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891 results for “eladio”

  1. amen zwa, esq. @[email protected] ·

    The #FoundationModels of AI (Transformer, LLM, call it whatever) are troublesome, not because they are deficient, but because they are endowed with #emergent behaviours that suddenly spring from 500-billion-plus trainable parameters and terabytes upon terabytes of human behavioural data. No human could grasp the aggregate meaning of that unanticipated, implicit, emergent behaviour. No human could divine the outcomes of their unforeseeable concoctions. Worse of all, all these models are inhered with biases and prejudices, both intentional and unintentional, that are embedded deep within these deep-learning models, whose untoward conducts are ever so subtle and complex as to be casually observable.

    The invidious effects of these poorly-understood foundation models are insidious. By the time their detrimental behaviour becomes observable, it would be too late for society to countermand, for these models are already enmeshed within the social-political-economic fabric of the whole of humanity.

    It is easy, for a lawyer like me, reflexively to shout, "#Regulate #AI". But in the present heady mix of delirium, confusion, delusion, and collusion, regulate exactly what and precisely how, pray tell.

    Who will save society from AI?

    Well, perhaps AI might....🤦‍♂️

    Matrix multiplication is not inhered with empathy, conscience, judgement, elation, shame, and the like. Those are innately human characteristics, neither mechanical nor mathematical. Let us not surrender to the silicon-based machines the #ethical duty to be thinking, feeling carbon-based beings.

    #ethical #ai #regulate #emergent #foundationmodels
  2. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.3
    • inquiryintoinquiry.com/2025/12

    The semiotic equivalence relation for interpreter A yields the following semiotic equations.

    • [“A”]_A = [“i”]_A

    • [“B”]_A = [“u”]_A

    Display 4
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_A “i”

    • “B” =_A “u”

    Display 5
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for A induces the following semiotic partition.

    • {{“A”, “i”}, {“B”, “u”}}.

    Display 6
    • inquiryintoinquiry.com/wp-cont

    The semiotic equivalence relation for interpreter B yields the following semiotic equations.

    • [“A”]_B = [“u”]_B

    • [“B”]_B = [“i”]_B

    Display 7
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_B “u”

    • “B” =_B “i”

    Display 8
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for B induces the following semiotic partition.

    • {{“A”, “u”}, {“B”, “i”}}.

    Display 9
    • inquiryintoinquiry.com/wp-cont

    Taken all together we have the following picture.

    Tables 7a and 7b. Semiotic Partitions for Interpreters A and B
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  3. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.3
    • inquiryintoinquiry.com/2025/12

    The semiotic equivalence relation for interpreter A yields the following semiotic equations.

    • [“A”]_A = [“i”]_A

    • [“B”]_A = [“u”]_A

    Display 4
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_A “i”

    • “B” =_A “u”

    Display 5
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for A induces the following semiotic partition.

    • {{“A”, “i”}, {“B”, “u”}}.

    Display 6
    • inquiryintoinquiry.com/wp-cont

    The semiotic equivalence relation for interpreter B yields the following semiotic equations.

    • [“A”]_B = [“u”]_B

    • [“B”]_B = [“i”]_B

    Display 7
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_B “u”

    • “B” =_B “i”

    Display 8
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for B induces the following semiotic partition.

    • {{“A”, “u”}, {“B”, “i”}}.

    Display 9
    • inquiryintoinquiry.com/wp-cont

    Taken all together we have the following picture.

    Tables 7a and 7b. Semiotic Partitions for Interpreters A and B
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  4. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.3
    • inquiryintoinquiry.com/2025/12

    The semiotic equivalence relation for interpreter A yields the following semiotic equations.

    • [“A”]_A = [“i”]_A

    • [“B”]_A = [“u”]_A

    Display 4
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_A “i”

    • “B” =_A “u”

    Display 5
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for A induces the following semiotic partition.

    • {{“A”, “i”}, {“B”, “u”}}.

    Display 6
    • inquiryintoinquiry.com/wp-cont

    The semiotic equivalence relation for interpreter B yields the following semiotic equations.

    • [“A”]_B = [“u”]_B

    • [“B”]_B = [“i”]_B

    Display 7
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_B “u”

    • “B” =_B “i”

    Display 8
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for B induces the following semiotic partition.

    • {{“A”, “u”}, {“B”, “i”}}.

    Display 9
    • inquiryintoinquiry.com/wp-cont

    Taken all together we have the following picture.

    Tables 7a and 7b. Semiotic Partitions for Interpreters A and B
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  5. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.3
    • inquiryintoinquiry.com/2025/12

    The semiotic equivalence relation for interpreter A yields the following semiotic equations.

    • [“A”]_A = [“i”]_A

    • [“B”]_A = [“u”]_A

    Display 4
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_A “i”

    • “B” =_A “u”

    Display 5
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for A induces the following semiotic partition.

    • {{“A”, “i”}, {“B”, “u”}}.

    Display 6
    • inquiryintoinquiry.com/wp-cont

    The semiotic equivalence relation for interpreter B yields the following semiotic equations.

    • [“A”]_B = [“u”]_B

    • [“B”]_B = [“i”]_B

    Display 7
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_B “u”

    • “B” =_B “i”

    Display 8
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for B induces the following semiotic partition.

    • {{“A”, “u”}, {“B”, “i”}}.

    Display 9
    • inquiryintoinquiry.com/wp-cont

    Taken all together we have the following picture.

    Tables 7a and 7b. Semiotic Partitions for Interpreters A and B
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #peirce #inquiry #logic #mathematics #relationtheory #semiosis
  6. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.3
    • inquiryintoinquiry.com/2025/12

    The semiotic equivalence relation for interpreter A yields the following semiotic equations.

    • [“A”]_A = [“i”]_A

    • [“B”]_A = [“u”]_A

    Display 4
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_A “i”

    • “B” =_A “u”

    Display 5
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for A induces the following semiotic partition.

    • {{“A”, “i”}, {“B”, “u”}}.

    Display 6
    • inquiryintoinquiry.com/wp-cont

    The semiotic equivalence relation for interpreter B yields the following semiotic equations.

    • [“A”]_B = [“u”]_B

    • [“B”]_B = [“i”]_B

    Display 7
    • inquiryintoinquiry.com/wp-cont

    or

    • “A” =_B “u”

    • “B” =_B “i”

    Display 8
    • inquiryintoinquiry.com/wp-cont

    In this way the SER for B induces the following semiotic partition.

    • {{“A”, “u”}, {“B”, “i”}}.

    Display 9
    • inquiryintoinquiry.com/wp-cont

    Taken all together we have the following picture.

    Tables 7a and 7b. Semiotic Partitions for Interpreters A and B
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  7. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.2
    • inquiryintoinquiry.com/2025/12

    In the application to sign relations it is useful to extend the square bracket notation in the following ways. If L is a sign relation whose connotative component L_SI is an equivalence relation on S = I, let [s]_L be the equivalence class of s under L_SI. In short, [s]_L = [s]_{L_{SI}}.

