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Misotheist – De Pinte Review By Grin ReaperEver shrouded in mystery, the enigmatic collective Misotheist emerges from their icy realm to deliver succor to fans of metals black and arcane. De Pinte, the band’s fourth release, roughly translates from Norwegian to ‘The Tormented’ or ‘They Tormented,’1 a fitting appellation given the Trondheim troupe’s fondness for tortured topics and twisted themes.2 At their core, Misotheist takes the oppressive atmosphere of Selbst and merges it with Mayhem’s pummeling impudence, then strategically adorns that union with subtle melodies and naked emotions that remind me of Decline of the I. Mostly, though, Misotheist sounds like Misotheist, and given Doom_et_al’s brazen glazin’ of their last couple albums, that’s not a bad path to walk. Right?
As with prior albums, Misotheist continues exploring the band’s sonic landscape within the context they’ve defined for themselves. Second-wave tempests reign supreme, broken up by leaden crawls and punctuated with antagonistic bouts of dissonance and harmony. Fans of the band won’t be surprised at De Pinte’s mix, once again donning the lo-fi trappings Misotheist is known for and imbuing the songs with buzz and crunch. With four tracks on De Pinte compared to the typical three, Misotheist manages their most accessible album to date by keeping the opening trio trim (for them, anyway) and comprising a tightly written side A. Overall, the refinement on De Pinte signals a keen band that understands the path to greater success is one of degrees.
The first three tracks on De Pinte may be Misotheist’s best material yet, spewing counterbalanced discord and melody over varied paces in concise doses. The guitar twangs in “Unanswered Thrice” drop a wistful anchor of melancholy that tugs at the heartstrings over furious riffing and a bludgeoning drum performance, and “Blinded and Revealed” rumbles at an unhinged gait similar to Panzerfaust, injecting spidery leads over the blackened tumult beneath. It’s “Kjetterdom,” though, that stands out amongst on the A-side of the album, decelerating the momentum to an agonizing plod while the bass plays a pivotal melodic role that offsets serpentine guitar jangles. Throughout, the vocals cut and gut with what sounds like broken glass being ground in the back of someone’s throat, engendering an uncomfortable brutality that works seamlessly with the music. In all, the front half of De Pinte is loaded with great moments and potent songwriting, setting the stage for Misotheist’s longest song to date.
Though the heights of De Pinte surpass its predecessors, Misotheist hits a snag during the album’s last leg. The key to De Pinte comes down to tension, and where the front of the album excels here, “De Pinte” doesn’t quite stick the landing. Swirling, hypnotic trems play over rigidly metered bass drum blasts, and odd cymbal splashes jar proceedings out of orbit and into an exciting, dangerous crash course. The musical dynamics expertly weave to and fro, adventurously shifting the song’s velocity over a twenty-minute run that always shocks me with how fast it slips by. Misotheist’s dedication to atmosphere and tension throughout “De Pinte” is magnificent, and it’s baffling when so much time gets spent forging tension to have De Pinte just… end. There’s no big release. No catharsis. It might have been easier to look past if Misotheist hadn’t committed the same sin at the end of Vessels by Which the Devil Is Made Flesh, too. Despite how great the rest of the album is, the lack of fulfillment leaves me hollow, and the impact is outsized since this is a listener’s final impression.
Make no mistake, Misotheist brings the goods with De Pinte, and any fan of metal should find plenty to like on it. Though I’m disappointed with the lack of a fulfilling climax, I regularly find myself looking for forty minutes to sneak in another listen. Unquestionably great moments permeate the album, and while I’m disappointed with its final, crucial juncture, Misotheist’s latest is a must-listen in a month flush with quality releases. Don’t miss it, or the choice could come back to torment you.
Rating: Very Good!
#2026 #35 #BlackMetal #DePinte #DeclineOfTheI #Feb26 #Mayhem #Misotheist #NorwegianMetal #Panzerfaust #Review #Reviews #Selbst #TerraturPossessions
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Terratur Possessions
Website: Bandcamp
Releases Worldwide: February 20th, 2026 -
Misotheist – De Pinte Review By Grin ReaperEver shrouded in mystery, the enigmatic collective Misotheist emerges from their icy realm to deliver succor to fans of metals black and arcane. De Pinte, the band’s fourth release, roughly translates from Norwegian to ‘The Tormented’ or ‘They Tormented,’1 a fitting appellation given the Trondheim troupe’s fondness for tortured topics and twisted themes.2 At their core, Misotheist takes the oppressive atmosphere of Selbst and merges it with Mayhem’s pummeling impudence, then strategically adorns that union with subtle melodies and naked emotions that remind me of Decline of the I. Mostly, though, Misotheist sounds like Misotheist, and given Doom_et_al’s brazen glazin’ of their last couple albums, that’s not a bad path to walk. Right?
As with prior albums, Misotheist continues exploring the band’s sonic landscape within the context they’ve defined for themselves. Second-wave tempests reign supreme, broken up by leaden crawls and punctuated with antagonistic bouts of dissonance and harmony. Fans of the band won’t be surprised at De Pinte’s mix, once again donning the lo-fi trappings Misotheist is known for and imbuing the songs with buzz and crunch. With four tracks on De Pinte compared to the typical three, Misotheist manages their most accessible album to date by keeping the opening trio trim (for them, anyway) and comprising a tightly written side A. Overall, the refinement on De Pinte signals a keen band that understands the path to greater success is one of degrees.
The first three tracks on De Pinte may be Misotheist’s best material yet, spewing counterbalanced discord and melody over varied paces in concise doses. The guitar twangs in “Unanswered Thrice” drop a wistful anchor of melancholy that tugs at the heartstrings over furious riffing and a bludgeoning drum performance, and “Blinded and Revealed” rumbles at an unhinged gait similar to Panzerfaust, injecting spidery leads over the blackened tumult beneath. It’s “Kjetterdom,” though, that stands out amongst on the A-side of the album, decelerating the momentum to an agonizing plod while the bass plays a pivotal melodic role that offsets serpentine guitar jangles. Throughout, the vocals cut and gut with what sounds like broken glass being ground in the back of someone’s throat, engendering an uncomfortable brutality that works seamlessly with the music. In all, the front half of De Pinte is loaded with great moments and potent songwriting, setting the stage for Misotheist’s longest song to date.
