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Cryptworm – Infectious Pathological Waste Review By Steel DruhmUK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!
Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!
Infectious Pathological Waste by Cryptworm
On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.
Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.
Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.
Rating: 3.0/5.0
#2026 #Autopsy #CannibalCorpse #Carcass #CrypticShift #Cryptworm #DeathMetal #InfectiousPathologicalWaste #Mar26 #MeSacoUnOjoRecords #Review #Reviews #Rothadás #SymphoniesOfSickness #UKMetal
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026 -
Cryptworm – Infectious Pathological Waste Review By Steel DruhmUK disgusting death metal fiends Cryptworm have been quite prolific since 2022. Featuring members of Cryptic Shift and Rothadas, their Spewing Mephitic Putridity debut was a nauseating dose of raw sewagecore that made Autopsy seem hygienic by comparison. They followed that up barely a year later with Oozing Radioactive Vomition, and things felt a bit rushed and less impactful. They wisely took some time off thereafter, and now they return with third outing, Infectious Pathological Waste. While their overall approach hasn’t changed much from album to album, the quality of the writing has varied. This time, it feels like they put a bit more thought into the compositions, and some of the vile charm of the debut resurfaces through the slime and scuzz. Nothing does the heart good quite like seeing a happy Cryptworm!
Opener “Gallons of Molten Hominal Goo” greets you like a decaying old friend, and the gruesome, repulsive sounds contain the distinct aroma of early Carcass. This lump of excrement could have appeared on Symphonies of Sickness and fit like a maggot in a gunshot wound. The riffs are fairly rudimentary but have weight, and the vocals by Hanyi Tibor (Rothadas) are a cross between an industrial garbage disposal and a frat-house beer-belching contest. They are fucking disgusting, purulent, and utterly incomprehensible, but damn if they aren’t entertaining. “Maimed and Gutted” is a standout, going for a frantic thrashy panic attack with Cannibal Corpse-isms buried in the basement. It’s a road-grader of a brutal death song that veers into slam territory at times, and the riffs are greasy, sticky, and bellicose. My favorite macabre ditty is “Embedded with Parasitic Larvae,” where, intentionally or not, Tibor sounds like an undead version of the Swedish Chef from The Muppet Show. I cannot tell you why this enhances my enjoyment as much as it does, but fuck yes, Chef!
Infectious Pathological Waste by Cryptworm
On “Drowning in Purulent Excrementia,” they go extra slammy, and kitman Jamie Wintle starts to hit something that should be the pong snare, but it sounds like he’s beating on a skull or a femur. It’s weird, but I kinda like it, and it’s way better than that godawful PONG-PONG-PONG sound some tech and slam bands foist on you. Not every track is a sure-fire hit though, with “Gastrointestinal Seepage” feeling a bit too leaden and lethargic, though I appreciate Tibor’s extra nasty vocals where he seems to be coughing up a hairball full of razor blades and asbestos. I could complain that this feels like a very one-note album, but what death metal album isn’t really? At a tight 32 minutes, it goes by fast enough, though several tracks do have bloat issues that crimp enjoyment. The style Cryptworm opt to play necessitates keeping things in a 3-4 minute window, and when they push further, things get ropey and dopey.
Tibor does a tremendous, unpleasant job on vocals, sounding completely inhuman at all times. His unbelievably cartoonish subterranean croaks are a thing of hideous beauty, and I can’t get enough of them. His guitarwork is also to be applauded, borrowing the most objectionable bits of gristle from Autopsy, Cannibal Corpse, and Incantation to fuel the Cryptworm diet. Some of the leads are quite hooky, and I especially love the big beefy power chugs that dot the landscape. As on Oozing Radioactive Vomition, however, the songwriting can be inconsistent, and they don’t always know when enough is enough. There are some sick burners here to aggravate the savage altered beast, but a few tracks feel underbaked and deliver weaker tentacle slaps.
Cryptworm are a band I can’t help but root for as I root around in their repellant leavings, but I want them to be MOAR consistently deadly with their offal hammer. There’s plenty of fun stuff on Infectious Pathological Waste to marinate in, and it all reeks of the slaughterhouse. When it’s good, it’s rurl good. When it’s just okay, it’s still pretty fookin’ entertaining. Someday these chaps are gonna get their maggot larvae in a row and then, watch out! Until then, there are worse ways to kill brain cells than these odious odes to the grave.
Rating: 3.0/5.0
#2026 #Autopsy #CannibalCorpse #Carcass #CrypticShift #Cryptworm #DeathMetal #InfectiousPathologicalWaste #Mar26 #MeSacoUnOjoRecords #Review #Reviews #Rothadás #SymphoniesOfSickness #UKMetal
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo
Websites: cryptworm.bandcamp.com | facebook.com/cryptworm | instagram.com/cryptwormofficial
Releases Worldwide: March 27th, 2026 -
An Experienced Wood Firer Shares #Kiln Plans for a Small Instructional #WoodFiredKiln
Design your own wood kiln using these wood kiln plans!by John Thies
Excerpt: "I set out to build a very versatile and efficient wood-firing kiln that could be used by students who had interest in a complete hands-on experience, from the preparation, loading, firing and unloading to the final clean-up phase. I didn't want to interfere with the successful larger firings, in which students can get a large volume of wood-fired pots without the in-depth hands-on experience. The new kiln would allow me to cut down on the extensive labor, fuel and overhead costs of my larger kiln.
I named the new kiln '#Manabigama' at the suggestion of my friend Phil Berneburg, former technical editor for CM. In #Japanese, mana means educational or learning, bi means a thing of beauty, and gama means kiln.
The Manabigama is a traditional design with a few simple modifications. I see it as a cross between an #AnagamaKiln and a #GroundhogStyleKiln. Basically, it is a crossdraft tube built into the side of a hill. The overall interior dimensions are 24 inches in width, 7 feet in depth, 40 inches in height. Its firebox is in the front, incorporated into the inside with a grate system, and extra air intakes are built into the front and sides. This is done to provide more secondary air intake to help burn green or wet fuel. The firebox is plenty adequate being 2 feet wide, 2 feet deep and 30 inches high from the floor to ware level. The chimney has inside dimensions of 9 inches deep by 18 inches wide and is 12 feet high. The shape is a long rectangle with two straight, 18-inch-tall side walls and a catenary arch built on top. This creates ample headroom for ease of loading, as well as extra height for stacking and tall pieces.
There is approximately 24 cubic feet of ware space, more than enough for teaching purposes. The kiln door is in front, only halfway down, and is bricked up including the stoke hole. It can be loaded in two to three hours, fires evenly to Cone 10-12 in eight hours tops, or if you choose, you can fire two to three days depending on how much ash buildup you like. The consumption of fuel is also minimal-less than half a cord of wood. When loading the wood kiln, be sure to use wadding to prevent pots from sticking to shelves.
All in all, the Manabigama is a very simple design to build. It is capable of yielding wonderful ash-glazed pieces with a minimum of labor, fuel and overhead costs. And it is a fantastic wood-fired kiln for teaching without the tremendous strain of a large three-chambered kiln."
#SolarPunkSunday #WoodFiredKiln #DIY
#Kilns #Pottery #Quicklime? #DIYKilns #TraditionalTechnology #Adaptation -
An Experienced Wood Firer Shares #Kiln Plans for a Small Instructional #WoodFiredKiln
Design your own wood kiln using these wood kiln plans!by John Thies
Excerpt: "I set out to build a very versatile and efficient wood-firing kiln that could be used by students who had interest in a complete hands-on experience, from the preparation, loading, firing and unloading to the final clean-up phase. I didn't want to interfere with the successful larger firings, in which students can get a large volume of wood-fired pots without the in-depth hands-on experience. The new kiln would allow me to cut down on the extensive labor, fuel and overhead costs of my larger kiln.
I named the new kiln '#Manabigama' at the suggestion of my friend Phil Berneburg, former technical editor for CM. In #Japanese, mana means educational or learning, bi means a thing of beauty, and gama means kiln.
The Manabigama is a traditional design with a few simple modifications. I see it as a cross between an #AnagamaKiln and a #GroundhogStyleKiln. Basically, it is a crossdraft tube built into the side of a hill. The overall interior dimensions are 24 inches in width, 7 feet in depth, 40 inches in height. Its firebox is in the front, incorporated into the inside with a grate system, and extra air intakes are built into the front and sides. This is done to provide more secondary air intake to help burn green or wet fuel. The firebox is plenty adequate being 2 feet wide, 2 feet deep and 30 inches high from the floor to ware level. The chimney has inside dimensions of 9 inches deep by 18 inches wide and is 12 feet high. The shape is a long rectangle with two straight, 18-inch-tall side walls and a catenary arch built on top. This creates ample headroom for ease of loading, as well as extra height for stacking and tall pieces.
There is approximately 24 cubic feet of ware space, more than enough for teaching purposes. The kiln door is in front, only halfway down, and is bricked up including the stoke hole. It can be loaded in two to three hours, fires evenly to Cone 10-12 in eight hours tops, or if you choose, you can fire two to three days depending on how much ash buildup you like. The consumption of fuel is also minimal-less than half a cord of wood. When loading the wood kiln, be sure to use wadding to prevent pots from sticking to shelves.
All in all, the Manabigama is a very simple design to build. It is capable of yielding wonderful ash-glazed pieces with a minimum of labor, fuel and overhead costs. And it is a fantastic wood-fired kiln for teaching without the tremendous strain of a large three-chambered kiln."
#SolarPunkSunday #WoodFiredKiln #DIY
#Kilns #Pottery #Quicklime? #DIYKilns #TraditionalTechnology #Adaptation -
An Experienced Wood Firer Shares #Kiln Plans for a Small Instructional #WoodFiredKiln
Design your own wood kiln using these wood kiln plans!by John Thies
Excerpt: "I set out to build a very versatile and efficient wood-firing kiln that could be used by students who had interest in a complete hands-on experience, from the preparation, loading, firing and unloading to the final clean-up phase. I didn't want to interfere with the successful larger firings, in which students can get a large volume of wood-fired pots without the in-depth hands-on experience. The new kiln would allow me to cut down on the extensive labor, fuel and overhead costs of my larger kiln.
I named the new kiln '#Manabigama' at the suggestion of my friend Phil Berneburg, former technical editor for CM. In #Japanese, mana means educational or learning, bi means a thing of beauty, and gama means kiln.
The Manabigama is a traditional design with a few simple modifications. I see it as a cross between an #AnagamaKiln and a #GroundhogStyleKiln. Basically, it is a crossdraft tube built into the side of a hill. The overall interior dimensions are 24 inches in width, 7 feet in depth, 40 inches in height. Its firebox is in the front, incorporated into the inside with a grate system, and extra air intakes are built into the front and sides. This is done to provide more secondary air intake to help burn green or wet fuel. The firebox is plenty adequate being 2 feet wide, 2 feet deep and 30 inches high from the floor to ware level. The chimney has inside dimensions of 9 inches deep by 18 inches wide and is 12 feet high. The shape is a long rectangle with two straight, 18-inch-tall side walls and a catenary arch built on top. This creates ample headroom for ease of loading, as well as extra height for stacking and tall pieces.
There is approximately 24 cubic feet of ware space, more than enough for teaching purposes. The kiln door is in front, only halfway down, and is bricked up including the stoke hole. It can be loaded in two to three hours, fires evenly to Cone 10-12 in eight hours tops, or if you choose, you can fire two to three days depending on how much ash buildup you like. The consumption of fuel is also minimal-less than half a cord of wood. When loading the wood kiln, be sure to use wadding to prevent pots from sticking to shelves.
All in all, the Manabigama is a very simple design to build. It is capable of yielding wonderful ash-glazed pieces with a minimum of labor, fuel and overhead costs. And it is a fantastic wood-fired kiln for teaching without the tremendous strain of a large three-chambered kiln."
#SolarPunkSunday #WoodFiredKiln #DIY
#Kilns #Pottery #Quicklime? #DIYKilns #TraditionalTechnology #Adaptation -
An Experienced Wood Firer Shares #Kiln Plans for a Small Instructional #WoodFiredKiln
Design your own wood kiln using these wood kiln plans!by John Thies
Excerpt: "I set out to build a very versatile and efficient wood-firing kiln that could be used by students who had interest in a complete hands-on experience, from the preparation, loading, firing and unloading to the final clean-up phase. I didn't want to interfere with the successful larger firings, in which students can get a large volume of wood-fired pots without the in-depth hands-on experience. The new kiln would allow me to cut down on the extensive labor, fuel and overhead costs of my larger kiln.
I named the new kiln '#Manabigama' at the suggestion of my friend Phil Berneburg, former technical editor for CM. In #Japanese, mana means educational or learning, bi means a thing of beauty, and gama means kiln.
The Manabigama is a traditional design with a few simple modifications. I see it as a cross between an #AnagamaKiln and a #GroundhogStyleKiln. Basically, it is a crossdraft tube built into the side of a hill. The overall interior dimensions are 24 inches in width, 7 feet in depth, 40 inches in height. Its firebox is in the front, incorporated into the inside with a grate system, and extra air intakes are built into the front and sides. This is done to provide more secondary air intake to help burn green or wet fuel. The firebox is plenty adequate being 2 feet wide, 2 feet deep and 30 inches high from the floor to ware level. The chimney has inside dimensions of 9 inches deep by 18 inches wide and is 12 feet high. The shape is a long rectangle with two straight, 18-inch-tall side walls and a catenary arch built on top. This creates ample headroom for ease of loading, as well as extra height for stacking and tall pieces.
There is approximately 24 cubic feet of ware space, more than enough for teaching purposes. The kiln door is in front, only halfway down, and is bricked up including the stoke hole. It can be loaded in two to three hours, fires evenly to Cone 10-12 in eight hours tops, or if you choose, you can fire two to three days depending on how much ash buildup you like. The consumption of fuel is also minimal-less than half a cord of wood. When loading the wood kiln, be sure to use wadding to prevent pots from sticking to shelves.
All in all, the Manabigama is a very simple design to build. It is capable of yielding wonderful ash-glazed pieces with a minimum of labor, fuel and overhead costs. And it is a fantastic wood-fired kiln for teaching without the tremendous strain of a large three-chambered kiln."
#SolarPunkSunday #WoodFiredKiln #DIY
#Kilns #Pottery #Quicklime? #DIYKilns #TraditionalTechnology #Adaptation -
An Experienced Wood Firer Shares #Kiln Plans for a Small Instructional #WoodFiredKiln
Design your own wood kiln using these wood kiln plans!by John Thies
Excerpt: "I set out to build a very versatile and efficient wood-firing kiln that could be used by students who had interest in a complete hands-on experience, from the preparation, loading, firing and unloading to the final clean-up phase. I didn't want to interfere with the successful larger firings, in which students can get a large volume of wood-fired pots without the in-depth hands-on experience. The new kiln would allow me to cut down on the extensive labor, fuel and overhead costs of my larger kiln.
I named the new kiln '#Manabigama' at the suggestion of my friend Phil Berneburg, former technical editor for CM. In #Japanese, mana means educational or learning, bi means a thing of beauty, and gama means kiln.
The Manabigama is a traditional design with a few simple modifications. I see it as a cross between an #AnagamaKiln and a #GroundhogStyleKiln. Basically, it is a crossdraft tube built into the side of a hill. The overall interior dimensions are 24 inches in width, 7 feet in depth, 40 inches in height. Its firebox is in the front, incorporated into the inside with a grate system, and extra air intakes are built into the front and sides. This is done to provide more secondary air intake to help burn green or wet fuel. The firebox is plenty adequate being 2 feet wide, 2 feet deep and 30 inches high from the floor to ware level. The chimney has inside dimensions of 9 inches deep by 18 inches wide and is 12 feet high. The shape is a long rectangle with two straight, 18-inch-tall side walls and a catenary arch built on top. This creates ample headroom for ease of loading, as well as extra height for stacking and tall pieces.
There is approximately 24 cubic feet of ware space, more than enough for teaching purposes. The kiln door is in front, only halfway down, and is bricked up including the stoke hole. It can be loaded in two to three hours, fires evenly to Cone 10-12 in eight hours tops, or if you choose, you can fire two to three days depending on how much ash buildup you like. The consumption of fuel is also minimal-less than half a cord of wood. When loading the wood kiln, be sure to use wadding to prevent pots from sticking to shelves.
All in all, the Manabigama is a very simple design to build. It is capable of yielding wonderful ash-glazed pieces with a minimum of labor, fuel and overhead costs. And it is a fantastic wood-fired kiln for teaching without the tremendous strain of a large three-chambered kiln."
#SolarPunkSunday #WoodFiredKiln #DIY
#Kilns #Pottery #Quicklime? #DIYKilns #TraditionalTechnology #Adaptation -
Mastering Manifestation: Align Your Mind and Intentions
The art of manifestation is fascinating because it combines several interconnected principles that bridge mindset and action.
Resonance
First, there’s the principle of vibration and resonance—essentially, you attract what you embody. When you genuinely align your thoughts, feelings, and actions with your desire, you naturally start noticing and creating opportunities matching that frequency. It’s less about magical thinking and more about tuning your awareness to possibilities that were always there.
Intention
The second principle is clarity of intention. Vague wishes tend to create vague results. When you can visualize your desire with crystal clarity—down to how it feels, looks, and impacts your life—you’re essentially creating a detailed blueprint for your subconscious mind to work with.
Inspired Action
Then there’s the principle of inspired action. Manifestation isn’t passive; it’s an active partnership with the universe. While you hold your vision, you need to remain alert and responsive to opportunities that arise, even if they come in unexpected packages. Think of it as co-creating rather than just wishing.
Detachment
The principle of detachment is equally crucial. While this might sound contradictory, being too desperately attached to specific outcomes can actually block their arrival. It’s about holding your vision with passionate intention while remaining flexible about the how and when.
Gratitude & Presence
Perhaps most importantly, there’s the principle of gratitude and presence. When you cultivate genuine appreciation for what you already have, you create an abundance mindset that naturally attracts more to be grateful for. Living in constant scarcity consciousness sends a very different message to both your subconscious and the universe.
Alignment
Remember, manifestation isn’t about forcing outcomes—it’s about aligning yourself with what you seek while remaining open to how it unfolds. Sometimes what manifests is even better than what you initially imagined, because your higher self knows what truly serves your growth.
Insightful Living
The beauty of these principles is that they work whether you view them through a spiritual lens or see them as sophisticated psychological tools for programming your reticular activating system—the part of your brain that filters reality and determines what you notice and act upon. This duality allows for a rich exploration of human potential, offering insights that resonate with both the seeker of inner peace and the analytical mind. By understanding how these principles can influence your perceptions and reactions, you can harness their power to create a more intentional and fulfilling life. As you engage with these concepts, consider how they manifest in your daily experiences, guiding you toward opportunities and insights that align with your goals and desires. Embracing this holistic approach can lead to transformative changes, enhancing your ability to manifest the reality you wish to create.
https://open.spotify.com/episode/7vxXHVxIkbAF9I5d2Z19ah?si=yeC8fPX7R4mg1ADDm7KB2w
Welcome to a meditation that balances mindful presence with intentional manifestation, guiding you to cultivate a deep awareness of your thoughts and feelings while aligning your aspirations with the universe. This practice invites you to focus on the present moment, allowing you to fully experience the world around you, as you set clear intentions for what you desire to bring into your life. By harmonizing these two powerful aspects, you create a space where mindfulness and manifestation work hand in hand, empowering you to transform your reality and enhance your overall well-being.
#alignment #awareness #balance #detachment #experience #flow #goals #guidedMeditation #healing #howToManifest #howToManifet #insightfulLiving #inspiredAction #intention #intentionalLiving #lawOfAttraction #manifestYourDreams #manifestYourReality #manifestation #manifesting #meditation #mindful #mindfulness #moments #practice #presentMoment #raiseyourvibration #resonance #universeHasYourBack
-
Mastering Manifestation: Align Your Mind and Intentions
The art of manifestation is fascinating because it combines several interconnected principles that bridge mindset and action.
Resonance
First, there’s the principle of vibration and resonance—essentially, you attract what you embody. When you genuinely align your thoughts, feelings, and actions with your desire, you naturally start noticing and creating opportunities matching that frequency. It’s less about magical thinking and more about tuning your awareness to possibilities that were always there.
Intention
The second principle is clarity of intention. Vague wishes tend to create vague results. When you can visualize your desire with crystal clarity—down to how it feels, looks, and impacts your life—you’re essentially creating a detailed blueprint for your subconscious mind to work with.
Inspired Action
Then there’s the principle of inspired action. Manifestation isn’t passive; it’s an active partnership with the universe. While you hold your vision, you need to remain alert and responsive to opportunities that arise, even if they come in unexpected packages. Think of it as co-creating rather than just wishing.
Detachment
The principle of detachment is equally crucial. While this might sound contradictory, being too desperately attached to specific outcomes can actually block their arrival. It’s about holding your vision with passionate intention while remaining flexible about the how and when.