    A statement that the signs x and y belong to the same equivalence class under a semiotic equivalence relation L_SI is called a “semiotic equation” (SEQ) and may be written in either of the following forms.

    • [x]_L = [y]_L

    • x =_L y

    Display 3
    • inquiryintoinquiry.com/wp-cont

    In many situations there is one further adaptation of the square bracket notation for semiotic equivalence classes that can be useful. Namely, when there is known to exist a particular triple (o, s, i) in a sign relation L, it is permissible to let [o]_L be defined as [s]_L. This modifications is designed to make the notation for semiotic equivalence classes harmonize as well as possible with the frequent use of similar devices for the denotations of signs and expressions.

    Applying the array of equivalence notations to the sign relations for A and B will serve to illustrate their use and utility.

    Tables 6a and 6b. Connotative Components Con(L_A) and Con(L_B)
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  8. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.2
    • inquiryintoinquiry.com/2025/12

    In the application to sign relations it is useful to extend the square bracket notation in the following ways. If L is a sign relation whose connotative component L_SI is an equivalence relation on S = I, let [s]_L be the equivalence class of s under L_SI. In short, [s]_L = [s]_{L_{SI}}.

    A statement that the signs x and y belong to the same equivalence class under a semiotic equivalence relation L_SI is called a “semiotic equation” (SEQ) and may be written in either of the following forms.

    • [x]_L = [y]_L

    • x =_L y

    Display 3
    • inquiryintoinquiry.com/wp-cont

    In many situations there is one further adaptation of the square bracket notation for semiotic equivalence classes that can be useful. Namely, when there is known to exist a particular triple (o, s, i) in a sign relation L, it is permissible to let [o]_L be defined as [s]_L. This modifications is designed to make the notation for semiotic equivalence classes harmonize as well as possible with the frequent use of similar devices for the denotations of signs and expressions.

    Applying the array of equivalence notations to the sign relations for A and B will serve to illustrate their use and utility.

    Tables 6a and 6b. Connotative Components Con(L_A) and Con(L_B)
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  9. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.2
    • inquiryintoinquiry.com/2025/12

    In the application to sign relations it is useful to extend the square bracket notation in the following ways. If L is a sign relation whose connotative component L_SI is an equivalence relation on S = I, let [s]_L be the equivalence class of s under L_SI. In short, [s]_L = [s]_{L_{SI}}.

    A statement that the signs x and y belong to the same equivalence class under a semiotic equivalence relation L_SI is called a “semiotic equation” (SEQ) and may be written in either of the following forms.

    • [x]_L = [y]_L

    • x =_L y

    Display 3
    • inquiryintoinquiry.com/wp-cont

    In many situations there is one further adaptation of the square bracket notation for semiotic equivalence classes that can be useful. Namely, when there is known to exist a particular triple (o, s, i) in a sign relation L, it is permissible to let [o]_L be defined as [s]_L. This modifications is designed to make the notation for semiotic equivalence classes harmonize as well as possible with the frequent use of similar devices for the denotations of signs and expressions.

    Applying the array of equivalence notations to the sign relations for A and B will serve to illustrate their use and utility.

    Tables 6a and 6b. Connotative Components Con(L_A) and Con(L_B)
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  10. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.2
    • inquiryintoinquiry.com/2025/12

    In the application to sign relations it is useful to extend the square bracket notation in the following ways. If L is a sign relation whose connotative component L_SI is an equivalence relation on S = I, let [s]_L be the equivalence class of s under L_SI. In short, [s]_L = [s]_{L_{SI}}.

    A statement that the signs x and y belong to the same equivalence class under a semiotic equivalence relation L_SI is called a “semiotic equation” (SEQ) and may be written in either of the following forms.

    • [x]_L = [y]_L

    • x =_L y

    Display 3
    • inquiryintoinquiry.com/wp-cont

    In many situations there is one further adaptation of the square bracket notation for semiotic equivalence classes that can be useful. Namely, when there is known to exist a particular triple (o, s, i) in a sign relation L, it is permissible to let [o]_L be defined as [s]_L. This modifications is designed to make the notation for semiotic equivalence classes harmonize as well as possible with the frequent use of similar devices for the denotations of signs and expressions.

    Applying the array of equivalence notations to the sign relations for A and B will serve to illustrate their use and utility.

    Tables 6a and 6b. Connotative Components Con(L_A) and Con(L_B)
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #peirce #inquiry #logic #mathematics #relationtheory #semiosis
  11. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.2
    • inquiryintoinquiry.com/2025/12

    In the application to sign relations it is useful to extend the square bracket notation in the following ways. If L is a sign relation whose connotative component L_SI is an equivalence relation on S = I, let [s]_L be the equivalence class of s under L_SI. In short, [s]_L = [s]_{L_{SI}}.

    A statement that the signs x and y belong to the same equivalence class under a semiotic equivalence relation L_SI is called a “semiotic equation” (SEQ) and may be written in either of the following forms.

    • [x]_L = [y]_L

    • x =_L y

    Display 3
    • inquiryintoinquiry.com/wp-cont

    In many situations there is one further adaptation of the square bracket notation for semiotic equivalence classes that can be useful. Namely, when there is known to exist a particular triple (o, s, i) in a sign relation L, it is permissible to let [o]_L be defined as [s]_L. This modifications is designed to make the notation for semiotic equivalence classes harmonize as well as possible with the frequent use of similar devices for the denotations of signs and expressions.

    Applying the array of equivalence notations to the sign relations for A and B will serve to illustrate their use and utility.

    Tables 6a and 6b. Connotative Components Con(L_A) and Con(L_B)
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  12. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.1
    • inquiryintoinquiry.com/2025/12

    A few items of notation are useful in discussing equivalence relations in general and semiotic equivalence relations in particular.

    In general, if E is an equivalence relation on a set X then every element x of X belongs to a unique equivalence class under E called “the equivalence class of x under E”. Convention provides the “square bracket notation” for denoting such equivalence classes, in either the form [x]_E or the simpler form [x] when the subscript E is understood.

    A statement that the elements x and y are equivalent under E is called an “equation” or an “equivalence” and may be expressed in any of the following ways.

    • (x, y) ∈ E

    • x ∈ [y]_E

    • y ∈ [x]_E

    • [x]_E = [y]_E

    • x =_E y

    Display 1
    • inquiryintoinquiry.com/wp-cont

    Thus we have the following definitions.

    • [x]_E = {y ∈ X : (x, y) ∈ E}

    • x =_E y ⇔ (x, y) ∈ E

    Display 2
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  13. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.1
    • inquiryintoinquiry.com/2025/12

    A few items of notation are useful in discussing equivalence relations in general and semiotic equivalence relations in particular.

    In general, if E is an equivalence relation on a set X then every element x of X belongs to a unique equivalence class under E called “the equivalence class of x under E”. Convention provides the “square bracket notation” for denoting such equivalence classes, in either the form [x]_E or the simpler form [x] when the subscript E is understood.

    A statement that the elements x and y are equivalent under E is called an “equation” or an “equivalence” and may be expressed in any of the following ways.