Though the heights of De Pinte surpass its predecessors, Misotheist hits a snag during the album’s last leg. The key to De Pinte comes down to tension, and where the front of the album excels here, “De Pinte” doesn’t quite stick the landing. Swirling, hypnotic trems play over rigidly metered bass drum blasts, and odd cymbal splashes jar proceedings out of orbit and into an exciting, dangerous crash course. The musical dynamics expertly weave to and fro, adventurously shifting the song’s velocity over a twenty-minute run that always shocks me with how fast it slips by. Misotheist’s dedication to atmosphere and tension throughout “De Pinte” is magnificent, and it’s baffling when so much time gets spent forging tension to have De Pinte just… end. There’s no big release. No catharsis. It might have been easier to look past if Misotheist hadn’t committed the same sin at the end of Vessels by Which the Devil Is Made Flesh, too. Despite how great the rest of the album is, the lack of fulfillment leaves me hollow, and the impact is outsized since this is a listener’s final impression.
Make no mistake, Misotheist brings the goods with De Pinte, and any fan of metal should find plenty to like on it. Though I’m disappointed with the lack of a fulfilling climax, I regularly find myself looking for forty minutes to sneak in another listen. Unquestionably great moments permeate the album, and while I’m disappointed with its final, crucial juncture, Misotheist’s latest is a must-listen in a month flush with quality releases. Don’t miss it, or the choice could come back to torment you.
Rating: Very Good!
#2026 #35 #BlackMetal #DePinte #DeclineOfTheI #Feb26 #Mayhem #Misotheist #NorwegianMetal #Panzerfaust #Review #Reviews #Selbst #TerraturPossessions
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Terratur Possessions
Website: Bandcamp
Releases Worldwide: February 20th, 2026 -
Misotheist – De Pinte Review By Grin ReaperEver shrouded in mystery, the enigmatic collective Misotheist emerges from their icy realm to deliver succor to fans of metals black and arcane. De Pinte, the band’s fourth release, roughly translates from Norwegian to ‘The Tormented’ or ‘They Tormented,’1 a fitting appellation given the Trondheim troupe’s fondness for tortured topics and twisted themes.2 At their core, Misotheist takes the oppressive atmosphere of Selbst and merges it with Mayhem’s pummeling impudence, then strategically adorns that union with subtle melodies and naked emotions that remind me of Decline of the I. Mostly, though, Misotheist sounds like Misotheist, and given Doom_et_al’s brazen glazin’ of their last couple albums, that’s not a bad path to walk. Right?
As with prior albums, Misotheist continues exploring the band’s sonic landscape within the context they’ve defined for themselves. Second-wave tempests reign supreme, broken up by leaden crawls and punctuated with antagonistic bouts of dissonance and harmony. Fans of the band won’t be surprised at De Pinte’s mix, once again donning the lo-fi trappings Misotheist is known for and imbuing the songs with buzz and crunch. With four tracks on De Pinte compared to the typical three, Misotheist manages their most accessible album to date by keeping the opening trio trim (for them, anyway) and comprising a tightly written side A. Overall, the refinement on De Pinte signals a keen band that understands the path to greater success is one of degrees.
The first three tracks on De Pinte may be Misotheist’s best material yet, spewing counterbalanced discord and melody over varied paces in concise doses. The guitar twangs in “Unanswered Thrice” drop a wistful anchor of melancholy that tugs at the heartstrings over furious riffing and a bludgeoning drum performance, and “Blinded and Revealed” rumbles at an unhinged gait similar to Panzerfaust, injecting spidery leads over the blackened tumult beneath. It’s “Kjetterdom,” though, that stands out amongst on the A-side of the album, decelerating the momentum to an agonizing plod while the bass plays a pivotal melodic role that offsets serpentine guitar jangles. Throughout, the vocals cut and gut with what sounds like broken glass being ground in the back of someone’s throat, engendering an uncomfortable brutality that works seamlessly with the music. In all, the front half of De Pinte is loaded with great moments and potent songwriting, setting the stage for Misotheist’s longest song to date.
Though the heights of De Pinte surpass its predecessors, Misotheist hits a snag during the album’s last leg. The key to De Pinte comes down to tension, and where the front of the album excels here, “De Pinte” doesn’t quite stick the landing. Swirling, hypnotic trems play over rigidly metered bass drum blasts, and odd cymbal splashes jar proceedings out of orbit and into an exciting, dangerous crash course. The musical dynamics expertly weave to and fro, adventurously shifting the song’s velocity over a twenty-minute run that always shocks me with how fast it slips by. Misotheist’s dedication to atmosphere and tension throughout “De Pinte” is magnificent, and it’s baffling when so much time gets spent forging tension to have De Pinte just… end. There’s no big release. No catharsis. It might have been easier to look past if Misotheist hadn’t committed the same sin at the end of Vessels by Which the Devil Is Made Flesh, too. Despite how great the rest of the album is, the lack of fulfillment leaves me hollow, and the impact is outsized since this is a listener’s final impression.
Make no mistake, Misotheist brings the goods with De Pinte, and any fan of metal should find plenty to like on it. Though I’m disappointed with the lack of a fulfilling climax, I regularly find myself looking for forty minutes to sneak in another listen. Unquestionably great moments permeate the album, and while I’m disappointed with its final, crucial juncture, Misotheist’s latest is a must-listen in a month flush with quality releases. Don’t miss it, or the choice could come back to torment you.
Rating: Very Good!
#2026 #35 #BlackMetal #DePinte #DeclineOfTheI #Feb26 #Mayhem #Misotheist #NorwegianMetal #Panzerfaust #Review #Reviews #Selbst #TerraturPossessions
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Terratur Possessions
Website: Bandcamp
Releases Worldwide: February 20th, 2026 -
“After donning protective gear and going through meticulous checks at various sanitary stations, I entered the building and was immediately greeted by the rich scent of freshly baked dough and the warm hum of machinery in motion.”