Gratitude & Presence
Perhaps most importantly, there’s the principle of gratitude and presence. When you cultivate genuine appreciation for what you already have, you create an abundance mindset that naturally attracts more to be grateful for. Living in constant scarcity consciousness sends a very different message to both your subconscious and the universe.
Alignment
Remember, manifestation isn’t about forcing outcomes—it’s about aligning yourself with what you seek while remaining open to how it unfolds. Sometimes what manifests is even better than what you initially imagined, because your higher self knows what truly serves your growth.
Insightful Living
The beauty of these principles is that they work whether you view them through a spiritual lens or see them as sophisticated psychological tools for programming your reticular activating system—the part of your brain that filters reality and determines what you notice and act upon. This duality allows for a rich exploration of human potential, offering insights that resonate with both the seeker of inner peace and the analytical mind. By understanding how these principles can influence your perceptions and reactions, you can harness their power to create a more intentional and fulfilling life. As you engage with these concepts, consider how they manifest in your daily experiences, guiding you toward opportunities and insights that align with your goals and desires. Embracing this holistic approach can lead to transformative changes, enhancing your ability to manifest the reality you wish to create.
https://open.spotify.com/episode/7vxXHVxIkbAF9I5d2Z19ah?si=yeC8fPX7R4mg1ADDm7KB2w
Welcome to a meditation that balances mindful presence with intentional manifestation, guiding you to cultivate a deep awareness of your thoughts and feelings while aligning your aspirations with the universe. This practice invites you to focus on the present moment, allowing you to fully experience the world around you, as you set clear intentions for what you desire to bring into your life. By harmonizing these two powerful aspects, you create a space where mindfulness and manifestation work hand in hand, empowering you to transform your reality and enhance your overall well-being.
#alignment #awareness #balance #detachment #experience #flow #goals #guidedMeditation #healing #howToManifest #howToManifet #insightfulLiving #inspiredAction #intention #intentionalLiving #lawOfAttraction #manifestYourDreams #manifestYourReality #manifestation #manifesting #meditation #mindful #mindfulness #moments #practice #presentMoment #raiseyourvibration #resonance #universeHasYourBack
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Shoebill Balaeniceps rex
Shoebill Balaeniceps rex
Vulnerable
Extant (resident)
Central African Republic; Democratic Republic of the Congo; Rwanda; South Sudan; Sudan; Tanzania; Uganda; Zambia
Known for their unnerving and intense stare and imposing, prehistoric appearance – shoebills are magnificent birds. There are less than 8000 individual birds left alive. They are vulnerable from #palmoil, #cocoa and #meat #deforestation, agricultural run-off, #pollution, #mining, #hunting and human persecution. Help them every time you shop and be #vegan, #Boycottpalmoil #Boycott4Wildlife
The #Shoebill is a magnificent and gentle big bird 🕊️🦤 with an unnerving stare 👀 There are only 8000 left alive in #DRC, #Uganda #Africa. Vulnerable from #palmoil #deforestation, #hunting and more. Fight for them! #Boycottpalmoil 🌴🚫 #Boycott4Wildlife https://palmoildetectives.com/2023/09/10/shoebill-balaeniceps-rex/
Share to BlueSky Share to TwitterKnown for their menacing stare 👀😸 gentle #shoebills are iconic in #Uganda 🇺🇬 #Congo 🇨🇩 #Tanzania 🇹🇿 They are vulnerable from #hunting, #palmoil #deforestation. Help them and be #vegan 🥕🍆 and #Boycottpalmoil 🌴🪔☠️🔥⛔️ #Boycott4Wildlife @palmoildetect https://palmoildetectives.com/2023/09/10/shoebill-balaeniceps-rex/
Share to BlueSky Share to TwitterThere are less than 8,000 birds left alive and they are increasingly threatened by agricultural run-off from palm oil and cocoa deforestation across their range.
https://www.youtube.com/watch?v=8V7t28Fim34
The shoebill Balaeniceps rex is also known by the common names: the whale-headed stork, shoebill stork and whalehead. Their eponymous feature is their enormous bill They have the third largest bills after pelicans and large storks.
Fast Facts
- When shoebills soar they make around 150 flaps per minute which makes them one of the slowest of any bird, with the exception of the larger stork species.
- They stand stock-still and waiting, all alone giving them an eerie and unnerving appearance. Once they notice fish appearing on the surface of swamps they quickly snap them up into their large bills.
- The shoebill’s chattering large bill makes a sound akin to machine gun fire. This combined with their silent creeping gait can make them seem rather menacing!
- Shoebills are attracted to poorly oxygenated waters, as this means fish must come to the surface to breathe – where they are efficiently captured.
- They are mostly silent except for elaborate bill-clattering communication that happens during their breeding. Chicks make a human-like hiccup sound when signalling hunger.
- Although they have a similar appearance to storks, shoebills are more closely related to pelicans and herons in the order Pelecaniformes.
Appearance & Behaviour
They possess extraordinarily large feet with their middle toe extending up to 18.5 cm in length. This helps them with balance while standing on uneven swamps and on aquatic vegetation while they hunt.
Adults have feathers that range from blue-grey to slate-grey. Juveniles possess similar plumage but in a tawny blue-brown hue.
Shoebills have a modestly sized bill at birth, which grows much larger once chicks reach between 23-43 days old.
Their unusual beauty makes them a must-see for birdwatchers in Africa. Despite their slightly unnerving appearance, these birds are placid and will allow birdwatchers to snap their photo at a range of two metres.
Shoebills are known for staying statue-still and silent in the muddy waters while hunting. These birds stalk their prey in a solitary way, patiently lurking and hunting entirely with their vision. Once prey is spotted they launch a rapid strike. They will sometimes use their big beaks to pry deep into the pond mud and extirpate lung fish with a violent strike.
They are normally silent but will get noisy during nesting season with elaborate bill clattering displays. Adults birds will make a ‘moo’ sound and high pitched whine while clattering their bills in order to communicate with each other. Chicks call out to their mothers with a ‘hiccup’ sound.
Shoebills typically hunt for lungfish and other fish in poorly oxygenated marshlands, bogs, peatland and swamps. Fish frequently break to the surface to breathe – it is then that shoebills rapidly strike. Their large feet enable them to balance on floating vegetation. The movement of hippos can aid the hunting of shoebills, as they rustle up fish from bottom of swamps, pushing them to surface for the shoebills’ easy capture.
Threats
There is estimated to be below 8,000 individual shoebills left and they are classified as vulnerable. Shoebills face a range of anthropogenic threats:
- Palm oil and cocoa deforestation: The mass removal of virgin rainforest for palm oil and cocoa results in mass deaths of shoebills.
- Infrastructure building: roads, dams and powerlines pose a risk to shoebills.
- Meat deforestation: cattle and other animals are known to trample shoebill nests.
- Pollution run-off: from palm oil agrochemicals and mining effluent.
- Hunting: In some cultures shoebills are thought of as a bad omen, in others they are hunted for food.
- Capture for the pet trade: Shoebill eggs and chicks are captured for consumption or sold to zoos.
- Armed human conflict: Armed groups moving through the rainforest has facilitated hunting of shoebills.
- Climate change: Increased extreme weather events like fires and droughts brought on by climate change lowers their numbers.
Habitat
Shoebills are found in central tropical Africa. Including South Sudan, eastern Congo, Rwanda, Uganda, western Tanzania, and northern Zambia. They are non-migratory birds who make limited seasonal movements.
They live in dense freshwater swamps and marshes including undisturbed papyrus and reed beds. They are attracted to areas of mixed vegetation and have been seen on occasion in rice fields and flooded plantations.
Diet
Shoebills mainly consume fish but will also eat a range of wetland vertebrates. Their preferred food is marbled lungfish, tilapia and catfish. When this is not available they are known to consume frogs, nile monitors, baby crocodiles, water snakes, turtles, snails, rodents and other small waterfowl.
Mating and breeding
Shoebills form monogamous pair bonds for the breeding season. They fiercely defend their nests from other birds during their nesting period, which begins either during the monsoon season or after this ends.
Both parents build the nest on a floating and flat platform made up of swamp vegetation and around three metres wide and three metres deep.
Typically the female will lay between one to three eggs, with only one being reared and cared for until maturity. The other eggs are back-ups in case the eldest chick is weak or dies.
In the hot weather, shoebill parents will fill their bills with water to shower their nests to cool their eggs.
Chicks take about 105 days to fledge and juveniles typically fly well by 112 days. Juvenile birds will continue to feed with their mother for another month after this and reach sexual maturity at about three years old.
Support Shoebills by going vegan and boycotting palm oil in the supermarket, it’s the #Boycott4Wildlife
Support the conservation of this species
This animal has no protections in place. Read about other forgotten species here. Create art to support this forgotten animal or raise awareness about them by sharing this post and using the #Boycottpalmoil #Boycott4Wildlife hashtags on social media. Also you can boycott palm oil in the supermarket.
Further Information
BirdLife International. 2018. Balaeniceps rex. The IUCN Red List of Threatened Species 2018: e.T22697583A133840708. https://dx.doi.org/10.2305/IUCN.UK.2018-2.RLTS.T22697583A133840708.en. Accessed on 16 February 2023.
Shoebill on Wikipedia – https://en.wikipedia.org/wiki/Shoebill
Shoebill on Animalia.bio – https://animalia.bio/shoebill
How can I help the #Boycott4Wildlife?
Take Action in Five Ways
1. Join the #Boycott4Wildlife on social media and subscribe to stay in the loop: Share posts from this website to your own network on Twitter, Mastadon, Instagram, Facebook and Youtube using the hashtags #Boycottpalmoil #Boycott4Wildlife.
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Join 3,179 other subscribers2. Contribute stories: Academics, conservationists, scientists, indigenous rights advocates and animal rights advocates working to expose the corruption of the palm oil industry or to save animals can contribute stories to the website.
Read moreMel Lumby: Dedicated Devotee to Borneo’s Living Beings
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Read moreHealth Physician Dr Evan Allen
Read moreThe World’s Most Loved Cup: A Social, Ethical & Environmental History of Coffee by Aviary Doert
Read moreHow do we stop the world’s ecosystems from going into a death spiral? A #SteadyState Economy
Read more3. Supermarket sleuthing: Next time you’re in the supermarket, take photos of products containing palm oil. Share these to social media along with the hashtags to call out the greenwashing and ecocide of the brands who use palm oil. You can also take photos of palm oil free products and congratulate brands when they go palm oil free.
https://twitter.com/CuriousApe4/status/1526136783557529600?s=20
https://twitter.com/PhillDixon1/status/1749010345555788144?s=20
https://twitter.com/mugabe139/status/1678027567977078784?s=20
4. Take to the streets: Get in touch with Palm Oil Detectives to find out more.
5. Donate: Make a one-off or monthly donation to Palm Oil Detectives as a way of saying thank you and to help pay for ongoing running costs of the website and social media campaigns. Donate here
Pledge your support #Africa #animals #Bird #birds #Boycott4wildlife #BoycottPalmOil #CentralAfricanRepublic #cocoa #Congo #deforestation #DemocracticRepublicOfCongo #DRC #hunting #meat #mining #PalmOil #palmOilDeforestation #palmoil #poaching #pollution #Rwanda #Shoebill #ShoebillBalaenicepsRex #shoebills #SouthSudan #stork #Tanzania #Uganda #vegan #VulnerableSpecies #Zambia -
So, the other day I noticed a strap on my Honeywell RU6500 #FullFaceElastomeric had broken… this is one I was keeping around for parts, so not a big issue… but the thought of the same fate meeting my current one worried me a bit.
Looked around, found a new Sundström SR200 going for a bargain price (AU$250… normally they are >$550)… beauty. It's on its way south from Mt. Isa.
Today I ordered some filters (from a local supplier here in Brisbane), mainly some #P3 filters (my main concern is #bushfire smoke and #COVID19)… I happened to notice this little chart for the SR-510 particular filters.
https://www.allensindustrial.com.au/documents/Sundstrom%20SR510%20Brochure.pdf
Classes:
- P1: 80% | up to 20% leakage | Protect against Dry and Wet particles _except_ aerosols, carcinogens, radioactive particles, bacteria, *viruses*, spores or biochemicals such as enzymes or hormones
- P2: 94% | up to 6% leakage | Protect against Dry and Wet particles _except_ *viruses*, spores or biochemicals such as enzymes or hormones
- P3: 99.95% | <0.05% leakage | Protect against Dry and wet particles (all types)It was the exceptions for "viruses" in the #P2 and #P1 filters that surprised me. I thought #P2 was more or less equivalent to #N95 and #KF94. (P3 being equivalent to #N100) I hear people singing the praises of N95s with regards to COVID-19, and definitely it beats many common alternatives, but this has me scratching my head.
The SR-510 is a P3 filter, so no biggie… but I thought P2s were up to the task.
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Um... Proving again that #ProBirth is NOT #ProLife!
In states that ban #abortion, #SocialSafetyNet programs often fail families
By LAURA UNGAR and KIMBERLEE KRUESI, December 27, 2024
MEMPHIS, Tenn. (AP) — "Taylor Cagnacci moved from California to Tennessee with hopes of starting a new chapter in a state that touts a low cost of living and natural beauty.
"But she’s infuriated by Tennessee’s meager social services, which leave her and many other moms struggling in a state where abortion is banned with limited exceptions.
"'I was going to have my child no matter what, but for other women, that’s kind of a crappy situation that they put you in,' said Cagnacci, a 29-year-old Kingsport mom who relies on #Medicaid and a federally funded nutrition program. 'You have to have your child. But where’s the assistance afterward?'
"Tennessee has a porous safety net for mothers and young children, recent research and an analysis by The Associated Press found. It’s unknown how many women in the state have given birth because they didn’t have access to abortion, but it is clear that from the time a Tennessee woman gets pregnant, she faces greater obstacles to a #HealthyPregnancy, a #HealthyChild and a financially stable family than the average
"Like other states with strict abortion bans, Tennesseans of childbearing age are more likely to live in maternal care deserts and face overall doctor shortages. Women, infants and children are less likely to be enrolled in a government nutrition program known as #WIC. And Tennessee is one of only 10 states that hasn’t expanded Medicaid to a greater share of low-income families."
https://apnews.com/article/abortion-tennessee-medicaid-wic-2a67e38c0d523a008ec8e1b173b67297
#AbortionBans #SafetyNets #ChildPoverty #FoodInsecurity #USPol -
Tribunal – In Penitence and Ruin Review
By Steel Druhm
Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?
The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.
While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.
While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.
This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal
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Tribunal – In Penitence and Ruin Review
By Steel Druhm
Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?
The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.
While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.
While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.
This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal
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Tribunal – In Penitence and Ruin Review
By Steel Druhm
Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?
The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.
While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.
While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.
This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal
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Tribunal – In Penitence and Ruin Review
By Steel Druhm
Tribunal’s 2023 debut was one of those unheralded albums that came out of nowhere and walloped you with a warhammer, leaving you to collect thoughts and teeth in the aftermath. A brilliant take on Gothic doom, The Weight of Remembrance borrowed much from genre elders like My Dying Bride, Paradise Lost, and Draconian, but somehow managed to feel fresh and fascinating. A true labor of love from Soren Mourne and Etienne Flinn, the album balanced heaviness, beauty, mood, and melody and left you wanting MOAR. Now, after much anticipation, we get more in the form of sophomore outing, In Penitence and Ruin. The dynamic duo have brought on new members to form a complete band, and In Penitence and Ruin is a bigger, more expansive record, moving from their Gothic doom base outward toward Candlemassive-esque epic doom. It’s a grand declaration of intent, but can Tribunal rule yet again?
The headline here is that In Penitence lacks some of the sheer heaviness and the sense of dread that made the debut so captivating. In the push to expand their sound, Tribunal sacrificed weight for scope and breadth, bringing them closer to the Draconian school of Goth doom. Opener “Incarnadine” is a beautiful piece of music in line with what they did last time. Piano and understated cello combine with doom riffs, and Soren’s ethereal voice pairs perfectly with Etienne’s death roars and blackened rasps. It’s a gorgeous song with peaks and valleys of emotion, but it’s a bit too light at times, letting the orchestrations overpower the riffs. “A Wound Unhealing” brings back the oppression with a plodding journey that manages to be both theatrical and heavy as fook. Soren kills it with her impassioned vocals that almost reach the operatic stage, and the presence of harpsichord and cello doesn’t disrupt the huge doom riffage that plods all over the lot. This is what I want from Tribunal, and it’s wonderful. “The Sword of the Slain” is another highlight, blending extra blackened elements into the doom stew for a dark and powerful sound. The riffs channel primitive Bathorycore as Soren flies high above and Etienne snarls and roars for all he’s worth. This one is a grim keeper.
While the front half of In Penitence is exceptional, the back half is a touch less so. “…and the Thorn-Choked Flowers” is very good, hitting that sweet spot between Draconian and Novembers Doom, and “Amoured in Shadow” is perhaps the most memorable piece present due to big vocal hooks. On the downside, “Penitence” is a nice track, but not as enthralling as its peers. Closer “Between the Sea and Stars” is quite good, even if it sounds more like Seven Spires than Tribunal, but it lacks the heavy doom oomph I crave. At 48:21, In Penitence doesn’t feel overly long, and though not every track is a showstopper, none drag or feel expendable. The top shelf stuff is similar to what we got on the debut, and the few tracks that slip a notch are still good. The downturn in overall heaviness isn’t fatal, and the more expansive soundscape opens up new worlds for them to explore in the future.
While Soren’s vocals were often understated on the debut, she’s the beating heartbeat of the Tribunal sound here. She goes all in, too, showcasing her considerable range and power. Her wide-ranging vocals propel the compositions to great heights, sometimes reminding one of Jex Thoth, and at others, Tower’s Sarabeth Linden. If you heard the debut, you’ll be surprised by the force of her delivery. She moves from angelic to mournful to outright badass as the material demands, and she impresses at every turn. Her graceful cello work adds a layer of melancholic class to the proceedings, with it getting in the way of the riffs only occasionally. Etienne impresses playing the rampaging beast to Soren’s beauty, delivering booming death roars and scathing blackened rasps. His guitar work alongside new axe Jessica Yang yields big doom riff energy and enough weepy trilling to sell the despair. They take a minimalist approach to solos, letting the cello fill in the blanks, but it works.
This was one of the year’s more anticipated releases for yours Steely, and though it doesn’t hit with the same force as The Weight of Remembrance, In Pentience and Ruin is still a very good, and nearly great Gothic doom album. Yes, there’s a general softening as they try to expand the boundaries of their sound, but this is still compelling and heavy enough to satisfy that unsightly doom itch. Tribunal continue to impress and I’m excited to see where they go next. Hear this and get depressed in a fucking classy way.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin
Websites: instagram.com/tribunaldoom | facebook.com/tribunaldoom
Releases Worldwide: April 18th, 2025#20BuckSpin #2025 #35 #Apr25 #CanadianMetal #DeathMetal #DoomMetal #Draconian #GothicDoom #JexThoth #MyDyingBride #PenitenceAndRuin #Review #Reviews #TheWeightOfRemembrance #Tribunal
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#GuerillaGardening : What Is It, and Should You Try It?
Jan 11, 2025 10:09 AM EST
"Who doesn’t need a bit more greenery in their lives? No one, if guerilla gardeners have anything to say about it. Whether activists, do-gooders, or just plain old lovers of beauty, guerilla gardeners have been sprucing up neglected corners of the world for quite some time. #JohnnyAppleseed, introducer of apple trees to many states in the US, was one of the OG guerilla gardeners (and yes, he was a real person).
"Despite what its name might imply—guerilla means 'little war' in Spanish—guerilla gardening has nothing to do with war or destruction, and everything to do with creation. So what exactly is this ironically titled type of gardening, and is it something you should consider doing in your own community?
What Is Guerilla Gardening?
"Essentially, guerilla gardening is the act of gardening (planting flowers, trees, fruits, vegetables, etc.) in areas where you are technically not authorized to do so. According to Sonya Shikhman, a lawyer at Bytensky Shikhman Barristers, 'many see it as environmental activism, bringing greenery into urban environments where traditional gardening may not be possible.'
"This form of gardening is often used to revamp empty lots and other less-than-appealing spaces and create areas that look beautiful and/or produce food for the community. Other aims and benefits include 'improving air quality, increasing biodiversity, and giving local residents a sense of ownership and pride,' Shikhman says."
Read more:
https://dengarden.com/gardening/guerilla-gardening-what-is-it-and-should-you-try-it#Rewilding #SolarPunkSunday
#GardeningForPollinators #GardeningForWildlife #SeedBombs #ReclaimingSpaces -
There’s a lovely article about Hildegard of Bingen by Erin Risch Zountendam posted this morning on the blog “Earth and Altar.” Hildegard, one of the four female doctors of the Western Church, was a theologian, a prophet, a mystic and a naturalist. Her life and her theology is, to my mind, one of the clearest examples of my argument that most scientists are, in truth, mystics at heart – seeking to understand a deeper meaning and connection in everyday experiences.
