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358 results for “rsears”
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Has anyone been successful in using #fulltext search IN BOOLEAN MODE with pagination in #laravel. All works great until you try a Boolean search with a +, then invalid number of parameters error rears it’s ugly head. Without pagination also works fine. This might work with a custom pagination query, but was hoping someone might have found a better way. #php #mysql
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A relatively little thing, but little things add up
"There are the conservation consequences to think of, which I’ll get to, but more importantly is the symbolic significance. Bears Ears was originally proposed and conceived of and pushed by five sovereign tribal nations — with the backing of another two dozen tribes — who were looking to protect lands that had been stolen from them and put into the “public domain.”
https://www.hcn.org/articles/beautiful-bears-ears-is-at-risk-again/#
#Indigenous #Preservation #Nature #Environment #HCN -
A relatively little thing, but little things add up
"There are the conservation consequences to think of, which I’ll get to, but more importantly is the symbolic significance. Bears Ears was originally proposed and conceived of and pushed by five sovereign tribal nations — with the backing of another two dozen tribes — who were looking to protect lands that had been stolen from them and put into the “public domain.”
https://www.hcn.org/articles/beautiful-bears-ears-is-at-risk-again/#
#Indigenous #Preservation #Nature #Environment #HCN -
A relatively little thing, but little things add up
"There are the conservation consequences to think of, which I’ll get to, but more importantly is the symbolic significance. Bears Ears was originally proposed and conceived of and pushed by five sovereign tribal nations — with the backing of another two dozen tribes — who were looking to protect lands that had been stolen from them and put into the “public domain.”
https://www.hcn.org/articles/beautiful-bears-ears-is-at-risk-again/#
#Indigenous #Preservation #Nature #Environment #HCN -
A relatively little thing, but little things add up
"There are the conservation consequences to think of, which I’ll get to, but more importantly is the symbolic significance. Bears Ears was originally proposed and conceived of and pushed by five sovereign tribal nations — with the backing of another two dozen tribes — who were looking to protect lands that had been stolen from them and put into the “public domain.”
https://www.hcn.org/articles/beautiful-bears-ears-is-at-risk-again/#
#Indigenous #Preservation #Nature #Environment #HCN -
A relatively little thing, but little things add up
"There are the conservation consequences to think of, which I’ll get to, but more importantly is the symbolic significance. Bears Ears was originally proposed and conceived of and pushed by five sovereign tribal nations — with the backing of another two dozen tribes — who were looking to protect lands that had been stolen from them and put into the “public domain.”
https://www.hcn.org/articles/beautiful-bears-ears-is-at-risk-again/#
#Indigenous #Preservation #Nature #Environment #HCN -
Phil Stacey On Hockey: Resiliency rears its head as streaking Bruins rally to top Montreal | Sports https://www.rawchili.com/nhl/427415/ #Boston #BostonBruins #BostonBruins #Bruins #DavidPastrňák #EdmontonOilers #goaltender #Hockey #IceHockey #IceHockeyLeagues #NationalHockeyLeague #NationalHockeyLeagueTeams #NHL #SeasonsInAmericanIceHockey #SeasonsInAmericanSport #SeasonsInCanadianIceHockey #sports #StanleyCupPlayoffs #TopTierIceHockeyLeagues
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Knocked Loose – You Won’t Go Before You’re Supposed To [Things You Might Have Missed 2024]
By Dear Hollow
Is the hype surrounding Knocked Loose legit? Making (perhaps unwanted) waves with that “arf arf arf” breakdown in “Counting Worms” and waking babies, and “being woke,”1 with an appearance on Jimmy Kimmel Live! with collaborator Poppy, the Kentucky group is getting its fair share of backlash and praise in equal measure. It’s easy to approach You Won’t Go Before You’re Supposed To in this light, but the novelty is merely a facet of the album. In many ways, the act’s third full-length is a continuation of 2016’s bruising Laugh Tracks or 2019’s sludge-inflected A Different Shade of Blue, but an altogether more mature and heftier affair. Yes, Poppy’s witchy shrieks and haunting croons appear in a breakdown buildup in “Suffocate” and Chris Motionless from Motionless in White rears his Gothy nu-metal head in “Slaughterhouse 2,” but beneath the radio-friendly gloss is an album dedicated to tragedy and grit.
As always, Knocked Loose balances its appropriately suffocating beatdown hardcore instrumentals with a three-prong vocal attack, helmed by the feral shrieks of Bryan Garris.2 Featuring frantic Converge-esque choruses (“Thirst,” “Piece by Piece”), mammoth breakdowns (“Don’t Reach for Me,” “Blinding Faith,” “The Calm That Keeps You Awake”), and their novelty pieces of guest vocalists add a refreshing change of pace to what could have been a monotonous meltdown. Alongside Garris’ unmistakable vocals, guitarists Isaac Hale and Nicko Calderon lend guttural roars and hardcore fry vocals respectively, injecting a jolt of white-hot energy to songs like “Thirst” and “Don’t Reach for Me.” While Knocked Loose theoretically approaches You Won’t Go Before You’re Supposed To with a traditional beatdown template a la Gideon and Bulldoze, its brutality and intensity are felt through every movement.