#Pocky #Pretz #Glico #Japanhttps://cnalifestyle.channelnewsasia.com/dining/pocky-pretz-glico-running-man-osaka-japan-390961
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https://www.europesays.com/it/464191/ doppio lutto a Favara e Pavia #agrigento #ChiesaMadre #Cronaca #CronacaItaliana #CronacaItaliana #DonNinoGulli #Favara #Funerali #GabrieleVaccaro #IT #Italia #Italy #LuttoCittadino #MicheleLissia #MiriamMignemi #News #Notizie #omicidio #palloncini #pavia #PrefettoCaccamo #SantoRosario #sicilia #SindacoPalumbo #UltimeNotizie #UltimeNotizieENewsDiOggi #UltimeNotizieItalia #UltimeNotizie #UltimeNotizieEnewsDiOggi #UltimeNotizieItalia #VescovoDamiano
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Grimm Fairy Tales presents 2025 Horror Pin-Up Special Available October 8
#horror – #horrorcomics – #GrimmFairyTales – #ZenescopeEntertainment – @Zenescope – #PatShand – Just in time for the Halloween season comes the Grimm Fairy Tales 2025 Horror Pinup Special! Get ready to check out all of your favorite Grimm Universe heroines and villainesses, donning the cosplays of pop cul
#GrimmFairyTales #PatShand(Author) #horror #ad #Releases
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It’s only fountains and the lake
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Good morning!
It’s gonna be a warm day.
#photo #clouds #italia #italy #desenzano #photography #sunrise
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Disappearing clouds
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Good morning on this cloudy day!
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Science Park (de Uithof) University Utrecht - world longest rainbow cycle path
#rainbow #cycling #Netherlands #Utrecht #SciencePark #university
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𝐏𝐫𝐚𝐠𝐲𝐚 𝐉𝐚𝐢𝐬𝐰𝐚𝐥 𝐫𝐞𝐝𝐞𝐟𝐢𝐧𝐞𝐬 𝐞𝐥𝐞𝐠𝐚𝐧𝐜𝐞 𝐢𝐧 𝐚 𝐜𝐨𝐫𝐬𝐞𝐭 𝐭𝐨𝐩 & 𝐥𝐚𝐜𝐞 𝐬𝐤𝐢𝐫𝐭 𝐚𝐭 𝐭𝐡𝐞 𝐃𝐨 𝐏𝐚𝐭𝐭𝐢 𝐬𝐮𝐜𝐜𝐞𝐬𝐬 𝐩𝐚𝐫𝐭𝐲
Pragya Jaiswal turned heads at the Do Patti success party, donning a chic corset top paired with a delicate lace skirt.
Regards,
Waves Institute of Fashion Designing
https://wifd.in#pragyajaiswal #celebrityfashion #corsettop #laceskirt #partystyle #bollywoodglam #dopattiparty #fashiontrends2024 #elegantlooks #celebrityoutfits
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𝐏𝐫𝐚𝐠𝐲𝐚 𝐉𝐚𝐢𝐬𝐰𝐚𝐥 𝐫𝐞𝐝𝐞𝐟𝐢𝐧𝐞𝐬 𝐞𝐥𝐞𝐠𝐚𝐧𝐜𝐞 𝐢𝐧 𝐚 𝐜𝐨𝐫𝐬𝐞𝐭 𝐭𝐨𝐩 & 𝐥𝐚𝐜𝐞 𝐬𝐤𝐢𝐫𝐭 𝐚𝐭 𝐭𝐡𝐞 𝐃𝐨 𝐏𝐚𝐭𝐭𝐢 𝐬𝐮𝐜𝐜𝐞𝐬𝐬 𝐩𝐚𝐫𝐭𝐲
Pragya Jaiswal turned heads at the Do Patti success party, donning a chic corset top paired with a delicate lace skirt.
Regards,
Waves Institute of Fashion Designing
https://wifd.in#pragyajaiswal #celebrityfashion #corsettop #laceskirt #partystyle #bollywoodglam #dopattiparty #fashiontrends2024 #elegantlooks #celebrityoutfits
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Tamil Nadu: 60 Dalits End Pre-Independence Era Practice, Walk Street Wearing Slippers
The community members walked the ‘Kambala Naicken Street’ in Rajavur village of Tiruppur district donning footwear for the first time in living memory, breaking an unwritten discriminatory practice imposed by upper castes.
#TamilNadu #tiruppur #CasteViolence #dalits #arunthathiyars #HumanRights #casteism #caste #india
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Welcome back, fellow comic crusaders, to another electrifying episode of Play Comics, where we dive headfirst into the colorful world of comic book adventures! Today, we’re donning our wizard hats, sharpening our wands, and preparing to unleash the mystical mayhem of Savage Wizard #2!
In this spellbinding installment, join your trusty host, Chris, as he delves deep into the arcane depths of this fantastical comic series. But hold onto your enchanted broomsticks because this isn’t your average wand-waving wizardry! We’re talking about a tale that’s as wild and unpredictable as a magical mishap in a potion shop!
And guess what? We’ve got a special guest gracing our airwaves today: none other than the Savage Wizard series co-creator and current writer, Lesly Julien! Brace yourselves for a wizardly wisdom overload as Lesly spills the mystical beans on what it takes to craft a spellbinding comic adventure!
But wait, there’s more! We’re not just here to chat about mystical mischief; we’re also diving into the magical realm of Kickstarter campaigns! That’s right, folks—Savage Wizard #2 is conjuring up some serious crowdfunding magic, and we’re here to give you the inside scoop on how you can join the spellbinding journey!
So grab your spellbooks, summon your familiars, and get ready for a podcast episode that’s hotter than a dragon’s breath and wackier than a wizard’s wand malfunction! Tune in and let’s embark on a fantastical adventure through the pages of Savage Wizard #2!
Also stick around through the end to hear about another great Kickstarter campaign, Stealth Hammer #3!
Learn such things as:
- How do you survive basically your entire creative team having to back out of a project?
- What spell does Kickstarter use to keep creators coming back?
- Where did all the colors go?
- And so much more!
You can find on Twitter @LesWrite, Instagram @les_write, and his website Les Write. And of course be sure to check out the Kickstarter campaign for Savage Wizard #2.
If you want to be a guest on the show please check out the Be a A Guest on the Show page and let me know what you’re interested in.
If you want to help support the show check out the Play Comics Patreon page or head over to the Support page if you want to go another route. You can also check out the Play Comics Merch Store.
Play Comics is part of the Gonna Geek Network, which is a wonderful collection of geeky podcasts. Be sure to check out the other shows on Gonna Geek if you need more of a nerd fix.