From the article, “Who is Hildegard of Bingen?”:
Hildegard’s theological writings have proven no less compelling today than in her own. The themes that resonate with modern readers are different from those that interested her 12th-century audiences, but they are no less rich. Of particular interest to modern readers is Hildegard’s relationship to creation. Hildegard is celebrated for her image of viriditas, or “greenness,” which is associated with life, moral goodness, and vigor—that is, with anything fruitful and thriving that the Holy Spirit brings into existence and sustains. The cosmos itself is alive with the electrifying power of God, who says to Hildegard in one of her visions:
“I am the supreme fire and energy. I have kindled all the sparks of the living … I am the fiery life of divine substance, I blaze above the beauty of the fields, I shine in the waters, I burn in sun, moon, and stars. And I awaken all to life with every wind of the air, as with invisible life that sustains everything. For the air lives in greenness and fecundity. The waters flow as though they are alive.” (7)
The incarnation of Christ, too, is described as being brought about by the Father’s “sweet power of green vigour.” (8) This theme in Hildegard’s writing has proven especially attractive to contemporary ecotheologians, as well as to nature lovers of all kinds.
It’s worth your time at some point on this, the first day of Spring. Probably worth your subscribing to their other posts as well!
Share this: Like this: Like Loading...Related
#creation-care #science-2 #theology
https://entangledstates.org/2023/03/20/st-hildegard-of-bingen-patron-of-creation-care/
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Khold – Du dømmes til død Review
By Dr. A.N. Grier
After being dormant for eight years, Khold surprised the masses in 2022 with their comeback album, Svartsyn. And boy did they come back in a big way—completely erasing 2014’s Til endes from my memory. Reformed with all the key players and even feistier than ever, these Norwegian giants had me so convinced of their greatest that they made it on old Grier‘s top-ten list. Nothing made me happier that year than hearing Gald’s signature snarl and Sarke’s punishing drum work. Hell, I would have been happy just to hear the album, much less love it the way I do. Two years later, it looks as if the band is sticking around because now we have this year’s Du dømmes til død. The biggest difference between this new record and its predecessor is the recruitment of Sarke’s bass player, Steinar, and a trimmed and tight thirty-two-minute runtime. Not to mention that this is a concept album about various characters being condemned to the death penalty throughout Norwegian history. But can this new album keep me as engaged as their last with eight minutes less time to incorporate their unique songwriting style?
One thing is for sure, Khold no longer has any interest in returning to the days of Masterpiss of Pain and Phantom. Though the rhythm section continues to be a focal point, today’s Khold hits hard, bringing the vocals closer to the front for a gnarly effect. Against the best wishes of the black metal purists who want everything to sound like it was recorded in Holdy‘s bathroom, Khold modernizes their sound and even digs deep into the dynamics. For example (if you haven’t already scrolled to the bottom), Du dømmes til død is a gorgeous DR11. Yup, you read that right. The result is a black metal gem where you can hear every strum, bass pop, and snare hit without pulling out the weedwhacker.
“Myrdynk” begins with a mid-paced drone that Gard relentlessly vomits all over. It’s an odd choice for an opener because it doesn’t really go anywhere and only shows life when it passes into Chugville at the end. Unfortunately, it doesn’t set up the album in a way that would prepare you for what’s coming next. And, what comes next is “Vanviddfaren”—a black ‘n’ roll beauty with a hopping attitude. In the middle, it slogs along in Vreid territories before completely changing directions into a quasi-thrash lick that punches hard to the end. “Galgeberg og Retterbakke” is perhaps the most engaging song on the record. It’s an unapologetic cruiser that never lets up, morphing from one killer riff to another. The chorus, in particular, uses a crushing riff and memorable vocal performance that makes it a complete song.
But, the tracks with the most memorable choruses are “Skoggangsmann” and “Trolldomsdømt.” The first begins with a badass riff that transitions to a Sodom-like chorus. In a mere three-plus minutes, this song rises, falls, charges, and drags, making it difficult to figure out what’s coming next. But, before you know it, you’ll be belting out the song’s title with the same delivery as Gard. “Trolldomsdømt” is similar only in that you’ll want to learn a new language to participate in the chorus. While “Skoggangsmann” is a thumping piece, “Trolldomsdømt” has a more traditional black metal approach. It opens with distant, dissonant guitar play as Gard spits all over your bib. It eventually digs deeper into some old-school Darkthrone riffage before drawing out long sustains, with Sarke’s drum work pounding on your cranium until it concludes.
While I enjoyed Du dømmes til død, I’m afraid I like Svartsyn more. But, they’re only minor issues here. Unfortunately, they start at the beginning of the album. “Myrdynk” does not get me in the mood for a Khold record. It’s slow and surprisingly boring and only piques my interest as it’s ending. “Heks (Du dømmes til død)” is another I can’t get behind. It’s a fun piece but the weird bass work and the dissonant, Satyricon-esque sustains do nothing for me. But, in the end, Du dømmes til død still a solid album with some cool approaches to the songwriting—particularly, “Skoggangsmann” and “Galgeberg og Retterbakke.” And, with the impressive focus on the dynamics and its short runtime, it’s an easy album to put on repeat. Though it’s not quite up to par as their comeback album, fans will still enjoy Du dømmes til død and appreciate it for what it is.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Soulseller Records
Website: facebook.com/khold.official
Releases Worldwide: March 22nd, 2024#2024 #30 #BlackMetal #Darkthrone #DuDømmesTilDød #Khold #Mar24 #NorwegianMetal #Review #Reviews #Sarke #Satyricon #Sodom #SoulsellerRecords #Vreid
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Khold – Du dømmes til død Review
By Dr. A.N. Grier
After being dormant for eight years, Khold surprised the masses in 2022 with their comeback album, Svartsyn. And boy did they come back in a big way—completely erasing 2014’s Til endes from my memory. Reformed with all the key players and even feistier than ever, these Norwegian giants had me so convinced of their greatest that they made it on old Grier‘s top-ten list. Nothing made me happier that year than hearing Gald’s signature snarl and Sarke’s punishing drum work. Hell, I would have been happy just to hear the album, much less love it the way I do. Two years later, it looks as if the band is sticking around because now we have this year’s Du dømmes til død. The biggest difference between this new record and its predecessor is the recruitment of Sarke’s bass player, Steinar, and a trimmed and tight thirty-two-minute runtime. Not to mention that this is a concept album about various characters being condemned to the death penalty throughout Norwegian history. But can this new album keep me as engaged as their last with eight minutes less time to incorporate their unique songwriting style?
One thing is for sure, Khold no longer has any interest in returning to the days of Masterpiss of Pain and Phantom. Though the rhythm section continues to be a focal point, today’s Khold hits hard, bringing the vocals closer to the front for a gnarly effect. Against the best wishes of the black metal purists who want everything to sound like it was recorded in Holdy‘s bathroom, Khold modernizes their sound and even digs deep into the dynamics. For example (if you haven’t already scrolled to the bottom), Du dømmes til død is a gorgeous DR11. Yup, you read that right. The result is a black metal gem where you can hear every strum, bass pop, and snare hit without pulling out the weedwhacker.
“Myrdynk” begins with a mid-paced drone that Gard relentlessly vomits all over. It’s an odd choice for an opener because it doesn’t really go anywhere and only shows life when it passes into Chugville at the end. Unfortunately, it doesn’t set up the album in a way that would prepare you for what’s coming next. And, what comes next is “Vanviddfaren”—a black ‘n’ roll beauty with a hopping attitude. In the middle, it slogs along in Vreid territories before completely changing directions into a quasi-thrash lick that punches hard to the end. “Galgeberg og Retterbakke” is perhaps the most engaging song on the record. It’s an unapologetic cruiser that never lets up, morphing from one killer riff to another. The chorus, in particular, uses a crushing riff and memorable vocal performance that makes it a complete song.
But, the tracks with the most memorable choruses are “Skoggangsmann” and “Trolldomsdømt.” The first begins with a badass riff that transitions to a Sodom-like chorus. In a mere three-plus minutes, this song rises, falls, charges, and drags, making it difficult to figure out what’s coming next. But, before you know it, you’ll be belting out the song’s title with the same delivery as Gard. “Trolldomsdømt” is similar only in that you’ll want to learn a new language to participate in the chorus. While “Skoggangsmann” is a thumping piece, “Trolldomsdømt” has a more traditional black metal approach. It opens with distant, dissonant guitar play as Gard spits all over your bib. It eventually digs deeper into some old-school Darkthrone riffage before drawing out long sustains, with Sarke’s drum work pounding on your cranium until it concludes.
While I enjoyed Du dømmes til død, I’m afraid I like Svartsyn more. But, they’re only minor issues here. Unfortunately, they start at the beginning of the album. “Myrdynk” does not get me in the mood for a Khold record. It’s slow and surprisingly boring and only piques my interest as it’s ending. “Heks (Du dømmes til død)” is another I can’t get behind. It’s a fun piece but the weird bass work and the dissonant, Satyricon-esque sustains do nothing for me. But, in the end, Du dømmes til død still a solid album with some cool approaches to the songwriting—particularly, “Skoggangsmann” and “Galgeberg og Retterbakke.” And, with the impressive focus on the dynamics and its short runtime, it’s an easy album to put on repeat. Though it’s not quite up to par as their comeback album, fans will still enjoy Du dømmes til død and appreciate it for what it is.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Soulseller Records
Website: facebook.com/khold.official
Releases Worldwide: March 22nd, 2024#2024 #30 #BlackMetal #Darkthrone #DuDømmesTilDød #Khold #Mar24 #NorwegianMetal #Review #Reviews #Sarke #Satyricon #Sodom #SoulsellerRecords #Vreid
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Khold – Du dømmes til død Review
By Dr. A.N. Grier
After being dormant for eight years, Khold surprised the masses in 2022 with their comeback album, Svartsyn. And boy did they come back in a big way—completely erasing 2014’s Til endes from my memory. Reformed with all the key players and even feistier than ever, these Norwegian giants had me so convinced of their greatest that they made it on old Grier‘s top-ten list. Nothing made me happier that year than hearing Gald’s signature snarl and Sarke’s punishing drum work. Hell, I would have been happy just to hear the album, much less love it the way I do. Two years later, it looks as if the band is sticking around because now we have this year’s Du dømmes til død. The biggest difference between this new record and its predecessor is the recruitment of Sarke’s bass player, Steinar, and a trimmed and tight thirty-two-minute runtime. Not to mention that this is a concept album about various characters being condemned to the death penalty throughout Norwegian history. But can this new album keep me as engaged as their last with eight minutes less time to incorporate their unique songwriting style?
One thing is for sure, Khold no longer has any interest in returning to the days of Masterpiss of Pain and Phantom. Though the rhythm section continues to be a focal point, today’s Khold hits hard, bringing the vocals closer to the front for a gnarly effect. Against the best wishes of the black metal purists who want everything to sound like it was recorded in Holdy‘s bathroom, Khold modernizes their sound and even digs deep into the dynamics. For example (if you haven’t already scrolled to the bottom), Du dømmes til død is a gorgeous DR11. Yup, you read that right. The result is a black metal gem where you can hear every strum, bass pop, and snare hit without pulling out the weedwhacker.
“Myrdynk” begins with a mid-paced drone that Gard relentlessly vomits all over. It’s an odd choice for an opener because it doesn’t really go anywhere and only shows life when it passes into Chugville at the end. Unfortunately, it doesn’t set up the album in a way that would prepare you for what’s coming next. And, what comes next is “Vanviddfaren”—a black ‘n’ roll beauty with a hopping attitude. In the middle, it slogs along in Vreid territories before completely changing directions into a quasi-thrash lick that punches hard to the end. “Galgeberg og Retterbakke” is perhaps the most engaging song on the record. It’s an unapologetic cruiser that never lets up, morphing from one killer riff to another. The chorus, in particular, uses a crushing riff and memorable vocal performance that makes it a complete song.
But, the tracks with the most memorable choruses are “Skoggangsmann” and “Trolldomsdømt.” The first begins with a badass riff that transitions to a Sodom-like chorus. In a mere three-plus minutes, this song rises, falls, charges, and drags, making it difficult to figure out what’s coming next. But, before you know it, you’ll be belting out the song’s title with the same delivery as Gard. “Trolldomsdømt” is similar only in that you’ll want to learn a new language to participate in the chorus. While “Skoggangsmann” is a thumping piece, “Trolldomsdømt” has a more traditional black metal approach. It opens with distant, dissonant guitar play as Gard spits all over your bib. It eventually digs deeper into some old-school Darkthrone riffage before drawing out long sustains, with Sarke’s drum work pounding on your cranium until it concludes.
While I enjoyed Du dømmes til død, I’m afraid I like Svartsyn more. But, they’re only minor issues here. Unfortunately, they start at the beginning of the album. “Myrdynk” does not get me in the mood for a Khold record. It’s slow and surprisingly boring and only piques my interest as it’s ending. “Heks (Du dømmes til død)” is another I can’t get behind. It’s a fun piece but the weird bass work and the dissonant, Satyricon-esque sustains do nothing for me. But, in the end, Du dømmes til død still a solid album with some cool approaches to the songwriting—particularly, “Skoggangsmann” and “Galgeberg og Retterbakke.” And, with the impressive focus on the dynamics and its short runtime, it’s an easy album to put on repeat. Though it’s not quite up to par as their comeback album, fans will still enjoy Du dømmes til død and appreciate it for what it is.
Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Soulseller Records
Website: facebook.com/khold.official
Releases Worldwide: March 22nd, 2024#2024 #30 #BlackMetal #Darkthrone #DuDømmesTilDød #Khold #Mar24 #NorwegianMetal #Review #Reviews #Sarke #Satyricon #Sodom #SoulsellerRecords #Vreid
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A Moment But Forever (念无双) recaps and analysis
Note: This has all the spoilers and lots of details about A Moment But Forever episodes. If you just want a less spoilery overview and review, do read my A Moment But Forever review.
During the gods-demons war, the artifact “God’s Left Hand,” used by Heavenly God Taihe to seal demons, was severed and fell to the Mortal Realm, causing Taihe and the gods to fall into eternal slumber.
The Youhu fox clan seized the artifact, using it to defeat their enemies, the War Demons, and establish dominion over the world, becoming its new gods.
The goddess Wu Shuang is sent to reclaim the artifact, which would kill its host, Youhu Clan’s high priest Yuan Zhong. Disguised as maid Ji Tanyin, she infiltrates the clan but discovers Yuan Zhong is not the villain he’s believed to be.
- Episodes 1-6
- Episodes 7-10
- Episodes 11 and 12
- Episodes 13-15
- Episodes 16-20 (The weapon spirits)
- Episodes 16-20 (Yuan Zhong’s big plan)
- Episodes 21-24
- Episodes 25 and 26
- Episodes 27-30
- Episodes 31-33
- Episodes 34 – Hanvu
- Episodes 36 (Ending)
Episodes 1-6
Quick summary of plot: Our hero, Yuanzhong (Liu Xueyi) is both reviled and revered as the High Priest of the Fox clan (Youhu). Due to the disappearance of the gods, the Youhu are now the “gods” of the world, and he’s among the most powerful. Yuanzhou is reputed to be debauched, violent and basically not a nice demigod. (But of course he’s the opposite)
(So far, so Kill Me Love Me. Murong Jinghe, is this your new life?)
Anyway, Yuanzhong is powerful because of this artifact of the former deities, The Left Hand of the former god Taihe. The goddess Wushuang (Ji Tanyin) who made it, is sent to wrest it back from Yuanzhong.
So far:
✅ Upcoming massive misunderstanding
✅ Torture of male lead
✅ Evil “Good” Sect
✅ Flimsy excuse for a kiss
✅ But very logical excuses for undressing male lead a few times
✅ Bath scene(s)
Hilariously, A Moment But Forever trended on Weibo for Liu Xueyi’s bath scene (okay, his bare naked chest trended, and to quote one Weibo-er: “Better to trend for something than nothing”.)
First, don’t be fooled by the promos!
A Moment but Forever is one drama that I can 100% say that the promos did it dirty. Because when the first promo came out, I went: “Meh, another xianxia.” I barely even registered that Liu Xueyi was in it. And when it did, I went: “Tis a pity, I don’t think I can endure this factory-line xianxia for him.”
(Fortunately, I came across a random post ranting about how the promo didn’t do the script justice; I found out more about the story and was intrigued. And the rest was history.)
Anyway, the expectations for this drama were so abysmal that most people said it would be a failure. So, I was bracing myself for a tepid xianxia. Who knew that I ended up being surprised by:
- the coherent storytelling.
- how funny it was
- the couple’s unique dynamic
- the colour grading. The trailers made it look so washed out filtered to death that I’m glad it’s actually pleasing to the eye!
- the careful world-building
- the addictiveness of the episodes!
Hilariously, on xiaohongshu, most of the comments I saw were: “I didn’t intend to watch the drama, but I ended up binging all six episodes and now I’m going to office with panda eyes”.
Well, I almost did the same but I was on leave the next day, flying off to a tropical island, so that’s perfect!
My favourite highlights of episodes 1-6
You think your life sucks? Oh man, wait till you get tricked into putting on a heavy fugly gold necklace that seals your powers and then get shoved into a cave for 40 years, lose your mind, and start talking to your alternate selfs. (That said, dayum, another tour de force performance by Liu Xueyi. You really feel Yuanzhou’s agony, self-recrimination, regret and hatred in that scene.)
That moment when you realize that the Youhu clan, especially the sect leader, is using Yuanzhou as a blood bag and pharmacy. 💀
Liu Xueyi, I don’t know how you do it, not only can you look good in that wig *and* still look great when you’re half dead. That’s why you’re paid the big bucks.
Darling, I know you pride yourself for your impeccable logic but I think you’re a little off with this thesis🫠
Is there a reason for her to kiss him? Something to do with unsealing his gold chain? How? Does it matter? Many females around the world are now happy. Mission accomplished.
So far, my radar is picking up vibes that Tang Hua is UP TO SOMETHING and is probably behind the whole demon possessing thing. Did he orchestrate it to liberate his former bestie from the clutches Evil Youhu Sect Leader With the Eyebrows of Doom? Probably!
My big question is whether Yuanzhong is also in on it, knows Tang Hua is on his side or … really believes that his former best friend is his enemy like the rest of the sect?
Episodes 7-10
I’m dying. DYING. I just finished episode 10, and I’m like, NO DON’T END HERE. WHY ARE YOU DOING THIS TO ME??
At this point, I feel that this is going to be a drama that will keep me up at night; it’ll probably kill my sleep for a couple of weeks. Luckily I’m doing this on a tropical island. (I’m on vacation.)
It’s so rare for a Cdrama to do that to me. (But please god don’t break my heart at the end though.)
Anyway, on to some highlights from the episodes!
Tanyin’s Groundhog Day
Lawd I did not expect to laugh as hard as I did in episode 8 when Tanyin was repeatedly killed like some NPC in a video game! And then poor Yuan Zhong trying to bury/cremate/freeze her again and again each time she died!
Her explanation to Yuan Zhong about her resurrections though ;D
Tanyin, I think you better stick to science and leave the lying to politicians lol.
But poor Yuan Zhong, he thought he was getting a handmaiden, but he got a clingy stalker who could be a zombie instead.
War Demons – not so bad, not so good either
I really love that they showed the War Demons as a race that was made up of, well, normal people that joked, laughed and had families. But they have a really cruel social system that emphasizes increasing their numbers.
This forces families apart, and this is where we meet our new antagonist Qian Lian, a man eager to find the mother who was separated from him due to said system. He has now stolen a special dagger given to the tribe by a mysterious deity to kill Yuan Zhong so that he can be reunited with his mother.
Again, I really like that the writer has given the villains understandable motivations. For example, as evil as the Youhu elders were in sealing and imprisoning Yuan Zhong, they had a cold logic for it: How do you control someone as powerful as Yuan Zhong? How do you ensure he doesn’t enslave the clan?
Likewise, Qian Lian is rather likeable and has an earnest wish to reunite with his mother. A part of me wants him to succeed, but I like Yuan Zhong more, so …
The mysterious deity
I wonder if the War Demons were as nasty as they were supposed to be during that war and that they were nearly wiped out? And seeing how devilish the Elders of the Youhu clan are, I can really see them being the true devils of the war. Or maybe the deity had something to do with it.
But this drama has been surprising me with the unique paths it has taken, so I bet there’s a surprise waiting for us about the war.
Flying ships!
NGL, I felt like a little girl again when I saw that steampunk flying ship. I love that in this universe, the humans have their abilities. And their most defining strength is to invent machines.