You Won’t Go Before You’re Supposed To features a skull-crushing breed of hardcore, but nuance is added when Knocked Loose embraces the haunting – a hum cutting through the relentless storm. Utilizing eerie leads and instrumental stillness, evocative lyrics of homesickness, desolation, and meaninglessness are enacted with musical allegory. Tracks that utilize this more contemplative aura (“Moss Covers All,” its sequel “Take Me Home,” “Sit & Mourn”) reflect the solemnity of their titles and the eeriness of the album art in a pummeling yet haunting approach reminiscent of last year’s The Acacia Strain, reflecting a deeper and more tragic intention beyond the mindless hardcore beatdowns. Buried beneath the blastbeats and frantic vocals lies an existential weight tied to its lyrics, the recurring theme of unearthing roots and dismantling family patterns is accomplished mightily through these tracks, further bolstered by tasteful samples.3 You Won’t Go Before You’re Supposed To is more than just mindless intensity.
Yes, Knocked Loose is here to kick your teeth in, but it’s not as simple as a senseless hardcore beatdown punishment. You Won’t Go Before You’re Supposed To is a multilayered album, easy to dismiss due to its Octane Radio-friendly novelty in “Suffocate” and “Slaughterhouse 2” or its mind-numbing chugs and breakdowns strewn with reckless abandon, but it incorporates just enough haunting experimentation and heartfelt lyricism to give purpose to the punishment. Undoubtedly a divisive release this year, but Knocked Loose balances blind aggression and thoughtful flourishes like a steel-toed boot to the throat in a dense forest at night. So watch your back.
Tracks to Check Out: ”Suffocate,” “Take Me Home,” “Blinding Faith,” and “Sit & Mourn.”
#2024 #AmericanMetal #Bulldoze #Converge #Gideon #HardcorePunk #JudyPerkins #KnockedLoose #Metalcore #MotionlessInWhite #Poppy #PureNoiseRecords #RexAllen #TheAcaciaStrain #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #YouWonTGoBeforeYouReSupposedTo
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Knocked Loose – You Won’t Go Before You’re Supposed To [Things You Might Have Missed 2024]
By Dear Hollow
Is the hype surrounding Knocked Loose legit? Making (perhaps unwanted) waves with that “arf arf arf” breakdown in “Counting Worms” and waking babies, and “being woke,”1 with an appearance on Jimmy Kimmel Live! with collaborator Poppy, the Kentucky group is getting its fair share of backlash and praise in equal measure. It’s easy to approach You Won’t Go Before You’re Supposed To in this light, but the novelty is merely a facet of the album. In many ways, the act’s third full-length is a continuation of 2016’s bruising Laugh Tracks or 2019’s sludge-inflected A Different Shade of Blue, but an altogether more mature and heftier affair. Yes, Poppy’s witchy shrieks and haunting croons appear in a breakdown buildup in “Suffocate” and Chris Motionless from Motionless in White rears his Gothy nu-metal head in “Slaughterhouse 2,” but beneath the radio-friendly gloss is an album dedicated to tragedy and grit.
As always, Knocked Loose balances its appropriately suffocating beatdown hardcore instrumentals with a three-prong vocal attack, helmed by the feral shrieks of Bryan Garris.2 Featuring frantic Converge-esque choruses (“Thirst,” “Piece by Piece”), mammoth breakdowns (“Don’t Reach for Me,” “Blinding Faith,” “The Calm That Keeps You Awake”), and their novelty pieces of guest vocalists add a refreshing change of pace to what could have been a monotonous meltdown. Alongside Garris’ unmistakable vocals, guitarists Isaac Hale and Nicko Calderon lend guttural roars and hardcore fry vocals respectively, injecting a jolt of white-hot energy to songs like “Thirst” and “Don’t Reach for Me.” While Knocked Loose theoretically approaches You Won’t Go Before You’re Supposed To with a traditional beatdown template a la Gideon and Bulldoze, its brutality and intensity are felt through every movement.
You Won’t Go Before You’re Supposed To features a skull-crushing breed of hardcore, but nuance is added when Knocked Loose embraces the haunting – a hum cutting through the relentless storm. Utilizing eerie leads and instrumental stillness, evocative lyrics of homesickness, desolation, and meaninglessness are enacted with musical allegory. Tracks that utilize this more contemplative aura (“Moss Covers All,” its sequel “Take Me Home,” “Sit & Mourn”) reflect the solemnity of their titles and the eeriness of the album art in a pummeling yet haunting approach reminiscent of last year’s The Acacia Strain, reflecting a deeper and more tragic intention beyond the mindless hardcore beatdowns. Buried beneath the blastbeats and frantic vocals lies an existential weight tied to its lyrics, the recurring theme of unearthing roots and dismantling family patterns is accomplished mightily through these tracks, further bolstered by tasteful samples.3 You Won’t Go Before You’re Supposed To is more than just mindless intensity.