    • (x, y) ∈ E

    • x ∈ [y]_E

    • y ∈ [x]_E

    • [x]_E = [y]_E

    • x =_E y

    Display 1
    • inquiryintoinquiry.com/wp-cont

    Thus we have the following definitions.

    • [x]_E = {y ∈ X : (x, y) ∈ E}

    • x =_E y ⇔ (x, y) ∈ E

    Display 2
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  14. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.1
    • inquiryintoinquiry.com/2025/12

    A few items of notation are useful in discussing equivalence relations in general and semiotic equivalence relations in particular.

    In general, if E is an equivalence relation on a set X then every element x of X belongs to a unique equivalence class under E called “the equivalence class of x under E”. Convention provides the “square bracket notation” for denoting such equivalence classes, in either the form [x]_E or the simpler form [x] when the subscript E is understood.

    A statement that the elements x and y are equivalent under E is called an “equation” or an “equivalence” and may be expressed in any of the following ways.

    • (x, y) ∈ E

    • x ∈ [y]_E

    • y ∈ [x]_E

    • [x]_E = [y]_E

    • x =_E y

    Display 1
    • inquiryintoinquiry.com/wp-cont

    Thus we have the following definitions.

    • [x]_E = {y ∈ X : (x, y) ∈ E}

    • x =_E y ⇔ (x, y) ∈ E

    Display 2
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  15. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.1
    • inquiryintoinquiry.com/2025/12

    A few items of notation are useful in discussing equivalence relations in general and semiotic equivalence relations in particular.

    In general, if E is an equivalence relation on a set X then every element x of X belongs to a unique equivalence class under E called “the equivalence class of x under E”. Convention provides the “square bracket notation” for denoting such equivalence classes, in either the form [x]_E or the simpler form [x] when the subscript E is understood.

    A statement that the elements x and y are equivalent under E is called an “equation” or an “equivalence” and may be expressed in any of the following ways.

    • (x, y) ∈ E

    • x ∈ [y]_E

    • y ∈ [x]_E

    • [x]_E = [y]_E

    • x =_E y

    Display 1
    • inquiryintoinquiry.com/wp-cont

    Thus we have the following definitions.

    • [x]_E = {y ∈ X : (x, y) ∈ E}

    • x =_E y ⇔ (x, y) ∈ E

    Display 2
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #peirce #inquiry #logic #mathematics #relationtheory #semiosis
  16. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 2.1
    • inquiryintoinquiry.com/2025/12

    A few items of notation are useful in discussing equivalence relations in general and semiotic equivalence relations in particular.

    In general, if E is an equivalence relation on a set X then every element x of X belongs to a unique equivalence class under E called “the equivalence class of x under E”. Convention provides the “square bracket notation” for denoting such equivalence classes, in either the form [x]_E or the simpler form [x] when the subscript E is understood.

    A statement that the elements x and y are equivalent under E is called an “equation” or an “equivalence” and may be expressed in any of the following ways.

    • (x, y) ∈ E

    • x ∈ [y]_E

    • y ∈ [x]_E

    • [x]_E = [y]_E

    • x =_E y

    Display 1
    • inquiryintoinquiry.com/wp-cont

    Thus we have the following definitions.

    • [x]_E = {y ∈ X : (x, y) ∈ E}

    • x =_E y ⇔ (x, y) ∈ E

    Display 2
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VBAXbj
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2026/01/01/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  17. Jon Awbrey @[email protected] ·

    Sign Relations • Semiotic Equivalence Relations 1.1
    • inquiryintoinquiry.com/2025/12

    A “semiotic equivalence relation” (SER) is a special type of equivalence relation arising in the analysis of sign relations. Generally speaking, any equivalence relation induces a partition of the underlying set of elements, known as the “domain” or “space” of the relation, into a family of equivalence classes. In the case of a SER the equivalence classes are called “semiotic equivalence classes” (SECs) and the partition is called a “semiotic partition” (SEP).

    The sign relations L_A and L_B have many interesting properties over and above those possessed by sign relations in general. Some of those properties have to do with the relation between signs and their interpretant signs, as reflected in the projections of L_A and L_B on the SI‑plane, notated as proj_{SI} L_A and proj_{SI} L_B, respectively. The dyadic relations on S×I induced by those projections are also referred to as the “connotative components” of the corresponding sign relations, notated as Con(L_A) and Con(L_B), respectively. Tables 6a and 6b show the corresponding connotative components.

    Tables 6a and 6b. Connotative Components Con(L_A) and Con(L_B)
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/Lm48yP
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2025/12/30/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  18. Jon Awbrey @[email protected] ·

    Sign Relations • Connotation • Part 2
    • inquiryintoinquiry.com/2025/12

    Formally speaking, however, the connotative aspect of meaning presents no additional difficulty. The dyadic relation making up the connotative aspect of a sign relation L is notated as Con(L). Information about the connotative aspect of meaning is obtained from L by taking its projection on the sign‑interpretant plane and visualized as the “shadow” L casts on the 2‑dimensional space whose axes are the sign domain S and the interpretant domain I. The connotative component of a sign relation L, variously written as proj_{SI} L, L_SI, proj₂₃ L, or L₂₃, is defined as follows.

    • Con(L) = proj_{SI} L = {(s, i) ∈ S × I : (o, s, i) ∈ L for some o ∈ O}.
    • inquiryintoinquiry.com/wp-cont

    Tables 4a and 4b show the connotative components of the sign relations associated with the interpreters A and B, respectively. The rows of each Table list the ordered pairs (s, i) in the corresponding projections, Con(L_A), Con(L_B) ⊆ S×I.

    • Tables 4a and 4b. Connotative Components Con(L_A) and Con(L_B)
    • inquiryintoinquiry.com/wp-cont

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VqeB0k
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2025/12/28/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  19. Jon Awbrey @[email protected] ·

    Sign Relations • Connotation • Part 1
    • inquiryintoinquiry.com/2025/12

    Another aspect of a sign's complete meaning concerns the reference a sign has to its interpretants, which interpretants are collectively known as the “connotation” of the sign. In the pragmatic theory of sign relations, connotative references fall within the projection of the sign relation on the plane spanned by its sign domain and its interpretant domain.

    In the full theory of sign relations the connotative aspect of meaning includes the links a sign has to affects, concepts, ideas, impressions, intentions, and the whole realm of an interpretive agent's mental states and allied activities, broadly encompassing intellectual associations, emotional impressions, motivational impulses, and real conduct.

    Taken at the full, in the natural setting of semiotic phenomena, this complex system of references is unlikely ever to find itself mapped in much detail, much less completely formalized, but the tangible warp of its accumulated mass is commonly alluded to as the connotative import of language.

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/VqeB0k
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2025/12/28/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  20. Jon Awbrey @[email protected] ·

    Sign Relations • Dyadic Aspects
    • inquiryintoinquiry.com/2025/12

    For an arbitrary triadic relation L ⊆ O×S×I, whether it happens to be a sign relation or not, there are six dyadic relations obtained by “projecting” L on one of the planes of the OSI‑space O×S×I. The six dyadic projections of a triadic relation L are defined and notated as shown in Table 2.