We are no longer besties
I’m trying to decide if Yuan Zhong is talking about Tang Hua or Tanyin lol
As I suspected, Tang Hua had a hand in deceiving Yuan Zhong and eventually getting him imprisoned. It was amusing at first to see Yuan Zhong being all bitchy about Tang Hua, but later, after the attempted assassination, Yuan Zhong bluntly said, “We are no longer friends.”
And twisted the dagger by vividly describing the suffering he endured for 40 years. It was sad to see Tang Hua walk away dejectedly, but honestly, he deserved it. It’s going to take a lot more to mend their friendship … if it can even be mended because …
There’s something off about Yuan Zhong
Is he evil? Good? A bit of both? Or just crazy? It was something we, the viewers and Tanyin, were trying to figure out throughout the episodes.
Seeing Yuan Zhong just stare at a man being pecked to death by one of those Grudge Birds was chilling. Seeing him just casually walk away from people screaming around him was jaw-dropping. Oh noes, all this while we thought he was misunderstood! Maybe he’s just evil.
Like he told Tang Hua – after 60 years of suffering, nothing can reach his heart anymore, and our fox may not be “right in the head”.
Man, Liu Xueyi is just so good at playing morally grey characters I can’t tell what he is right now!
The attack
To be honest, I had a tiny bit of worry when the plot slowed down a tad in episode 9 when they boarded the ship and Tanyin and Yuan Zhong played this cat-and-mouse game with each other. Loved that Yuan Zhong realised almost immediately that Xue was Tanyin in disguise. I wondered if this he-knows-she-knows-he-knows game would be dragged out, but I shouldn’t have worried. Because Qian Lian stabs Yuan Zhong with the deity’s demon dagger, and then the ship was blown up by terrorists and—
And they left us there, just like that, wondering if Yuan Zhong is just going to watch everyone die. EURGH
Some other thoughts
I thought the criticisms against the special effects and styling were overblown. You young’uns try watching Cdramas during my time, where there were neon spandex hanfu and styrofoam demon spiders. A Moment But Forever’s special effects feel like award-winning special effects to me lol. (ok fine, not award-winning, but it doesn’t take me out of immersion.)
OMG Tanyin and that whip were amazing. Surely by now Yuan Zhong suspects that she is something powerful, you know, like a god??
Episodes 11 and 12
We get a lull of sorts (surprisingly!) after the intense flying ship fracas. Our little fox finally gets to fall in love at last. And it’s shown in such subtle ways.
What’s with Yuan Zhong’s expression on the ship?
Question: How do you interpret Yuan Zhong’s expression? It’s bugging me. Is he resentful? Just indifferent? Full of suspicion? A bit of everything? I can’t put a finger on it and it’s driving me nuts. What is your interpretation of his expression here?
Anyway, I’m glad that he ends up saving everyone, even if he didn’t seem very happy about it.
What followed that scene is more iciness from Yuanzhong as he continues to doubt her motives; he tries to shake her off as he goes to the mountain where one of his weapon spirits are sealed, but then that ice is thawed when she blocks a heavenly lightning strike for him.
See, girls, that’s what you need to do to win a guy’s heart – get struck by lightning.
Tang Yin dies. Again.
Look at that boy run
LMAO. Seriously, woman. Stop dying! I don’t think Yuan Zhong can take another round of this lol.
But Yuan Zhong’s reaction is so hilarious! (And how fox-like of him to try to smell to see if she has “gone off”.)
This, at the heels of such a serious moment on the boat, is amazing. It’s honestly fascinating how this drama knows how to balance super angsty moments with laugh out loud moments.
But on a more serious note, he is frankly confused, and like he told Mengshan, he can’t figure it out. Poor fox doesn’t understand why anyone wants to do anything good for him. Oh gawd the upcoming Misunderstanding is gonna hurt so bad, isn’t it?
Also, it’s nice to see Teng She again
To all you Love and Redemption fans, did you have a hoot watching Meishan annoying Yuan Zhong, because I did! (The actor for Meishan, Bai Shu, played Teng She, the sserpent god who constantly annoyed Bai Lin in Love and Redemption. There’s even this little scene where Yuan Zhong pushed Meishen down, a little callback to that scene between Hao Chen and Teng She.
Yuan Zhong falls hard
You were totally peeking, Yuan Zhong!
Our man completely falls for her in this scene, and it’s really wonderful to see Liu Xueyi just act this with his eyes. (It’s honestly wonderful to watch good acting. And er, beautiful men doing it.).
Seriously, that scene with Tang Yin and the crane was incredibly magical. And for the first time, in more ways than one, I feel as if I’m finally watching a classic xianxia.
The compassion and love shining from Tang Yin’s eyes for the crane, the crane dancing for the goddess… Immortals often ride heavenly cranes, so I’m pretty sure the crane knew who she was. It was just goose-bump inducing for me, as it reminded me of the xianxia of my childhood.
You see, in xianxias of old, it’s always emphasized that immortals are there to care for humanity and all creatures. After all, one needs to cultivate good virtues and values to become gods, after all.
So, usually, it’s the most virtuous that become gods, though in modern xianxias that’s often brushed aside and simplified into cultivating some kind of mystical spell/energy. Also, in far too many modern xianxias, human beings and creatures are not even a consideration, so it’s delightful to watch a goddess showing delight and love for a “lower” creature for once.
Tang Hua is the ultimate “did you do something with your hair” guy
Imagine spending all that time looking for a magical sword and sacrificing a bright future to be a handmaiden on a mountain full of immortals only to have the object of your affection not remember your time together. And the only memory you have of her is her cleaning your room.
Tang Hua, I get that you’re busy and all but are your eyes and brain cells only for Yuanzhong LMAO ?
Glad our girl decided to quit her obsession, but Tang Hua’s is just beginning bwahaha
Episodes 13-15
Yuan Zhong meets his father-in-law
I mean, despite what he thinks, Xie You is essentially that, even if he thinks that a 1,000-year-old man is his romantic competition (and even if Yuanzhong would rather die than admit he has the hots for Tanying lol.)That said, it’s such a hoot to see both of Tanyin’s favourite men bitch at each other like a pair of teenage mean girls. I guess when it comes to her favourite men, Tanyin has a type.
I’m pretty sure if Tanyin knew that Yuan Zhong thought that she and her teacher had a romantic relationship, she would’ve died (again). And Xie You would’ve totally murdered him for real.
Pretty sure Xie You was bitchy to Yuan Zhong because not only was he ordering his disciple around like, well, a handmaiden, he doesn’t think he deserves her. Like any father!
How is Xie You 1,000 years old?
Some of you may wonder how Xie You managed to live a millennia if he’s a human. I don’t think it’s explained very clearly in the drama, but in the novel, a human’s obsession can be so great they can ascend to immortality. (That’s how Tanyin and Hannu became immortals – they were so obsessed with their craft that their godlike abilities made them gods.)My theory: In Xie You’s case, while his obsession is great, he is unable to ascend to godhood because he never solved the last puzzle (which Tanyin solved). That obsession to solve the problem kept him alive; in a stasis of sorts.
In a way, it’s a miserable way to be; obsessed about a problem he cannot solve instead of the craft itself.
Once a master, always a master
You know, in a typical xianxia, Xie You would’ve tried to rob/kill Tanyin or something, but instead, he’s more obsessed over the fact that he couldn’t solve a problem his student did. He felt so unworthy of his craft that he abandoned it to take up another craft, but he couldn’t let go of his obsessive love for it no matter what he did.
I was super moved by the whole conversation Xie You and Tanyin had about their teacher-student relationship. Xie You believed that Tanyin should be his teacher now and bowed to her, but Tanyin said that he would always be her teacher, and bowed back to him.
If you’re not Chinese, you may not understand the deep reverence for teachers in Chinese culture. But this whole scene is the epitome of that value (and many Chinese netizens were moved by that scene).
I thought Xie You’s death was a great gift from Tanyin, even if it made her tearful to do it. Being stuck in stasis for so long was a miserable existence for her master, and it was time he was released from it.
Context: In Buddhism, obsession or attachments is said to be the cause of life’s suffering. Unresolved obsessions, especially.
Zhi Dai’s obsession
Zhi Dai’s obsession was more tragic than I thought. I had assumed that she had learned to preserve her youth through some magic she learned on the Youhu mountain, but it turned out that she actually grew old! This really drums in the tragedy that she wasted her entire life on a man who barely remembered her.
I’m glad she got a second chance, but who was the deity who returned her youth? I’m quite certain it’s Hannu, and I have a big feeling there’s no free lunch and she’s going to demand something in return soon.
Truth or dare
“I never approached anyone with ill intentions…”
And Yuan Zhong’s look of deep disappointment when Tanyin hesitated, and when she said, “what if it’s for the good of the world?”
Our fox is totally demanding to know what her true intentions were, and she kinda failed the test….
Then: “I never had a crush” -> Yuan Zhong, you’re totally lying and you’re fishing! lol And that little pout he gave her when he asked if she had, and then she asked what it feels like.
Yuan Zhong, how did you go from sad to cute in a few seconds??There’s no time
Poor Yuan Zhong having to relive his worst moment and to be cruelly taunted by the image of his dead father rescuing him. That’s an ‘easy’ puzzle compared to the rest.Never in a million years did I think I’d have to think about the theory of relativity in a xianxia, but there we go.
Okay, Theory of Relativity aside, I’m psyched that Yuan Zhong was the one who solved the time puzzle, but at the same time I was so sad: How many years must he have thought about the idea of time, stuck in that cave for decades?
To me, his “wisdom” about time was borne through that awful period, and I think he must’ve convinced himself that time was an illusion to keep himself sane during all those decades of imprisonment.
Hunt for the weapon spirits
I really like this little adventure Yuan Zhong is going on, seeing the world, freeing his weapon spirits. Kai Shan is such a cutie! He’s not the brightest bulb in the chandelier, but he seems to be the sweetest weapon (and hungriest) spirit.
I can’t wait to meet the other weapon spirits. I saw an image of all of them together, and they look so cool!But of course readers of the book will agree >!that things will get very exciting once Yuan Zhong gets all his spirits together …!<
Tang Hua is … kinda forgiven?
It’s more like Yuan Zhong has decided to 50% forgive him rather than be best buds, I think. I was very delighted to find out that Tang Hua’s two men who were involved in the whole “pretending to be possessed by war demons” campaign are still alive!So despite his deep hatred and anger for Tang Hua’s betrayal, there’s still a smidgen part of his heart that cares for Tang Hua.
This is especially confusing to me, who have read the novel, knowing what Yuan Zhong is planning!!
Episodes 16-20 (The weapon spirits)
(From left: Zhi Fei, Kai Shan, Lu Chen, Ling Yao and A Xiu)
The weapon spirits are 100% super cool. It’s like Yuan Zhong has his own band of Power Rangers.
I’m going to do something different. Because these episodes is essentially several long arcs in one, and instead overwhelming you with a girnomous essay, I’m going to cover the same episodes in different posts, but focusing on different arcs.
In this post I want to cover the arc of the weapon spirits.
Hunt for the weapon spirits
I really like this little adventure Yuan Zhong is going on, seeing the world, freeing his weapon spirits.Speaking of character writing. I love how the writer has infused each weapon spirit with such distinct personalities. In fact,
what continues to amaze me is how the writer has fully fleshed out almost every character in this story, no matter how minor.Zi Fei – ah loyal Zi Fei, we know him well, but I think he may not be the most powerful of the lot.
Kai Shan our foodie is such a cutie! He’s not the brightest bulb in the chandelier, but he seems to be the sweetest weapon (and hungriest) spirit.
Pei Jiu/Lu Chen is my favourite yet. And I think he may be the most powerful (and serious) of the lot.
Ling Yao – a female weapon spirit that Kai Shan and Zi Fei obviously has a crush with??
A San – a weapon spirit that likes to eat … gold? (according to the previews.) Man, he has expensive taste.
What do you think the weapon spirits represent?
Some say they represent the five sins. Some say each represent a finger of the Divine Hand. What do you think?Pei Jiu/Lu Chen
I have to admire this actor. He is able to distinguish himself as Pei Jiu, the simple, happy-go-lucky constable, from the powerful, serious Lu Chen. I really enjoyed his performance and the story.The whole arc of Yuan Zhong trying to take Pei Jiu as his disciple was hilarious! What tickled many Chinese viewers was that conversation Pei Jiu pooh poohing Yuan Zhong’s idea of a great life: That of a wandering swordsma His greatest ambition was to be a civil servant instead!
Knowing what we now know of the real Lu Chen’s personality, this must have been so infuriating to Yuan Zhong who took a special joy in trying to beat some sense into the man lol.
The innkeeper’s marriage
Ah, I really feel for Yunniang and Pei Jiu (Lu Chen). I’m pleased that she survived it all, but what surprised me was Lu Chen obviously does remember their time together.
I loved that Tanyin, Zi Fei and Kai Shan attended Pei Jiu’s pre-marriage dinner … even if they know that he’d probably never get married. That sad look Zi Fei threw Pei Jiu each time he mentioned the marriage was so sad.
Such a beautiful, painful arc for the unlucky innkeeper who once again loses her groom. When Yunniang started the fireworks in broad daylight, it’s probably her way to say goodbye to him. I like how un-hysterical she is about this painful loss, even if it obviously very painful.
Is there one tiny hope that Lu Chen will survive what’s coming and reunite with her one day?
I can’t wait to meet the other weapon spirits and to see them get together. But of course readers of the book will agree that things will get very exciting once Yuan Zhong gets all his spirits together.
Episodes 16-20 (Yuan Zhong’s big plan)
Ever felt so disappointed in the world that you think the only solution is to burn everything down and start over on a clean canvas?
Okay, I hope you are not like that but well, that’s Yuan Zhong in a nutshell.
—
What do you think about Yuan Zhong’s ‘five sins’ plan??Remember what I said about not being interested in this drama initially, and then I got sucked in by discussions online about how it’s actually a fantastic script? It was this clip that made me realise – oooh, another powerful performance by Liu Xueyi! That’s worth seeing at least!
This scene turned out to be so damn heartbreaking I can’t bear to see it again. Especially with that little basket of noodles and vegetables descended into his prison.
Seriously, Youhu clan! Is this how you repay the hero who not only saved your clan but made it one of the most powerful in the world??
Tanyin’s heartbreaking plea to Yuan Zhong to rest though … to imagine that this is really how his inner psyche is like, constantly turning over this theory of “five sins” over and over again …
I find Yuan Zhong’s “Thanos” turn very understandable. To him, it was the only way to keep sane, to have a light at the end of the tunnel, the only way to justify his imprisonment. It was all a grand experiment, to make him realise the “reality” of what is. He can fix it! He can still be a hero. He’s not a useless discard. The Five Sins is also his way of understanding why he was imprisoned: It’s some heroic quest to make him realise that he had to save the world by destroying it.
Well, he’s just well and truly mad.
Were you shocked by the reverse uno card?
At the end of episode 20, I love how they revealed how powerful and insane he was at the end, when he suddenly overpowered the demon effortlessly. And when the demon realised that Yuan Zhong was an even bigger demon that he was!
That scene made my jaw drop because I DID NOT EXPECT IT.
A standard xianxia would probably had Tanyin rescue him or something. Instead, Yuan Zhong kicked her out and burnt the demon alive. Gah!
And we the audience realised that Yuan Zhong was the real demon here.
To be honest, I’m not sure how I’ll see the funny cute scenes he’ll have with Tanyin now, knowing that he’s secretly planning the world’s death.
The Mute Lady
In episode 16, we learn about Xie You’s “other disciple”, the Mute Lady. We later discover that this was Ji Tanyin when she had just emerged from her long sleep. Because of her injuries, she couldn’t talk much but she left a mark everywhere she went, building schools, teaching the villagers science and turning bandits into good people. She ended up being worshipped till this day.I’m also quite pleased that by end of episode 17, Yuan Zhong quickly figured out that Tanyin was the Mute Lady. His fury made a lot of sense, not just because he was tricked but because he really wanted to believe that she followed him because she liked him, and that he was special somehow. Instead, he’s just one of the many people she helped, because that’s her nature, and he’s not special at all.
On top of that, he believes that she has ulterior motives in approaching him.
Zi Feng said something very important to him: That she’s distracting him from his true plans, and that’s the real danger.
Episodes 21-24
Yuan Zhong’s gradual turn to the light
Again, I really love how the show doesn’t really spoonfeed us information, but shows rather than tells us things.
Probably the most significant development is Yuan Zhong’s gradual thawing. This scene is especially moving because here we see Yuan Zhong in his sea of consciousness, in dark robes, possibly on the way to becoming a demon, but as he remembers Tanyin’s words asking him to travel the world, he literally begins to see the light.
And right after that scene we see Taihe’s body disintegrating. It’s as if each time Yuan Zhong heads towards less dark places, Taihe suffers. Hmm! I wonder what’s up with that?
Oh yes, there’s this strange scene where Yuan Zhong is standing in the middle of town and he is surrounded by blue light. I didn’t understand that until I got on to Chinese social media, and those who have read the script said that it was Yuan Zhong extending his senses to feel/see the life in town. Feeling the joy of life for the first time in a long while, he ran back home to read Tanyin’s travelogue, suddenly eager to experience how it’s like to travel the world.
But just as Yuan Zhong starts to soften to Tanyin, she starts to get cold…
One can’t blame her really, because Qian Lian’s remark that “he’s becoming a demon” and what she saw in his sea of consciousness are making her really wary. Remember, her sole purpose for taking back the Divine Hand from Yuan Zhong was because he was considered evil, thus not worthy of the hand. If he has truly become evil, she would have no choice but to kill him.
And we know that Tanyin has started to love him in her own way, and she doesn’t want to do this at all.
The back and forth between them was riveting to watch and it’s going to get helluva more intense in the next episodes!
Is Yuan Zhong possessed or demonised?
I’ve seen discussions online – some say Yuan Zhong is getting possessed by a demon, some say he’s becoming a demon. There’s a distinction between the two, and I think it’s the latter.
What do you think?
Personally, I think it’ll cheapen Yuan Zhong’s journey if he was possessed by another entity. It makes more sense that his tortured decades had twisted him to darkness, and it’s more gratifying to see him fight his way out of that rather than be rescued from possession by Tanyin.
Fu Jiuyun
I’m sure fans of the charming, flirty nearly thousand-year-old immortal Fu Jiuyun from Love of Thousand Years are delighted to see him here.
At first, we think that he’s just here for comedic relief and to be Yuan Zhong’s love rival, but I think he’s here to prod (or tease) Yuan Zhong and Tanyin about their relationship.
Also, if you know about his origins, you’d realise that he was actually being very literal, but because of the way he said it, it came off as smutty double entendre! Hilarious!
There is a connection between Tanyin and Fu Jiuyun, as we’ll come to find out.
Qian Lian’s gift is to be knocked out every episode
… apparently. I couldn’t believe that he was once again knocked out in episode 20 lol
I’ve taken to call him Mr. Third Wheel. Not that he’s much competition to Yuan Zhong at all! I’m really not sure why he’s here, to be honest lol
To be honest, I found the War Demons arc mostly snoozeworthy. They seem not as well fleshed out as other races, just evil sidekicks right now. Besides Qian Lian, no one else seems to have a redeemable, 3-dimensional quality…. well, until the end of episode 20, when we find out that the War Demon that seemed semi-kind to Qian Lian was actually his half-brother.
And that’s about time, to show that War Demons are people too, like Tanyin said to Qian Lian when she rescued him from the slave traders.
I continue to be bored by Tang Hua
Tang Hua and Zhi Dai are doing something, and I’m really bored lol. Each time they come onscreen I have to fight the urge to push the fast-forward button. I’m sure their plot has something to do with Wushuang Society and I’m certain that Zhi Dai’s brother is involved with them, but at this point of the story I just want to focus on our main couple, is that too much to ask?
Raising a child is really expensive
As a fellow fire sign, my favourite weapon spirit has been replaced by A Xiu!
That said, I really love this little interlude between Yuan Zhong, Tanyin and A Xiu because it gave Yuan Zhong a taste of a life beyond the Grand Plan.
When Tanyin told him that he could travel the world once he freed the weapon spirits, it’s as if this thought had never occurred to him before.
You see a sense of wonder slowly descending on him, and a gradual reluctance to execute his Grand Plan. (Him not feeding A Xiu gold to hasten his growth is one big sign.)
As he starts to love life again, he begins to doubt his Grand Plan …
I really love this arc, that’s all I can say, and I wish they could stay like this forever, being pseudo-parents to the precious A Xiu, just worrying about raising an expensive kid …
Episodes 25 and 26
You know what I think? Nobody has the right to be this beautiful when destroying the world lol.
Anyhoo, this is going to be a short one because I just landed from my week-long vacation. (And I swear this is the best thing, being able to chase this drama on a beautiful tropical island.) Also, I feel that these episodes don’t need much exposition because we all know what happened here: Yuan Zhong and Tang Yan are suspicious of each other, and there are full of emotional scenes between the two of them.