Yes, Knocked Loose is here to kick your teeth in, but it’s not as simple as a senseless hardcore beatdown punishment. You Won’t Go Before You’re Supposed To is a multilayered album, easy to dismiss due to its Octane Radio-friendly novelty in “Suffocate” and “Slaughterhouse 2” or its mind-numbing chugs and breakdowns strewn with reckless abandon, but it incorporates just enough haunting experimentation and heartfelt lyricism to give purpose to the punishment. Undoubtedly a divisive release this year, but Knocked Loose balances blind aggression and thoughtful flourishes like a steel-toed boot to the throat in a dense forest at night. So watch your back.
Tracks to Check Out: ”Suffocate,” “Take Me Home,” “Blinding Faith,” and “Sit & Mourn.”
#2024 #AmericanMetal #Bulldoze #Converge #Gideon #HardcorePunk #JudyPerkins #KnockedLoose #Metalcore #MotionlessInWhite #Poppy #PureNoiseRecords #RexAllen #TheAcaciaStrain #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #YouWonTGoBeforeYouReSupposedTo
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Knocked Loose – You Won’t Go Before You’re Supposed To [Things You Might Have Missed 2024]
By Dear Hollow
Is the hype surrounding Knocked Loose legit? Making (perhaps unwanted) waves with that “arf arf arf” breakdown in “Counting Worms” and waking babies, and “being woke,”1 with an appearance on Jimmy Kimmel Live! with collaborator Poppy, the Kentucky group is getting its fair share of backlash and praise in equal measure. It’s easy to approach You Won’t Go Before You’re Supposed To in this light, but the novelty is merely a facet of the album. In many ways, the act’s third full-length is a continuation of 2016’s bruising Laugh Tracks or 2019’s sludge-inflected A Different Shade of Blue, but an altogether more mature and heftier affair. Yes, Poppy’s witchy shrieks and haunting croons appear in a breakdown buildup in “Suffocate” and Chris Motionless from Motionless in White rears his Gothy nu-metal head in “Slaughterhouse 2,” but beneath the radio-friendly gloss is an album dedicated to tragedy and grit.
As always, Knocked Loose balances its appropriately suffocating beatdown hardcore instrumentals with a three-prong vocal attack, helmed by the feral shrieks of Bryan Garris.2 Featuring frantic Converge-esque choruses (“Thirst,” “Piece by Piece”), mammoth breakdowns (“Don’t Reach for Me,” “Blinding Faith,” “The Calm That Keeps You Awake”), and their novelty pieces of guest vocalists add a refreshing change of pace to what could have been a monotonous meltdown. Alongside Garris’ unmistakable vocals, guitarists Isaac Hale and Nicko Calderon lend guttural roars and hardcore fry vocals respectively, injecting a jolt of white-hot energy to songs like “Thirst” and “Don’t Reach for Me.” While Knocked Loose theoretically approaches You Won’t Go Before You’re Supposed To with a traditional beatdown template a la Gideon and Bulldoze, its brutality and intensity are felt through every movement.
You Won’t Go Before You’re Supposed To features a skull-crushing breed of hardcore, but nuance is added when Knocked Loose embraces the haunting – a hum cutting through the relentless storm. Utilizing eerie leads and instrumental stillness, evocative lyrics of homesickness, desolation, and meaninglessness are enacted with musical allegory. Tracks that utilize this more contemplative aura (“Moss Covers All,” its sequel “Take Me Home,” “Sit & Mourn”) reflect the solemnity of their titles and the eeriness of the album art in a pummeling yet haunting approach reminiscent of last year’s The Acacia Strain, reflecting a deeper and more tragic intention beyond the mindless hardcore beatdowns. Buried beneath the blastbeats and frantic vocals lies an existential weight tied to its lyrics, the recurring theme of unearthing roots and dismantling family patterns is accomplished mightily through these tracks, further bolstered by tasteful samples.3 You Won’t Go Before You’re Supposed To is more than just mindless intensity.
Yes, Knocked Loose is here to kick your teeth in, but it’s not as simple as a senseless hardcore beatdown punishment. You Won’t Go Before You’re Supposed To is a multilayered album, easy to dismiss due to its Octane Radio-friendly novelty in “Suffocate” and “Slaughterhouse 2” or its mind-numbing chugs and breakdowns strewn with reckless abandon, but it incorporates just enough haunting experimentation and heartfelt lyricism to give purpose to the punishment. Undoubtedly a divisive release this year, but Knocked Loose balances blind aggression and thoughtful flourishes like a steel-toed boot to the throat in a dense forest at night. So watch your back.