    Table 2. Dyadic Aspects of Triadic Relations
    • inquiryintoinquiry.com/wp-cont

    By way of unpacking the set‑theoretic notation, here is what the first definition says in ordinary language.

    • The dyadic relation resulting from the projection of L on the OS‑plane O×S is written briefly as L₁₂ or written more fully as proj₁₂(L) and is defined as the set of all ordered pairs (o, s) in the cartesian product O×S for which there exists an ordered triple (o, s, i) in L for some element i in the set I.

    In the case where L is a sign relation, which it becomes by satisfying one of the definitions of a sign relation, some of the dyadic aspects of L can be recognized as formalizing aspects of sign meaning which have received their share of attention from students of signs over the centuries, and thus they can be associated with traditional concepts and terminology.

    Of course, traditions vary with respect to the precise formation and usage of such concepts and terms. Other aspects of meaning have not received their fair share of attention and thus remain innominate in current anatomies of sign relations.

    Resources —

    Sign Relation
    • oeis.org/wiki/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  21. Jon Awbrey @[email protected] ·

    Sign Relations • Anthesis
    • inquiryintoinquiry.com/2025/12

    ❝Thus, if a sunflower, in turning towards the sun, becomes by that very act fully capable, without further condition, of reproducing a sunflower which turns in precisely corresponding ways toward the sun, and of doing so with the same reproductive power, the sunflower would become a Representamen of the sun.❞

    — C.S. Peirce, Collected Papers, CP 2.274

    In his picturesque illustration of a sign relation, along with his tracing of a corresponding sign process, or “semiosis”, Peirce uses the technical term “representamen” for his concept of a sign, but the shorter word is precise enough, so long as one recognizes its meaning in a particular theory of signs is given by a specific definition of what it means to be a sign.

    Resources —

    Sign Relation • OEIS • MyWikiBiz • Wikiversity
    • oeis.org/wiki/Sign_relation
    • mywikibiz.com/Sign_relation
    • en.wikiversity.org/wiki/Sign_r

    Survey of Semiotics, Semiosis, Sign Relations
    • inquiryintoinquiry.com/2025/05

    cc: academia.edu/community/LGxrpW
    cc: researchgate.net/post/Sign_Rel
    cc: stream.syscoi.com/2025/12/14/s

    #Peirce #Inquiry #Logic #Mathematics #RelationTheory
    #Semiosis #Semiotics #SignRelations #TriadicRelations

    #triadicrelations #signrelations #semiotics #semiosis #relationtheory #mathematics
  22. Angry Metal Guy @[email protected] ·

    Astronoid – Stargod Review

    By Samguineous Maximus

    Astronoid and I have a history. Their 2016 debut Air was one of those lightning-in-a-bottle releases that blew the doors off my early metal fandom. A delirious cocktail of shoegaze shimmer, sugar-coated harmonies, and blast-beaten bliss, it felt like nothing else at the time, and it sent me tumbling down the blackgaze rabbit hole. Add in the fact that these guys hailed from my quiet corner of New England, and I was all in. I caught them live a handful of times back then, and each gig felt like watching a small band punching way above their weight. 2019’s Astronoid wasn’t a bad album, but its shift toward more conventional post-rock didn’t grab me in the same way, and it eventually fell out of rotation. Their next release, 2022’s Radiant Bloom, was a marked improvement, combining the atmosphere and immediacy of their debut with the songwriting lessons of its follow-up. Still, it didn’t quite recapture the euphoric heights of Air. Now, with a string of impressive live gigs under their belt, including an opening slot for Blink-182 of all people, and a streamlined lineup reduced to a trio, the band returns with their fourth full-length, Stargod. The big question: can Astronoid finally outdo Air, or are we doomed to orbit its glowing corpse forever?

    The core sound of Stargod is unmistakably Astronoid, but this time the group leans further into pop-focused songwriting. Their trademark mix of prog, shoegaze, and post-rock remains intact with all the familiar hallmarks: gleeful blast beats, major-key harmonies, soaring choirboy vocals, and buoyant synths. However, they’re used in the service of sharper, chorus-driven compositions that rely on dynamics and layering to strengthen their saccharine, high-energy attack. Slower, ballad-like tracks such as “Stargod” and “Beneath the Lights” exemplify this approach, building evocative, vocal-centered songs on synth-forward grooves while guitar harmonies are added or stripped away for maximum impact around a memorable chorus. These are nicely balanced by more immediate up-tempo cuts which swirl around a hypnotizing central synth motif (“Explosive”) or follow a pop-punk tinged guitar charge (“Dream Protocol ’88”) which melds the band’s familiar sense of high-energy elation with this record’s improved sense of dynamics and hooks. Stargod is a thoroughly pleasant and varied record—balanced, uplifting, and easy to throw on to just bathe in Astronoid’s signature jubilance.

    Part of Stargod’s shimmer comes from the newfound confidence radiating from Astronoid’s vocalist, guitarist, and principal songwriter, Brett Boland. His ethereal tenor has always been central to the band’s sound, but here it shines brighter than ever, carried by lush vocal harmonies that elevate every track. Beyond his usual roles, Boland also handles drums on this record and co-mixed the entire album with bassist and synth player Daniel Schwartz. The result is Astronoid’s best-sounding release yet. The synths, in particular, stand out—glowing with both playful innocence and heartfelt emotion—while every element, from the warm, nuanced drumming to the crunchy, reverberant guitar leads, feels immediate and expressive. Mid-tempo rockers like “Third Shot” and “Sabian” land especially hard, gliding between soaring choruses, restrained verses, and climactic solos. Altogether, Stargod feels like the complete, uncompromising realization of a band finally confident in pursuing their true sound.

    My biggest critique of Stargod might seem like a bit of a cop-out, but my favorite tracks are the ones that most closely resemble the blast-heavy style of Air. The opening tracks, “Embark” and “Love Weapon,” bring back the high-energy, blast-driven sound of Astronoid’s debut, but with tighter songwriting and immaculate production. This style makes a return on the closing track, “Arrival,” which ends the album with a stunning climax. On repeated listens, I find myself feeling slightly underwhelmed by the middle section of Stargod as it relaxes its grip on the throttle. While those middle tracks are still beautiful and engaging in their own right, I do find myself longing ever so slightly for more blast beat goodness and it’s a bit disappointing that my favorite moments still come from the songs that echo the band’s earlier sound. That said, taken as a whole, Stargod is still a remarkable accomplishment.

    With Stargod, I see Astronoid in a position similar to where Leprous found themselves with Malina. While I miss the sheer bombast of Astronoid’s earlier sound, I can’t help but admire the impeccable craftsmanship on display as the band continues to evolve. Stargod is packed with intelligently written, dynamic pop songs that capture the magic of what made Astronoid special in the first place, while confidently showcasing the sonic maturity they’ve developed over the years. Is Stargod a true sequel to Air? Not at all—but it doesn’t need to be. It stands as an impressive record that thrives on its own strengths.