You can find Play Comics @playcomics.bsky.social on Bluesky, @playcomicscast on Twitter and in the Play Comics Podcast Fan Group on Facebook.
Intro/Outro Music by Best Day, who only rolls Nat 1’s.
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Definitely a learning curve donning #Readimask correctly. Glad I practiced. That first one is a write-off haha. Now hoping I don it well enough at the MRI place. Well, even if not perfect, it will be a lot better protection than the stupid floppy blue surgical they'd give me there if I asked for a mask. #WearARespirator #CovidIsNotOver #CovidIsAirborne #BringBackUniversalMaskingInHealthcare
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I have posted this haunting photograph of a 10-year old mill worker before, but it bears repeating. By Lewis W. Hine (1874-1940), “One of the spinners in Whitnel Cotton Mfg. Co. N.C. December 1908.” #photography #vintagephotography #childlabor #labor
From the Cantor Art Center: “In 1908, Lewis Hine felt so strongly about the devastating affects of child labor that he quit working as a New York City school teacher to become an investigative photographer for the National Child Labor Committee.
Hine spent the next 10 years traveling through New England, the South and the Mid-West, photographing children at work in mills, coal mines and factories. The resulting photographs, proof to the public that child labor was thriving, helped change American labor laws…Lewis Hine was born September 26, 1874, in Oshkosh, Wisconsin. He studied sociology at the University of Chicago, Columbia University, and New York University, and became a teacher at the Ethical Culture School, a progressive elementary school in New York founded by social reformer Felix Adler. Hine often took his classes to Ellis Island to photograph immigrants arriving from Europe, and in the process came to the realization that documentary photography could effect social change. In 1907, as staff photographer of the Russell Sage Foundation, he photographed Pittsburgh, Pennsylvania, steel makers for an influential sociological study, and a year later became the National Child Labor Committee's (NCLC) official photographer, documenting child labor in the NCLC's effort to legally end the practice. From 1908 to 1924, Hine gained entrance to mills, mines and factories by donning a variety of guises, including fire inspector and Bible salesman. The NCLC amassed a collection of 5,100 photographs, most of them taken by Hine, though child labor would continue largely unabated until 1938, when the Fair Labor Standard Act was passed.
During World War I, Hine documented the American Red Cross's work in France and Belgium. In 1930, at age 57, he was commissioned to photograph the construction of the Empire State Building, shooting from a basket hanging 1,000 feet above Fifth Avenue. During the Great Depression, he documented drought relief in the South, life in the Eastern Tennessee Mountains, and served as chief photographer for the Works Projects Administration (WPA). During the last years of his life, Hine struggled financially, losing his house and applying for Welfare. He died on November 3, 1940, following complications from surgery.”
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Angine de Poitrine Play “Fabienk”
Listen to this track by mysterious papier-mâché donning math rock geniuses Angine de Poitrine. It’s “Fabienk”, a cut from their second record straightforwardly titled Vol. II. That record and the band have been boosted into the stratosphere at the time of this writing, in large part thanks to a video feature courtesy of Seattle’s KEXP which captured the imaginations of music fans and musicians alike. The video of the two musicians with self-applied monikers of Khn (guitars, loops) and Klek (drums) Poitrine playing their music live in the studio is notable if only because it shows it’s possible to play music this complex between just two musicians. And what a joy it is to watch them do it as we try to figure out what the hell we’re hearing—and seeing!
Seeming to share a single musical brain between them by now, the duo have been playing music together since the dawn of their teenage years, and for two decades since. The Angine de Poitrine concept came out of a joke during their days playing live shows on the local scene in their native Quebec. With back to back sets booked at one point, they needed to break things up and add a bit of variety. Instead, they added A LOT of variety by becoming a whole new band with a very high concept approach to showmanship to match their idiosyncratic music.
The elaborate costumes and polka dot motifs arranged in equidistant and, on close examination, triangular arrangements, was only the start. There’s also the invented language of mewls, squeals, clicks, and drones, plus the sounds that seem to parody the wordless cadence of smalltown Québécois voices that are as much of a musical influence as anything else. This is not to forget the triangular hand gestures they make on stage, which they encourage—successfully!—the audience to emulate.
Then, there’s Khn’s double-necked guitar and bass hybrid constructed by local Quebec luthier Raphaël Le Breton. Based on Khn’s design, the instrument’s guitar and bass components are fretted to allow notes between the notes as they are usually measured in the Western chromatic scale. Angine de Poitrine have made the term microtonal into a household word by now by reminding music fans that there are more than just 12 notes to write songs around.
The style of the music can be comfortably defined as progressive rock, with King Crimson and Primus certainly being key influences one can hear right away. But James Brown is in there, too. So are any number of musical traditions of the Far East and Middle-East that draw upon a different set of notes and scales beyond traditional Western notation. The band blur the lines between melody, texture, and rhythm on this track particularly. There’s a definite emphasis on pure groove in places here to hook the ear and excite the feet, even if a lot of the tune is punctuated by odd and irregular phrasing and complex polyrhythms.
Angine de Poitrine playing at La Cartonnerie, Reims, France, 2026. image: ReimsCroixRougeThe microtonal set up and compositional mindset allows the band to pull from a broader spectrum of possibilities as applied to melody and riffs. This is not to mention the complex and irregular rhythms the two musicians work within, somehow turning complexity into accessibility even over the course of a single song. They do all this while being as weird as hell in the best possible sense.
Rock musicians being weird is nothing new. Since Screamin’ Jay Hawkins emerged from his coffin, Ziggy Stardust appeared on Top of the Pops to freak out/enthrall a nation, Parliament Funkadelic first landed the Mothership, and Peter Gabriel donned his Slipperman costume with Genesis, there have been plenty of rock acts who were willfully, wonderfully, and grandly weird. Angine de Poitrine come out of a proud tradition in that way. But this being the 2020s, there are a few important factors to consider that make the interest in this band so notable.
One of them is the time it took for the duo to become what they are. It seems like a simple thing. But when you jam with someone for two decades starting from your formative years as teenagers even before you make a record, the results speak for themselves. They can’t be exactly replicated, mass produced, or generated by AI. This is true even if no one ends up experiencing them beyond a local scene or even outside of a rehearsal space. Those results only come about based on the personalities, rapport, influences, developed skills, and ambitions of the people involved. These factors are entirely unpredictable. The trouble is, allowing for artist-driven processes and the time it takes to nurture them is the exact opposite of how the music industry operates today.