Tracks to Check Out: ”Suffocate,” “Take Me Home,” “Blinding Faith,” and “Sit & Mourn.”
#2024 #AmericanMetal #Bulldoze #Converge #Gideon #HardcorePunk #JudyPerkins #KnockedLoose #Metalcore #MotionlessInWhite #Poppy #PureNoiseRecords #RexAllen #TheAcaciaStrain #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #YouWonTGoBeforeYouReSupposedTo
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'These dog whistles are built into our political systems, and used to eke out any possible electoral advantage.' #auspol #Australia #racism #Fascism #RWNJ #spivs #opportunists https://australiainstitute.org.au/post/as-fascism-rears-its-ugly-head-we-are-trapped-between-the-craven-and-the-unwilling/
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Antifascist prisoner Maja T., who is currently being held in isolation in Budapest on the basis of charges involving violence against Nazis (something that should be regarded as a public service, not a crime), has written a letter to supporters on the outside. The following is a rough translation:
Dear Friends, Comrades, Family, and Supporters,
I have decided to write to you and to everyone who is interested in hearing from me. Today is December 30, 2024. I thought that, after half a year, I would have had a habeas corpus hearing by now. That would have meant that the prosecution, my lawyer, and I would have met before a Hungarian court to argue whether it is (still) necessary for me to be held in pretrial custody. It has been almost 13 months since I was arrested in Berlin, and just a few days after my first “anniversary” in prison, the Hungarian prosecutor’s office submitted my indictment to the court without seeing any need to let me know. The indictment describes the charges, introduces “evidence”, and roughly outlines a specific image of me and my co-defendants as a group of brutal thugs, driven by hatred, who would randomly pursue people through the streets. That is why the prosecution alleges that I am a danger to society and has decided to pursue the maximum sentence for me of 14 years without the possibility of parole. As a precondition, I would have to plead guilty on all counts. Additionally, the prosecution demands that I continue to be held in pretrial detention at least until the first verdict. For that, the court has a comfortable three-year window and is by no means obligated to hurry. The indictment was sent to my lawyer a few days ago, together with the court’s decision, made in our absence, to keep me in prison for an indeterminate time. That means no actual habeas corpus hearing, and we are left only with the possibility of filing a written protest with the next court.
Sitting here, I can only shake my head, gaze dumbfounded, laugh, and get angry, while the feeling of powerlessness and trepidation starts to tear away at the ground under my feet. It isn’t so much the absurd, reality-distorting charges that the prosecution has concocted or their destructive demands. It’s much more the way they claim the right to steal time from my life. Absurdly, I’m comforted by the thought that it was to be expected, that Hungary hides behind grand language like “rule of law”, but that’s just a label – one of many. Not many people have rights here, or at least not everyone has the same ones. The state has the authority and the law has to serve its actors more than it does “justice”. This completely “legal” move by the prosecution tells me that they did not want to risk letting a judge hear a word from me. There was too much of a risk that my solitary confinement, which is beneath human dignity by design, could have come to an end.
Since I am forbidden to speak before the court at the moment, I’ve decided to do it here, a step that is long overdue. I’d like to apologize for the fact that this seems to be so extremely rare. So many people have felt the need over the past two years to courageously raise their voices, speak out, write, plan, organize, demonstrate, donate, and warm shaking hands by holding each other’s. In the past few years, your solidarity has reached me in so many different ways and given me strength, courage, and confidence. Again, it seems to me that I have far too rarely put the gratitude I feel for that into words. Thanks to you, utopias still come in bright colors, held in tender hands with unbreaking will. I want to let you know that every word, every thought, every political struggle that I hear about and that has the courage not to be silent continually rears up anew, rather than fizzling out in the sea of abundance.
You and your comrades have my solidarity. My thoughts remain with you and with all the political prisoners around the world who are working for an emancipatory society. I am also thinking of your pain, the rage over states and their violence, as well as the hope of living in a society that dares to transform itself for the better, that turns away from war, violence, oppression, and exploitation. I respect each individual person who dares to defend themselves against patriarchy, authoritarian cravings, and pretenses of ethnic communities and unfettered enrichment, be it on a large or small scale.
Even if Hungary continues to hold me captive, to prejudge, punish, and frighten me out of sheer will while the German government timidly nods and shakes Orban’s hand, even if the isolation wears down my mind, the lack of sunlight leaves me pale, and the yearning for a conversation with someone I trust and a single embrace should pull me out of sleep at night, I will still be there, I will remain at your side. Let’s dare to not be quiet again and again, even if the months and years sometimes threaten to destroy all hope and confidence in our own strength. We cannot despair; that would be fatal. There is too much at stake. So much is already backsliding that was once fought for and learned. If my brief words have given you courage, maybe with an intimate smile, a strengthening, careful look that you give someone, then all that remains for me is to thank you for reading and listening. A presto mi faro vivo!
