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1000 results for “blake”
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Gota tape PMT sunday plus im on “carry blake up and down stairs” duty til his surgery #simp https://x.com/tyler_keister2…
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🤔 Ah, yet another attempt to Frankenstein a coding agent into existence using Swift. Because clearly, the world needs more half-baked projects that solve non-existent problems one stage at a time. 🛠️⚙️ Meanwhile, GitHub keeps tempting developers with shiny new distractions to avoid actually writing code. 🙄🚀
https://github.com/ivan-magda/swift-claude-code #FrankensteinCoding #SwiftProjects #GitHubDistractions #CodingHumor #DeveloperLife #HackerNews #ngated -
𝗕𝗹𝗮𝗸𝗲 𝗦𝗵𝗲𝗹𝘁𝗼𝗻 𝗸𝗼𝗺𝘁 𝗺𝗲𝘁 𝗻𝗶𝗲𝘂𝘄𝗲 𝗔𝗺𝗲𝗿𝗶𝗸𝗮𝗮𝗻𝘀𝗲 𝘁𝗮𝗹𝗲𝗻𝘁𝗲𝗻𝗷𝗮𝗰𝗵𝘁
Blake Shelton komt met een eigen talentenjacht. Amerikaanse media melden dat de zanger een programma getiteld The Road gaat maken. The Road volgt een grote ster op een zoektocht naar de volgende grote artiest, luidt de beschrijving van het programma.
https://www.rtl.nl/boulevard/artikel/5480005/blake-shelton-komt-met-nieuwe-amerikaanse-talentenjacht
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I’ve found the best supermarket butters from Tesco, Asda and more
An easy way to make even the simplest dishes taste delicious, butter can be enjoyed slathered on bread like its own topping, melted over a jacket potato, or used for a delicious homemade baked treat. As versatile as it is tasty, the best slabs of …
#dining #cooking #diet #food #Frenchbutter #Butter #francais #france #French
https://www.diningandcooking.com/2633421/ive-found-the-best-supermarket-butters-from-tesco-asda-and-more-7/ -
Perlier Shea Butter + Sweet Almond Body Balm: Tested and Reviewed
When we invest in a body balm, we want it to work hard, have a lasting impact and smell good enough to eat. (If it doesn’t make us smell like a freshly baked good, is it really self-care?) With…
#dining #cooking #diet #food #Italianbutter #Butter #buttercream #Italia #Italian #italianbutter #Italianbuttercream #italiano #italy
https://www.diningandcooking.com/2632153/perlier-shea-butter-sweet-almond-body-balm-tested-and-reviewed/ -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
Crown Lands – Apocalypse Review By OwlswaldRush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.
Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.
It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.
The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.
I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.
Rating: Good
#2026 #30 #Apocalypse #CanadianMetal #CrownLands #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #Review #Reviews #Rock #Rush
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026 -
If I ever did a cat themed bake sale it would be called Rumbles and Biscuits. #CatioLife
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If I ever did a cat themed bake sale it would be called Rumbles and Biscuits. #CatioLife
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If I ever did a cat themed bake sale it would be called Rumbles and Biscuits. #CatioLife
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If I ever did a cat themed bake sale it would be called Rumbles and Biscuits. #CatioLife
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Brewers 10, Athletics 0: Tyler Black has monster day with homer, 6 RBI https://www.rawchili.com/mlb/591282/ #AaronAshby #AdrianHouser #AkilBaddoo #Athletics #Baseball #BlakePerkins #Brewers #BriceTurang #ColemanCrow #DavidHamilton #denzel #FreddyPeralta #HoHoKamStadium #JacobWilson #LukeAdams #MasonBarnett #Milwaukee #MilwaukeeBrewers #MilwaukeeBrewers #MLB #SanDiegoPadres #SanFrancisco #Texas #TylerBlack
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Brewers 10, Athletics 0: Tyler Black has monster day with homer, 6 RBI https://www.rawchili.com/mlb/591282/ #AaronAshby #AdrianHouser #AkilBaddoo #Athletics #Baseball #BlakePerkins #Brewers #BriceTurang #ColemanCrow #DavidHamilton #denzel #FreddyPeralta #HoHoKamStadium #JacobWilson #LukeAdams #MasonBarnett #Milwaukee #MilwaukeeBrewers #MilwaukeeBrewers #MLB #SanDiegoPadres #SanFrancisco #Texas #TylerBlack
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macOS 27: czy Apple faktycznie naprawi to, co nie zadziałało w Tahoe? Przecieki sugerują „wielkie sprzątanie”
Jeśli po aktualizacji do macOS Tahoe zacząłeś mrużyć oczy przez brak kontrastu i wszechobecne, męczące przezroczystości, nie jesteś sam.