Music industry decision-makers in our era want an instant payoff controlled by them, not by the artists. They want something that provides the hallmarks of what they know will sell as a certainty. They don’t want to invest in anything mired in idiosyncrasies and unpredictable factors. They want faces they can sell, too, complete with racial and gender biases built right in. Papier-mâché masks and weird non-vocal squeals against microtonal music that doesn’t follow the standard four-to-the-floor beat and 4th-5th-minor fall-major lift chord structure isn’t what makes the cash register jingle—or so follows the received wisdom.
That essential factor of time over decades the two musicians took to create a whole universe of sound between them before they shared it with the world has very little to do with anyone’s standards or expectations outside of their own. And being from a place as far outside of any music industry bastion as it’s possible to be is another factor that undercuts expectations, and makes the success and attention Angine de Poitrine have achieved to be unlikely as measured by any conventional standard. This suggests that their talent, as extensive as it is, is not the deciding factor to the attention and interest that’s focused on them right now.
This suggests other interesting and significant factors besides. One is that the viral nature out of which their success germinated was largely reliant upon timing—a factor that no one can control. It makes you wonder how much talent we’ve missed over the years with so few channels to success, too many biased gatekeepers, and too many checkboxes to determine which musicians and writers should become visible enough to affect where music itself can go, and how music can evolve as a result. It turns out that music is a bigger beast than many pop and rock fans were led to believe, and its limitations have always been illusory.
Perhaps most significantly, the music of Angine de Poitrine suggests a simple but very powerful nugget of truth: weird is good. Weirdness challenges our expectations and conventions. It can alienate people. But it can also open up vistas of possibilities as to what we’re looking for in art of all kinds. Weirdess can be liberating in that way for musicians and listeners alike.
Angine de Poitrine are an active band today. You can learn as much about them as they’ll let you know at anginedepoitrine.com.
Watch the band play on KEXP, a performance that brought them all the attention.
To get deeper into why such weird music is not alienating, but extremely compelling instead, check out how the band’s use of loops and microtones plays a trick on our brains to get that effect, with this video from Oliver Gearing.
For more on the social implications the band have suggested, read this article by Scott Santens that posits, among other very good points, that Angine de Poitrine provide a template to an argument in favour of Universal Basic Income.
Enjoy!
#2020sMusic #AngineDePoitrine #ExperimentalMusic #experimentalRock #InstrumentalRock #progRock #progressiveRock -
Matt Damon, Ben Affleck Credit Robin Williams for Launching Careers
Diehard Boston Red Sox fans Matt Damon and Ben Affleck did the unimaginable on Monday night, donning San…
#NewsBeep #News #Movies #AU #Australia #BenAffleck #Entertainment #GoodWillHunting #MattDamon #RobinWilliams
https://www.newsbeep.com/au/637181/ -
Matt Damon, Ben Affleck Credit Robin Williams for Launching Careers
Diehard Boston Red Sox fans Matt Damon and Ben Affleck did the unimaginable on Monday night, donning San…
#NewsBeep #News #Movies #AU #Australia #BenAffleck #Entertainment #GoodWillHunting #MattDamon #RobinWilliams
https://www.newsbeep.com/au/637181/ -
Happy Caturday!!
Yesterday Trump gave a speech in Florida to Turning Point Action, a right wing christian group. During the speech, Trump gave this rant:
Trump’s plea to voters last night: “Get out and vote just this time. You won’t have to do it anymore. Four more years, it will be fixed. It’ll be fine. You won’t have to vote anymore … In four years, you don’t have to vote again. We’ll have it fixed so good you’re not going to have to vote.”
In that quote from MSNBC’s Kyle Griffin, there is an ellipsis to skip over Trump saying what sounds like “I’m not a christian.” Some are claiming he said “I’m a christian.” That’s not what I heard. You can watch the clip from @Acyn here.
I took this to mean that if Trump is elected, there won’t be any more elections. Some people on Twitter tried to twist it to mean something else or claimed it was a “joke.” After all we have experienced with Trump, those claims just don’t pass muster. Here are some reactions from Twitter.
Ruth Ben-Ghiat @ruthbenghiat: Media: this should be *the* A1 story. I have studied dictatorship for decades and this is it-“you won’t have to vote anymore.” Trump will never leave office if he wins in November.
Pramila Jayapal @PramilaJayapal: This. Is. Terrifying. We cannot let this be the case.
Armando @ArmandoNDK: I don’t know what Trump was trying to say with his no more voting line. He is a moronic inarticulate narcissist. I do know what he’s done. And based on that, if he can get away with it- he would become a dictator. Anyone who doubts Trump is capable of trying is just stupid.
Simon Rosenberg @SimonWDC: There is a reason the Trump campaign has been keeping Trump from the trail – every time he speaks it gets harder for them to win. This promise, in very clear language, to end American democracy for all time is now a major part of the 2024 campaign.
Joyce Alene @JoyceWhiteVance: Make sure you listen to this video. Trump tells his “beautiful Christians” they won’t “have to” vote anymore after this election because he’ll fix everything. This is how democracy dies.
The Washington Post mentioned it in passing and made it sound as unthreatening as possible:The former president urged attendees at the faith-themed event to vote — “Vote early. Vote absentee. Vote on Election Day. I don’t care how, but you have to get out and vote,” he said — and promised that in four years, “we’ll have it fixed so good you’re not going to have to vote.”
The Hill put it in their headline: Trump urges Christians to vote: ‘You won’t have to do it’ in four years.
Former President Trump at a Friday event hosted by the conservative Christian organization Turning Point Action urged Christians to vote, saying they wouldn’t have to do it again if they got out there in November and elected him because “everything” would be “fixed.”
“Christians, get out and vote, just this time,” Trump exclaimed to a cheering crowd in West Palm Beach, Fla.
“You won’t have to do it anymore. Four more years, you know what, it will be fixed, it will be fine, you won’t have to vote anymore, my beautiful Christians” he added.
“I love you Christians. I’m a Christian. I love you, get out, you gotta get out and vote. In four years, you don’t have to vote again, we’ll have it fixed so good you’re not going to have to vote,” Trump said.