With thoughts of solidarity, Maja
Original: https://www.basc.news/ein-versuch-zu-sprechen-maja-zur-anklageschrift/
#FreeMaja #FreeHanna #FreeTobi #FreeAllAntifas #FreeThemAll #antifa #antifascism #Orban #Hungary #Alerta
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Is this The Creator Weapon? It exists? For real? But none can look up? At the daylight sky? In an undisclosed location? Or disclosed? Since when? One decade? Or two? Much more? A time travel paradox? Can you find it? Can you see it? Through the clouds? Or an alien sign?
M?R?T
https://x.com/MariaCreatorTru/status/1988560113406255334
#TheCreator #20thCentury #20thcenturystudios #20thCenturyUK #Cinema #Movies #Films #TheCreatorWeapon #Photography #Art #sky #Weapon #Weapons #Satellites #Satellite #Math #Vision #Rsearch #Memory
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Floor proximity sensors can now be placed in levels - this is a really simple test level to show one working.
It still needs some UI work doing so that the level designer can choose the signal it emits, and its initial state, but it seems to work pretty well.
Next up is more levels, and then zone selection rears its slightly terrifying head...
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@LinuxAndYarn
Don’t forget what the #GreatestGeneration did that #Boomers, #GenX, #GenZ now have to do, fight fascism wherever it rears its ugly head -
#Musk, #Trump & Co proves one thing with finality: #Idolization is bad for #psyche.
Of course it rears its ugly head when times are tough and people need someone to look up to, someone to imprint on.
But as has been proven time and time again, idolizing the rich and powerful is a really bad idea.
Not that it's all bad. Friday was #DillaDay and if anyone deserved to be idolized it's someone like him. But of course, he was a genius composer and an artist and not an #oligarch or a #president.
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Apparently there's some controversy about "small dick energy" being "body shaming," because @gretathunberg used the phrase to respond to Andrew Tate, who was being a fucking MAGA douchebag on Twitter, bragging about his polluting vehicle collection.
Greta correctly told him to get a life and stop waving around his "small dick energy." Good for her. A perfect example of the kind of #punchingup that needs to happen.
As a man, I'm the very first person to admit that perhaps one third to one half of male behavior could be considered toxic and capable of causing harm, especially to women. But also to human rights and the climate.
I try to avoid that behavior at all costs. I hope that in time, all men will come to see their role as protectors of the Earth, of justice, and of those who are weaker. Not flashing their brute strength or having dick measuring contests.
So when someone talks about #toxicmasculinity or #smalldickenergy why would I be offended? It's nothing I want anything to do with.
The term "small dick energy" is not remotely #bodyshaming. It comes from the scientific fact that monkeys who have smaller balls tend to yell louder to compensate.
With humans, toxic men tend to flaunt physical strength, weapons, vehicles, and machinery, while attacking women and playing the victim.
THAT'S small dick energy. Maybe we should call it "small ball energy." Whatever. People should quit tone policing and focus on shutting down toxic male behavior wherever it rears its ugly head.
"Small dick energy" comes from dicks of all shapes and sizes.
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Sommersparschweinparty
Club Motion Graz, Freitag, 5. September um 21:00 MESZ
Club Motion
The movement in your nightlife. -
The revolting, media-assisted tax on the mathematically-challenged rears its ugly head again.
Compelling the lower class to make the nation's biggest sucker bets with "it's fun!" & "if you don't play, you can't win" are an obnoxious compromise of ethics.
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How To Identify And Fix All The Places Where Telling - Or Exposition - Rears Up In Your Writing #writingadvice #writinglife #amwriting #writingcommunity #writerscommunity www.amazon.com/dp/194887234X
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How To Identify And Fix All The Places Where Telling - Or Exposition - Rears Up In Your Writing #writingadvice #writinglife #amwriting #writingcommunity #writerscommunity www.amazon.com/dp/194887234X
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How To Identify And Fix All The Places Where Telling - Or Exposition - Rears Up In Your Writing #writingadvice #writinglife #amwriting #writingcommunity #writerscommunity www.amazon.com/dp/194887234X
amazon.com/dp/194887234X -
How To Identify And Fix All The Places Where Telling - Or Exposition - Rears Up In Your Writing #writingadvice #writinglife #amwriting #writingcommunity #writerscommunity www.amazon.com/dp/194887234X
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Fascinerad av att sticka med så här grovt garn och rundsticka nr 9. Det går ju så fort!
Och i slätstickning blir det ett så tjockt stadigt tyg och töjbart även utan att sticka resår. Varför har man alltid blivit itutad att man ska krångla med avigor och räta? Stickat blir ju töjigt ändå.
Funderar på det här med att vara lärd det hårda Lutherska; det ska vara rätt tunt garn för att se fint ut, det ska resårstickas och hållas på.
Viktigast är att det blir något alls.