Anyway, these episodes were Ah-mahzing! I keep rewatching the emotional scenes in these episodes because They. Are. So. Good!
This is mostly because I like to watch Liu Xueyi suffer I love Liu Xueyi’s Shakespearean scenes. It’s incredibly hard to do monologues in general, and he did two in these episodes.
If he wasn’t this good of an actor, those scenes would’ve been hammy and awkward, but he was able to imprint different emotions just through his voice, at times!
The one when Tanyin entered his sea of consciousness and he had this major blow out demanding, “Why should I forgive them?” I really felt his fury. And I wanted to go, you know what, don’t forgive them Yuan Zhong! They don’t deserve it. Burn them all!
And yet I understand Tanyin’s POV as well. There’s so much beauty in the world too, and she wanted him to emerge from this terrible darkness.
But my favourite scene has to be that pivotal moment when he was about to unleash hell on the world. He started out reverent, almost, as he talked to Wushuang. Then it slowly turned bitter, then menacing as wrathful. And then through a series of expressions, Liu Xueyi conveyed Yuan Zhong’s pain as he hesitated, remembering the beauty of this world. His simple declaration, “Never mind”, was like a bomb going off (emotionally speaking).
I love that he was the one who “saved” himself, and that he flinched for the first time when the orb showed him the terror that he was about to unleash. I like romance like the next person, but despite liking our couple very much I want Yuanzhong to be the one making the decision to turn away. I don’t want him to turn away because the heroine declared her love for him, or if she was in danger. I want him to come to the realisation that he didn’t need to destroy the world.
The scriptwriter is brilliant.
It makes their eventual embrace on the bridge so meaningful. Tanyin was relieved that Yuan Zhong chose not to destroy the world, and that he did this himself. And Yuan Zhong smiled and was relieved as well, because Tanyin didn’t turn away from him after seeing him at his darkest; a literal demon. Instead, she was running towards him.
Some folks online complained that they wished there was more love demonstrated between the two of them, that it took so long for them to even show any kind of affection towards each other, but I thought it was just perfect. This is how two people from very different, polarising positions, can fall in love. And I am happy they didn’t take the short cut by giving us skinship or accidental kisses and embraces (bleargh) so rife in xianxia, even if there was one kiss at episode 6, but that was for totally logical reasons!
So which emotional scene did you prefer? The one in the sea of consciousness or the tower when he was about to unleash hell?
Episodes 27-30
Seriously, the problem I have with express episodes is how do I balance discussions for those who have watched the express episodes and those who have not? So what I’ll be doing is to follow the current non-Express airing episodes and hope you guys are patient, I will be releasing the discussion on the finale at the end of the week. So, do be patient, Express viewers!
By the way, those who have seen the Express episodes: PLEASE PUT ON SPOILER TAGS WHEN YOU COMMENT ABOUT EPISODES BEYOND 30. Those who do not will get their comments removed. All right then, let’s go ahead with the discussion.
So, did you like the kissing scene? hehe
I want to say that watching Yuan Zhong and Tanyin being all sweet with each other, and THAT KISS OMG was the highlight of these episodes.
Of course we know that the writer is giving this sweet moments before drowning us in bittergourd juice, sigh.
Also OMG please make Liu Xueyi do more kissing scenes. Honestly, I just tolerate most kissing scenes in Cdramas, but with LXY, I literally savour them because they’re just so natural that you feel that you’re spying on a couple! The best kisser in CDramaland, that’s for sure.
BTW (some melon gossip) It’s said that he’ll be the male lead in a Ming dynasty costumed drama with Tan Songyun drama soon and omg my girl cannot reciprocate if you know mean. So, if it films, I wonder how the kissing scenes will look like (if there’s any lol).
Two ways to exist in the worldOne of the themes that resonated with Chinese audiences about A Moment But Forever, but would probably make us international audiences blink, is that they see China’s geopolitical situation reflected in the drama.
I’m not going to much detail into this as I don’t want to turn this into a political post, but I can at least talk about how episodes 26-31 offer a glimpse at two ways to exist in the world:
a) At A-Xue’s house, did you notice that a deity, War Demon, Youhu fox spirit and a human being sat down together to have meals and watch fireworks together?
b) However, this idyll is shattered when, in a bid to help the Youhu clan, Yuan Zhong is brutally attacked by War Demons, the Youhu clan (seriously, if Yuan Zhong eventually cuts all ties and stop helping them they 100% deserve it), humans and yes, even deities (Hanvu)
These two sets of people exists at the same time in the world:
We can either treat each those alien to us as equals and have meals with them to forge friendships.
Or we can scheme and manipulates and destroy and kill instead.
I’m so proud that Yuan Zhong is of the first group now; it was really lovely to see his development after he gave up destroying the world.
Instead of isolating Qian Lian, he helps heal him and develop into a Perfect War Demon. Of course he couldn’t resist sliding in a few barbs and petty moments, but that Yuan Zhong for ya.
Despite seeing Dingxu spying on him, he lets him go. (Though I wouldn’t have mind if he made an exception, ya know?)
I also loved A Xue, how accepting and grounded she is despite having powerful people in her house!
The attack on Yuan Zhong was brutal to watch 😦Oh gawd, seriously why is anyone in the Youhu clan still listening to Dingxu and the parasitic elder cohorts?? Please someone tell me why. The Youhu elders are a bunch of moronic, ungrateful, lazy bunch and seeing them literally betray Yuan Zhong, who came to help them is just …! (Seriously Tang Hua, I know it’s not your fault but you did drag Yuan Zhong from his peaceful life to this mess, ugh. Could you like, stop.)
This whole sequence was so distressing to watch. Imagine, after sparing the world destruction, everyone conspires to kill him. (It was gratifying to watch Qian Lian come to his rescue though! What a cool guy.)
Yet, despite using the Divine Hand, it wasn’t deadly enough to annihilate everyone – Yuan Zhong held back when he could’ve easily used it to level the city. And that scene when Tanyin swoops in and catches him, and two flowers land on his blood stained hands and he tells Tanyin that such beauty exists in this flithy place? (EUHGH)
He paid dearly for his kindness but this time, he did not destroy the world. This is a lot of growth because old Yuanzhong would’ve just unleashed hell on the world. (And I would’ve secretly cheered him on a little.)
Also loved Tanyin’s little trick of shrinking the city and flicking it thousands of miles away. Wait, does that mean Yandu is now at a different part of the world?? Did it move back later?? lol
All in all exciting episodes even if it was brutal to watch Yuan Zhong so seriously injured and Tanyin desperately trying to bring him to safety as they are chased by his enemies …
Episodes 31-33
Now that Yuan Zhong is safe, Tanyin has to leave to deal with Hanvu in the Divine Realm. Yuan Zhong takes desperate actions, triggering a cascade of events…
The Green Tea Fox
(PS: “Green tea” is slang for someone who pretends to be innocent, pure, and sweet on the outside but is actually manipulative and calculative.)
Tanyin had no choice but to leave physically this time because all access to the Divine Realm is barred to her now that she’s no longer a goddess, and Hanvu closed the ascension platform.
However, she discovers one more way: use Juanjuan’s spatial magic technique—but she needs to do it physically, not via spirit like before.
Never did I expect Yuan Zhong to pretend to be blind, frail, and worsen his injuries just to keep Tanyin around. But he’s a fox after all (specifically a green tea fox!). I love this, though.
I like that they didn’t outright show he was faking his injuries and blindness immediately. Instead, we get a clue at the start of Episode 32 when they’re stargazing: as Tanyin gently guides his hand to “see” the stars, he sneaks a glance at her. This cunning fox!
But we don’t know why he did it until much later.
By then, Yuan Zhong suspects she’s more than just the immortal Mute Lady—she’s a goddess. Fu Jiuyun’s words must echo in his head: that they’re mere passersby in her life, and her path lies beyond mortals like them.
I deeply empathize with Yuan Zhong when he asks Tanyin (paraphrased): “Do you know what it’s like to wait for someone without any clue where they’re going or when they’ll return?”
And when all tactics fail, he demands to marry her—his way of forcing proof that she truly loved him. Desperate actions, unfortunately. Not exactly my ideal proposal! Lmao.
Though these scenes were sweet, they felt “heavy”, steeped in doom. I couldn’t fully enjoy them knowing what was coming.
I’m Mad at Zhi Dai
Tanyin’s inability to confess her love (thanks, Heavens, and your stupid Three Oaths—ugh) leads to Yuan Zhong’s extreme reaction when Zhi Dai, under Hanvu’s orders, reveals that Tanyin is the goddess he’s worshipped for years.
Like, woman! I thought you’d gained brain cells after your second life, but you regressed the moment Tang Hua flashed a smile. Okay, fine, you were possessed by Hanvu—but you didn’t have to lead her to him!
I get her motivations, but I loathed her hesitance and selfishness. Surely she knew there’d be catastrophic consequences, especially after what happened with her brother.
Are You Annoyed at Yuan Zhong?
Many on Chinese social media were furious at Yuan Zhong’s actions in these episodes. They called him silly for being so insecure that he forced Tanyin to stay, fell for Hanvu’s schemes, and sparked a chain reaction…
Frankly, I see their point. I, too, groaned: “Yuan Zhong, must you? Couldn’t you just cherish your time with Tanyin, even if she had ulterior motives?”
But our fox isn’t mentally healthy. Turning away from world-destruction doesn’t mean instant recovery. Darkness still surrounds him—his clan, war demons, and even the gods want him dead. How much can one man take?
Though he chose to spare the world, Tanyin became his only light (especially after Yandu’s cruelty). That’s… not ideal.
Nightmare Wedding: Why Did Yuan Zhong Do It?
“I have never been this afraid in my life.” —Yuan Zhong
Did you dread the wedding as much as I did? With Tanyin’s nightmare vision of Yuan Zhong in red, how couldn’t we? Alas, her fear came true.
Why?
- He wanted to be special to her. Not just one of many loved by a goddess.
- He believed Tanyin stayed only for Taihe’s mission—no love involved. If his Divine Hand kept her from leaving, he’d rather give it to her and end the farce.
- The Hand symbolized a lifetime of pain. This was the final straw.
Was it understandable? Yes. Maddening? Also yes.
Could Yuan Zhong have been “reasonable”? Maybe. But consider: a man imprisoned for 60 years by the clan he protected, who finally finds hope in a woman’s devotion—only to learn it’s conditional.
In his mind, their marriage was just a means for her to retrieve the Hand. Why endure that toxicity? With his limited understanding of her mission and his fractured mental state, he saw no other way out.
And she was leaving—perhaps forever. That’s why he said, “I let you go.”
Novel vs. Drama: A Key Difference
In the novel, Yuan Zhong only considered cutting off his hand:
“He imagined cutting off his left hand in a fit of rage… hoping to fill the void with her tears and regret.”
But drama Yuan Zhong actually did it!
While the novel’s pear-tree scene felt tepid (Tanyin’s reaction was oddly muted), the drama’s version made Yuan Zhong seem unstable—but it was earned. His mental decline was well-foreshadowed.
That said, drama Tanyin’s agony over his death sold their love better than the novel’s more detached portrayal.
Episodes 34 – Hanvu
One of the problems the show had toward the end, and when it truly stumbled, was explaining the motivations of its archvillain, the seemingly saintly Hanvu.
This is where the book did it better. In the book, every god goes through tribulations in the world, and it often revolves around Obsessions. Hanvu being trapped in her obsessive hatred for her sister was her tribulation. To “pass” her tribulation, she had to rise above it.
(Obviously, she couldn’t in the end. The book vividly portrayed her ‘stuckness’ when Tanyin saw her ‘true form’ – that of a woman still burning alive in that fire. I always remember her saying that Tanyin had been in that firepit for centuries, unable to move away. In that sense, Hanvu was suffering for centuries with that pain.)
It’s All About Obsessions
Personally, I don’t think the show explained the magic system of this world very well.
The Buddhist philosophy that obsessions lead to suffering gets a twist in the story.
In this universe, one’s obsession can result in great feats, immortality, and even divinity. But on the other side of the coin: it can also lead to great misery and demonization.
- Yuan Zhong was obsessed with judging the world based on the five sins.
- Hanvu was obsessed with the betrayal of her sister, which led to her violent death.
That’s why Yuan Zhong said: “Gods and demons are just a thought apart.”
What obsession makes you a god? What obsession makes you a demon?
Hanvu and Yuan Zhong were on the same journey, but they responded differently.
Hanvu’s hatred had no outlet
Like Yuan Zhong, Hanvu was deeply wronged when she was alive. Despite being a caring sister, she was framed by her sibling and ended up being burned alive by a mob.
Like Yuan Zhong, she had a guide to lead her to a better path: Taihe. However, unlike Yuan Zhong, Hanvu couldn’t absorb Taihe’s guidance. (This is partly due to Taihe’s lack of empathy—a result of his “ruthless path”—where he only taught her to suppress her desires.)
When her sister died, her opportunity for revenge slipped away from her because, as a goddess, she couldn’t interfere with the cycle of reincarnation or enter it like her sister.
She wasn’t able to let go of her grudge as a result, and as she said, “Where can my grudge go? Forgive? I cannot forgive!”
So, instead of feeling gratitude for Taihe, she ended up hating him. She poisoned Taihe by unleashing all the darkness he was suppressing, which turned into a literal demon. She blamed the world for her unjust death, and she used Taihe as her weapon, and later, Yuan Zhong.
A lot of people on social media couldn’t understand her motivations. It may seem lame—to destroy the world based on something you suffered thousands of years ago—but think of it as hatred morphing into something “alive.” In Hanvu, we see the destructive force behind an Obsession; because she couldn’t let go, she needed an outlet for her hatred. She chose a new target: the world.
Yuan Zhong could say, “Never Mind”
Like Hanvu, Yuan Zhong’s target was also the world. But unlike Hanvu, he learned to love his guide, Tanyin, who was gentle and empathetic and gave him love in return. Unlike Hanvu, he could let his grudge go and say, “Never mind.”
That’s why I loved that little scene so much. Just two words, and it said so much—Yuan Zhong was able to let go of his obsessive need to destroy the world and justify his suffering. Hanvu wasn’t.
(PS: That’s why some fan theories say he had already attained godhood then, because he passed his tribulation right there—but it’s complicated, haha, since he replaced this Obsession with Tanyin.)
Unfortunately, Hanvu used Yuan Zhong’s love (or rather, Obsession) for Tanyin against him, resulting in this:
The Problem Lay in the Direction and the Script
The director, Guo Hu, has a rather spotty track record. While he was responsible for The Mysterious Lotus Casebook, he was also responsible for the really poorly received Only for Love.
So, I was holding my breath for most of the drama. On the whole, while he may struggle with some camera angles, etc., I thought he executed the story very well. But then he started stumbling after Episode 31.
And when Hanvu agreed to give Tanyin a “presentation” about why she was doing what she was doing, I could only facepalm. Really, director? You decided to turn Hanvu into the “villain who monologues her plan”? Until then, the drama had been pretty strong in the “show, don’t tell” department.
Of course, not all the blame can be placed on the director. I’d say the scriptwriter shares a fair bit of it. And that puzzled me because the writing had been consistently strong until the last arc, which leads me to conclude that another scriptwriter probably took over (the style is just too different) or… there was interference from above.
Probably a combination of both. Producers and the studio (and this is an iQIYI production) are notorious for dictating story direction, and all I can say is: something happened to the last few episodes.
I also read that originally, Hanvu’s motivation was that she was jealous Tanyin had Taihe’s attention in the past. The director nixed that plot, and I’m glad he did!
However, if only he could’ve laid out more foreshadowing for Hanvu to hint at her Obsession, her world-destroying motivations would’ve been more understandable—just like Yuan Zhong’s.
By the way, if you want to discuss the finale next, head over to the finale thread, which was originally for express viewers.
I have one more post coming explaining my opinion about the ending, and why I think it’s actually a good ending, even one leading towards happy.
Episodes 36 (Ending)
Evil Taihe is cool, I guess?
A lot of people were impressed with Evil Taihe/Yuan Zhong combo but I thought it was not Liu Xueyi’s strongest performance in the drama. (I thought it was rather cheesy, forgive me.) But I was super impressed that he used a totally different voice for him!
Did Evil Taihe die too easily? Yeah, weirdly for such a much-feared demon! haha
Why did Hanvu self-destruct?
Hanvu’s death was very confusing. What prompted her to self-destruct into a tapestry again? Someone explain to me.
Zhi Dai and Tang Hua’s ending was appropriate
Honestly, I’m suprrised Tang Hua got to live, his anime and novel version – he didn’t survive lol. Anyhoo, that relationship was doomed from the begginning and tbh I didn’t feel anything for this ‘ship, so it’s fine to me ;P
Is Meishan dead?
I think he’s in the same state Tanyin was, his body dead, but unless his primordial spirit is irrevocably destroyed, he could return. But, unfortunately, we do not know for sure.
Why did Yuan Zhong inherit Taihe’s powers?
Personally, I think it’s because he finally passed his tribulation and was deemed worthy enough to become Taihe version 2. (In xianxia, gods ascend to a new level after much suffering, but they need to overcome them to do so.) But again, they didn’t quite explain.
So, will Yuan Zhong accept the deity’s invitation to cultivate the ruthless path and be Taihe version 2?
I swear, if he does, he has learned nothing from his 60 years of confinement by the Youhu and deserves a tight slap from Tanyin when she returns.
The entire conversation was way too similar to Dinxu’s appeal that “he can become a god”. He’d be an utter fool to be tricked again just so that he can see Tanyin. So, no I doubt it. Being a god is no longer appealing, all he wants is Tanyin and yes, it’s a dirty tactic that the deity used Tanyin as bait but I’m confident Yuan Zhong is wise and smart enough to know that the ruthless path will only prevent him from reunited with Tanyin (because he has to supress his emotions).
Also, surely he knows that Taihe’s path wasn’t as pristine and pure as they made it out to be. So I doubt Yuan Zhong will fall for this scheme.
But he smiled because he finally have hope (after years grieving for her loss) that Tanyin can return one day.
But won’t he die before Tanyin returns?
It’s said that the Youhu foxes only live up to 500 years (if I’m not mistaken). I doubt that’s Yuan Zhong’s lifespan, being a host to the Divine Hand. Remember, Dinxu used to drain Yuan Zhong to make elixers to prolong his life. With that blood in his body, I’m sure his life is extended by a lot, and now that he has “inherited” Taihe’s full powers, his already god-like. He just chose not to ascend officially and take his place in the Divine Realm. And I doubt he’d ever do that.
The final question: Will Tanyin return?
Yes, to me she will. Reasons below.
Dashed expectations … only if you are a modern xianxia viewer with ‘love conquers all’ expectations
I firmly believe A Moment But Forever ended happily—but this depends on how you interpret the drama’s central themes. Modern audiences, especially newcomers to xianxia, often expect fairy-tale romances where love conquers all.
However, classic xianxia (the one I grew up with) was never solely about romance. Instead, it explored philosophical themes— what is good? What’s evil? What is the true nature of a deity? The immortals in more classic xianxia were far more concerned with mortal welfare than their own love lives.
And if they have some romance, they will prioritise their mission to care for mortals and sacrifice their love lives. That’s the nature of gods, and that’s how they became gods in the first place. Well, at least in old xianxia. Not so, modern xianxia, unfortunately. (They’d rather wreck the world for love!)
Over the years, the xianxia genre came to be dominated by the idol factory, so young actors and romance-heavy plots have became its trademark, almost.
This shift explains why A Moment But Forever faced the ageist criticism in China as “middle-aged xianxia.”
Anyway, if you watch A Moment But Forever expecting a modern xianxia, alas your expectations will be sorely dashed.
But if you approach it as a classic xianxia tale—centred on moral redemption, the responsibilities of the divine for humans—the ending will be logical … albeit unsatisfactory.
But to me, the ending is not just good but happy
Okay, happy-ish.
The core narrative about the drama isn’t about Tanyin and Yuan Zhong’s love story. It’s about Yuan Zhong’s redemption—a man destined to seemingly commit great evil. It’s also the story of a benevolent deity (Taiyin), who acts as his guide to sway him from this dark path.
The story’s “mission” completes when he chooses light over darkness, and saves the world.
Tanyin’s sacrifice—breaking heavenly laws to save him (the ultimate sacrifice for a goddess)—earns her a reprieve from judgement and a chance to live again.
A bad ending would be Yuan Zhong going completely evil and Tanyin dead!
I also liked the fact that Yuan Zhong and Tanyin several years as husband and wife. Tang Hua mentioned that he spent a few years travelling the world, and then we see Yuan Zhong and Tanyin at the tail end of their six-month travels.
I like that Yuan Zhong got to have this time with Tanyin, really truly love each other and lived as husband and wife before they parted.
To quote a Weibo-er, “our fox is no longer a virgin in the world and is now a right and proper widower.”
So what does it mean that she’s in the world, in a blade of grass etc?
