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120 results for “Elephantidae”
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Sculpted Wild Elephant II 🐘✨
A dapper giant in #TransformativeTeal and #Burgundy. 🎨Available Here: https://1-lisas-baker.pixels.com/featured/sculpted-wild-elephant-ii-lisa-s-baker.html
#Elephant #Elephants #Art #Arte #Artwork #WallArt #HomeDecor #ArtForHome #ArtForSale #BuyIntoArt #MastoArt #FediArt #fediverse #ArtPrints #creativetoots #ElephantArt #ModernArt #TexturedArt #WildlifeArt #InteriorDesign #Impressionism #Wildlife #ElephantDecor
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Sculpted Wild Elephant II 🐘✨
A dapper giant in #TransformativeTeal and #Burgundy. 🎨Available Here: https://1-lisas-baker.pixels.com/featured/sculpted-wild-elephant-ii-lisa-s-baker.html
#Elephant #Elephants #Art #Arte #Artwork #WallArt #HomeDecor #ArtForHome #ArtForSale #BuyIntoArt #MastoArt #FediArt #fediverse #ArtPrints #creativetoots #ElephantArt #ModernArt #TexturedArt #WildlifeArt #InteriorDesign #Impressionism #Wildlife #ElephantDecor
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https://www.walknews.com/1181908/ 台湾Elephant Gym、初のドキュメンタリー『More Real Than Dreams』公開 世界ツアーの裏側に迫る | 黃信維（コウ・シンイ） | ニュース #AluluKuo #ChiaChinTu #ElephantDreamLab #ElephantGym #KTChang #MoreRealThanDreams #Spotify #Taiwan #TellChang #UPLINK京都 #UPLINK吉祥寺 #WORDSRecordings #トークイベント #ドキュメンタリー映画 #フェンダー・アーティスト #ワールドツアー #亀田誠治 #台湾 #小西遼 #高雄 #高雄映画祭
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#OnThisDay Birth Anniversary of Erwin Schrödinger (1887) - Nobel Prize-winning Austrian physicist who developed a number of fundamental results in the field of quantum theory.
Happy Birthday Pete Sampras (1971) - regarded as one of the #Greatest in the history of #Tennis.
Today is World #ElephantDay and International #YouthDay.
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✨ Stunning Red Dupion Silk Bandhani Saree with Elephant Design.
🤩 Handcrafted with intricate bandhani work, perfect for festive occasions and weddings.
💖 Shop Now!
#BandhaniSaree #DupionSilk #ElephantDesign #FestiveWear #WeddingSaree #IndianFashion #Handloom #Handmade -
#OnThisDay Birth Anniversary of Erwin Schrödinger (1887) - Nobel Prize-winning Austrian physicist who developed a number of fundamental results in the field of quantum theory.
Happy Birthday Pete Sampras (1971) - one of the #Greatest in the history of #Tennis.
Today is World #ElephantDay and International #YouthDay.
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Die Gewinnerinnen unseres ersten #NFDI4Objects Dataship stehen fest. Herzlichen Glückwünsch! 🥳
🏆 Anne Klammt @archaeoklammt ist eine unserer vier #Dataship Gewinnerinnen. Mithilfe des NFDI4Objects Dataship kann sie den langgehegten Traum umsetzen und ihre bald 25 Jahre alte #Datenbank aus Studienzeit zu den #Steingefäßen aus der Siedlung #Elephantine in Assuan (#Ägypten) digitalisieren, nach den #FAIR-Kriterien aufarbeiten und anschließend als #OpenAccess publizieren.
ℹ️https://www.nfdi4objects.net/index.php/dataship-2024-gewinnerinnen
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Die Gewinnerinnen unseres ersten #NFDI4Objects Dataship stehen fest. Herzlichen Glückwünsch! 🥳
🏆 Anne Klammt @archaeoklammt ist eine unserer vier #Dataship Gewinnerinnen. Mithilfe des NFDI4Objects Dataship kann sie den langgehegten Traum umsetzen und ihre bald 25 Jahre alte #Datenbank aus Studienzeit zu den #Steingefäßen aus der Siedlung #Elephantine in Assuan (#Ägypten) digitalisieren, nach den #FAIR-Kriterien aufarbeiten und anschließend als #OpenAccess publizieren.