#knitting #stickning -
Yet another good reason to resist #Crippleware wherever it rears its ugly head. #Microsoft is deleting all the #DRM-encumbered ebooks sold through its failing online store:
https://boingboing.net/2019/04/02/burning-libraries.html -
The illusion of control
What is the opposite of play? …the opposite of playing an infinite game? I can’t think of a better candidate than the desire for control. My desire for control—when it rears its ugly head—stems from insecurity. (But let’s leave my insecurity for another day.) When I grasp for control I start trying to prepare for every contingency. When I grasp for control I start trying to control the contexts around everything I’m doing, everything I’m experiencing, and how others see me. And when I don’t grasp for control, I’m able to play.
The site you’re reading, Raptitude, is essentially an attempt to convey certain kinds of embodied knowing, having to do with the subtleties of being human, rather than driving a car or doing long division. I’m trying to get people to have some of the same perspective shifts I’ve had.
slip:4urako1.
Experiencing that embodied knowing is what I enjoy about conversation. It’s not vacuous, and it’s not an attempt by me to control. It’s play, and it’s learning.
ɕ
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By Carcharodon
Siberia’s Grima and I are old friends. Even though I only managed to snaffle reviewing rights on their last outing, 2022’s Frostbitten, each of their three releases since I started my indeterminate sentence here at AMG Industries has made my year-end Lists. From the raw, folksy, accordion-driven black metal charms of Will of the Primordial (2019), through the more grandiose (if ever so slightly tropey) atmoblack of Rotten Garden (2021) to pick-of-the-pack Frostbitten, Grima has my number. Keeping runtimes tight (apart from their 2015 debut, always in that 43-48 minute sweetspot), accordions high and temperatures close to absolute zero, brothers Vilhelm and Morbius (also of Second to Sun1) just know how to construct great albums. Since we last saw them, however, Grima has moved away from the great black metal label Naturmacht Productions, to join Napalm Records. While no doubt very good for the band, and deserved recognition of their labors, this left me doing infuriating battle with Napalm’s stream-only version of latest outing, Nightside. Have the repeated pauses and refusals to play2 dented my enjoyment?
At this point, it feels like Grima’s songwriting is quite deliberate. That may feel like an odd thing to say. Isn’t songwriting always deliberate? Well, yes. And no. Perhaps “reflective” would be a better descriptor. What I mean is that it seems like the brothers take time to digest their last work before tweaking the dials to lock in what worked while refining other parts. We saw the ‘atmoblack’ dial being cranked for Rotten Garden, while it was nudged back down again and the ‘speed’ knob twizzled for Frostbitten. For Nightside, the dial marked “accordion/bayan” has had a damn good thrashing (courtesy of Sergey Pastukh, once again) and, if there were an adjustment labelled “urgency,” that has also hit 11. Nightside feels vibrant, alive and dripping atmosphere (“The Nightside”), with guest drummer Vlad in propulsive gear (“Beyond the Dark Horizon”), while Vilhelm and Morbius’ dual guitar attack channels every crystalline, hoarfrost encrusted tremolo we could want (“Where We Are Lost”).
Taking everything that was great about Frostbitten, Grima has circled back to sweep up some of the more traditional influences on Will of the Primordial, combining them with liquid smooth pacing that shifts perfectly track to track. It seems unnecessary at this point to note that Vilhelm’s harsh vox are among the best black metal rasps available today, marshalling the iciest of tundra winds to shred your eardrums. On “Impending Death Premonition” and “Curse of the Void,” he is joined by guests Savely Nevzorov and Ilya Panyuko, who contribute deep, clean backing vocals that elevate the sound further. Echoing this vocal feel, in the slower moments of Nightside, there’s something teetering on the edge of a symphonic doom sound (the opening to “Flight of the Silver Storm” and mid-sections of “Skull Gatherers”). While, in the faster passages (including the accordion … riff? … that rears up during instrumental “Intro (Cult)”), there is a sort of rabid intensity that hits peak Grima (front half of “The Nightside” and back half of next track “Where we are Lost,” forming a great arc).
Mixed and mastered, as before, by Second to Sun guitarist Vladimir Lehtinen, Grima sound just as good on Nightside as they did on Frostbitten (subject to the caveats around only having a stream, yada yada, etc.). The guitars are quite forward in the mix but their crystalline tone means they don’t dominate, while the accordion is given a lot of space to do its wonderful thing. Vilhelm’s vocals are well-balanced and cut through like the proverbial icy wind, giving the whole an extra bite. Grima’s songwriting continues to progress, and Nightside feels like the most nuanced and best-paced outing to date. If I have one criticism of this record, it’s that I’d like it to just go a little harder in a few places. The one-two of mid-album cuts “The Nightside” and “Where we are Lost” is some of, if not the, best material Grima has ever written, and that is because they go hard.