The drama hints strongly that Tanyin survives as sentient energy and is able to influence creatures around her or even reincarnate into them – butterflies, dragonflies. Think of it as a higher level of existence.
In the novel, all gods who “die” reunite with a ‘central hub’ of primordial energy. So gods who ‘die’ become this energy, but Tanyin didn’t reunite with this central hub because she was granted the reprieve, and got to be free to rejoin the world.
But it will take time.
I firmly believe she will eventually return, mirroring the novel’s resolution where she reforms in a new body after centuries.
Why I’m convinced Taiyin will return:
- The Deity’s Revelation: The god at the end confirms Taiyin’s primordial spirit lingers between heaven and earth, and Yuan senses her presence.
- 2. Foreshadowing:
- The fortune teller’s prophecy: Yuan will have “joy with his descendants.”
- Taiyin gave Yuan Zhong her divine energy in episode 6. In the novel this is the key to her return. Her body is remade with immortal lotus, her teacher gave Yuan Zhong the “lotus gift”. I feel that he probably wanted to protect her too, and I think this “lotus energy” will facilitate her body’s reformation.
- Novel Parallels: In the source material, Taiyin returns after centuries, her energy merging with a lotus to recreate her body. The drama’s open ending implies the same outcome.
But I get why you want a kissy reunion
Let me ask you: Why should all “happy endings” be about a wedding and babies?
For a classic xianxia tale, a “happy ending” means evil was thwarted, and our heroes ascend their tribulations, ofter after great sacrifice.
I get it though. Modern xianxia viewers are so used to the idea of a romantic conclusion that they get furious when it’s thwarted, but classic xianxia prioritizes the themes I mentioned.
Yes, the frustration stems from mismatched genre expectations. But also, well, I get it. After the many tribulations we just want our couple to cuddle their babies and snog!
Why is it the ending ‘unsatisfying’ then?
Partly because we want to see Tanyin fulfill her promise that “she will definitely return, I promise you.” But didn’t get to see that (even if it’s heavily hinted).
Also, the drama was amazing up to episode 33. I felt that the drama jumped the shark after the Red Wedding (lmao). It’s as if they ran out of money or was told to hastily cut down lots of scenes.
That’s why it’s unsatisfactory to me – the drama was excellently plotted, the logic very solid until episode 33. Then after that it was a return to xianxia cliches. (I wasn’t super enthused with the demon lord arc.)
So many things were left lightly hinted at towards the end. For example, many people didn’t catch that the Weapon Spirits are still alive! Little A Xiu is back at the last episode.
A definite ending for many of our beloved characters would’ve made so many people happier.
Well, at least we understand why the Chinese title of the drama is 念无双 (Thinking/Longing for Wu Shuang). It sure lived up to it!
In the end, all of us know exactly how Yuan Zhong felt at the final scene. LOL
PS: Apparent the scriptwriter said an extra scene was filmed but never allowed to release. There’s some confusion about whether it’s filmed or not. But there was indeed a happy ending, either as an extra episode or a happy ending, but they decided to lop it off so that it has a more open ending instead. Make it make sense, c-ent!
So what are your theories?
#China #AMomentButForever #CDrama #CDramas #ChineseDrama #ChineseDramas #Fantasy #LiuXueYi #LiuXueyi #reviews #romance #TV #Xianxia
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Using methods generally employed to track the evolution and spread of plants and animals over time and across geography,
this paper aims to provide a scientific classification of "pasta ripiena"-- Italian stuffed pasta shapes
-- and how they spread and evolved across what is now Italy.🔹From the abstract of ‘Evolution of the Italian pasta ripiena: the first steps toward a scientific classification’:
Our results showed that, with the exception of the Sardinian Culurgiones, all the other pasta ripiena from Italy likely had a single origin in the northern parts of the country.
Based on the proposed evolutionary hypothesis, the Italian pasta are divided into two main clades:
a #ravioli clade mainly characterized by a more or less flat shape,
and a #tortellini clade mainly characterized by a three-dimensional shape.The introduction provides a short history lesson in stuffed foods:
The Italian pasta ripiena are part of a large family of Eurasian stuffed dumplings that similarly come in a wide array of shapes and forms and are known by many different names,
for example, the Turkish #manti, German #maultaschen, Polish #pierogi, Jewish #kreplach, Russian #pelmeni, Georgian #khinkali, Tibetan #momo, Chinese #wonton, Japanese #gyoza, and many others.It is unclear whether all dumplings had a singular origin or evolved independently,
or how the remarkable diversity observed in Italy is related to the greater variation present in Eurasia.
Based on linguistic similarities, it has been speculated that stuffed dumplings were probably first invented in the Middle East
and subsequently spread across Eurasia by Turkic and Iranian peoples.
Dumplings were known in China during the Han Empire (206 BC-220 AD), where archaeological remnants of noodles from this period were also discovered;
however, in the same era, pasta had not yet made its appearance in Europe.
The Italian ravioli have also been suggested to be a descendent of the Greek manti.🔷And then moves on to stuffed pastas native to Italy:
In Italy, ravioli are probably the oldest historically documented filled pasta,
even though the early iterations of this dish evidently did not include the enclosing pasta casing.
Between the 12 and 13 centuries, a settler from Savona agreed to provide his master with a lunch for three people made of bread, wine, meat and ravioli, during the grape harvest.
Tortelli and agnolotti first appeared in literature much later.
However, the origins of the iconic tortellini are controversial. The long-standing historical feud between the cities of #Bologna and #Modena over who invented the tortellini was symbolically settled at the end of the 19 century by Bolognese poet and satirist Giuseppe Ceri,
who, in his poem “L’ombelico di Venere” (the navel of Venus), declared Castelfranco Emilia, a town halfway between the two cities, to be the birthplace of tortellini.
According to this legend, one day,
while Venus, Mars and Bacchus were visiting a tavern in Castelfranco Emilia,
the innkeeper inadvertently caught Venus in a state of undress and was so astonished at the sight of the goddess’ navel that he ran into the kitchen and created tortellini in her honor.
Clearly, a product as perfect as tortellini could be inspired only by Venus, the goddess of beauty.
https://kottke.org/24/07/the-origin-evolution-of-italian-stuffed-pasta-shapes -
El Cuervo’s and GardensTale’s Top Ten(ish) of 2023
By El Cuervo
El Cuervo
This list represents business as usual in Casa Cuervo. Four albums by bands that have previously hit my Album o’ the Year list. Four albums more-or-less fall into my preferred progressive death metal sub-genre. And one 80s-worshiping retrowave release. Only the very top and very bottom of my list feature acts outside my bailiwick.
You might think this would result in a year that I rate highly for musical releases. Sadly the opposite is true. I found it surprisingly easy to narrow down my list and surprisingly difficult to pick a real number one—both because there too few outstanding options to choose from. It says a lot that I reviewed two of my top three albums but I ‘only’ awarded these a 4.0. I admire all that’s been achieved by the entrants here but I can’t help but feel a little disappointed as we reach the end of 2023. Granted, my 2022 list was topped by two records that would be multi-year winners so the comparison was rough.
And yet, hope springs eternal. While it’s unlikely that 2024 will boast a list fitting so comfortably in my wheelhouse, I remain optimistic for a year full of new musical discoveries. Between now and then, enjoy the holiday season!
#10. Grails // Anches en Maat – Anches en Maat was my favorite music of the year to disconnect from reality and lose myself in a weird and wonderful world. There’s little left from the comparatively direct instrumental rock of early Grails, but their cinematic spectacle makes their recent music all the more intriguing. This one can loosely be bundled into post-rock but its range of influences, from blues to electronica to ambient to TV soundtracks, establishes a sound you won’t hear anywhere else. High-octane, minute-to-minute, and bursting with energy it isn’t. But what you will find is something endlessly evocative and endlessly repeatable in its lilting, laid-back spirit. I’m not a big post-rock nerd but I find everything released by Grails utterly engrossing.
#9. Svalbard // The Weight of the Mask – Svalbard have become more expressive and more creative as their career has progressed. While still firmly rooted in post-hardcore, The Weight of the Mask toys with musical boundaries more than ever. It features more of everything that has previously been a part of the Svalbard sound; from post-metal to post-rock to black metal. But it’s not the musical compositions that make these Brits so good. The emotive weight of their music makes each listen a passion-fuelled journey and I find myself returning for the feels it invokes above anything else. I’m not sure if I like Weight of the Mask more than When I Die, Will I Get Better? But, for those on the fence, it’s at least as good.
#8. Lunar Chamber // Shambhallic Vibrations – Few records from 2023 seemed as custom-built for this Cuervo as Shambhallic Vibrations by Lunar Chamber. Progressive? Check. Death metal? Check. Short run-time? Check. Incredible dynamism? Check. Buddhism?1 Check. Shambhallic Vibrations forges a new path through progressive death metal, leaning heavily on contemplative synths, impressive technicality, and doomy passages, all of which counter-balance the pace and ferocity of its core deathly style. Though shockingly varied for a release just running for 30 minutes, the release is unfailingly cohesive. From the breathy interludes to the brutal blasting, Lunar Chamber harmonizes their sounds into a satisfying whole. It isn’t a prerequisite for progressive albums to run for an hour or more. Shambhallic Vibrations does so much more with so much less.
#7. fromjoy // fromjoy – If you want to hear the coolest thing released in 2023, look no further than the self-titled EP by Houston’s fromjoy. It bottles insanity; conjures madness; flips the musical table. They do this with a fusion of various types of -core (grind, math, break) but streak this with winding, vaporwave synths. If this sounds like an unholy aberration, it is. But this aberration delights and energizes in equal measure. I’ve extracted more joy this year from these 26 minutes than full albums over twice that length. Almost every one of these ten tracks has a unique quirk; from wretched grind to stomping breakdowns to dancing trip-hop to smooth saxophones. fromjoy is a testament to pure creative energy and doing a lot with a little.
#6. Ulthar // Anthronomicon – Though it forms one side of a coin completed by its sister album Helionomicon, it was Anthronomicon that impressed me most of the concurrent release by pan-US collective Ulthar. What strikes me most are the compelling contradictions that Ulthar creates. Anthronomicon’s music is crushingly heavy yet repeatably memorable, while the instrumentation is oppressively other-worldly yet somehow human-performed. Blackened death metal cannot count itself among metal’s most penetrable sub-genres, but something about these warped arrangements hooks me. Ulthar might make strange, atmospheric music but Anthronomicon’s laser focus on outstanding riffs leaves a release I haven’t stopped spinning in nearly a year. It’s one of 2023’s most challenging but most rewarding listens.
#5. Tomb Mold // The Enduring Spirit – Why, after a run of critically acclaimed old-school death metal albums, is The Enduring Spirit the first Tomb Mold record to touch my AotY list? In short, because its music is far more inventive now. Switching out a cavernous aesthetic and unrelenting pace for tidier production and grandiose solos, The Enduring Spirit scratches that prog-death itch better than any other release from 2023. Though Tomb Mold has always been smarter-than-you-first-realize, this record represents a significant leap forward and feels like the next era of the band. Above all, it harmonizes Tomb Mold’s savage roots with newer, cerebral tendencies. While the immaculate transitions go some way to achieving this, the spacious soundstage and perfect instrumental tones ensure the release hangs together to my great satisfaction.
#4. Shadowrunner // Ocean of Time – Rebirth and Oblivion – For the first time, the Ocean of Time duo made me want to dislike a Shadowrunner release. Making the listener buy the same four songs twice in order to access the unique eight ruffled my feathers. But the music here is just so damn captivating that I can’t help but love the two sides nonetheless. Rebirth is as effortless and enchanting as any retrowave act from the last decade, while Oblivion is pure nostalgia bait. Warm synths, driving rhythms, smooth saxophones, and pleasant vocals; all are present and correct. Shameless pleasure and rose-tinted spectacles compel me to consistently choose something synthy for my AotY list and Shadowrunner made the best synth music of 2023. Do not sleep on one of the best acts in the scene.
#3. Sylosis // A Sign of Things to Come – I couldn’t be happier at my rediscovery of Sylosis since 2020’s Cycle of Suffering, and A Sign of Things to Come returns to deliver the goods once again. Despite the flack I took for describing Sylosis as how modern thrash should sound, I stand by that comment. 1986 already exists so go fucking listen to that again if you like. What this album will give you instead is music that fuses thrashy, melodic, technical, and hardcore influences into 10 super-charged tunes. They will fill you with rage, then re-energize you to exorcize that rage. For raw riff-craft, no other record was the match of this one. A sign of more things to come in the future? I fucking hope so.
#2. Sermon // Of Golden Verse – Only one other record this year feels as complete as Of Golden Verse. It is a consummate album, expressing its music and thoughts in the exact amount of time it requires. Despite its poignance and emotive qualities, it feels incredibly precise; a work created by masters of their trade. Even with 4 tracks approaching or exceeding 7 minutes, there’s nary a wasted second. That’s a tough feat indeed in the world of prog, and Sermon exemplifies all that is great in the genre. Their undulating songwriting style results in music that ebbs from steely, tense atmospheres and flows to passionate, cathartic explosions. Dramatic, sure; maybe even melodramatic. But exciting and varied as Sermon dabbles in progressive, alternative, and doom metal. Of Golden Verse represents a huge step forward from their debut.
#1. Hasard // Hypnocentrisme – Though Hypnocentrisme wasn’t a clear winner, its complete singularity pushes it above everything else in 2023. Hasard paints stark, abstract images in shades of black; it’s an impenetrable, challenging release, obscuring its immense qualities behind oppressive heaviness and bewildering arrangements. Through the record’s black metal crust hides an accomplished orchestral core that’s just as disturbing—in some ways, more so—as its metal aspects. Purposefully deconstructing the screeching guitars, arhythmic drumming, ominous synths, and erratic counter-melodies delivers the year’s most thought-provoking music. Passively wallowing delivers the year’s most thought-crushing music. While it may not be the most enjoyable record of the year, it is certainly the most striking. No other 2023 record affected me like Hypnocentrisme.
Honorable Mentions
- Myrkur // Spine – Spine is just as sonically varied—arguably inconsistent—as any Myrkur release2 but this time it’s all high quality. From the poppy chorus on “Like Humans,” to the blast beats on “Valkyriernes Sang,” to the gentle folk on “Menneskebarn,” I’m emotionally invested throughout.
Ahab // The Coral Tombs – Ahab is an indomitable force of doom metal, and The Coral Tombs didn’t miss a step after eight years away. Judicious variety and grand arrangements ensure that this is the best doom of 2023.
Ne Obliviscaris // Exul – Balancing poignant string sections with crunchy death and black metal, NeO remains a stellar progressive metal band. Exul proves that even a NeO producing their weakest album is better than most others.
Songs o’ the Year
- Godthrymm – “As Titans”
- fromjoy – “Helios” / “Icarus”
- In Flames – “Meet Your Maker”
- Theocracy – “Return to Dust”
- Hasard – “Hypnocentrisme”
- Sermon – “Golden”
- Angus McSix – “Master of the Universe”
- Saturnus – “The Calling”
- Sylosis – “Poison for the Lost”
- ADMO – “Always”
GardensTale
In previous years, I wrote at least one paragraph about how the year went for me. But for the last 3 years, those have been pretty depressing, so I’m just going to skip that. Let’s talk about the good stuff instead. It’s strange to think that black metal is one of the last genres I seriously got into, around 5 years ago or so. Beforehand, I always thought all black metal was akin to lo-fi second-wave shit that sounds like someone sucked up a marble with the vacuum cleaner. Years before, Belgian unknowns Axamenta3 laid some groundwork to prove my misconception wrong, and Mistur hammered it home. Now the conversion is complete, thanks to a year that’s been absolutely stuffed with quality black metal. I could have made a very respectable list of only black metal records, HMs included. But I still like other genres, too, so it was inevitable a couple of other-minded rascals snuck in for color. At least Doom_et_Al won’t hate my list as much as usual. Probably.
I gotta add though, whilst I’ve heard a lot of praise for this year in metal, I still feel like I am missing a true winner. The order of my top 6 or so feels entirely arbitrary, and I’m not sure an extra month of listening would bring the necessary clarity. I’ve had plenty to love (my shortlist reached 10 albums by March or so, partially thanks to an unusually strong January) but the only albums I have been truly ecstatic about are discoveries that were released before the pandemic and barely metal-adjacent4 But so it goes! Every year is so different, in both life and music. I already had a sneak peek of a likely lister for next year, so I know we’ll be off to a good start in that regard.
I must thank my colleagues and editors for putting up with my slacking ass.5 You are a good bunch and half the reason I’m still pouring my heart and soul into this site. The other half is the free promos. And what’s an end-of-year projectile vomit of thank yous and love yous without addressing the readers? If you’re still here and didn’t just skip through to the list, you have my thanks. If you did skip to the list, you still have my thanks, you just won’t know about it. Even those of you who just check the winners and move on. You are still part of the weird and lovely conglomeration of readers we’ve developed, so thank you as well. And I must give a shout-out to the Discord folks. Though I don’t pop in too often, you’ve made it a lovely and welcoming server, and uncommonly well-behaved! Now, who’s ready for the other half of the worst takes in AMG?
#ish. Xoth // Exogalactic – Xoth is back and thus back in my list, because Xoth remains every bit the cool as hell bunch of motherfuckers it’s always been. It’s a little bit more technical and a little bit less memorable compared to its predecessor, missing a “Mountain Machines” level riff, but I still have a really hard time sitting still in my chair when Exogalactic is playing. Too much bouncy fun and sick solos!
#10. Fires in the Distance // Air Not Meant for Us – I listened to an absolute ton of melodic death metal in my early metal years. I still have a soft spot for the genre, but it also needs to do something different to stand out for me these days. Fires in the Distance fully meets that criterium. The stern, strident tone, doom-adjacent pacing, and tasteful piano make Air an album of aching beauty. I’m reminded in part of Eternal Tears of Sorrow, but far more mature and with great emotional depth. The only reason it didn’t place higher is that it doesn’t keep me coming back somehow, and these lists are nothing if not places to go with my gut.
#9. Leiþa // Reue – Speaking of my gut, Reue was the first full-blown punch it received this year. It amuses me when people claim that all black metal screams sound the same because though the lyrics are as incomprehensible as ever, I feel every ounce of the bottomless pain and despair Noise conjures here. But on top of the throat-ripping gurgles of depression are some very sophisticated melodies and good use of dynamics between quiet passages and all-out raging desperation. Most one-man bands struggle to make one worthwhile project, meanwhile, this guy has Leiþa, Non Est Deus, and Kanonenfieber on his resume. I’d call it unfair if I didn’t love it so much.
#8. Megaton Sword // Might & Power – Traditional metal doesn’t often show up on my year-end list. Maybe Megaton Sword wouldn’t have either, although I do love me a batch of idiosyncratic vocals. But a medical situation in the family made the first half of the year an especially stressful affair, and Might & Power with its simple sense of fun was my main musical comfort in that time. But there’s more to it than that. So many strong melodies with few frills. So many fist-pumping horseback-riding sword-raising shield-carrying moments of triumph and awe. And all tied together by that uncommon voice, acerbically spraying dark heroism over the battlefield. The worst of the family situation is well behind us, but Might & Power still won’t leave my regular rotation.
#7. Carnosus // Visions of Infinihility – Is it unfair to say Xoth got out-Xoth’ed this year? It’s the obvious point of comparison, between the many-faceted vocals, high technical ability, tongue-in-cheek insanity, twisting multi-part riffs, and snaking bass. But if Xoth is the oblique unknowable architecture of cosmic horror, Carnosus is the fleshy depravity of body horror. It theatrically revels in its filth and cackles as the audience turns green around the cheeks. Most of the death metal highlights this year have been of the cavernous or slamarific variety, neither of which does much for me, but Carnosus has been an absolute delight that’s kept up my good cheers.
#6. Walg // III – The vast majority of my music recommendations originate here, but once in a blue moon, my partner will send me a link to something that popped up in her random music feeds and I just get blown away. That’s how I found this independent duo from Groningen, the Netherlands, who, without any black metal experience, started shitting out annual albums in the middle of the pandemic and manage to outdo most of their peers in the process. III is a furious album, with blast beats and histrionic screeching out the wazoo, but is tempered by a bevy of great melodic riffs and the occasional gothic chant. Because the lyrics are in Dutch, which really is not a good language for this kind of horrific imagery, there’s something endearing to the band as well. The combination makes for a very interesting, dark yet catchy experience and one I can well recommend.
#5. Wayfarer // American Gothic – Wayfarer was always one of those bands I kept hearing about and kept not hearing. No particular reason, either; I resolved to listen to them several times and it just didn’t happen. Then I finally heard them, by seeing them live at Roadburn. It was definitely a highlight of the festival, aside from an interlude that was far too long and not nearly interesting enough. Thankfully, American Gothic is more balanced, a perfectly tuned album that calls forth the man in black stalking the prairie on horseback. It’s an album redolent in atmosphere without forgoing a good hook, one that can carry tension on a single banjo string. In short, it has lived up to the hype and then some.