Mark Gurman z Bloomberga donosi, że nadchodzący macOS 27 ma być dla Apple szansą na wygładzenie ostrych krawędzi swojego najnowszego języka projektowania. Pytanie tylko, czy Apple faktycznie słucha użytkowników, czy po prostu łata dziury, na które wcześniej zabrakło czasu.
Liquid Glass 2.0: próba dopieczenia interfejsu
Obecny wygląd macOS Tahoe od początku budził kontrowersje. Według źródeł Gurmana, problemem nie była sama wizja, a raczej „niedopieczona” (not-completely-baked) implementacja ze strony inżynierów. macOS 27 ma dostarczyć styl Liquid Glass w takiej formie, jaką zespół projektowy Alana Dye’a planował od początku.
Co to oznacza w praktyce? Apple ma zmodyfikować sposób operowania cieniami i kontrastem, szczególnie w nieszczęsnych paskach bocznych. Ma być czytelniej, ale historia uczy, że Apple rzadko wycofuje się z raz obranego kierunku wizualnego – spodziewajmy się więc raczej ewolucji niż powrotu do starego, dobrego minimalizmu.
Powrót ducha Snow Leoparda
Najciekawszym aspektem macOS 27 jest fakt, że może to być system typu „maintenance”. Apple ma postawić na wielkie czyszczenie kodu, co w świecie Maców zawsze budzi pozytywne skojarzenia z legendarnym macOS Snow Leopard czy iOS 12.
Priorytetem ma być stabilność i niezawodność. Choć marketingowo Apple prawdopodobnie obieca nam „lepszą wydajność i dłuższą pracę na baterii”, warto zachować dystans – optymalizacja kodu to proces, który zazwyczaj przekłada się na kulturę pracy urządzenia, ale rzadko bywa rewolucją odczuwalną „gołym okiem”. Dla profesjonalistów pracujących na MacBookach każde „odmulenie” systemu będzie jednak na wagę złota.
Zacieśnianie więzów: Siri i Spotlight
W warstwie funkcji mówi się o zbliżeniu do siebie Siri i Spotlight. To, co dotychczas było dwoma osobnymi narzędziami, ma zacząć ze sobą ściślej współpracować. Nowa Siri, korzystająca z bardziej zaawansowanych modeli językowych, ma stać się inteligentniejszym kompanem wbudowanym w wyszukiwarkę systemową. Czy to wystarczy, by Spotlight stał się czymś więcej niż tylko szybkim wybieraniem aplikacji? Zobaczymy.
Apple po raz kolejny musi pogodzić efektowny design z elementarną czytelnością – to konflikt, który w Tahoe został rozstrzygnięty na niekorzyść użytkownika. WWDC 2026, które startuje 8 czerwca, pokaże, czy gigant z Cupertino faktycznie wyciągnął wnioski z błędów, czy jedynie wygładza własną wizję, ignorując głosy krytyki.
#AktualizacjaSystemu #Apple #LiquidGlass #Mac #macOS27 #macOSTahoe #Siri #WWDC2026Mac mini M4 vs. MacBook Neo: 8 GB RAM to wyrok. Dlaczego do AI musisz dopłacić?
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macOS 27: czy Apple faktycznie naprawi to, co nie zadziałało w Tahoe? Przecieki sugerują „wielkie sprzątanie”
Jeśli po aktualizacji do macOS Tahoe zacząłeś mrużyć oczy przez brak kontrastu i wszechobecne, męczące przezroczystości, nie jesteś sam.