ℹ️https://www.nfdi4objects.net/index.php/dataship-2024-gewinnerinnen
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Die Gewinnerinnen unseres ersten #NFDI4Objects Dataship stehen fest. Herzlichen Glückwünsch! 🥳
🏆 Anne Klammt @archaeoklammt ist eine unserer vier #Dataship Gewinnerinnen. Mithilfe des NFDI4Objects Dataship kann sie den langgehegten Traum umsetzen und ihre bald 25 Jahre alte #Datenbank aus Studienzeit zu den #Steingefäßen aus der Siedlung #Elephantine in Assuan (#Ägypten) digitalisieren, nach den #FAIR-Kriterien aufarbeiten und anschließend als #OpenAccess publizieren.
ℹ️https://www.nfdi4objects.net/index.php/dataship-2024-gewinnerinnen
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Die Gewinnerinnen unseres ersten #NFDI4Objects Dataship stehen fest. Herzlichen Glückwünsch! 🥳
🏆 Anne Klammt @archaeoklammt ist eine unserer vier #Dataship Gewinnerinnen. Mithilfe des NFDI4Objects Dataship kann sie den langgehegten Traum umsetzen und ihre bald 25 Jahre alte #Datenbank aus Studienzeit zu den #Steingefäßen aus der Siedlung #Elephantine in Assuan (#Ägypten) digitalisieren, nach den #FAIR-Kriterien aufarbeiten und anschließend als #OpenAccess publizieren.
ℹ️https://www.nfdi4objects.net/index.php/dataship-2024-gewinnerinnen
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Die Gewinnerinnen unseres ersten #NFDI4Objects Dataship stehen fest. Herzlichen Glückwünsch! 🥳
🏆 Anne Klammt @archaeoklammt ist eine unserer vier #Dataship Gewinnerinnen. Mithilfe des NFDI4Objects Dataship kann sie den langgehegten Traum umsetzen und ihre bald 25 Jahre alte #Datenbank aus Studienzeit zu den #Steingefäßen aus der Siedlung #Elephantine in Assuan (#Ägypten) digitalisieren, nach den #FAIR-Kriterien aufarbeiten und anschließend als #OpenAccess publizieren.
ℹ️https://www.nfdi4objects.net/index.php/dataship-2024-gewinnerinnen
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Maybe it's me, but I see in #Python the same first signs of hypertrophy of another well-known elephantine language such as C++... #decorators and other strange beasts 🥱
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Elephant With Trunk Up Statue 1.5ft
The duo stands tall at 18 inches, making a striking impression in any setting.
With their trunks raised high, the elephants symbolize good fortune and prosperity, inviting positive energy into your home or garden.To know more about the product: https://www.thestonestudio.in/product/elephant-with-trunk-up-statue/
To check our website: www.thestonestudio.in
Phone No: +91-7008222943
Email Id: [email protected]#statue #stoneart #gardendecor #entrancedecor #elephantidol #handcrafted #indooroutdoor
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Wie können #digitale Techniken im #Kulturgutschutz sinnvoll zum Einsatz kommen?
Das haben die #KulturGutRetter und unsere Abteilung #Kairo_DAI auf einer #FieldSchool in #Elephantine gemeinsam mit Fachleuten der ägyptischen Antikenverwaltung erprobt:
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This month on #BowieBookClub we read the satirical roman a clef of the #HarlemRenaissance ‘Infants of the Spring’ by Wallace Thurman. If you’re a fan of gin and ginger or “elephantine witticisms,” according to NYT, you’ll eat this up.
http://www.bowiebookclub.com/episodes/2023/4/24/infants-of-the-spring-by-wallace-thurman
#bookclub #amreading #bookpodcast #bowie #glambreakfast @bookstodon #bookstodon -
Das Elefantenmensch-Syndrom lässt Gliedmaßen und Geschlechtsteile grotesk anschwellen. In Nepal versucht die Mikrobiologin Deena Shrestha, die Krankheit auszurotten.