    Rating: 3.5/5.0
    DR: 8 | Format Reviewed: 320 kb/s mp3
    Label: 3DOT Recordings
    Websites: astronoidband.com | facebook.com/astronoidband
    Releases Worldwide: November 7th, 2025

    #2025 #35 #3DotRecordings #AlternativeMetal #AmerianMetal #Astronoid #Leprous #Nov25 #PopMetal #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Shoegaze #Stargod

    #3dotrecordings #alternativemetal #amerianmetal #astronoid #leprous #nov25
  23. Angry Metal Guy @[email protected] ·

    Astronoid – Stargod Review

    By Samguineous Maximus

    Astronoid and I have a history. Their 2016 debut Air was one of those lightning-in-a-bottle releases that blew the doors off my early metal fandom. A delirious cocktail of shoegaze shimmer, sugar-coated harmonies, and blast-beaten bliss, it felt like nothing else at the time, and it sent me tumbling down the blackgaze rabbit hole. Add in the fact that these guys hailed from my quiet corner of New England, and I was all in. I caught them live a handful of times back then, and each gig felt like watching a small band punching way above their weight. 2019’s Astronoid wasn’t a bad album, but its shift toward more conventional post-rock didn’t grab me in the same way, and it eventually fell out of rotation. Their next release, 2022’s Radiant Bloom, was a marked improvement, combining the atmosphere and immediacy of their debut with the songwriting lessons of its follow-up. Still, it didn’t quite recapture the euphoric heights of Air. Now, with a string of impressive live gigs under their belt, including an opening slot for Blink-182 of all people, and a streamlined lineup reduced to a trio, the band returns with their fourth full-length, Stargod. The big question: can Astronoid finally outdo Air, or are we doomed to orbit its glowing corpse forever?

    The core sound of Stargod is unmistakably Astronoid, but this time the group leans further into pop-focused songwriting. Their trademark mix of prog, shoegaze, and post-rock remains intact with all the familiar hallmarks: gleeful blast beats, major-key harmonies, soaring choirboy vocals, and buoyant synths. However, they’re used in the service of sharper, chorus-driven compositions that rely on dynamics and layering to strengthen their saccharine, high-energy attack. Slower, ballad-like tracks such as “Stargod” and “Beneath the Lights” exemplify this approach, building evocative, vocal-centered songs on synth-forward grooves while guitar harmonies are added or stripped away for maximum impact around a memorable chorus. These are nicely balanced by more immediate up-tempo cuts which swirl around a hypnotizing central synth motif (“Explosive”) or follow a pop-punk tinged guitar charge (“Dream Protocol ’88”) which melds the band’s familiar sense of high-energy elation with this record’s improved sense of dynamics and hooks. Stargod is a thoroughly pleasant and varied record—balanced, uplifting, and easy to throw on to just bathe in Astronoid’s signature jubilance.

    Part of Stargod’s shimmer comes from the newfound confidence radiating from Astronoid’s vocalist, guitarist, and principal songwriter, Brett Boland. His ethereal tenor has always been central to the band’s sound, but here it shines brighter than ever, carried by lush vocal harmonies that elevate every track. Beyond his usual roles, Boland also handles drums on this record and co-mixed the entire album with bassist and synth player Daniel Schwartz. The result is Astronoid’s best-sounding release yet. The synths, in particular, stand out—glowing with both playful innocence and heartfelt emotion—while every element, from the warm, nuanced drumming to the crunchy, reverberant guitar leads, feels immediate and expressive. Mid-tempo rockers like “Third Shot” and “Sabian” land especially hard, gliding between soaring choruses, restrained verses, and climactic solos. Altogether, Stargod feels like the complete, uncompromising realization of a band finally confident in pursuing their true sound.

    My biggest critique of Stargod might seem like a bit of a cop-out, but my favorite tracks are the ones that most closely resemble the blast-heavy style of Air. The opening tracks, “Embark” and “Love Weapon,” bring back the high-energy, blast-driven sound of Astronoid’s debut, but with tighter songwriting and immaculate production. This style makes a return on the closing track, “Arrival,” which ends the album with a stunning climax. On repeated listens, I find myself feeling slightly underwhelmed by the middle section of Stargod as it relaxes its grip on the throttle. While those middle tracks are still beautiful and engaging in their own right, I do find myself longing ever so slightly for more blast beat goodness and it’s a bit disappointing that my favorite moments still come from the songs that echo the band’s earlier sound. That said, taken as a whole, Stargod is still a remarkable accomplishment.

    With Stargod, I see Astronoid in a position similar to where Leprous found themselves with Malina. While I miss the sheer bombast of Astronoid’s earlier sound, I can’t help but admire the impeccable craftsmanship on display as the band continues to evolve. Stargod is packed with intelligently written, dynamic pop songs that capture the magic of what made Astronoid special in the first place, while confidently showcasing the sonic maturity they’ve developed over the years. Is Stargod a true sequel to Air? Not at all—but it doesn’t need to be. It stands as an impressive record that thrives on its own strengths.

    Rating: 3.5/5.0
    DR: 8 | Format Reviewed: 320 kb/s mp3
    Label: 3DOT Recordings
    Websites: astronoidband.com | facebook.com/astronoidband
    Releases Worldwide: November 7th, 2025

    #2025 #35 #3DotRecordings #AlternativeMetal #AmerianMetal #Astronoid #Leprous #Nov25 #PopMetal #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Shoegaze #Stargod

    #3dotrecordings #alternativemetal #amerianmetal #astronoid #leprous #nov25
  24. Angry Metal Guy @[email protected] ·

    Astronoid – Stargod Review

    By Samguineous Maximus

    Astronoid and I have a history. Their 2016 debut Air was one of those lightning-in-a-bottle releases that blew the doors off my early metal fandom. A delirious cocktail of shoegaze shimmer, sugar-coated harmonies, and blast-beaten bliss, it felt like nothing else at the time, and it sent me tumbling down the blackgaze rabbit hole. Add in the fact that these guys hailed from my quiet corner of New England, and I was all in. I caught them live a handful of times back then, and each gig felt like watching a small band punching way above their weight. 2019’s Astronoid wasn’t a bad album, but its shift toward more conventional post-rock didn’t grab me in the same way, and it eventually fell out of rotation. Their next release, 2022’s Radiant Bloom, was a marked improvement, combining the atmosphere and immediacy of their debut with the songwriting lessons of its follow-up. Still, it didn’t quite recapture the euphoric heights of Air. Now, with a string of impressive live gigs under their belt, including an opening slot for Blink-182 of all people, and a streamlined lineup reduced to a trio, the band returns with their fourth full-length, Stargod. The big question: can Astronoid finally outdo Air, or are we doomed to orbit its glowing corpse forever?