Trump’s remarks point to the need for both parties to get their most fervent supporters to the polls in what is expected to a close election that may be determined by turnout.
But both parties aren’t promising that there won’t be another opportunity to vote in 4 years.
This is from Mediaite: Trump Cryptically Declares, ‘You Won’t Have to Vote Anymore’ If He Wins Second Term.
Former President Donald Trump urged members of a crowd in Florida to vote and said that if he wins, they “won’t have to vote anymore.”
Speaking at a Turning Point Action event in West Palm Beach on Friday, Trump, who tried to overturn the 2020 election he lost, delivered a cryptic message.
“And again, Christians, get out and vote!” he said to a cheering audience. “Just this time. You won’t have to do it anymore. Four more years. You know what? It’ll be fixed! It’ll be fine! You won’t have to vote anymore, my beautiful Christians. I love you, Christians! I’m a Christian. I love you. Get out. You gotta get out and vote. In four years, you don’t have to vote again.”
Trump has responded to accusations about his authoritarian tendencies by saying he will not be a dictator “except for day one” of his second term. In 2022, the former president repeated the false claim that the 2020 election was rigged against him. While doing so, he called for the “termination” of the Constitution.
“A Massive Fraud of this type and magnitude allows for the termination of all rules, regulations, and articles, even those found in the Constitution,” he wrote on Truth Social. “Our great “Founders” did not want, and would not condone, False & Fraudulent Elections!”
Again, I clearly heard him say “I’m not a christian.” But listen for yourself, and share you opinion.
Aaron Rupar and Stephen Robinson at Public Notice: How the press helped Trump sell himself as a strongman.
The authors note that the presidential race has been turned upside down during the past week,
But it’s worth devoting some attention to how the press did Trump’s work for him by portraying the aspiring authoritarian exactly how he wants to be seen — as a heroic strongman and newfound champion of political unity.
Trump accepted the Republican presidential nomination for a third time on July 17 with a rambling, incoherent mess of a speech that offered a terrifying vision for America during its rare moments of coherence. His performance was widely regarded as a disaster. But a range of major newspapers didn’t cover it that way.
More than a few headlines actually raved about it. The Boston Globe: “In a departure, Trump calls for unity, healing in America.” The Atlanta Journal-Constitution: “Trump urges unity after assassination attempt while proposing sweeping populist agenda.” Baltimore Sun: “Subdued Trump describes assassination try, accepts nomination.”
As media critic Parker Molloy pointed out, these papers seemingly reported on Trump’s speech based on the prepared remarks, not the speech as he actually delivered it….
In reality, Trump’s RNC coronation was a collective failure of our justice system, political process, and a mainstream media ecosystem that has consistently failed to hold him accountable. He still faces a tough challenge to win this election — especially now that Harris is on the top of the ticket — but he got a significant propaganda boost from a credulous, optics-obsessed press….
Not long after Trump’s attempted assassination at a Pennsylvania rally on July 13, mainstream outlets went along with the Trump campaign’s narrative: The shocking event had changed him for the better.
When Trump made his first appearance at the RNC on July 15, the New York Times described him as “subdued” and claimed he showed a “glimpse of vulnerability.” But Trump had already demonstrated he was unchanged earlier that day when he posted on Truth Social that his idea of “Uniting our Nation” was the dismissal of all criminal charges against him.
Trump spewed his usual invective against his political foes throughout the week. The media, nonetheless, continued to take seriously the idea that he was a new man.
Axios reported on July 15 that Trump “plans to seize the his moment by toning down his Trumpiness” and MSNBC’s Katy Tur described his first appearance at the RNC as “serene.” But the most egregious instance of this genre was a piece from Politico’s Natalie Allison, who wrote on July 17 that “there appears to be a new softness to Donald Trump, with people who’ve talked to him describing him with words like ‘existential,’ ‘serene,’ ‘emotional’ and even ‘spiritual.’”
None of those words rightly apply to the man who has made shouting out fictional cannibal Hannibal Lecter a staple of his speeches (including at the RNC).
Please read the rest at the Public Notice link.
A bit more Trump/Vance news:
Lilly Mae Lazarus at The Daily Beast: Donald Trump Seen in Public Without Ear Bandage.
Donald Trump ditched his ear bandage for his meeting with Israeli Prime Minister Benjamin Netanyahu on Friday. The former president’s right ear returned to public view for the first time since it sustained damage in the July 13 assassination attempt.
The former president’s large bandage became an impromptu fashion statement during the Republican National Convention, with some attendees donning DIY wound dressings. Following the convention, Trump swapped out his bulky white gauze for a thin nude bandage.
Photos from Trump’s sit down with Netanyahu appear to show the former president’s ear intact without major scabbing or scarring. In one image, the former president points out the site of injury to the Israeli prime minister.
According to former White House physician Ronny Jackson, a bullet took the top of Trump’s ear off. On Wednesday, however, FBI Director Christopher Wray said that investigators did not know if the former president was grazed by a bullet or shrapnel during the shooting.
Edith Olmstead at The New Republic: Panicking Trump Loses It Over FBI Director’s Bullet Injury Testimony.
Donald Trump is seriously pissed that FBI Director Christopher Wray is asking questions about what really happened during the attempted assassination of the former president.
While appearing before the House Judiciary Committee Thursday, Wray testified about the agency’s ongoing investigation into the deadly shooting at a Trump rally almost two weeks ago. Wray said it was still unclear what had caused the injury Trump suffered to his ear, whether a bullet or a piece of shrapnel from a teleprompter.
Trump, who began claiming within hours of the attack that he’d been struck by a bullet, didn’t like that one bit. He said as much in a rant on Truth Social Thursday night, which took aim at Wray (whom Trump appointed) specifically.
“FBI Director Christopher Wray told Congress yesterday that he wasn’t sure if I was hit by shrapnel, glass, or a bullet (the FBI never even checked!), but he was sure that Crooked Joe Biden was physically and cognitively ‘uneventful’—Wrong!” Trump wrote.
“That’s why he knows nothing about the terrorists and other criminals pouring into our Country at record levels. His only focus is destroying J6 Patriots, Raiding Mar-a-Lago, and saving Radical Left Lunatics, like the ones now in D.C. burning American flags and spray painting over our great National Monuments—with zero retribution,” Trump continued.
There’s a simple solution. Trump can release the medical report from his examination after the shooting.