#4. Sermon // Of Golden Verse – Pure prog metal often gets a reputation for being wussy and weenie. Sermon does it differently. What attracts me to this album the most is the sense of threat. Sermon looms a great dark ominous wall that swallows the background and casts everything in shade. For an album to hold its breath even while beating you down takes some exquisite songwriting, and Of Golden Verse is jam-packed with it. Closer “Departure” really opens the floodgates, too, for a satisfying and bombastic finale.
#3. VAK // The Islands – I called The Islands one of the flat-out coolest albums of the year and I stand by it. If anything, my appreciation for VAK’s latest has only grown since then. When you’ve listened to a million albums, the ones that really stand out and stick with you are the ones with the strongest personality. If you’d send me an unlabeled song that didn’t make the cut on The Islands I would recognize it as VAK immediately, guaranteed. While so much sludge tries and fails to get under my skin with a hammer, VAK succeeds by taking a shortcut as it pries off my fingernails with a rusty screwdriver. It’s deliciously uncomfortable and I love it.
#2. The Circle // Of Awakening – This was surely the most heinous underrating of the year. The opener alone should earn the band its 4.0, a perfectly tuned piece of proggy black/death. One thing that strikes me is how good The Circle is at finding the right dosages. Every time it feels like one thing has run its course, something replaces or enhances it, from the versatile vocals to the use of symphonics and from blast beats to breathing room. I’ve revisited this one a lot since the summer, and for a while, I thought it was gonna top my list…
#1. Night Crowned // Tales – …until Night Crowned bum-rushed the stage. Whereas many of my listening habits this year have been decidedly un-brutal, in the metal sphere I have found myself drawn to the combination of melodic and intense music, particularly in the second half of the year. Tales is an exemplary album in this regard. The intense blasting and no-holds-barred shrieking always hold a melodic thread that makes it more than a wall of noise, whether it be from extra vocal layers, subtly interweaved symphonics, or a goddamn hurdy-gurdy that works way better than it should. The track where the latter features most prominently, “She Comes at Night,” is what drew me in, but every track has its own face; its deviations make it stand out from the others, like the clean vocals on melodic mid-pacer “Loviatar” or the Dimmu influence on the grandiose closer “Old Tales.” While I would not rank it as highly as the winners of previous years, you owe it to yourself to grab Tales if you haven’t already.
Honorable Mentions
- Aetherian // At Storm’s Edge – Contrary to my point with VAK, this album doesn’t do much particularly new but it’s the embodiment of Finnish style epic melodeath done really, really well.
- Somnuri // Desiderium – Who knew Mastodon-style sludge could be improved with grunge?
- Mutoid Man // Mutants – Wild, reckless fun with more depth than a first glance betrays.
- Genus Ordinis Dei // The Beginning – Narrative albums aren’t easy, but Genus Ordinis Dei has that shit in the bag. Easy to listen to, easy to love, and feels like a complete, well-rounded movie in the guise of an epic metal album.
- Laster // Andermans Mijne – It’s deeply strange and gets at all the bits of my brain that have been gathering dust for years, but I can’t deny its continuous pull.
Disappointment o’ the Year
This is the first paragraph I’m writing this year because it’s the easiest. I always used to like Soen. With Lotus, I even loved them. Imperial was a clear step-down, branching out in the wrong directions, but it was still enjoyable in its own right, just not approaching list material. They put on some good live shows this year, too. But Memorial goes off the deep end like Thelma & Louise. The remaining semblances of progressive rock and metal are gone, replaced by refried alternative rock. Even Joel Ekelöf sounds downright bad, his buttery smooth croon awkwardly squished into a grungy mold that doesn’t suit him. It’s like the band members collectively decided to challenge themselves by trying to make an album without doing any of the things they’re actually good at. The experiment failed, boys.
Song o’ the Year
Last year I discovered Norwegian artsy prog rock outfit Major Parkinson and fell deeply in love with their quirky, bombastic, gloomy aesthetic and thoughtful, varied songwriting. Not long into this year, I found out that enigmatic vocalist Jon Ivar Kollbotn had suffered a massive heart attack in the middle of a concert in October. Though he managed to finish the set, he flatlined backstage. By some miracle, police officers happened to be just outside the building and they managed to restart Kollbotn’s ticker. When he was sufficiently recovered, the band re-wrote and recorded an old live track named “Take the Prescription” to commemorate his survival. The result is as addictive as prescription drugs, an upbeat and offbeat artful piece of prog-pop with an infectious whistled tune, beautiful smooth bass usage, and the band’s signature dark undertone. Kollbotn sounds as coarse and moody as ever, and new permanent member Peri Winkle offers an outside perspective to the frontman’s near-death experience. And even if the track hadn’t been one of the sweetest things I’ve heard this year, it’d still be my favorite track of 2023. If only because he was still around to record it.
#2023 #Aetherian #Ahab #BlogPosts #Carnosus #ElCuervoSAndGardensTaleSTopTenIshOf2023 #FiresInTheDistance #fromjoy #GenusOrdinisDei #Grails #Hasard #Laster #Leitha #Lists #Listurnalia #LunarChamber #MegatonSword #MutoidMan #Myrkur #NeObliviscaris #NightCrowned #Sermon #Shadowrunner #Soen #Somnuri #Svalbard #Sylosis #TheCircle #TombMold #Ulthar #VAK #Walg #Wayfarer #Xoth
- Myrkur // Spine – Spine is just as sonically varied—arguably inconsistent—as any Myrkur release2 but this time it’s all high quality. From the poppy chorus on “Like Humans,” to the blast beats on “Valkyriernes Sang,” to the gentle folk on “Menneskebarn,” I’m emotionally invested throughout.
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El Cuervo’s and GardensTale’s Top Ten(ish) of 2023
By El Cuervo
El Cuervo
This list represents business as usual in Casa Cuervo. Four albums by bands that have previously hit my Album o’ the Year list. Four albums more-or-less fall into my preferred progressive death metal sub-genre. And one 80s-worshiping retrowave release. Only the very top and very bottom of my list feature acts outside my bailiwick.
You might think this would result in a year that I rate highly for musical releases. Sadly the opposite is true. I found it surprisingly easy to narrow down my list and surprisingly difficult to pick a real number one—both because there too few outstanding options to choose from. It says a lot that I reviewed two of my top three albums but I ‘only’ awarded these a 4.0. I admire all that’s been achieved by the entrants here but I can’t help but feel a little disappointed as we reach the end of 2023. Granted, my 2022 list was topped by two records that would be multi-year winners so the comparison was rough.
And yet, hope springs eternal. While it’s unlikely that 2024 will boast a list fitting so comfortably in my wheelhouse, I remain optimistic for a year full of new musical discoveries. Between now and then, enjoy the holiday season!
#10. Grails // Anches en Maat – Anches en Maat was my favorite music of the year to disconnect from reality and lose myself in a weird and wonderful world. There’s little left from the comparatively direct instrumental rock of early Grails, but their cinematic spectacle makes their recent music all the more intriguing. This one can loosely be bundled into post-rock but its range of influences, from blues to electronica to ambient to TV soundtracks, establishes a sound you won’t hear anywhere else. High-octane, minute-to-minute, and bursting with energy it isn’t. But what you will find is something endlessly evocative and endlessly repeatable in its lilting, laid-back spirit. I’m not a big post-rock nerd but I find everything released by Grails utterly engrossing.
#9. Svalbard // The Weight of the Mask – Svalbard have become more expressive and more creative as their career has progressed. While still firmly rooted in post-hardcore, The Weight of the Mask toys with musical boundaries more than ever. It features more of everything that has previously been a part of the Svalbard sound; from post-metal to post-rock to black metal. But it’s not the musical compositions that make these Brits so good. The emotive weight of their music makes each listen a passion-fuelled journey and I find myself returning for the feels it invokes above anything else. I’m not sure if I like Weight of the Mask more than When I Die, Will I Get Better? But, for those on the fence, it’s at least as good.
#8. Lunar Chamber // Shambhallic Vibrations – Few records from 2023 seemed as custom-built for this Cuervo as Shambhallic Vibrations by Lunar Chamber. Progressive? Check. Death metal? Check. Short run-time? Check. Incredible dynamism? Check. Buddhism?1 Check. Shambhallic Vibrations forges a new path through progressive death metal, leaning heavily on contemplative synths, impressive technicality, and doomy passages, all of which counter-balance the pace and ferocity of its core deathly style. Though shockingly varied for a release just running for 30 minutes, the release is unfailingly cohesive. From the breathy interludes to the brutal blasting, Lunar Chamber harmonizes their sounds into a satisfying whole. It isn’t a prerequisite for progressive albums to run for an hour or more. Shambhallic Vibrations does so much more with so much less.
#7. fromjoy // fromjoy – If you want to hear the coolest thing released in 2023, look no further than the self-titled EP by Houston’s fromjoy. It bottles insanity; conjures madness; flips the musical table. They do this with a fusion of various types of -core (grind, math, break) but streak this with winding, vaporwave synths. If this sounds like an unholy aberration, it is. But this aberration delights and energizes in equal measure. I’ve extracted more joy this year from these 26 minutes than full albums over twice that length. Almost every one of these ten tracks has a unique quirk; from wretched grind to stomping breakdowns to dancing trip-hop to smooth saxophones. fromjoy is a testament to pure creative energy and doing a lot with a little.
#6. Ulthar // Anthronomicon – Though it forms one side of a coin completed by its sister album Helionomicon, it was Anthronomicon that impressed me most of the concurrent release by pan-US collective Ulthar. What strikes me most are the compelling contradictions that Ulthar creates. Anthronomicon’s music is crushingly heavy yet repeatably memorable, while the instrumentation is oppressively other-worldly yet somehow human-performed. Blackened death metal cannot count itself among metal’s most penetrable sub-genres, but something about these warped arrangements hooks me. Ulthar might make strange, atmospheric music but Anthronomicon’s laser focus on outstanding riffs leaves a release I haven’t stopped spinning in nearly a year. It’s one of 2023’s most challenging but most rewarding listens.
#5. Tomb Mold // The Enduring Spirit – Why, after a run of critically acclaimed old-school death metal albums, is The Enduring Spirit the first Tomb Mold record to touch my AotY list? In short, because its music is far more inventive now. Switching out a cavernous aesthetic and unrelenting pace for tidier production and grandiose solos, The Enduring Spirit scratches that prog-death itch better than any other release from 2023. Though Tomb Mold has always been smarter-than-you-first-realize, this record represents a significant leap forward and feels like the next era of the band. Above all, it harmonizes Tomb Mold’s savage roots with newer, cerebral tendencies. While the immaculate transitions go some way to achieving this, the spacious soundstage and perfect instrumental tones ensure the release hangs together to my great satisfaction.
#4. Shadowrunner // Ocean of Time – Rebirth and Oblivion – For the first time, the Ocean of Time duo made me want to dislike a Shadowrunner release. Making the listener buy the same four songs twice in order to access the unique eight ruffled my feathers. But the music here is just so damn captivating that I can’t help but love the two sides nonetheless. Rebirth is as effortless and enchanting as any retrowave act from the last decade, while Oblivion is pure nostalgia bait. Warm synths, driving rhythms, smooth saxophones, and pleasant vocals; all are present and correct. Shameless pleasure and rose-tinted spectacles compel me to consistently choose something synthy for my AotY list and Shadowrunner made the best synth music of 2023. Do not sleep on one of the best acts in the scene.
#3. Sylosis // A Sign of Things to Come – I couldn’t be happier at my rediscovery of Sylosis since 2020’s Cycle of Suffering, and A Sign of Things to Come returns to deliver the goods once again. Despite the flack I took for describing Sylosis as how modern thrash should sound, I stand by that comment. 1986 already exists so go fucking listen to that again if you like. What this album will give you instead is music that fuses thrashy, melodic, technical, and hardcore influences into 10 super-charged tunes. They will fill you with rage, then re-energize you to exorcize that rage. For raw riff-craft, no other record was the match of this one. A sign of more things to come in the future? I fucking hope so.
#2. Sermon // Of Golden Verse – Only one other record this year feels as complete as Of Golden Verse. It is a consummate album, expressing its music and thoughts in the exact amount of time it requires. Despite its poignance and emotive qualities, it feels incredibly precise; a work created by masters of their trade. Even with 4 tracks approaching or exceeding 7 minutes, there’s nary a wasted second. That’s a tough feat indeed in the world of prog, and Sermon exemplifies all that is great in the genre. Their undulating songwriting style results in music that ebbs from steely, tense atmospheres and flows to passionate, cathartic explosions. Dramatic, sure; maybe even melodramatic. But exciting and varied as Sermon dabbles in progressive, alternative, and doom metal. Of Golden Verse represents a huge step forward from their debut.
#1. Hasard // Hypnocentrisme – Though Hypnocentrisme wasn’t a clear winner, its complete singularity pushes it above everything else in 2023. Hasard paints stark, abstract images in shades of black; it’s an impenetrable, challenging release, obscuring its immense qualities behind oppressive heaviness and bewildering arrangements. Through the record’s black metal crust hides an accomplished orchestral core that’s just as disturbing—in some ways, more so—as its metal aspects. Purposefully deconstructing the screeching guitars, arhythmic drumming, ominous synths, and erratic counter-melodies delivers the year’s most thought-provoking music. Passively wallowing delivers the year’s most thought-crushing music. While it may not be the most enjoyable record of the year, it is certainly the most striking. No other 2023 record affected me like Hypnocentrisme.
Honorable Mentions
- Myrkur // Spine – Spine is just as sonically varied—arguably inconsistent—as any Myrkur release2 but this time it’s all high quality. From the poppy chorus on “Like Humans,” to the blast beats on “Valkyriernes Sang,” to the gentle folk on “Menneskebarn,” I’m emotionally invested throughout.
Ahab // The Coral Tombs – Ahab is an indomitable force of doom metal, and The Coral Tombs didn’t miss a step after eight years away. Judicious variety and grand arrangements ensure that this is the best doom of 2023.
Ne Obliviscaris // Exul – Balancing poignant string sections with crunchy death and black metal, NeO remains a stellar progressive metal band. Exul proves that even a NeO producing their weakest album is better than most others.
Songs o’ the Year
- Godthrymm – “As Titans”
- fromjoy – “Helios” / “Icarus”
- In Flames – “Meet Your Maker”
- Theocracy – “Return to Dust”
- Hasard – “Hypnocentrisme”
- Sermon – “Golden”
- Angus McSix – “Master of the Universe”
- Saturnus – “The Calling”
- Sylosis – “Poison for the Lost”
- ADMO – “Always”
GardensTale
In previous years, I wrote at least one paragraph about how the year went for me. But for the last 3 years, those have been pretty depressing, so I’m just going to skip that. Let’s talk about the good stuff instead. It’s strange to think that black metal is one of the last genres I seriously got into, around 5 years ago or so. Beforehand, I always thought all black metal was akin to lo-fi second-wave shit that sounds like someone sucked up a marble with the vacuum cleaner. Years before, Belgian unknowns Axamenta3 laid some groundwork to prove my misconception wrong, and Mistur hammered it home. Now the conversion is complete, thanks to a year that’s been absolutely stuffed with quality black metal. I could have made a very respectable list of only black metal records, HMs included. But I still like other genres, too, so it was inevitable a couple of other-minded rascals snuck in for color. At least Doom_et_Al won’t hate my list as much as usual. Probably.
I gotta add though, whilst I’ve heard a lot of praise for this year in metal, I still feel like I am missing a true winner. The order of my top 6 or so feels entirely arbitrary, and I’m not sure an extra month of listening would bring the necessary clarity. I’ve had plenty to love (my shortlist reached 10 albums by March or so, partially thanks to an unusually strong January) but the only albums I have been truly ecstatic about are discoveries that were released before the pandemic and barely metal-adjacent4 But so it goes! Every year is so different, in both life and music. I already had a sneak peek of a likely lister for next year, so I know we’ll be off to a good start in that regard.
I must thank my colleagues and editors for putting up with my slacking ass.5 You are a good bunch and half the reason I’m still pouring my heart and soul into this site. The other half is the free promos. And what’s an end-of-year projectile vomit of thank yous and love yous without addressing the readers? If you’re still here and didn’t just skip through to the list, you have my thanks. If you did skip to the list, you still have my thanks, you just won’t know about it. Even those of you who just check the winners and move on. You are still part of the weird and lovely conglomeration of readers we’ve developed, so thank you as well. And I must give a shout-out to the Discord folks. Though I don’t pop in too often, you’ve made it a lovely and welcoming server, and uncommonly well-behaved! Now, who’s ready for the other half of the worst takes in AMG?
#ish. Xoth // Exogalactic – Xoth is back and thus back in my list, because Xoth remains every bit the cool as hell bunch of motherfuckers it’s always been. It’s a little bit more technical and a little bit less memorable compared to its predecessor, missing a “Mountain Machines” level riff, but I still have a really hard time sitting still in my chair when Exogalactic is playing. Too much bouncy fun and sick solos!
#10. Fires in the Distance // Air Not Meant for Us – I listened to an absolute ton of melodic death metal in my early metal years. I still have a soft spot for the genre, but it also needs to do something different to stand out for me these days. Fires in the Distance fully meets that criterium. The stern, strident tone, doom-adjacent pacing, and tasteful piano make Air an album of aching beauty. I’m reminded in part of Eternal Tears of Sorrow, but far more mature and with great emotional depth. The only reason it didn’t place higher is that it doesn’t keep me coming back somehow, and these lists are nothing if not places to go with my gut.
#9. Leiþa // Reue – Speaking of my gut, Reue was the first full-blown punch it received this year. It amuses me when people claim that all black metal screams sound the same because though the lyrics are as incomprehensible as ever, I feel every ounce of the bottomless pain and despair Noise conjures here. But on top of the throat-ripping gurgles of depression are some very sophisticated melodies and good use of dynamics between quiet passages and all-out raging desperation. Most one-man bands struggle to make one worthwhile project, meanwhile, this guy has Leiþa, Non Est Deus, and Kanonenfieber on his resume. I’d call it unfair if I didn’t love it so much.
#8. Megaton Sword // Might & Power – Traditional metal doesn’t often show up on my year-end list. Maybe Megaton Sword wouldn’t have either, although I do love me a batch of idiosyncratic vocals. But a medical situation in the family made the first half of the year an especially stressful affair, and Might & Power with its simple sense of fun was my main musical comfort in that time. But there’s more to it than that. So many strong melodies with few frills. So many fist-pumping horseback-riding sword-raising shield-carrying moments of triumph and awe. And all tied together by that uncommon voice, acerbically spraying dark heroism over the battlefield. The worst of the family situation is well behind us, but Might & Power still won’t leave my regular rotation.
#7. Carnosus // Visions of Infinihility – Is it unfair to say Xoth got out-Xoth’ed this year? It’s the obvious point of comparison, between the many-faceted vocals, high technical ability, tongue-in-cheek insanity, twisting multi-part riffs, and snaking bass. But if Xoth is the oblique unknowable architecture of cosmic horror, Carnosus is the fleshy depravity of body horror. It theatrically revels in its filth and cackles as the audience turns green around the cheeks. Most of the death metal highlights this year have been of the cavernous or slamarific variety, neither of which does much for me, but Carnosus has been an absolute delight that’s kept up my good cheers.
#6. Walg // III – The vast majority of my music recommendations originate here, but once in a blue moon, my partner will send me a link to something that popped up in her random music feeds and I just get blown away. That’s how I found this independent duo from Groningen, the Netherlands, who, without any black metal experience, started shitting out annual albums in the middle of the pandemic and manage to outdo most of their peers in the process. III is a furious album, with blast beats and histrionic screeching out the wazoo, but is tempered by a bevy of great melodic riffs and the occasional gothic chant. Because the lyrics are in Dutch, which really is not a good language for this kind of horrific imagery, there’s something endearing to the band as well. The combination makes for a very interesting, dark yet catchy experience and one I can well recommend.
#5. Wayfarer // American Gothic – Wayfarer was always one of those bands I kept hearing about and kept not hearing. No particular reason, either; I resolved to listen to them several times and it just didn’t happen. Then I finally heard them, by seeing them live at Roadburn. It was definitely a highlight of the festival, aside from an interlude that was far too long and not nearly interesting enough. Thankfully, American Gothic is more balanced, a perfectly tuned album that calls forth the man in black stalking the prairie on horseback. It’s an album redolent in atmosphere without forgoing a good hook, one that can carry tension on a single banjo string. In short, it has lived up to the hype and then some.
#4. Sermon // Of Golden Verse – Pure prog metal often gets a reputation for being wussy and weenie. Sermon does it differently. What attracts me to this album the most is the sense of threat. Sermon looms a great dark ominous wall that swallows the background and casts everything in shade. For an album to hold its breath even while beating you down takes some exquisite songwriting, and Of Golden Verse is jam-packed with it. Closer “Departure” really opens the floodgates, too, for a satisfying and bombastic finale.