Mark Gurman z Bloomberga donosi, że nadchodzący macOS 27 ma być dla Apple szansą na wygładzenie ostrych krawędzi swojego najnowszego języka projektowania. Pytanie tylko, czy Apple faktycznie słucha użytkowników, czy po prostu łata dziury, na które wcześniej zabrakło czasu.
Liquid Glass 2.0: próba dopieczenia interfejsu
Obecny wygląd macOS Tahoe od początku budził kontrowersje. Według źródeł Gurmana, problemem nie była sama wizja, a raczej „niedopieczona” (not-completely-baked) implementacja ze strony inżynierów. macOS 27 ma dostarczyć styl Liquid Glass w takiej formie, jaką zespół projektowy Alana Dye’a planował od początku.
Co to oznacza w praktyce? Apple ma zmodyfikować sposób operowania cieniami i kontrastem, szczególnie w nieszczęsnych paskach bocznych. Ma być czytelniej, ale historia uczy, że Apple rzadko wycofuje się z raz obranego kierunku wizualnego – spodziewajmy się więc raczej ewolucji niż powrotu do starego, dobrego minimalizmu.
Powrót ducha Snow Leoparda
Najciekawszym aspektem macOS 27 jest fakt, że może to być system typu „maintenance”. Apple ma postawić na wielkie czyszczenie kodu, co w świecie Maców zawsze budzi pozytywne skojarzenia z legendarnym macOS Snow Leopard czy iOS 12.
Priorytetem ma być stabilność i niezawodność. Choć marketingowo Apple prawdopodobnie obieca nam „lepszą wydajność i dłuższą pracę na baterii”, warto zachować dystans – optymalizacja kodu to proces, który zazwyczaj przekłada się na kulturę pracy urządzenia, ale rzadko bywa rewolucją odczuwalną „gołym okiem”. Dla profesjonalistów pracujących na MacBookach każde „odmulenie” systemu będzie jednak na wagę złota.
Zacieśnianie więzów: Siri i Spotlight
W warstwie funkcji mówi się o zbliżeniu do siebie Siri i Spotlight. To, co dotychczas było dwoma osobnymi narzędziami, ma zacząć ze sobą ściślej współpracować. Nowa Siri, korzystająca z bardziej zaawansowanych modeli językowych, ma stać się inteligentniejszym kompanem wbudowanym w wyszukiwarkę systemową. Czy to wystarczy, by Spotlight stał się czymś więcej niż tylko szybkim wybieraniem aplikacji? Zobaczymy.
Apple po raz kolejny musi pogodzić efektowny design z elementarną czytelnością – to konflikt, który w Tahoe został rozstrzygnięty na niekorzyść użytkownika. WWDC 2026, które startuje 8 czerwca, pokaże, czy gigant z Cupertino faktycznie wyciągnął wnioski z błędów, czy jedynie wygładza własną wizję, ignorując głosy krytyki.
#AktualizacjaSystemu #Apple #LiquidGlass #Mac #macOS27 #macOSTahoe #Siri #WWDC2026Mac mini M4 vs. MacBook Neo: 8 GB RAM to wyrok. Dlaczego do AI musisz dopłacić?
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macOS 27: czy Apple faktycznie naprawi to, co nie zadziałało w Tahoe? Przecieki sugerują „wielkie sprzątanie”
Jeśli po aktualizacji do macOS Tahoe zacząłeś mrużyć oczy przez brak kontrastu i wszechobecne, męczące przezroczystości, nie jesteś sam.
Mark Gurman z Bloomberga donosi, że nadchodzący macOS 27 ma być dla Apple szansą na wygładzenie ostrych krawędzi swojego najnowszego języka projektowania. Pytanie tylko, czy Apple faktycznie słucha użytkowników, czy po prostu łata dziury, na które wcześniej zabrakło czasu.
Liquid Glass 2.0: próba dopieczenia interfejsu
Obecny wygląd macOS Tahoe od początku budził kontrowersje. Według źródeł Gurmana, problemem nie była sama wizja, a raczej „niedopieczona” (not-completely-baked) implementacja ze strony inżynierów. macOS 27 ma dostarczyć styl Liquid Glass w takiej formie, jaką zespół projektowy Alana Dye’a planował od początku.