Carter Sherman at The Guardian: JD Vance called for ‘federal response’ to block women from traveling for abortions.
JD Vance, the Ohio senator and Donald Trump’s running mate, promoted a baseless rightwing talking pointin 2022 when he warnedof George Soros-funded planes transporting Black women across state lines for abortions.
“I’m sympathetic to the view that like, okay, look here, here’s a situation – let’s say Roe v Wade is overruled,” Vance said in a recently resurfaced podcast interview. “Ohio bans abortion in 2022, or let’s say 2024. And then, you know, every day George Soros sends a 747 to Columbus to load up disproportionately Black women to get them to go have abortions in California. And of course, the left will celebrate this as a victory for diversity – uh, that’s kind of creepy.”
The US supreme court overturned Roe in 2022. Vance’s statements echo a common anti-abortion talking point accusing abortion providers and their supporters of targeting people of color.
Black women did seek abortions at a higher rate before Roe fell, but public health experts say that this is far from proof of a racist conspiracy. They point to a number systemic factors – for example, Black women are more likely to live in areas where it’s harder to access contraception. They are also disproportionately harmed by abortion bans.
Vance continued: “And, and it’s like, if that happens, do you need some federal response to prevent it from happening? Because it’s really creepy. And I’m pretty sympathetic to that actually. So, you know, how hopefully we get to a point where Ohio bans abortion in California and the Soroses of the world respect it.”
While Open Society Foundations, which was founded by Soros, does support reproductive rights, the billionaire philanthropist is not directing planes to swoop up Black women for abortions. He has been the target of antisemitic conspiracy theories for years.
Vance’s comments were reported by CNN. On Thursday evening, Kamala Harris’s campaign posted audio of the remarks on X.
JD Vance is the one who is creepy.
Yesterday, Dakinikat wrote about the new meme going around–that the Republican ticket is “weird.” Here’s another take on that by Eli Stokols and Elena Schneider at Politico: How Trump and Vance went from a ‘threat to democracy’ to ‘weird.’
In the days since Vice President Kamala Harris has taken over the campaign against former President Donald Trump and his running mate JD Vance, Democrats are leaning into a new attack line against the Republican ticket: that they’re just really weird.
Minnesota Gov. Tim Walz , a potential Harris running mate who’s been using this description for months, said it during his first viral TV appearance of the week, and then in others. The Democratic Governors Association, which Walz leads, amplified it on social media. And the Harris campaign has adopted it as well, incorporating the label repeatedly this week in press releases and posts on X and TikTok.
As this simple and quintessentially Midwestern description of Trump and Vance catches on, it marks a notable rhetorical shift — away from Biden’s apocalyptic, high-minded messaging toward a more gut-level vernacular that may better capture how many voters react to far-right rhetoric of the kind Vance in particular trades in.
“It perfectly describes the uneasiness people feel. It’s how people who don’t live and breathe politics every day react to hearing the Republican vice presidential candidate denigrate people without children,” said Tim Hogan, a Democratic strategist who worked on the 2020 presidential campaign of another Minnesotan, Sen. Amy Klobuchar. “It’s simple. It’s how you might talk to your neighbor about the crazy political climate we’re living in.”
Walz’s post of his interview clip on X — captioned: “I’m telling you: these guys are weird.” — had 4.6 million views as of Friday afternoon. And when the Harris campaign sent out a memo on Thursday responding to Trump, or what they described as “a 78-Year-Old Criminal’s Fox News Appearance,” they included this among a list of takeaways: “Trump is old and quite weird?”
And on Friday, the Harris campaign used the term in multiple press releases. One focused on Vance’s anti-abortion stance, which called him “creepy” in the subject line, began with a simple declaration: “JD Vance is weird.” That followed another release highlighting negative coverage of Trump’s running mate in which Harris campaign spokesperson Serafina Chitika asserted that Vance had “spent all week making headlines for his out-of-touch, weird ideas.”
More analysis at the link.
We’ve already begun to see the kind of sexist abuse that Kamala Harris is going to face during the campaign. Carole Cadwalladr wrote about it at The Guardian: This is a misogyny emergency. A huge outpouring is coming in the runup to the US election.
In 2016, a historically unprecedented incident took place. And yet, barely anyone even noticed. Even years later, we’ve failed to acknowledge it or to have begun the process of understanding it. Because we still can’t even see it.
And that’s because this incident involved a woman. And she was asking for it.
The woman was Hillary Clinton. What she was asking for was votes. And what she got was the single biggest outpouring of misogyny in human history.
We can now say that. Although no one ever does. But this was an unprecedented previously unimaginable event. Because 2016 was when the world’s first global instant mass communication technology – social media – crashed up against the most ancient of prejudices – misogyny.
And the result was an earthquake: Donald Trump.
In 2016, we weren’t prepared for it. We didn’t see it coming. We didn’t understand how these same social media platforms that have enabled us to share our thoughts instantly at a global scale also facilitate the worst kinds of human communication. How they are engineered to cater to our basest instincts and reward the clickiest, most hateful content.
But eight years on, we haven’t even begun to understand that lesson. We didn’t listen to Hillary. We haven’t yet realised that misogyny is one of the most dangerous weapons on Earth. The best friend of authoritarians and oligarchs. The handmaiden of tyrants.
Worst of all, we haven’t yet realised that misogyny represents the most urgent and pressing threat to global security.
Because it’s misogyny – networked misogyny across multiple global platforms that will earn their tech bro owners billions upon billions of dollars – that is going to decide the 2024 election.
And it’s misogyny that’s going to dictate the future of Nato, the outcome of the war in Ukraine, whether we have peace in Europe or more war. And because this is going to be a firehose that will be directed at a single woman – Kamala Harris – it will be misogyny multiplied: misogyny plus racism, the most toxic combination of all.
This week comments resurfaced that Trump’s newly appointed running mate had made about the woman who looks certain to be the next Democrat candidate. Comments from 2021, in which JD Vance dismissed Kamala Harris as a “childless cat lady”. If that sounds vaguely familiar, you may recognise those exact words from the attacks that Brexiteers directed at me. In my case, it was an assault that went on for years and created the permission for the same man who seeded the narrative to sue me in court.