    The core sound of Stargod is unmistakably Astronoid, but this time the group leans further into pop-focused songwriting. Their trademark mix of prog, shoegaze, and post-rock remains intact with all the familiar hallmarks: gleeful blast beats, major-key harmonies, soaring choirboy vocals, and buoyant synths. However, they’re used in the service of sharper, chorus-driven compositions that rely on dynamics and layering to strengthen their saccharine, high-energy attack. Slower, ballad-like tracks such as “Stargod” and “Beneath the Lights” exemplify this approach, building evocative, vocal-centered songs on synth-forward grooves while guitar harmonies are added or stripped away for maximum impact around a memorable chorus. These are nicely balanced by more immediate up-tempo cuts which swirl around a hypnotizing central synth motif (“Explosive”) or follow a pop-punk tinged guitar charge (“Dream Protocol ’88”) which melds the band’s familiar sense of high-energy elation with this record’s improved sense of dynamics and hooks. Stargod is a thoroughly pleasant and varied record—balanced, uplifting, and easy to throw on to just bathe in Astronoid’s signature jubilance.

    Part of Stargod’s shimmer comes from the newfound confidence radiating from Astronoid’s vocalist, guitarist, and principal songwriter, Brett Boland. His ethereal tenor has always been central to the band’s sound, but here it shines brighter than ever, carried by lush vocal harmonies that elevate every track. Beyond his usual roles, Boland also handles drums on this record and co-mixed the entire album with bassist and synth player Daniel Schwartz. The result is Astronoid’s best-sounding release yet. The synths, in particular, stand out—glowing with both playful innocence and heartfelt emotion—while every element, from the warm, nuanced drumming to the crunchy, reverberant guitar leads, feels immediate and expressive. Mid-tempo rockers like “Third Shot” and “Sabian” land especially hard, gliding between soaring choruses, restrained verses, and climactic solos. Altogether, Stargod feels like the complete, uncompromising realization of a band finally confident in pursuing their true sound.

    My biggest critique of Stargod might seem like a bit of a cop-out, but my favorite tracks are the ones that most closely resemble the blast-heavy style of Air. The opening tracks, “Embark” and “Love Weapon,” bring back the high-energy, blast-driven sound of Astronoid’s debut, but with tighter songwriting and immaculate production. This style makes a return on the closing track, “Arrival,” which ends the album with a stunning climax. On repeated listens, I find myself feeling slightly underwhelmed by the middle section of Stargod as it relaxes its grip on the throttle. While those middle tracks are still beautiful and engaging in their own right, I do find myself longing ever so slightly for more blast beat goodness and it’s a bit disappointing that my favorite moments still come from the songs that echo the band’s earlier sound. That said, taken as a whole, Stargod is still a remarkable accomplishment.

    With Stargod, I see Astronoid in a position similar to where Leprous found themselves with Malina. While I miss the sheer bombast of Astronoid’s earlier sound, I can’t help but admire the impeccable craftsmanship on display as the band continues to evolve. Stargod is packed with intelligently written, dynamic pop songs that capture the magic of what made Astronoid special in the first place, while confidently showcasing the sonic maturity they’ve developed over the years. Is Stargod a true sequel to Air? Not at all—but it doesn’t need to be. It stands as an impressive record that thrives on its own strengths.

    Rating: 3.5/5.0
    DR: 8 | Format Reviewed: 320 kb/s mp3
    Label: 3DOT Recordings
    Websites: astronoidband.com | facebook.com/astronoidband
    Releases Worldwide: November 7th, 2025

    #2025 #35 #3DotRecordings #AlternativeMetal #AmerianMetal #Astronoid #Leprous #Nov25 #PopMetal #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Shoegaze #Stargod

    #3dotrecordings #alternativemetal #amerianmetal #astronoid #leprous #nov25
  25. Angry Metal Guy @[email protected] ·

    Astronoid – Stargod Review

    By Samguineous Maximus

    Astronoid and I have a history. Their 2016 debut Air was one of those lightning-in-a-bottle releases that blew the doors off my early metal fandom. A delirious cocktail of shoegaze shimmer, sugar-coated harmonies, and blast-beaten bliss, it felt like nothing else at the time, and it sent me tumbling down the blackgaze rabbit hole. Add in the fact that these guys hailed from my quiet corner of New England, and I was all in. I caught them live a handful of times back then, and each gig felt like watching a small band punching way above their weight. 2019’s Astronoid wasn’t a bad album, but its shift toward more conventional post-rock didn’t grab me in the same way, and it eventually fell out of rotation. Their next release, 2022’s Radiant Bloom, was a marked improvement, combining the atmosphere and immediacy of their debut with the songwriting lessons of its follow-up. Still, it didn’t quite recapture the euphoric heights of Air. Now, with a string of impressive live gigs under their belt, including an opening slot for Blink-182 of all people, and a streamlined lineup reduced to a trio, the band returns with their fourth full-length, Stargod. The big question: can Astronoid finally outdo Air, or are we doomed to orbit its glowing corpse forever?

    The core sound of Stargod is unmistakably Astronoid, but this time the group leans further into pop-focused songwriting. Their trademark mix of prog, shoegaze, and post-rock remains intact with all the familiar hallmarks: gleeful blast beats, major-key harmonies, soaring choirboy vocals, and buoyant synths. However, they’re used in the service of sharper, chorus-driven compositions that rely on dynamics and layering to strengthen their saccharine, high-energy attack. Slower, ballad-like tracks such as “Stargod” and “Beneath the Lights” exemplify this approach, building evocative, vocal-centered songs on synth-forward grooves while guitar harmonies are added or stripped away for maximum impact around a memorable chorus. These are nicely balanced by more immediate up-tempo cuts which swirl around a hypnotizing central synth motif (“Explosive”) or follow a pop-punk tinged guitar charge (“Dream Protocol ’88”) which melds the band’s familiar sense of high-energy elation with this record’s improved sense of dynamics and hooks. Stargod is a thoroughly pleasant and varied record—balanced, uplifting, and easy to throw on to just bathe in Astronoid’s signature jubilance.

    Part of Stargod’s shimmer comes from the newfound confidence radiating from Astronoid’s vocalist, guitarist, and principal songwriter, Brett Boland. His ethereal tenor has always been central to the band’s sound, but here it shines brighter than ever, carried by lush vocal harmonies that elevate every track. Beyond his usual roles, Boland also handles drums on this record and co-mixed the entire album with bassist and synth player Daniel Schwartz. The result is Astronoid’s best-sounding release yet. The synths, in particular, stand out—glowing with both playful innocence and heartfelt emotion—while every element, from the warm, nuanced drumming to the crunchy, reverberant guitar leads, feels immediate and expressive. Mid-tempo rockers like “Third Shot” and “Sabian” land especially hard, gliding between soaring choruses, restrained verses, and climactic solos. Altogether, Stargod feels like the complete, uncompromising realization of a band finally confident in pursuing their true sound.

