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345 results for “tedivm”
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Temple of Void – The Crawl Review By Steel DruhmDetroit’s death-doom institution Temple of Void had an interesting journey over their 12-year career. Their 2014 debut split the baby between 90s Peaceville doom and nasty death metal like Asphyx and Bolt Thrower, and the end product was heavy as fook. 2017’s Lords of Death shifted toward death metal without losing any of the crushing, venomous intensity. It wasn’t until 2020s The World That Was that Temple of Void really started experimenting with the scope of their sound as influences like post-metal crept in. When 2022s Summoning the Slayer arrived, it seemed like the band was losing the plot, as their sound became overly pared down and simplistic, causing tedium to set in. That brings us to their fifth album, The Crawl. With a new bassist in tow, the band stated that they set out to write a heavy record without regard to how many death or doom influences were included. In that pursuit, they’ve expanded the scope of their sound to include elements like grunge and Goth for greater dynamism and diversity. Will that be a boon or bane to those who just want another ball-busting, skull-crushing death-doom platter?
I’ll give Temple of Void some credit for spicing up their recipe this time out. Opener “Poison Icon” is a hard-rocking death-meets-stoner-doom meat paste that’s bright and upbeat while managing to remain pretty damn heavy. There’s a rowdy urgency to the riffs that doesn’t fit neatly into death or doom camps, and the segues into hard rock stanzas with guttural death vocals over the top remind me of various melodeath Rogga products and the recent works of Hooded Menace. It’s not the nasty Temple of Void that I long for, but it’s entertaining nonetheless. “Godless Cynic “moves into darker, more grotesque death-doom territory with riffs that slither and snake all over, and when teamed with really hostile death vocals, things feel threatening and dangerous. It’s one of the album highlights, and it reminds me of the long-forgotten, criminally underrated Dutch doom band Another Messiah, which is a win in my book. 1 The title track is classic death-doom designed to pulverize and pummel. It does the job well, and the riffs are grisly fun as they swing from death stomp to doom plod.
Things also heat up on “A Dead Issue,” as discordant leads and eerie keyboards conspire to create an ominous, unsettling soundscape. The dreamy, ethereal guitars that weave in and out add another layer and make for a dynamic listen. The 7:41 closer “The Twin Stranger” is ferocious, with huge riffs dropping from the sky like spiked anvils. There’s enough forward momentum tank chugs to recall the glory days of Bolt Thrower and the pacing keeps the song from feeling as long as it is. Not every track is as successful at world-building, though. “Thy Mountain Eternal” attempts to cram an epic Viking metal element into the death-doom foundation, but ultimately ends up sounding more like recycled Omnium Gatherum than Ereb Altor, and at just under 7-minutes, it drags on too long. At 41-plus minutes, The Crawl is just about the ideal length for this kind of fare, and though there are moments of bloat to be found, most of the tracks are fairly fit and spry. The production gives the guitars enough raw power to intimidate, and those death vocals will shake the molars out of your head.
The Temple of Void edifice is highly reliant on the riff firepower brought to bear, and Alexander Awn and Michael Erdody bring enough explosives to flatten a small city. Yes, they dabble in outside influences, but this is a death-doom album at heart, and the bulldozing leads aim to harm. The rock, Goth, and other outside elements decorate the riffs, but they don’t replace the hammer and axe. There are many hook-tastic leads and smoking solos to absorb, and the diversity keeps things from feeling like a monolithic slog. Erdody’s large-scale death roars are highly effective, and he keeps things heavy no matter what genre the guitars decide to visit. It’s really the writing that elevates The Crawl beyond what was heard on Summoning the Slayer. This is a much more ambitious, adventurous outing, and it sounds like the band felt more confident and free to develop their sound this time out.