Serie: Frauen, die die Welt besser machen: Kampf der Elefantiasis
#Elefantiasis #Elephantiasis #Aussatz #Efantenmann-Syndrom #Krankheit #Entwicklungsländer #Nepal #Lymphstau #Infektion #Fadenwürmer #Parasiten #Würmer #Wurmparasit #Ivermectin #Infektionskrankheit # #Kultur #Mediz -
Das Elefantenmensch-Syndrom lässt Gliedmaßen und Geschlechtsteile grotesk anschwellen. In Nepal versucht die Mikrobiologin Deena Shrestha, die Krankheit auszurotten.
Serie: Frauen, die die Welt besser machen: Kampf der Elefantiasis
#Elefantiasis #Elephantiasis #Aussatz #Efantenmann-Syndrom #Krankheit #Entwicklungsländer #Nepal #Lymphstau #Infektion #Fadenwürmer #Parasiten #Würmer #Wurmparasit #Ivermectin #Infektionskrankheit # #Kultur #Mediz -
Finding this book, The Story of the Jews, very interesting for all sorts of reasons. The Elephantine Jews were into intermarriage and all sorts of things that wouldn’t be approved of by today’s strict Halacha.
Of course they still became victims.
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For New Year's Eve #SauropodSaturday, I've always liked these portrait head studies of Camarasaurus by Erwin S. Christman. Definitely in the early-20th century "Sauropods as bulky elephantine lizards" mode, but still making it look like a plausible animal.
And writing the text description is making me think he at least partly had giant tortoises in mind as the model?
Originally published in this article by Osborn and Mook, and the original drawings are in the AMNH: https://www.jstor.org/stable/984263#metadata_info_tab_contents
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The @blender #CreativeCommons videos have come so far since Elephants Dream it's quite inspiring. Not just in rendering, textures and #animation skills, but #storytelling. The latest, #Charge, premiered yesterday: https://video.blender.org/w/04da454b-9893-4184-98f3-248d00625efetn
(my original piece on #ElephantsDream on Netribution 16 years ago: https://www.netribution.co.uk/people/animator/bringing-open-source-to-filmmaking-an-elephants-dream)
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The @blender #CreativeCommons videos have come so far since Elephants Dream it's quite inspiring. Not just in rendering, textures and #animation skills, but #storytelling. The latest, #Charge, premiered yesterday: https://video.blender.org/w/04da454b-9893-4184-98f3-248d00625efetn
(my original piece on #ElephantsDream on Netribution 16 years ago: https://www.netribution.co.uk/people/animator/bringing-open-source-to-filmmaking-an-elephants-dream)
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The @blender #CreativeCommons videos have come so far since Elephants Dream it's quite inspiring. Not just in rendering, textures and #animation skills, but #storytelling. The latest, #Charge, premiered yesterday: https://video.blender.org/w/04da454b-9893-4184-98f3-248d00625efetn
(my original piece on #ElephantsDream on Netribution 16 years ago: https://www.netribution.co.uk/people/animator/bringing-open-source-to-filmmaking-an-elephants-dream)
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The @blender #CreativeCommons videos have come so far since Elephants Dream it's quite inspiring. Not just in rendering, textures and #animation skills, but #storytelling. The latest, #Charge, premiered yesterday: https://video.blender.org/w/04da454b-9893-4184-98f3-248d00625efetn
(my original piece on #ElephantsDream on Netribution 16 years ago: https://www.netribution.co.uk/people/animator/bringing-open-source-to-filmmaking-an-elephants-dream)
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Vor allem Menschen in Entwicklungsländern sind von vernachlässigten Tropenkrankheiten (NTDs) betroffen. Weltweit sind es etwa 1,7 Milliarden. Unzureichende Behandlungen und Versorgung erschweren die Situation.
Vernachlässigte Tropenkrankheiten gibt es vor allem in armen Regionen | DW | 27.01.2022
#NTD #Tropenkrankheiten #Bilharziose #Flussblindheit #Schlafkrankheit #Leichmaniose #Elephantiasis -
Vor allem Menschen in Entwicklungsländern sind von vernachlässigten Tropenkrankheiten (NTDs) betroffen. Weltweit sind es etwa 1,7 Milliarden. Unzureichende Behandlungen und Versorgung erschweren die Situation.