    My biggest critique of Stargod might seem like a bit of a cop-out, but my favorite tracks are the ones that most closely resemble the blast-heavy style of Air. The opening tracks, “Embark” and “Love Weapon,” bring back the high-energy, blast-driven sound of Astronoid’s debut, but with tighter songwriting and immaculate production. This style makes a return on the closing track, “Arrival,” which ends the album with a stunning climax. On repeated listens, I find myself feeling slightly underwhelmed by the middle section of Stargod as it relaxes its grip on the throttle. While those middle tracks are still beautiful and engaging in their own right, I do find myself longing ever so slightly for more blast beat goodness and it’s a bit disappointing that my favorite moments still come from the songs that echo the band’s earlier sound. That said, taken as a whole, Stargod is still a remarkable accomplishment.

    With Stargod, I see Astronoid in a position similar to where Leprous found themselves with Malina. While I miss the sheer bombast of Astronoid’s earlier sound, I can’t help but admire the impeccable craftsmanship on display as the band continues to evolve. Stargod is packed with intelligently written, dynamic pop songs that capture the magic of what made Astronoid special in the first place, while confidently showcasing the sonic maturity they’ve developed over the years. Is Stargod a true sequel to Air? Not at all—but it doesn’t need to be. It stands as an impressive record that thrives on its own strengths.

    Rating: 3.5/5.0
    DR: 8 | Format Reviewed: 320 kb/s mp3
    Label: 3DOT Recordings
    Websites: astronoidband.com | facebook.com/astronoidband
    Releases Worldwide: November 7th, 2025

    #2025 #35 #3DotRecordings #AlternativeMetal #AmerianMetal #Astronoid #Leprous #Nov25 #PopMetal #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Shoegaze #Stargod

    #stargod #shoegaze #reviews #review #progressivemetal #postmetal
  26. Angry Metal Guy @[email protected] ·

    Astronoid – Stargod Review

    By Samguineous Maximus

    Astronoid and I have a history. Their 2016 debut Air was one of those lightning-in-a-bottle releases that blew the doors off my early metal fandom. A delirious cocktail of shoegaze shimmer, sugar-coated harmonies, and blast-beaten bliss, it felt like nothing else at the time, and it sent me tumbling down the blackgaze rabbit hole. Add in the fact that these guys hailed from my quiet corner of New England, and I was all in. I caught them live a handful of times back then, and each gig felt like watching a small band punching way above their weight. 2019’s Astronoid wasn’t a bad album, but its shift toward more conventional post-rock didn’t grab me in the same way, and it eventually fell out of rotation. Their next release, 2022’s Radiant Bloom, was a marked improvement, combining the atmosphere and immediacy of their debut with the songwriting lessons of its follow-up. Still, it didn’t quite recapture the euphoric heights of Air. Now, with a string of impressive live gigs under their belt, including an opening slot for Blink-182 of all people, and a streamlined lineup reduced to a trio, the band returns with their fourth full-length, Stargod. The big question: can Astronoid finally outdo Air, or are we doomed to orbit its glowing corpse forever?

    The core sound of Stargod is unmistakably Astronoid, but this time the group leans further into pop-focused songwriting. Their trademark mix of prog, shoegaze, and post-rock remains intact with all the familiar hallmarks: gleeful blast beats, major-key harmonies, soaring choirboy vocals, and buoyant synths. However, they’re used in the service of sharper, chorus-driven compositions that rely on dynamics and layering to strengthen their saccharine, high-energy attack. Slower, ballad-like tracks such as “Stargod” and “Beneath the Lights” exemplify this approach, building evocative, vocal-centered songs on synth-forward grooves while guitar harmonies are added or stripped away for maximum impact around a memorable chorus. These are nicely balanced by more immediate up-tempo cuts which swirl around a hypnotizing central synth motif (“Explosive”) or follow a pop-punk tinged guitar charge (“Dream Protocol ’88”) which melds the band’s familiar sense of high-energy elation with this record’s improved sense of dynamics and hooks. Stargod is a thoroughly pleasant and varied record—balanced, uplifting, and easy to throw on to just bathe in Astronoid’s signature jubilance.

    Part of Stargod’s shimmer comes from the newfound confidence radiating from Astronoid’s vocalist, guitarist, and principal songwriter, Brett Boland. His ethereal tenor has always been central to the band’s sound, but here it shines brighter than ever, carried by lush vocal harmonies that elevate every track. Beyond his usual roles, Boland also handles drums on this record and co-mixed the entire album with bassist and synth player Daniel Schwartz. The result is Astronoid’s best-sounding release yet. The synths, in particular, stand out—glowing with both playful innocence and heartfelt emotion—while every element, from the warm, nuanced drumming to the crunchy, reverberant guitar leads, feels immediate and expressive. Mid-tempo rockers like “Third Shot” and “Sabian” land especially hard, gliding between soaring choruses, restrained verses, and climactic solos. Altogether, Stargod feels like the complete, uncompromising realization of a band finally confident in pursuing their true sound.

    My biggest critique of Stargod might seem like a bit of a cop-out, but my favorite tracks are the ones that most closely resemble the blast-heavy style of Air. The opening tracks, “Embark” and “Love Weapon,” bring back the high-energy, blast-driven sound of Astronoid’s debut, but with tighter songwriting and immaculate production. This style makes a return on the closing track, “Arrival,” which ends the album with a stunning climax. On repeated listens, I find myself feeling slightly underwhelmed by the middle section of Stargod as it relaxes its grip on the throttle. While those middle tracks are still beautiful and engaging in their own right, I do find myself longing ever so slightly for more blast beat goodness and it’s a bit disappointing that my favorite moments still come from the songs that echo the band’s earlier sound. That said, taken as a whole, Stargod is still a remarkable accomplishment.

    With Stargod, I see Astronoid in a position similar to where Leprous found themselves with Malina. While I miss the sheer bombast of Astronoid’s earlier sound, I can’t help but admire the impeccable craftsmanship on display as the band continues to evolve. Stargod is packed with intelligently written, dynamic pop songs that capture the magic of what made Astronoid special in the first place, while confidently showcasing the sonic maturity they’ve developed over the years. Is Stargod a true sequel to Air? Not at all—but it doesn’t need to be. It stands as an impressive record that thrives on its own strengths.

    Rating: 3.5/5.0
    DR: 8 | Format Reviewed: 320 kb/s mp3
    Label: 3DOT Recordings
    Websites: astronoidband.com | facebook.com/astronoidband
    Releases Worldwide: November 7th, 2025

    #2025 #35 #3DotRecordings #AlternativeMetal #AmerianMetal #Astronoid #Leprous #Nov25 #PopMetal #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Shoegaze #Stargod

    #3dotrecordings #alternativemetal #amerianmetal #astronoid #leprous #nov25
  27. Angry Metal Guy @[email protected] ·

    AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

    By Dolphin Whisperer

    “AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

    More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

    Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

    El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

    Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

    Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

    Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

    #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

    #americanmetal #angrymetalguysunsignedbandrodeo #angrymetalguysunsignedbandrodeo2025 #anubisgate #blindguardian #dreamtheater
  28. Angry Metal Guy @[email protected] ·

    AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

    By Dolphin Whisperer

    “AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

    More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

    Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

    El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

    Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

    Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

    Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

    #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

    #americanmetal #angrymetalguysunsignedbandrodeo #angrymetalguysunsignedbandrodeo2025 #anubisgate #blindguardian #dreamtheater
  29. Angry Metal Guy @[email protected] ·

    AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

    By Dolphin Whisperer

    “AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

    More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

    Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

    El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

    Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

    Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

    Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

    #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

    #americanmetal #angrymetalguysunsignedbandrodeo #angrymetalguysunsignedbandrodeo2025 #anubisgate #blindguardian #dreamtheater
  30. Angry Metal Guy @[email protected] ·

    AMG’s Unsigned Band Rodeö: Empyrean Sanctum – Detachment from Reality

    By Dolphin Whisperer

    “AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”

    More so than any other one thing, passion drives the underground. And within this world of passion, like-minded individuals find their partners in expression—or at least helping hands. Often, this can lead to us as hungry consumers to find out new acts via association. In fact, I stumbled upon the Chicago-helmed Empyrean Sanctum via research into associated acts of Katagory V vocalist Albert Rybka. And my intrigue grew further in reading that captain of the riffs Justin Kellerman had contracted the extraordinary rhythm duo of Hannes Grossman (just read his credits) and Alex Weber (Exist, WAIT, and more) for this sophomore Detachment from Reality. With a keen sense for guitar crunch, and a strong individual spirit as a guide, could Empyrean Sanctum’s progressive power charms win over our staunchy Rodeö crew? Follow passion down the sci-fi dystopia rabbit hole… – Dolphin Whisperer

    Empyrean Sanctum // Detachment from Reality [April 18th, 2025]

    El Cuervo: It may not be my first pick — as it might have been 15 years ago — but I always have time for progressive power metal. It’s a sub-genre that oozes immediacy, from crunchy guitars to energetic singers to vibrant synths. Empyrean Sanctum tick these boxes and further dare to border real brutality to gild their heaviest moments across Detachment from Reality. “Lifeless Death” is the easy highlight, boasting uplifting synths and the heroic guitar solos that these guys evidently enjoy playing. However, I find the songs — and as a consequence the album overall — to be interminable. It’s the type of release where I check how many tracks have passed, but it’s only been four minutes and I’m still on the same one. The bookends (“Heart of Gold” and “Elation”) are the longest, which makes starting and restarting the album more arduous than it should be. And the production is also a thick shield to my listening pleasure. The master is obnoxiously loud, and the instrumental tones have a ‘clacky’, inorganic sound that’s anathema to my ears. There’s solid music buried here, but it’s just too difficult to access. 2.0/5.0

    Dolphin Whisperer: In a genre so overtaken by re-amped chug-a-lug polyrhythms, it’s refreshing to hear Empyrean Sanctum’s adherence to the melodic backbone of ’00s progressive power metal.1 You know the kind—wailing, synth-backed, bright riffage championed by titans like Threshold or Anubis Gate and glued together with knotty Petrucci (Dream Theater) energy. At least that’s where I feel main mind, Justin Kellerman lives in composition. And in this lane, Detachment from Reality swaggers through riff after riff in an elegant manner, both wearing its length on tracks that ring slower to bubble and burst (“Transparency,” “Lifeless Death”) and sauntering through groovy growth and reprisal with ease (“Heart of Gold,” “Age of Innocence,” “Refinement”). But even when its over-chorused character—Albert Rybka (Katagory V) often finding a classic nasal croon and tasteful falsetto crescendo—hits a touch long in the tooth, Kellerman’s ear for a fitting riff transition alongside Hannes Grossman’s urge to progress and explode his thundering skins keeps the lull at bay. Many of these touches are subtle though, as Kellerman does not guide Empyrean Sanctum via guitar flamboyance and solo trade-offs—guest soloist Per Nilsson (Scar Symmetry, Kaipa) provides just about the only mark in that lane throughout (“Age of Innocence”). This straightforward and tuneful nature, however, plays enough as a successful choice rather than an unintentional miss on the noodle front. And if Kellerman and Empyrean Sanctum ever look to swing for the fences again with a heavier hand in wanksville, his slick compositions may land with an extra imprint and oomph. 3.0/5.0

    Mystikus Hugebeard: As it stands, Detachment from Reality is a cool album. The problem is that it’s on the cusp of being an absolutely fuckin’ radical album, and falls just short. To their credit, Empyrean Sanctum nails the rhythm section. Dynamic bass-playing and inventive drum lines augment the guitars, which strike and strike in a percussive heartbeat. “Descent” is a particularly gripping track, a straightforward melody and powerful chorus over a ceaseless chug and strum. The production also lends a beefy heft to the guitars, empowering the riffs in a way that reminds me of the best parts of Hemina without the debilitating stench of cheese. The sticking point is how Detachment from Reality always teeters on the edge of inventive, daring song-craft, but never seems to commit. Apart from some slick guitar work in “Heart of Gold” and the delicious Per Nilsson guest solo in the title track, the lead guitars are rarely allowed the space to do anything befitting the virtuosity of the rest of the music. The songwriting feels more satisfied to shuffle from one riff to the next without erupting into something truly dynamic and challenging, resulting in a dearth of moments that stand out in my memory. It’s like the soundfont of a progressive song structure applied to something less audacious, which really drags the repetition of “Lifeless Death” and “Elation” into an unflattering light. Ultimately, it’s less a fundamental flaw as much as it is untapped potential. Complain though I might, Detachment from Reality deserves your listen. 3.0/5.0

    Clark Kent: Empyrean Sanctum’s Detachment from Reality is everything that I love about metal. The album has meticulously crafted long-form songs that seamlessly weave from movement to movement so they never overstay their welcome. Empyrean Sanctum borrows their sound from latter-day Blind Guardian and Symphony X, but without the bombast. There’s a restraint and maturity to the songwriting that makes it feel comforting. In fact, even Mrs. Kent, who usually despises my music, gives her stamp of approval. Detachment from Reality features symphonic progressive metal with orchestration and synths used as an accent rather than the main feature. You get the feeling of joy and composure from all the players: when Albert Rybka’s gruff cleans belt out the chorus of “Age of Innocence,” or Justin Kellerman moves from rhythm to fancy fretwork, or Hannes Grossman provides mid-tempo drumming that serves as a steady beacon throughout the album. I found plenty to enjoy on each song: excellent solos, moody synths, emotive singing, and surprises like the piano on “Lifeless Death” and the heart-pumping riffs on “Refinement.” One might scoff at the length, but it’s so easy to get lost in the mesmerizing melodies that the hour just flies by. With the album’s spacey synths, intergalactic riffs, and out-of-this-world vocals, this makes me feel right at home. 4.0/5.0

    #AmericanMetal #AngryMetalGuySUnsignedBandRodeo #AngryMetalGuySUnsignedBandRodeo2025 #AnubisGate #BlindGuardian #DreamTheater #EmpyreanSanctum #Hemina #IndependentRelease #KatagoryV #May25 #PowerMetal #ProgPower #ProgressiveMetal #Review #Reviews #SelfRelease #SymphonyX #Threshold

    #threshold #symphonyx #selfrelease #reviews #review #progressivemetal
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