I came into The Crawl concerned that Temple of Void was going to evolve right into an early grave, but the material here is full of life, liberty, and the pursuit of the best bits of death and doom. There’s variety and inventiveness, but it will still flatten your ass regularly. I doubt they will ever give us another Lords of Death, but this ain’t so bad in its stead. Visit the newly renovated Temple.
Rating: 3.5/5.0
#2026 #AnotherMessiah #BoltThrower #DeathMetal #DoomMetal #HoodedMenace #Mar26 #OmniumGatherum #RelapseRecords #Review #Reviews #SummoningTheSlayer #TempleOfVoid #TheCrawl
DR: NA | Format Reviewed: Fucking STREAM!!
Label: Relapse
Websites: templeofvoid.bandcamp.com | facebook.com/templeofvoid | instagram.com/templeofvoid
Releases Worldwide: March 6th, 2026 -
Harmonicade is a High-Scoring MIDI controller - When [KOOP Instruments] started learning the piano, he wasn’t prepared for the tedium of learning ... more: https://hackaday.com/2020/01/29/harmonicade-is-a-high-scoring-midi-controller/ #microcontrollers #midicontroller #musicalhacks #teensy3.6 #sanwa #db25 #midi
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🤡 Spoiler alert: the article warns us that #spam is now dressed-up in its Sunday best, thanks to "vibe-coding." 🎩✨ The author seems genuinely concerned that our inboxes might become too eye-catching, as if the real problem with spam was always its lack of #aesthetic appeal. 📬💅
https://tedium.co/2026/02/25/vibe-coded-email-spam/ #vibes #inbox #design #spamfilter #HackerNews #ngated -
Now this is the dictionary definition of tedium. An entire page of power units for the logic gates.
Gaps are for chips with power connections on the main symbol. Not, BTW, the same as chips containing a single unit - there are several 8-input gates with one unit per chip but those still have a separate power unit.
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Can AI erase the tedium of managing digital collections without also erasing what makes them distinctive? Find out in this recording of last month's webinar with Sara and Ben Brumfield of FromThePage, who explore the good, bad, and ugly of AI in archives.
https://digitalcuration.umaine.edu/teleconferences/dig_brumfield_teleconf_2025.html
#Archives #Collections #Data #DataViz #DigitalCuration #DigitalHumanities #Digitization #GLAM #Libraries #Metadata #Museums #UXdesign #AIethics #AIimages #GenAI #LLM #MachineLearning
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Ah, the thrilling tale of when Uncle Sam decided to play hall monitor for our noisy computers 📻💥. Apparently, back in the day, our PCs were more talkative than a CB radio enthusiast at a truck stop. But hey, let's blame the radios for the FCC's sudden interest, because, you know, that makes total sense 🤷♂️.
https://tedium.co/2025/10/20/computers-fcc-rf-interference-history/ #UncleSam #HallMonitor #NoisyComputers #FCC #RadioRegulations #TechHistory #HackerNews #ngated -
Ah, the thrilling tale of when Uncle Sam decided to play hall monitor for our noisy computers 📻💥. Apparently, back in the day, our PCs were more talkative than a CB radio enthusiast at a truck stop. But hey, let's blame the radios for the FCC's sudden interest, because, you know, that makes total sense 🤷♂️.
https://tedium.co/2025/10/20/computers-fcc-rf-interference-history/ #UncleSam #HallMonitor #NoisyComputers #FCC #RadioRegulations #TechHistory #HackerNews #ngated -
Ah, the thrilling tale of when Uncle Sam decided to play hall monitor for our noisy computers 📻💥. Apparently, back in the day, our PCs were more talkative than a CB radio enthusiast at a truck stop. But hey, let's blame the radios for the FCC's sudden interest, because, you know, that makes total sense 🤷♂️.
https://tedium.co/2025/10/20/computers-fcc-rf-interference-history/ #UncleSam #HallMonitor #NoisyComputers #FCC #RadioRegulations #TechHistory #HackerNews #ngated -
I’m psyched to share with you another round of #cryptid madness, this time zooming in on the #squonk, a legend immortalized in a Genesis song, forged from a pair of tall-tale books written by foresters.
https://tedium.co/2023/09/08/squonk-cryptid-origin-story/
new @tedium
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@rife_with_tedium
What about about the Jolly, chuckling Potheads?!