I was gagged, the necessities of the court case silenced me. Sticks and stones will break my bones etc. But this was never about me. I was just the access point, a way to shut the story down, a viable target. And this was an attack that achieved its goal. Overnight, all reporting on the subject stopped dead.
But there are things that only veterans of the childless cat lady wars can know. They used to call us witches because we knew shit. We still do. That’s what makes us so powerful. And dangerous. That’s what JD Vance understands: our cat lady energy. We’ve lived through culture wars before they even had that name, before they invented memes and when they just burned us at the stake.
So, here’s what I need you to do now: to shut up and sit down and listen. You are at risk. We are all at risk. Because this is what I know: bad things are coming. We are in a code red emergency.
I’ve posted too much already, but I wish I could post the whole thing. Please go read it all at The Guardian.
I’ll end there. I hope you’re having a nice weekend. Take care of yourselves, everyone!
https://skydancingblog.com/2024/07/27/lazy-caturday-reads-172/
#ChristianNationalism #JDVance #misogynyEmergency #TrumpAsStrongman #TrumpSEarWound #TrumpVanceWeirdness #TurningPointAction #votingRights
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#DonaldTrump tries to convince #Americans that he’s one of them by donning an apron at #McDonalds. 👀 👉 https://www.malaymail.com/news/world/2024/10/21/i-love-salt-trump-dons-apron-to-serve-french-fries-at-mcdonalds-in-dig-at-harris-history-working-at-the-fast-food-chain/154287
But we all know that once he’s in the #WhiteHouse he styles himself as the #Hamberder #King of #America. 😂 #USpol
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The Job #1 (Cameron Fulcher Review)
Words: Patrick Hickey Jr
Art: Steve Cange
Letters: Josh Adams
Publisher: Legacy Comix
If Joey Janela and Penelope Ford had guns and a criminal mind before signing with AEW, you’d have Dan Dero and Bev.
The world of independent wrestling is filled with stories of struggle and heartbreak, and Dan Dero’s journey is no exception. In “The Job – Vol. 1” by Legacy Comix, we follow Dero and his partner Bev as they turn to a life of crime to make ends meet. This gritty story asks, “What are you willing to do to succeed and survive?”
Donning a Lucha mask and holding a bag of money, Dero is the star of this bank heist, and Bev is his ravishing co-star.
A homage to the likes of Miss Elizabeth, “Sensational” Sherri Martel, and Terri Runnels, Bev acts as the brains behind all the operations and as Dero’s valet for his in-ring career.
In the realm of professional wrestling, it is customary to have a female valet who employs her cunning and expertise to ensure that her managed competitor emerges victorious. Similarly, Bev uses her tactics outside the ring by stating, “The DDT that you perform with the Dragon Sleeper transition is remarkable; it just needs to be seen by more people…”. It appears that she is trying to help her wrestler gain more exposure by showcasing their moves.
“This is what makes us money. This is what supports us. Not wrestling,” Dero states as they prepare for the next heist.
Dero enjoys thoughts of being a big star, yet he focuses on the present situation instead of Bev’s planning for the future.
The comic does a good job of throwing subtle references to real-world pro wrestling. For instance, Dan Dero “goes into business for himself” and proceeds to perform a “shoot” promo, which ultimately gets him “over”.
Steve Cange developed Dero’s superkick in a way that distinguishes it from other live-action pro wrestling moves. While it is referred to as the “sexy superkick,” paying tribute to the “Heartbreak Kid” Shawn Michaels, the artwork demonstrates that Dero has personalized it as his own move, as shown on pages nine and ten.
Bev wears an all-purple spaghetti-strapped buttoned crop top and pants similar to Ivory in WWE Smackdown: Shut Your Mouth. Cange snuck in this cool reference on pages 12 and 14.
The couple gets over with the crowd and becomes Bodacious Bev and Delicious Dan, allowing them to break away from breaking into banks.
The comic does a good job of focusing on the uprise of Dan and Bev, that you almost forget that these two are bank robbers.
A police officer and detective investigate the bank that was robbed, watching the surveillance footage and admiring the robbers’ “SEXY ASS SUPER KICK”.
In the thrilling world of independent wrestling, Legacy Comix introduces readers to the dynamic duo of Dan Dero and Bev, whose journey from struggling wrestlers to daring criminals is depicted in “The Job – Vol. 1.” With their masks and cunning plans, they execute bank heists that rival their performances in the ring. This captivating narrative blurs the lines between wrestling and heist genres, showcasing the lengths individuals will go to in order to survive and thrive. As the story unfolds, readers are immersed in a tale that explores themes of ambition, loyalty, and the pursuit of success by any means necessary. Through its clever nods to wrestling culture and high-stakes action, “The Job – Vol. 1” delivers an exhilarating experience that will leave fans eagerly anticipating the next chapter.
If this were a tag team match, Hickey Jr. and Cange would be the champions due to their great teamwork.
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Yan Vol. 2 Available September 9
#horror – #horrorcomics – #Yan – #TitanManga – @ComicsTitan – #ChangSheng – Winner of the Golden Comic Award, in English for the first time. Yan Tieh-Hua was once part of a Peking Opera Troupe, and while donning the same makeup, she now navigates time-travel and battles A.I. tyrants on the streets of Taiwan to save […]
#ChangSheng #Yan #Releases #ad #horror
https://horrornerdonline.com/2025/07/yan-vol-2-available-september-9/
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Yan Vol. 2 Available September 9
#horror – #horrorcomics – #Yan – #TitanManga – @ComicsTitan – #ChangSheng – Winner of the Golden Comic Award, in English for the first time. Yan Tieh-Hua was once part of a Peking Opera Troupe, and while donning the same makeup, she now navigates time-travel and battles A.I. tyrants on the streets of Taiwan to save […]
#ChangSheng #Yan #Releases #ad #horror
https://horrornerdonline.com/2025/07/yan-vol-2-available-september-9/
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Yan Vol. 2 Available September 9
#horror – #horrorcomics – #Yan – #TitanManga – @ComicsTitan – #ChangSheng – Winner of the Golden Comic Award, in English for the first time. Yan Tieh-Hua was once part of a Peking Opera Troupe, and while donning the same makeup, she now navigates time-travel and battles A.I. tyrants on the streets of Taiwan to save […]
#ChangSheng #Yan #Releases #ad #horror
https://horrornerdonline.com/2025/07/yan-vol-2-available-september-9/