Vernachlässigte Tropenkrankheiten gibt es vor allem in armen Regionen | DW | 27.01.2022
#NTD #Tropenkrankheiten #Bilharziose #Flussblindheit #Schlafkrankheit #Leichmaniose #Elephantiasis -
Yup. That bit makes me almost as misty-eyed as #HACF ... 😢
My first exposure to #RISC was in the #Alesis digital reverbs like the #MIDIverb and #Microverb. Suddenly, thanks to RISC, ordinary musicians like me could afford something as iteratively elephantine as a #DigitalReverb.
It was shocking.
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I've been talking quite a bit lately about #game #design and using #Horizon: #ForbiddenWest as a bad example.
Does this mean that I think H:FW is a bad game?
No. It has great gameplay, involving characters, and a fantastic story. But it does mean that it can be an incredibly frustrating one to play, because it collects just SO MANY bad design metaphors into one place.
For one thing, it suffers from #second-#system syndrome. This is an old-time software hacker's term for when you start out to improve an existing clean, elegant system, but by the time you get done shoveling clever new "features" into it, it's a bloated, elephantine mess.
There are SO MANY "clever" new combat mechanisms shoveled into H:FW that a careful attack plan can be derailed by accidentally triggering a special ability you didn't want to use. Given that it's a basically-dumb PC port of a console game, that means that sometimes the difference between one special attack and another is a difference in timing between click-click-click-click-G and click-click-click-click-G.
No, that wasn't a typo. It's a direct example. There's slightly longer intervals between some of those clicks. Hope you can remember which has the brief pause where. I freely admit I can't. I have over a hundred unused skill points because the game fails to properly explain the extra abilities I could spend them on, of which I have too many already.
What did I mean above by "a dumb PC port"? It means that console-controller actions were just translated directly into PC keyboard actions without any thought to whether that actually works on PC. H:FW introduces a shield-glider; the Burning Shores expansion adds a feature to gain elevation using your shield-glider by using thermal updrafts. Except that on PC, you can't stay in an updraft, because the dumb control translation turns what's a simple twirl of the left joystick on a console controller into an unreasonable fandango-on-keyboard on PC.
And that's a problem, because the developers are really proud of that thermal-updraft feature and want you to use it at every opportunity.
H:FW would be a better game if about 90% of the "clever" new combat abilities were just ripped out entirely. Or at the very least, if the mechanisms for activating them on PC were redesigned with PC keyboard-and-mouse in mind.
The take-home point for today? Think about your audience. If you're porting a game, don't just choose a 1:1 mapping of controller actions to keys and call it good. Think about your control mappings and whether they make sense on PC. Play-test and verify that they're actually usable. And don't make your players memorize several dozen new sequences of as many as five actions at a time for new mechanisms. Especially differently timed sequences of the same set of keys.
Don't build the torment nexus. And don't build the second system. -
Acid Mammoth – Supersonic Megafauna Collision Review
By Kenstrosity
There are several things in life that I will always turn to when I need something comfortable and reliable. Fair to Midland, The Good Place, scrambled eggs with toast and jam, and my favorite black denim jacket are but a smattering of those things which I consistently return to that make me feel safe and happy. Nothing about them needs to change even if they aren’t perfect; they will always click for me. For some, stoner doom is that comfort item, that thing that gets all the love just for being what it is. I imagine this is partly why the style largely hasn’t needed to evolve very much throughout its existence. In some ways, that’s a great thing, as it makes reaching for new bands in the scene a reliable bet. On the other hand, very little feels fresh, memorable or novel. For better or for worse, Greek stoner doom quartet Acid Mammoth’s fourth record Supersonic Megafauna Collision squarely falls into that safe, never-changing category.