They’re still OK right?? -
Oh joy, someone took the relentless tedium of Moby-Dick and multiplied it by eight million—literally! 📚✌️ It's like they said, "Who needs words when you've got grayscale textures?" 🤦♂️🎨
https://thevoltablog.wordpress.com/2014/01/27/nicolas-mugaveros-eight-million-copies-of-moby-dick-or-the-whale/ #MobyDick #MobyDickChallenge #GrayscaleArt #LiteraryHumor #Textures #HackerNews #ngated -
📽️🍏 Oh, #Apple, you delightful 🍏🍎 seller of #dongles and dreams! Your dramatic blunder with Severance's #editing promo is the perfect plot twist for the industry's most predictable #sitcom 🎬😂. Remember, when it's too remote, desktop editors might just sever the connection!
https://tedium.co/2025/03/29/severance-apple-remote-editing-weirdness/ #Severance #Drama #HackerNews #ngated -
CW: The Death of Key Changes
An interesting article on how modern pop has gone two-dimensional (compared to pop some decades ago): stuck in a single key with no key changes, and for much of modern pop, a focus on rhythm and lyrics with melody barely acknowledged. (For example, hum a recent hip-hop song.)
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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We have finished work on stage one (make it exist) for #MeshFonts!
Second stage (make it awesome-er) is officially upon us!
Thank you to the few supportive individuals up in this place whom make the process feel less tedium heavy! 👊 💥
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Book Review: Bedlam Planet, John Brunner (1968)
(Jeff Jones’ cover for the 1968 edition)
3.25/5 (Vaguely Good)
To move past my variegated obsessions regarding William Kotzwinkle’s Doctor Rat (1976) (review + list of imaginary scientific articles), I decided to reread a lesser known John Brunner novel. I cannot pinpoint exactly when I first read Bedlam Plant (1968), other than before I started my site, but it holds up as a moody biological mystery with mythological undertones as colonists confront their deceptive new world.
This isn’t Stand on Zanzibar (1968), Shockwave Rider (1975), The Sheep Look Up (1972), or The Jagged Orbit (1969), but it left me wishing that Brunner applied his immersive near future SF skills to a vast, dark, far future tapestry. Brunner completists and fans of 1960s colonists on strange alien planet SF will not be disappointed—nor will you be blown away.
Far superior to the last John Brunner novel I read!
Analysis/Summary (*spoilers, as always*)
Dennis Malone is an explorer. He was one of the first four members of the expedition to the planet Asgard—“exposing themselves to the new planet to determine its habitability” (10). The men of the group, Dennis and Pyotr Tang-Lin, returned to Asgard with the colonization mission. Disaster strikes as Pyotr Tang-Lin crashes one of the three spaceships into the alien moon preventing Dennis from returning to Earth with any colonists who might be psychologically unsuitable for life on Asgard.
Dennis Malone is psychologically unsuitable for life on Asgard. Isolated and depressed, he spends his days bemoaning his fate. He is possessed by “the presence of the gashed terrible reproving moon” where Pyotr met his fate (5) wishing that he himself “had died on the alien moon” (12). An explorer at heart, he sinks into a morose state, characterized by Parvarti Chandra (one of the leaders of the colony) as a “martyr complex” (17). He seeks any release from the tedium of establishing the colony. As the colonists are comprised from the specialists of Earth, Malone’s own area of expertise is unneeded.
When a biological disaster–in the form of a mysterious scurvy caused by an illness that modifies the gut’s bacteria–rampages through the colony, Malone might have a use after all! Tai Men, a Chinese medic and biologist, suggests the only answer to the dilemma might be to ingest plants grown in Asgard’s soil: “but when it came to risking the delicate balance of their very bodies on the assurance of someone whose data they could not fully understand, it was different” (31).