So, did the stream ruin Nightside for me? Well, no, but it tried its bloody hardest. And I do think that, if I’d been able to enjoy this record’s obvious flow without it constantly stopping, refusing to play, and so on, the score could have been even higher than it is. While that may see Steel celebrating, and I hope the new deal serves Grima well, I don’t know why it’s so hard for labels—if they insist on sharing stream-only promo—to make those streams, I don’t know how to put this, um, work? Since it tends to be higher profile bands that are impacted by this, the labels are only harming their most valuable assets.
Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream only
Label: Napalm Records
Websites: grima.bandcamp.com | facebook.com/grimablackmetal
Releases Worldwide: February 28th, 2025#2025 #40 #AtmosphericBlackMetal #BlackMetal #Feb25 #FolkMetal #Grima #NapalmRecords #Nightside #Review #Reviews #RussianMetal #SecondToSun
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By Carcharodon
Siberia’s Grima and I are old friends. Even though I only managed to snaffle reviewing rights on their last outing, 2022’s Frostbitten, each of their three releases since I started my indeterminate sentence here at AMG Industries has made my year-end Lists. From the raw, folksy, accordion-driven black metal charms of Will of the Primordial (2019), through the more grandiose (if ever so slightly tropey) atmoblack of Rotten Garden (2021) to pick-of-the-pack Frostbitten, Grima has my number. Keeping runtimes tight (apart from their 2015 debut, always in that 43-48 minute sweetspot), accordions high and temperatures close to absolute zero, brothers Vilhelm and Morbius (also of Second to Sun1) just know how to construct great albums. Since we last saw them, however, Grima has moved away from the great black metal label Naturmacht Productions, to join Napalm Records. While no doubt very good for the band, and deserved recognition of their labors, this left me doing infuriating battle with Napalm’s stream-only version of latest outing, Nightside. Have the repeated pauses and refusals to play2 dented my enjoyment?
At this point, it feels like Grima’s songwriting is quite deliberate. That may feel like an odd thing to say. Isn’t songwriting always deliberate? Well, yes. And no. Perhaps “reflective” would be a better descriptor. What I mean is that it seems like the brothers take time to digest their last work before tweaking the dials to lock in what worked while refining other parts. We saw the ‘atmoblack’ dial being cranked for Rotten Garden, while it was nudged back down again and the ‘speed’ knob twizzled for Frostbitten. For Nightside, the dial marked “accordion/bayan” has had a damn good thrashing (courtesy of Sergey Pastukh, once again) and, if there were an adjustment labelled “urgency,” that has also hit 11. Nightside feels vibrant, alive and dripping atmosphere (“The Nightside”), with guest drummer Vlad in propulsive gear (“Beyond the Dark Horizon”), while Vilhelm and Morbius’ dual guitar attack channels every crystalline, hoarfrost encrusted tremolo we could want (“Where We Are Lost”).
Taking everything that was great about Frostbitten, Grima has circled back to sweep up some of the more traditional influences on Will of the Primordial, combining them with liquid smooth pacing that shifts perfectly track to track. It seems unnecessary at this point to note that Vilhelm’s harsh vox are among the best black metal rasps available today, marshalling the iciest of tundra winds to shred your eardrums. On “Impending Death Premonition” and “Curse of the Void,” he is joined by guests Savely Nevzorov and Ilya Panyuko, who contribute deep, clean backing vocals that elevate the sound further. Echoing this vocal feel, in the slower moments of Nightside, there’s something teetering on the edge of a symphonic doom sound (the opening to “Flight of the Silver Storm” and mid-sections of “Skull Gatherers”). While, in the faster passages (including the accordion … riff? … that rears up during instrumental “Intro (Cult)”), there is a sort of rabid intensity that hits peak Grima (front half of “The Nightside” and back half of next track “Where we are Lost,” forming a great arc).
Mixed and mastered, as before, by Second to Sun guitarist Vladimir Lehtinen, Grima sound just as good on Nightside as they did on Frostbitten (subject to the caveats around only having a stream, yada yada, etc.). The guitars are quite forward in the mix but their crystalline tone means they don’t dominate, while the accordion is given a lot of space to do its wonderful thing. Vilhelm’s vocals are well-balanced and cut through like the proverbial icy wind, giving the whole an extra bite. Grima’s songwriting continues to progress, and Nightside feels like the most nuanced and best-paced outing to date. If I have one criticism of this record, it’s that I’d like it to just go a little harder in a few places. The one-two of mid-album cuts “The Nightside” and “Where we are Lost” is some of, if not the, best material Grima has ever written, and that is because they go hard.
So, did the stream ruin Nightside for me? Well, no, but it tried its bloody hardest. And I do think that, if I’d been able to enjoy this record’s obvious flow without it constantly stopping, refusing to play, and so on, the score could have been even higher than it is. While that may see Steel celebrating, and I hope the new deal serves Grima well, I don’t know why it’s so hard for labels—if they insist on sharing stream-only promo—to make those streams, I don’t know how to put this, um, work? Since it tends to be higher profile bands that are impacted by this, the labels are only harming their most valuable assets.
Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream only
Label: Napalm Records
Websites: grima.bandcamp.com | facebook.com/grimablackmetal
Releases Worldwide: February 28th, 2025#2025 #40 #AtmosphericBlackMetal #BlackMetal #Feb25 #FolkMetal #Grima #NapalmRecords #Nightside #Review #Reviews #RussianMetal #SecondToSun
-
By Carcharodon
Siberia’s Grima and I are old friends. Even though I only managed to snaffle reviewing rights on their last outing, 2022’s Frostbitten, each of their three releases since I started my indeterminate sentence here at AMG Industries has made my year-end Lists. From the raw, folksy, accordion-driven black metal charms of Will of the Primordial (2019), through the more grandiose (if ever so slightly tropey) atmoblack of Rotten Garden (2021) to pick-of-the-pack Frostbitten, Grima has my number. Keeping runtimes tight (apart from their 2015 debut, always in that 43-48 minute sweetspot), accordions high and temperatures close to absolute zero, brothers Vilhelm and Morbius (also of Second to Sun1) just know how to construct great albums. Since we last saw them, however, Grima has moved away from the great black metal label Naturmacht Productions, to join Napalm Records. While no doubt very good for the band, and deserved recognition of their labors, this left me doing infuriating battle with Napalm’s stream-only version of latest outing, Nightside. Have the repeated pauses and refusals to play2 dented my enjoyment?
At this point, it feels like Grima’s songwriting is quite deliberate. That may feel like an odd thing to say. Isn’t songwriting always deliberate? Well, yes. And no. Perhaps “reflective” would be a better descriptor. What I mean is that it seems like the brothers take time to digest their last work before tweaking the dials to lock in what worked while refining other parts. We saw the ‘atmoblack’ dial being cranked for Rotten Garden, while it was nudged back down again and the ‘speed’ knob twizzled for Frostbitten. For Nightside, the dial marked “accordion/bayan” has had a damn good thrashing (courtesy of Sergey Pastukh, once again) and, if there were an adjustment labelled “urgency,” that has also hit 11. Nightside feels vibrant, alive and dripping atmosphere (“The Nightside”), with guest drummer Vlad in propulsive gear (“Beyond the Dark Horizon”), while Vilhelm and Morbius’ dual guitar attack channels every crystalline, hoarfrost encrusted tremolo we could want (“Where We Are Lost”).
Taking everything that was great about Frostbitten, Grima has circled back to sweep up some of the more traditional influences on Will of the Primordial, combining them with liquid smooth pacing that shifts perfectly track to track. It seems unnecessary at this point to note that Vilhelm’s harsh vox are among the best black metal rasps available today, marshalling the iciest of tundra winds to shred your eardrums. On “Impending Death Premonition” and “Curse of the Void,” he is joined by guests Savely Nevzorov and Ilya Panyuko, who contribute deep, clean backing vocals that elevate the sound further. Echoing this vocal feel, in the slower moments of Nightside, there’s something teetering on the edge of a symphonic doom sound (the opening to “Flight of the Silver Storm” and mid-sections of “Skull Gatherers”). While, in the faster passages (including the accordion … riff? … that rears up during instrumental “Intro (Cult)”), there is a sort of rabid intensity that hits peak Grima (front half of “The Nightside” and back half of next track “Where we are Lost,” forming a great arc).
Mixed and mastered, as before, by Second to Sun guitarist Vladimir Lehtinen, Grima sound just as good on Nightside as they did on Frostbitten (subject to the caveats around only having a stream, yada yada, etc.). The guitars are quite forward in the mix but their crystalline tone means they don’t dominate, while the accordion is given a lot of space to do its wonderful thing. Vilhelm’s vocals are well-balanced and cut through like the proverbial icy wind, giving the whole an extra bite. Grima’s songwriting continues to progress, and Nightside feels like the most nuanced and best-paced outing to date. If I have one criticism of this record, it’s that I’d like it to just go a little harder in a few places. The one-two of mid-album cuts “The Nightside” and “Where we are Lost” is some of, if not the, best material Grima has ever written, and that is because they go hard.
So, did the stream ruin Nightside for me? Well, no, but it tried its bloody hardest. And I do think that, if I’d been able to enjoy this record’s obvious flow without it constantly stopping, refusing to play, and so on, the score could have been even higher than it is. While that may see Steel celebrating, and I hope the new deal serves Grima well, I don’t know why it’s so hard for labels—if they insist on sharing stream-only promo—to make those streams, I don’t know how to put this, um, work? Since it tends to be higher profile bands that are impacted by this, the labels are only harming their most valuable assets.
Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream only
Label: Napalm Records
Websites: grima.bandcamp.com | facebook.com/grimablackmetal
Releases Worldwide: February 28th, 2025#2025 #40 #AtmosphericBlackMetal #BlackMetal #Feb25 #FolkMetal #Grima #NapalmRecords #Nightside #Review #Reviews #RussianMetal #SecondToSun