At their core, Acid Mammoth represents a lumbering, unstoppable force that crushes immovable objects underfoot. It’s been that way since their self-titled debut and it remains that way today. Supersonic Megafauna Collision takes what worked on Under Acid Hoof and Caravan, copies and pastes them into another identical, pachyderm-shaped mold. Acid Mammoth’s songwriting tactics remain firmly in Sleep meets Forming the Void-in-slow-motion territory, although those groups still reign supreme for your stoner groove fix. Adding major appeal for vocalist aficionados like myself, Acid Mammoth employs a sneering tenor that sounds like a belting variant of Black Sabbath-era Ozzy Osbourne with a greater range. Just as before, Acid Mammoth’s percussion section steals the show, enlivening the elephantine trudge of fuzzy doom beyond what I consider the norm in this space. In a valiant attempt to add greater verve to extremely basic riffs and leads, bluesy guitar solos gain a more prevalent presence on Supersonic Megafauna Collision, surely giving fans of the style a pleasantly vivacious surprise in their lackadaisical doom.
Emphasizing Supersonic Megafauna Collision’s lax compositions, a self-titled opener hooks you with cool tribal drums and then traps you inside blatantly repetitive, simplistic riffs and languid verses for almost seven minutes. In the same breath, however, the song’s chorus is insidiously catchy and memorable, and the guitar solos drip with bluesy swagger. “Fuzzogasm” then drops the ball entirely, dumbing down riffs and leads such that, despite the slight ramp-up in tempo, the song sacrifices whatever momentum and memorability thus far generated. It’s not until “Atomic Shaman” that I hear anything that moves past stock standard. Opening with an excellent sample, “Atomic Shaman” follows through with thoroughly satisfying kit work, scuzzy grooves and interesting structural shifts. Frustratingly, Acid Mammoth mis-stomp again later with the atmospheric drift of “One With the Void.” While effective as a point of rest, it lacks any distinctive qualities other than being quiet and relaxing to help it find a substantive voice in this experience.
Supersonic Megafauna Collision concludes on a monumentally bloated epic entitled “Tusko’s Last Trip,” which handily encapsulates the best and the worst aspects of Acid Mammoth’s writing. The first portion of this song languishes amidst stale, recycled riffs backed by suitably cool organs that are too buried in the mix to appreciate properly. To my great pleasure, though, it then drops a walloping payload of swaggering, cleverly syncopated, and earth-shaking riffs, bluesy solos enhanced by layered harmony, and buttery transitions between measures. Sadly, this unexpected shot of excitement falls to the wayside as more of the same repetitive stoner stock reasserts itself. A few cool moments crop up down the line—a delightful vocal refrain at around 7:30, followed by a cool riff at 8:15, and a too-short but effective solo at 9:25—but not enough to justify twelve minutes of mediocre doom.
It doesn’t bode well for an album when its most compelling content represents but a small fraction of total runtime, but that’s unfortunately the case for Supersonic Megafauna Collision. I can’t say any of this material is actively bad. It is, however, boring. Granted, Acid Mammoth chose perhaps the most difficult genre to make wholly engaging, but modern contemporaries like Sleep, Forming the Void, and Dopethrone managed to carve names for themselves by doing just that on the same field. I’m simply impatient for Acid Mammoth to do the same.
Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/acidmammoth | acidmammoth.bandcamp.com
Releases Worldwide: April 5th, 2024#20 #2024 #AcidMammoth #Apr24 #BlackSabbath #DoomMetal #FormingTheVoid #HeavyPsychSounds #Review #Reviews #StonerDoom #StonerMetal #SupersonicMegafaunaCollision
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Acid Mammoth – Supersonic Megafauna Collision Review
By Kenstrosity
There are several things in life that I will always turn to when I need something comfortable and reliable. Fair to Midland, The Good Place, scrambled eggs with toast and jam, and my favorite black denim jacket are but a smattering of those things which I consistently return to that make me feel safe and happy. Nothing about them needs to change even if they aren’t perfect; they will always click for me. For some, stoner doom is that comfort item, that thing that gets all the love just for being what it is. I imagine this is partly why the style largely hasn’t needed to evolve very much throughout its existence. In some ways, that’s a great thing, as it makes reaching for new bands in the scene a reliable bet. On the other hand, very little feels fresh, memorable or novel. For better or for worse, Greek stoner doom quartet Acid Mammoth’s fourth record Supersonic Megafauna Collision squarely falls into that safe, never-changing category.