When Dennis sets off across Asgard’s landscape to carry out various banal tasks assigned by the colony’s scientists, he accidentally discovers there might be a way out. But by the time he returns to the colony, madness has already descended. Or has it?
Final Thoughts
John Brunner expands on the basic biological mystery besets colonists on alien planet in an intelligent (although not entirely successful) manner. Underpinning the lives of the various colonists, is a mythological substructure based on the cultural memory each diverse colonist brings from Earth. Brunner explores mythological memory and mythological action in various ways. Dennis Malone and Sigrid Kallela, one of the first four explorers who live on the planet, engage leave a “symbolic mark” on Asgard by a passionate/violent coupling (38). In addition, Parvarti wants the colony to “develop their own” festivals derived from the ones of Earth to create a new cultural memory (36). A memory derived from that of Earth but suitable for the new society…
The novel concludes with an excerpt from a much later historical text about the colonists suggests that they all played the role of the planet’s first Gods. This is both good and bad for Brunner’s characterizations and plot. At times the narrative–especially as each character undergoes a culturally unique transformation in terms of their mythological knowledge–reads like Brunner placed sections of the Larousse Encyclopedia of Mythology in a blender. Rather than focusing on individual powerful images, the story occasionally reads as an information dump in the form of a New Wave-esque descent into the metaphysical. As each colonist stands in for the accompanying cultural heritage, the diverse cast (Indian, Arab, African-American, Swedish, Chinese, Japanese, Greek, etc.) take on more archetypal (a clichéd) characterizations. Regardless, Brunner should be applauded for the women leaders and scientists, races, and religions represented by the crew, flawed although the representations might be.
Bedlam Planet attempts to break free from the straight-forward humankind settles alien planet template by emphasizing the psychological effects of colonists unable to return to Earth. The novel feels rushed although well-intentioned. If only similar ideas surrounding far future colonization were explored in a more refined and immersive experience à la The Jagged Orbit (1969) or Stand on Zanzibar (1968).
For more book reviews consult the INDEX
(Mike Rose’s cover for the 1973 edition)
(Uncredited cover for the 1975 edition)
(Darrell K. Sweet’s cover for the 1982 edition)
#1960s #bookReviews2 #colonialism #colonization #johnBrunner #paperbacks #pulp #sciFi #scienceFiction #spaceships #technology
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Oh joy, another riveting missive on using Vim macros for... *beancounting* 🤯. Because what better way to spice up your life than by combining text editor gymnastics with accounting tedium? 🌟 Move over, Netflix! 📉
https://tangled.sh/@adam.tngl.sh/vim-beancounting #VimMacros #Beancounting #AccountingTedium #TextEditorGymnastics #ProductivityHacks #HackerNews #ngated -
After a day of driving our kitties crashed in their comfy hotel bed
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After a day of driving our kitties crashed in their comfy hotel bed
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After a day of driving our kitties crashed in their comfy hotel bed
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After a day of driving our kitties crashed in their comfy hotel bed
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After a day of driving our kitties crashed in their comfy hotel bed
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We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
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We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
Definately #NSFW. Steer clear of this #nsfwaccount if you're easily offended by #carnalpleasure and #hedonistic pursuits including: #ropes #shibari #sex #swingers #bisexual
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We read today that hashtags don't work when a post has a Content Warning... so that's maybe 99% of our posts. But not this one.
So if you happen to be interested in the routine and boring lives of an average middle aged #couple you better strike that follow button otherwise you'll miss the endless tedium of our posts.
Definately #NSFW. Steer clear of this #nsfwaccount if you're easily offended by #carnalpleasure and #hedonistic pursuits including: #ropes #shibari #sex #swingers #bisexual
