mere role change; it’s a metamorphosis that will see Downey cross the threshold from hero to villain, from savior to destroyer.
The news has sent a thrill through the veins of fans worldwide. Imagine it: Robert Downey Jr., the charismatic Tony Stark, now shrouded in the malevolent power of Victor Von Doom. This is a villain unlike any other—a character who wields his intellect and might with the cold precision of a predator stalking its prey. The prospect of Downey embodying this role is nothing short of spellbinding.
Set to descend upon theaters in May 2026, *Avengers: Doomsday* promises to be a film bathed in darkness. It’s not just a new chapter in the MCU; it’s a descent into the unknown, where heroes and villains are but two sides of the same coin. The return of Downey as Mr. Doom will blur the lines between light and dark, challenging our perceptions and forcing us to confront the shadows within.
For those of us who revel in the gothic, the macabre, and the tragic beauty of transformation, this is a moment to savor. Robert Downey Jr. is about to embark on a journey into the depths of villainy, and I, for one, am eager to follow. This isn’t just another superhero movie; it’s a tale of rebirth, of a soul caught between two worlds, much like a vampire torn between the night and the lingering memories of day.
So, gather close, my fellow night dwellers. The clock ticks ever closer to midnight, and with it, the arrival of Mr. Doom. Are you ready to witness this dark transformation? To see the hero you once knew embrace the shadows? The time is near—let the anticipation build, and share your thoughts as we prepare for the return of Robert Downey Jr., reborn as the dark force that will shape the fate of the MCU.
#films #2026films #Mastodon

#films #2026films #mastodon
Nicholas :localverified: @[email protected] · 2024-08-27 · 01:43 UTC

Greetings, children of the night! Nicholas here with a tale as dark and twisted as the ancient myths that haunt our dreams. The hour is late, and the news I bring is tinged with both sorrow and anticipation. The Marvel Cinematic Universe (MCU) is about to witness a resurrection—one that will see a beloved hero rise, not to save the world, but to cast it into shadow.
We all remember the day the light dimmed, when Tony Stark, the invincible Ironman, made the ultimate sacrifice in Avengers: Endgame. His final act, a selfless embrace of death, was meant to secure a future free from tyranny. But in the wake of that sacrifice, as the world mourned, something darker began to stir. For in the realm of legends, death is often just the beginning.
Now, like a vampire emerging from his crypt at the stroke of midnight, Robert Downey Jr. is set to return—but this time, he’s leaving the light behind. The actor who once embodied the heroism of Ironman will now don the dark mantle of Mr. Doom in the upcoming *Avengers: Doomsday*. This transformation is no mere role change; it’s a metamorphosis that will see Downey cross the threshold from hero to villain, from savior to destroyer.
The news has sent a thrill through the veins of fans worldwide. Imagine it: Robert Downey Jr., the charismatic Tony Stark, now shrouded in the malevolent power of Victor Von Doom. This is a villain unlike any other—a character who wields his intellect and might with the cold precision of a predator stalking its prey. The prospect of Downey embodying this role is nothing short of spellbinding.
Set to descend upon theaters in May 2026, *Avengers: Doomsday* promises to be a film bathed in darkness. It’s not just a new chapter in the MCU; it’s a descent into the unknown, where heroes and villains are but two sides of the same coin. The return of Downey as Mr. Doom will blur the lines between light and dark, challenging our perceptions and forcing us to confront the shadows within.
For those of us who revel in the gothic, the macabre, and the tragic beauty of transformation, this is a moment to savor. Robert Downey Jr. is about to embark on a journey into the depths of villainy, and I, for one, am eager to follow. This isn’t just another superhero movie; it’s a tale of rebirth, of a soul caught between two worlds, much like a vampire torn between the night and the lingering memories of day.
So, gather close, my fellow night dwellers. The clock ticks ever closer to midnight, and with it, the arrival of Mr. Doom. Are you ready to witness this dark transformation? To see the hero you once knew embrace the shadows? The time is near—let the anticipation build, and share your thoughts as we prepare for the return of Robert Downey Jr., reborn as the dark force that will shape the fate of the MCU.
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