At their core, Acid Mammoth represents a lumbering, unstoppable force that crushes immovable objects underfoot. It’s been that way since their self-titled debut and it remains that way today. Supersonic Megafauna Collision takes what worked on Under Acid Hoof and Caravan, copies and pastes them into another identical, pachyderm-shaped mold. Acid Mammoth’s songwriting tactics remain firmly in Sleep meets Forming the Void-in-slow-motion territory, although those groups still reign supreme for your stoner groove fix. Adding major appeal for vocalist aficionados like myself, Acid Mammoth employs a sneering tenor that sounds like a belting variant of Black Sabbath-era Ozzy Osbourne with a greater range. Just as before, Acid Mammoth’s percussion section steals the show, enlivening the elephantine trudge of fuzzy doom beyond what I consider the norm in this space. In a valiant attempt to add greater verve to extremely basic riffs and leads, bluesy guitar solos gain a more prevalent presence on Supersonic Megafauna Collision, surely giving fans of the style a pleasantly vivacious surprise in their lackadaisical doom.
Emphasizing Supersonic Megafauna Collision’s lax compositions, a self-titled opener hooks you with cool tribal drums and then traps you inside blatantly repetitive, simplistic riffs and languid verses for almost seven minutes. In the same breath, however, the song’s chorus is insidiously catchy and memorable, and the guitar solos drip with bluesy swagger. “Fuzzogasm” then drops the ball entirely, dumbing down riffs and leads such that, despite the slight ramp-up in tempo, the song sacrifices whatever momentum and memorability thus far generated. It’s not until “Atomic Shaman” that I hear anything that moves past stock standard. Opening with an excellent sample, “Atomic Shaman” follows through with thoroughly satisfying kit work, scuzzy grooves and interesting structural shifts. Frustratingly, Acid Mammoth mis-stomp again later with the atmospheric drift of “One With the Void.” While effective as a point of rest, it lacks any distinctive qualities other than being quiet and relaxing to help it find a substantive voice in this experience.
Supersonic Megafauna Collision concludes on a monumentally bloated epic entitled “Tusko’s Last Trip,” which handily encapsulates the best and the worst aspects of Acid Mammoth’s writing. The first portion of this song languishes amidst stale, recycled riffs backed by suitably cool organs that are too buried in the mix to appreciate properly. To my great pleasure, though, it then drops a walloping payload of swaggering, cleverly syncopated, and earth-shaking riffs, bluesy solos enhanced by layered harmony, and buttery transitions between measures. Sadly, this unexpected shot of excitement falls to the wayside as more of the same repetitive stoner stock reasserts itself. A few cool moments crop up down the line—a delightful vocal refrain at around 7:30, followed by a cool riff at 8:15, and a too-short but effective solo at 9:25—but not enough to justify twelve minutes of mediocre doom.
It doesn’t bode well for an album when its most compelling content represents but a small fraction of total runtime, but that’s unfortunately the case for Supersonic Megafauna Collision. I can’t say any of this material is actively bad. It is, however, boring. Granted, Acid Mammoth chose perhaps the most difficult genre to make wholly engaging, but modern contemporaries like Sleep, Forming the Void, and Dopethrone managed to carve names for themselves by doing just that on the same field. I’m simply impatient for Acid Mammoth to do the same.
Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/acidmammoth | acidmammoth.bandcamp.com
Releases Worldwide: April 5th, 2024#20 #2024 #AcidMammoth #Apr24 #BlackSabbath #DoomMetal #FormingTheVoid #HeavyPsychSounds #Review #Reviews #StonerDoom #StonerMetal #SupersonicMegafaunaCollision
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Acid Mammoth – Supersonic Megafauna Collision Review
By Kenstrosity
There are several things in life that I will always turn to when I need something comfortable and reliable. Fair to Midland, The Good Place, scrambled eggs with toast and jam, and my favorite black denim jacket are but a smattering of those things which I consistently return to that make me feel safe and happy. Nothing about them needs to change even if they aren’t perfect; they will always click for me. For some, stoner doom is that comfort item, that thing that gets all the love just for being what it is. I imagine this is partly why the style largely hasn’t needed to evolve very much throughout its existence. In some ways, that’s a great thing, as it makes reaching for new bands in the scene a reliable bet. On the other hand, very little feels fresh, memorable or novel. For better or for worse, Greek stoner doom quartet Acid Mammoth’s fourth record Supersonic Megafauna Collision squarely falls into that safe, never-changing category.