Co to oznacza w praktyce? Apple ma zmodyfikować sposób operowania cieniami i kontrastem, szczególnie w nieszczęsnych paskach bocznych. Ma być czytelniej, ale historia uczy, że Apple rzadko wycofuje się z raz obranego kierunku wizualnego – spodziewajmy się więc raczej ewolucji niż powrotu do starego, dobrego minimalizmu.
Powrót ducha Snow Leoparda
Najciekawszym aspektem macOS 27 jest fakt, że może to być system typu „maintenance”. Apple ma postawić na wielkie czyszczenie kodu, co w świecie Maców zawsze budzi pozytywne skojarzenia z legendarnym macOS Snow Leopard czy iOS 12.
Priorytetem ma być stabilność i niezawodność. Choć marketingowo Apple prawdopodobnie obieca nam „lepszą wydajność i dłuższą pracę na baterii”, warto zachować dystans – optymalizacja kodu to proces, który zazwyczaj przekłada się na kulturę pracy urządzenia, ale rzadko bywa rewolucją odczuwalną „gołym okiem”. Dla profesjonalistów pracujących na MacBookach każde „odmulenie” systemu będzie jednak na wagę złota.
Zacieśnianie więzów: Siri i Spotlight
W warstwie funkcji mówi się o zbliżeniu do siebie Siri i Spotlight. To, co dotychczas było dwoma osobnymi narzędziami, ma zacząć ze sobą ściślej współpracować. Nowa Siri, korzystająca z bardziej zaawansowanych modeli językowych, ma stać się inteligentniejszym kompanem wbudowanym w wyszukiwarkę systemową. Czy to wystarczy, by Spotlight stał się czymś więcej niż tylko szybkim wybieraniem aplikacji? Zobaczymy.
Apple po raz kolejny musi pogodzić efektowny design z elementarną czytelnością – to konflikt, który w Tahoe został rozstrzygnięty na niekorzyść użytkownika. WWDC 2026, które startuje 8 czerwca, pokaże, czy gigant z Cupertino faktycznie wyciągnął wnioski z błędów, czy jedynie wygładza własną wizję, ignorując głosy krytyki.
#AktualizacjaSystemu #Apple #LiquidGlass #Mac #macOS27 #macOSTahoe #Siri #WWDC2026Mac mini M4 vs. MacBook Neo: 8 GB RAM to wyrok. Dlaczego do AI musisz dopłacić?
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macOS 27: czy Apple faktycznie naprawi to, co nie zadziałało w Tahoe? Przecieki sugerują „wielkie sprzątanie”
Jeśli po aktualizacji do macOS Tahoe zacząłeś mrużyć oczy przez brak kontrastu i wszechobecne, męczące przezroczystości, nie jesteś sam.
Mark Gurman z Bloomberga donosi, że nadchodzący macOS 27 ma być dla Apple szansą na wygładzenie ostrych krawędzi swojego najnowszego języka projektowania. Pytanie tylko, czy Apple faktycznie słucha użytkowników, czy po prostu łata dziury, na które wcześniej zabrakło czasu.
Liquid Glass 2.0: próba dopieczenia interfejsu
Obecny wygląd macOS Tahoe od początku budził kontrowersje. Według źródeł Gurmana, problemem nie była sama wizja, a raczej „niedopieczona” (not-completely-baked) implementacja ze strony inżynierów. macOS 27 ma dostarczyć styl Liquid Glass w takiej formie, jaką zespół projektowy Alana Dye’a planował od początku.
Co to oznacza w praktyce? Apple ma zmodyfikować sposób operowania cieniami i kontrastem, szczególnie w nieszczęsnych paskach bocznych. Ma być czytelniej, ale historia uczy, że Apple rzadko wycofuje się z raz obranego kierunku wizualnego – spodziewajmy się więc raczej ewolucji niż powrotu do starego, dobrego minimalizmu.
Powrót ducha Snow Leoparda
Najciekawszym aspektem macOS 27 jest fakt, że może to być system typu „maintenance”. Apple ma postawić na wielkie czyszczenie kodu, co w świecie Maców zawsze budzi pozytywne skojarzenia z legendarnym macOS Snow Leopard czy iOS 12.