At their core, Acid Mammoth represents a lumbering, unstoppable force that crushes immovable objects underfoot. It’s been that way since their self-titled debut and it remains that way today. Supersonic Megafauna Collision takes what worked on Under Acid Hoof and Caravan, copies and pastes them into another identical, pachyderm-shaped mold. Acid Mammoth’s songwriting tactics remain firmly in Sleep meets Forming the Void-in-slow-motion territory, although those groups still reign supreme for your stoner groove fix. Adding major appeal for vocalist aficionados like myself, Acid Mammoth employs a sneering tenor that sounds like a belting variant of Black Sabbath-era Ozzy Osbourne with a greater range. Just as before, Acid Mammoth’s percussion section steals the show, enlivening the elephantine trudge of fuzzy doom beyond what I consider the norm in this space. In a valiant attempt to add greater verve to extremely basic riffs and leads, bluesy guitar solos gain a more prevalent presence on Supersonic Megafauna Collision, surely giving fans of the style a pleasantly vivacious surprise in their lackadaisical doom.
Emphasizing Supersonic Megafauna Collision’s lax compositions, a self-titled opener hooks you with cool tribal drums and then traps you inside blatantly repetitive, simplistic riffs and languid verses for almost seven minutes. In the same breath, however, the song’s chorus is insidiously catchy and memorable, and the guitar solos drip with bluesy swagger. “Fuzzogasm” then drops the ball entirely, dumbing down riffs and leads such that, despite the slight ramp-up in tempo, the song sacrifices whatever momentum and memorability thus far generated. It’s not until “Atomic Shaman” that I hear anything that moves past stock standard. Opening with an excellent sample, “Atomic Shaman” follows through with thoroughly satisfying kit work, scuzzy grooves and interesting structural shifts. Frustratingly, Acid Mammoth mis-stomp again later with the atmospheric drift of “One With the Void.” While effective as a point of rest, it lacks any distinctive qualities other than being quiet and relaxing to help it find a substantive voice in this experience.
Supersonic Megafauna Collision concludes on a monumentally bloated epic entitled “Tusko’s Last Trip,” which handily encapsulates the best and the worst aspects of Acid Mammoth’s writing. The first portion of this song languishes amidst stale, recycled riffs backed by suitably cool organs that are too buried in the mix to appreciate properly. To my great pleasure, though, it then drops a walloping payload of swaggering, cleverly syncopated, and earth-shaking riffs, bluesy solos enhanced by layered harmony, and buttery transitions between measures. Sadly, this unexpected shot of excitement falls to the wayside as more of the same repetitive stoner stock reasserts itself. A few cool moments crop up down the line—a delightful vocal refrain at around 7:30, followed by a cool riff at 8:15, and a too-short but effective solo at 9:25—but not enough to justify twelve minutes of mediocre doom.
It doesn’t bode well for an album when its most compelling content represents but a small fraction of total runtime, but that’s unfortunately the case for Supersonic Megafauna Collision. I can’t say any of this material is actively bad. It is, however, boring. Granted, Acid Mammoth chose perhaps the most difficult genre to make wholly engaging, but modern contemporaries like Sleep, Forming the Void, and Dopethrone managed to carve names for themselves by doing just that on the same field. I’m simply impatient for Acid Mammoth to do the same.
Rating: Disappointing
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Heavy Psych Sounds
Websites: facebook.com/acidmammoth | acidmammoth.bandcamp.com
Releases Worldwide: April 5th, 2024#20 #2024 #AcidMammoth #Apr24 #BlackSabbath #DoomMetal #FormingTheVoid #HeavyPsychSounds #Review #Reviews #StonerDoom #StonerMetal #SupersonicMegafaunaCollision