Priorytetem ma być stabilność i niezawodność. Choć marketingowo Apple prawdopodobnie obieca nam „lepszą wydajność i dłuższą pracę na baterii”, warto zachować dystans – optymalizacja kodu to proces, który zazwyczaj przekłada się na kulturę pracy urządzenia, ale rzadko bywa rewolucją odczuwalną „gołym okiem”. Dla profesjonalistów pracujących na MacBookach każde „odmulenie” systemu będzie jednak na wagę złota.
Zacieśnianie więzów: Siri i Spotlight
W warstwie funkcji mówi się o zbliżeniu do siebie Siri i Spotlight. To, co dotychczas było dwoma osobnymi narzędziami, ma zacząć ze sobą ściślej współpracować. Nowa Siri, korzystająca z bardziej zaawansowanych modeli językowych, ma stać się inteligentniejszym kompanem wbudowanym w wyszukiwarkę systemową. Czy to wystarczy, by Spotlight stał się czymś więcej niż tylko szybkim wybieraniem aplikacji? Zobaczymy.
Apple po raz kolejny musi pogodzić efektowny design z elementarną czytelnością – to konflikt, który w Tahoe został rozstrzygnięty na niekorzyść użytkownika. WWDC 2026, które startuje 8 czerwca, pokaże, czy gigant z Cupertino faktycznie wyciągnął wnioski z błędów, czy jedynie wygładza własną wizję, ignorując głosy krytyki.
#AktualizacjaSystemu #Apple #LiquidGlass #Mac #macOS27 #macOSTahoe #Siri #WWDC2026Mac mini M4 vs. MacBook Neo: 8 GB RAM to wyrok. Dlaczego do AI musisz dopłacić?
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Kansas City Royals news: This is turning into Bobby’s team https://www.rawchili.com/mlb/694429/ #AlekThomas #BaltimoreOrioles #Baseball #BlakeSnell #BobbyWittJr #CarlosEstevez #Cleveland #ColeRagans #Cubs #DanielLynchIV #Dodgers #FreddyPeralta #Kansas #KansasCity #KansasCityRoyals #KansasCity #KansasCityRoyals #KauffmanStadium #LucasErceg #MatthewBoyd #Mets #Missouri #MLB #royals #SalvadorPerez #TheDiamondbacks #TheKansasCityRoyals #VinniePasquantino
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Kansas City Royals news: This is turning into Bobby’s team https://www.rawchili.com/mlb/694429/ #AlekThomas #BaltimoreOrioles #Baseball #BlakeSnell #BobbyWittJr #CarlosEstevez #Cleveland #ColeRagans #Cubs #DanielLynchIV #Dodgers #FreddyPeralta #Kansas #KansasCity #KansasCityRoyals #KansasCity #KansasCityRoyals #KauffmanStadium #LucasErceg #MatthewBoyd #Mets #Missouri #MLB #royals #SalvadorPerez #TheDiamondbacks #TheKansasCityRoyals #VinniePasquantino
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https://www.europesays.com/ie/436932/ HESTA names CEO replacement for Blakey #Business #DebbyBlakey #Éire #Esssuper #HESTA #Hires #IE #Ireland #PersonalFinance #PersonalFinance #RobbieCampo
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HESTA names CEO replacement for Blakey
HESTA has appointed ESSSuper chief executive Robbie Campo as its next chief executive, with the $100 billion profit-to-member…
#NewsBeep #News #Personalfinance #AU #Australia #Business #DebbyBlakey #Esssuper #Finance #Hesta #hires #PersonalFinance #RobbieCampo
https://www.newsbeep.com/au/608879/ -
HESTA names CEO replacement for Blakey
HESTA has appointed ESSSuper chief executive Robbie Campo as its next chief executive, with the $100 billion profit-to-member…
#NewsBeep #News #Personalfinance #AU #Australia #Business #DebbyBlakey #Esssuper #Finance #Hesta #hires #PersonalFinance #RobbieCampo
https://www.newsbeep.com/au/608879/