#3. VAK // The Islands – I called The Islands one of the flat-out coolest albums of the year and I stand by it. If anything, my appreciation for VAK’s latest has only grown since then. When you’ve listened to a million albums, the ones that really stand out and stick with you are the ones with the strongest personality. If you’d send me an unlabeled song that didn’t make the cut on The Islands I would recognize it as VAK immediately, guaranteed. While so much sludge tries and fails to get under my skin with a hammer, VAK succeeds by taking a shortcut as it pries off my fingernails with a rusty screwdriver. It’s deliciously uncomfortable and I love it.
#2. The Circle // Of Awakening – This was surely the most heinous underrating of the year. The opener alone should earn the band its 4.0, a perfectly tuned piece of proggy black/death. One thing that strikes me is how good The Circle is at finding the right dosages. Every time it feels like one thing has run its course, something replaces or enhances it, from the versatile vocals to the use of symphonics and from blast beats to breathing room. I’ve revisited this one a lot since the summer, and for a while, I thought it was gonna top my list…
#1. Night Crowned // Tales – …until Night Crowned bum-rushed the stage. Whereas many of my listening habits this year have been decidedly un-brutal, in the metal sphere I have found myself drawn to the combination of melodic and intense music, particularly in the second half of the year. Tales is an exemplary album in this regard. The intense blasting and no-holds-barred shrieking always hold a melodic thread that makes it more than a wall of noise, whether it be from extra vocal layers, subtly interweaved symphonics, or a goddamn hurdy-gurdy that works way better than it should. The track where the latter features most prominently, “She Comes at Night,” is what drew me in, but every track has its own face; its deviations make it stand out from the others, like the clean vocals on melodic mid-pacer “Loviatar” or the Dimmu influence on the grandiose closer “Old Tales.” While I would not rank it as highly as the winners of previous years, you owe it to yourself to grab Tales if you haven’t already.
Honorable Mentions
- Aetherian // At Storm’s Edge – Contrary to my point with VAK, this album doesn’t do much particularly new but it’s the embodiment of Finnish style epic melodeath done really, really well.
- Somnuri // Desiderium – Who knew Mastodon-style sludge could be improved with grunge?
- Mutoid Man // Mutants – Wild, reckless fun with more depth than a first glance betrays.
- Genus Ordinis Dei // The Beginning – Narrative albums aren’t easy, but Genus Ordinis Dei has that shit in the bag. Easy to listen to, easy to love, and feels like a complete, well-rounded movie in the guise of an epic metal album.
- Laster // Andermans Mijne – It’s deeply strange and gets at all the bits of my brain that have been gathering dust for years, but I can’t deny its continuous pull.
Disappointment o’ the Year
This is the first paragraph I’m writing this year because it’s the easiest. I always used to like Soen. With Lotus, I even loved them. Imperial was a clear step-down, branching out in the wrong directions, but it was still enjoyable in its own right, just not approaching list material. They put on some good live shows this year, too. But Memorial goes off the deep end like Thelma & Louise. The remaining semblances of progressive rock and metal are gone, replaced by refried alternative rock. Even Joel Ekelöf sounds downright bad, his buttery smooth croon awkwardly squished into a grungy mold that doesn’t suit him. It’s like the band members collectively decided to challenge themselves by trying to make an album without doing any of the things they’re actually good at. The experiment failed, boys.
Song o’ the Year
Last year I discovered Norwegian artsy prog rock outfit Major Parkinson and fell deeply in love with their quirky, bombastic, gloomy aesthetic and thoughtful, varied songwriting. Not long into this year, I found out that enigmatic vocalist Jon Ivar Kollbotn had suffered a massive heart attack in the middle of a concert in October. Though he managed to finish the set, he flatlined backstage. By some miracle, police officers happened to be just outside the building and they managed to restart Kollbotn’s ticker. When he was sufficiently recovered, the band re-wrote and recorded an old live track named “Take the Prescription” to commemorate his survival. The result is as addictive as prescription drugs, an upbeat and offbeat artful piece of prog-pop with an infectious whistled tune, beautiful smooth bass usage, and the band’s signature dark undertone. Kollbotn sounds as coarse and moody as ever, and new permanent member Peri Winkle offers an outside perspective to the frontman’s near-death experience. And even if the track hadn’t been one of the sweetest things I’ve heard this year, it’d still be my favorite track of 2023. If only because he was still around to record it.
#2023 #Aetherian #Ahab #BlogPosts #Carnosus #ElCuervoSAndGardensTaleSTopTenIshOf2023 #FiresInTheDistance #fromjoy #GenusOrdinisDei #Grails #Hasard #Laster #Leitha #Lists #Listurnalia #LunarChamber #MegatonSword #MutoidMan #Myrkur #NeObliviscaris #NightCrowned #Sermon #Shadowrunner #Soen #Somnuri #Svalbard #Sylosis #TheCircle #TombMold #Ulthar #VAK #Walg #Wayfarer #Xoth
- Myrkur // Spine – Spine is just as sonically varied—arguably inconsistent—as any Myrkur release2 but this time it’s all high quality. From the poppy chorus on “Like Humans,” to the blast beats on “Valkyriernes Sang,” to the gentle folk on “Menneskebarn,” I’m emotionally invested throughout.
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Aran Angmar – Ordo Diabolicum Review
By Alekhines Gun
The first time I gave Ordo Diabolicum, the third album from international outfit Aran Angmar, a full listen, I was in the car, ruing an upcoming 12-hour day at work. The sun beat down with mockery, telling me I should be at the beach. The skyline shimmered in radiant beauty, while the birds sang songs about how every day was a day off when you’re unemployed. Suddenly, the absolute bejeebus was scared out of me as an ambulance went screaming by, sirens blasting and throttle abused to such a melodic cacophony that I watched in atypical enthrallment as it careened between the traffic ahead and disappeared behind the second star to the right. Glancing down, I noticed the name of the song escorting the ambulance towards its destination: “Chariots of Death.” I can’t say how much that experience colored my perception of the album, but I can say is this: Aran Angmar delivered an absolute tooth-and-claw-covered beast of a record that is not to be missed.
The Ordo of Diabolicum is immediacy. Across eight tracks, Aran Angmar unleash more hooks than a fisherman’s erotica, with melodic runs, choruses, and catchiness to flay eardrums and boil blood. Eschewing the more tinny, underproduced sound of second wave in favor of a much more immediate, thicccboi Hellenic sound, every cut hits with fist-pumping flair. Using the riff game of older Uada with the vocal stylings of a much more death-inclined band, Aran Angmar offers up an album that, serious artwork aside, sounds far less inclined to the darkness and more bent towards sacrifice and courage. Moments ranging from the vaguely pirate metal crowd calling bop in “Hêlēl ben-Šaḥar”1 to the enticingly heavy carrion splattering chug fest of the title track “Ordo Diabolicum” usher listeners from one slab of glory to another, each delivered with flair and flourish.
Enhancing Ordo Diabolicum is a heavy bent towards Mediterranean and Nordic instrumentation and texture. Surprisingly, this doesn’t come off as a cheap gimmick, but instead lends the choruses and hooks their own flavor. Kickoff track “Dungeons of the Damned” rocks a clean vocal wail of a line2 which has no right to be as infectious as it is, lifting an already mighty chorus to new heights. “Aeon Ablaze” tinkers with Nile-style interludes by way of modern Mystifier ritualistic chants. “Primordial Fire” boasts a host of guest instruments3 which transitions into a bounce reminiscent of Labyrinthus Stellarum doing a folk metal cover. This commitment to diverse instrumentation beyond a mere contrivance for an easy tune pays massive dividends and keeps track after track refreshing and engaging.
All of this would be for naught if the album sounded wack. Mercifully, Aran Angmar avoid such a pitfall, with each performance on Ordo Diabolicum sounding crisp and sharp. The vocals of Lord Abagor are nasty, opting for an unusually guttural approach with a double-tracked higher shriek, channeling the swagger of Amon Amarth (particularly in closing song “Vae Victis”) with the menace of Immolation. Guitar lines from Mahees are piercing and rapturous, with clean tones erupting from hazy blasted trems. Leads are gorgeous and triumphant, with harmonized melodies in “Chariots of Fire” and a beautiful solo in “Hêlēl ben-Šaḥar” standing tall among a litany of sing-along worthy licks and highlights. Alessandro Cupi’s drums are well placed; while never doing anything out of the ordinary, they come with thunder and thunk, adding heft and weight without ever overpowering the music on display.
We’ve arrived at the concluding paragraph, and I suddenly realize I’ve yet to heap scorn on much of anything. I suppose if I squint a bit, some of the atmospheric interludes don’t need to be as long as they are. The intro to “Crown of the Gods” sounds like a bit of an anticlimax compared to the rest of the album’s attention-gathering intros. And yet, I’m not sure I truly believe such ideas. Every time I’ve spun this album I’ve been left with a big dorky grin on my face, invisible oranges clutched firmly in bent palms, utterly and inarguably smitten. Aran Angmar have unleashed an album that has been an absolute joy to listen to, and a first contender for my end-of-year list. Get in on the Ordo while you can.
Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Soulseller Records
Websites: facebook.com/aranangmar | Bandcamp
Releases Worldwide: March 21st, 2025#2025 #40 #AmonAmarth #AranAngmar #BlackMetal #Immolation #InternationalMetal #LabrinthusStellarum #Mar25 #Mystifier #Nile #OrdoDiabolicum #Review #Reviews #SoulsellerRecords #Uada
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Aran Angmar – Ordo Diabolicum Review
By Alekhines Gun
The first time I gave Ordo Diabolicum, the third album from international outfit Aran Angmar, a full listen, I was in the car, ruing an upcoming 12-hour day at work. The sun beat down with mockery, telling me I should be at the beach. The skyline shimmered in radiant beauty, while the birds sang songs about how every day was a day off when you’re unemployed. Suddenly, the absolute bejeebus was scared out of me as an ambulance went screaming by, sirens blasting and throttle abused to such a melodic cacophony that I watched in atypical enthrallment as it careened between the traffic ahead and disappeared behind the second star to the right. Glancing down, I noticed the name of the song escorting the ambulance towards its destination: “Chariots of Death.” I can’t say how much that experience colored my perception of the album, but I can say is this: Aran Angmar delivered an absolute tooth-and-claw-covered beast of a record that is not to be missed.
The Ordo of Diabolicum is immediacy. Across eight tracks, Aran Angmar unleash more hooks than a fisherman’s erotica, with melodic runs, choruses, and catchiness to flay eardrums and boil blood. Eschewing the more tinny, underproduced sound of second wave in favor of a much more immediate, thicccboi Hellenic sound, every cut hits with fist-pumping flair. Using the riff game of older Uada with the vocal stylings of a much more death-inclined band, Aran Angmar offers up an album that, serious artwork aside, sounds far less inclined to the darkness and more bent towards sacrifice and courage. Moments ranging from the vaguely pirate metal crowd calling bop in “Hêlēl ben-Šaḥar”1 to the enticingly heavy carrion splattering chug fest of the title track “Ordo Diabolicum” usher listeners from one slab of glory to another, each delivered with flair and flourish.
Enhancing Ordo Diabolicum is a heavy bent towards Mediterranean and Nordic instrumentation and texture. Surprisingly, this doesn’t come off as a cheap gimmick, but instead lends the choruses and hooks their own flavor. Kickoff track “Dungeons of the Damned” rocks a clean vocal wail of a line2 which has no right to be as infectious as it is, lifting an already mighty chorus to new heights. “Aeon Ablaze” tinkers with Nile-style interludes by way of modern Mystifier ritualistic chants. “Primordial Fire” boasts a host of guest instruments3 which transitions into a bounce reminiscent of Labyrinthus Stellarum doing a folk metal cover. This commitment to diverse instrumentation beyond a mere contrivance for an easy tune pays massive dividends and keeps track after track refreshing and engaging.
All of this would be for naught if the album sounded wack. Mercifully, Aran Angmar avoid such a pitfall, with each performance on Ordo Diabolicum sounding crisp and sharp. The vocals of Lord Abagor are nasty, opting for an unusually guttural approach with a double-tracked higher shriek, channeling the swagger of Amon Amarth (particularly in closing song “Vae Victis”) with the menace of Immolation. Guitar lines from Mahees are piercing and rapturous, with clean tones erupting from hazy blasted trems. Leads are gorgeous and triumphant, with harmonized melodies in “Chariots of Fire” and a beautiful solo in “Hêlēl ben-Šaḥar” standing tall among a litany of sing-along worthy licks and highlights. Alessandro Cupi’s drums are well placed; while never doing anything out of the ordinary, they come with thunder and thunk, adding heft and weight without ever overpowering the music on display.
We’ve arrived at the concluding paragraph, and I suddenly realize I’ve yet to heap scorn on much of anything. I suppose if I squint a bit, some of the atmospheric interludes don’t need to be as long as they are. The intro to “Crown of the Gods” sounds like a bit of an anticlimax compared to the rest of the album’s attention-gathering intros. And yet, I’m not sure I truly believe such ideas. Every time I’ve spun this album I’ve been left with a big dorky grin on my face, invisible oranges clutched firmly in bent palms, utterly and inarguably smitten. Aran Angmar have unleashed an album that has been an absolute joy to listen to, and a first contender for my end-of-year list. Get in on the Ordo while you can.
Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Soulseller Records
Websites: facebook.com/aranangmar | Bandcamp
Releases Worldwide: March 21st, 2025#2025 #40 #AmonAmarth #AranAngmar #BlackMetal #Immolation #InternationalMetal #LabrinthusStellarum #Mar25 #Mystifier #Nile #OrdoDiabolicum #Review #Reviews #SoulsellerRecords #Uada
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Aran Angmar – Ordo Diabolicum Review
By Alekhines Gun
The first time I gave Ordo Diabolicum, the third album from international outfit Aran Angmar, a full listen, I was in the car, ruing an upcoming 12-hour day at work. The sun beat down with mockery, telling me I should be at the beach. The skyline shimmered in radiant beauty, while the birds sang songs about how every day was a day off when you’re unemployed. Suddenly, the absolute bejeebus was scared out of me as an ambulance went screaming by, sirens blasting and throttle abused to such a melodic cacophony that I watched in atypical enthrallment as it careened between the traffic ahead and disappeared behind the second star to the right. Glancing down, I noticed the name of the song escorting the ambulance towards its destination: “Chariots of Death.” I can’t say how much that experience colored my perception of the album, but I can say is this: Aran Angmar delivered an absolute tooth-and-claw-covered beast of a record that is not to be missed.
The Ordo of Diabolicum is immediacy. Across eight tracks, Aran Angmar unleash more hooks than a fisherman’s erotica, with melodic runs, choruses, and catchiness to flay eardrums and boil blood. Eschewing the more tinny, underproduced sound of second wave in favor of a much more immediate, thicccboi Hellenic sound, every cut hits with fist-pumping flair. Using the riff game of older Uada with the vocal stylings of a much more death-inclined band, Aran Angmar offers up an album that, serious artwork aside, sounds far less inclined to the darkness and more bent towards sacrifice and courage. Moments ranging from the vaguely pirate metal crowd calling bop in “Hêlēl ben-Šaḥar”1 to the enticingly heavy carrion splattering chug fest of the title track “Ordo Diabolicum” usher listeners from one slab of glory to another, each delivered with flair and flourish.
Enhancing Ordo Diabolicum is a heavy bent towards Mediterranean and Nordic instrumentation and texture. Surprisingly, this doesn’t come off as a cheap gimmick, but instead lends the choruses and hooks their own flavor. Kickoff track “Dungeons of the Damned” rocks a clean vocal wail of a line2 which has no right to be as infectious as it is, lifting an already mighty chorus to new heights. “Aeon Ablaze” tinkers with Nile-style interludes by way of modern Mystifier ritualistic chants. “Primordial Fire” boasts a host of guest instruments3 which transitions into a bounce reminiscent of Labyrinthus Stellarum doing a folk metal cover. This commitment to diverse instrumentation beyond a mere contrivance for an easy tune pays massive dividends and keeps track after track refreshing and engaging.
All of this would be for naught if the album sounded wack. Mercifully, Aran Angmar avoid such a pitfall, with each performance on Ordo Diabolicum sounding crisp and sharp. The vocals of Lord Abagor are nasty, opting for an unusually guttural approach with a double-tracked higher shriek, channeling the swagger of Amon Amarth (particularly in closing song “Vae Victis”) with the menace of Immolation. Guitar lines from Mahees are piercing and rapturous, with clean tones erupting from hazy blasted trems. Leads are gorgeous and triumphant, with harmonized melodies in “Chariots of Fire” and a beautiful solo in “Hêlēl ben-Šaḥar” standing tall among a litany of sing-along worthy licks and highlights. Alessandro Cupi’s drums are well placed; while never doing anything out of the ordinary, they come with thunder and thunk, adding heft and weight without ever overpowering the music on display.
We’ve arrived at the concluding paragraph, and I suddenly realize I’ve yet to heap scorn on much of anything. I suppose if I squint a bit, some of the atmospheric interludes don’t need to be as long as they are. The intro to “Crown of the Gods” sounds like a bit of an anticlimax compared to the rest of the album’s attention-gathering intros. And yet, I’m not sure I truly believe such ideas. Every time I’ve spun this album I’ve been left with a big dorky grin on my face, invisible oranges clutched firmly in bent palms, utterly and inarguably smitten. Aran Angmar have unleashed an album that has been an absolute joy to listen to, and a first contender for my end-of-year list. Get in on the Ordo while you can.
Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Soulseller Records
Websites: facebook.com/aranangmar | Bandcamp
Releases Worldwide: March 21st, 2025#2025 #40 #AmonAmarth #AranAngmar #BlackMetal #Immolation #InternationalMetal #LabrinthusStellarum #Mar25 #Mystifier #Nile #OrdoDiabolicum #Review #Reviews #SoulsellerRecords #Uada
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Aran Angmar – Ordo Diabolicum Review
By Alekhines Gun
The first time I gave Ordo Diabolicum, the third album from international outfit Aran Angmar, a full listen, I was in the car, ruing an upcoming 12-hour day at work. The sun beat down with mockery, telling me I should be at the beach. The skyline shimmered in radiant beauty, while the birds sang songs about how every day was a day off when you’re unemployed. Suddenly, the absolute bejeebus was scared out of me as an ambulance went screaming by, sirens blasting and throttle abused to such a melodic cacophony that I watched in atypical enthrallment as it careened between the traffic ahead and disappeared behind the second star to the right. Glancing down, I noticed the name of the song escorting the ambulance towards its destination: “Chariots of Death.” I can’t say how much that experience colored my perception of the album, but I can say is this: Aran Angmar delivered an absolute tooth-and-claw-covered beast of a record that is not to be missed.
The Ordo of Diabolicum is immediacy. Across eight tracks, Aran Angmar unleash more hooks than a fisherman’s erotica, with melodic runs, choruses, and catchiness to flay eardrums and boil blood. Eschewing the more tinny, underproduced sound of second wave in favor of a much more immediate, thicccboi Hellenic sound, every cut hits with fist-pumping flair. Using the riff game of older Uada with the vocal stylings of a much more death-inclined band, Aran Angmar offers up an album that, serious artwork aside, sounds far less inclined to the darkness and more bent towards sacrifice and courage. Moments ranging from the vaguely pirate metal crowd calling bop in “Hêlēl ben-Šaḥar”1 to the enticingly heavy carrion splattering chug fest of the title track “Ordo Diabolicum” usher listeners from one slab of glory to another, each delivered with flair and flourish.
Enhancing Ordo Diabolicum is a heavy bent towards Mediterranean and Nordic instrumentation and texture. Surprisingly, this doesn’t come off as a cheap gimmick, but instead lends the choruses and hooks their own flavor. Kickoff track “Dungeons of the Damned” rocks a clean vocal wail of a line2 which has no right to be as infectious as it is, lifting an already mighty chorus to new heights. “Aeon Ablaze” tinkers with Nile-style interludes by way of modern Mystifier ritualistic chants. “Primordial Fire” boasts a host of guest instruments3 which transitions into a bounce reminiscent of Labyrinthus Stellarum doing a folk metal cover. This commitment to diverse instrumentation beyond a mere contrivance for an easy tune pays massive dividends and keeps track after track refreshing and engaging.
All of this would be for naught if the album sounded wack. Mercifully, Aran Angmar avoid such a pitfall, with each performance on Ordo Diabolicum sounding crisp and sharp. The vocals of Lord Abagor are nasty, opting for an unusually guttural approach with a double-tracked higher shriek, channeling the swagger of Amon Amarth (particularly in closing song “Vae Victis”) with the menace of Immolation. Guitar lines from Mahees are piercing and rapturous, with clean tones erupting from hazy blasted trems. Leads are gorgeous and triumphant, with harmonized melodies in “Chariots of Fire” and a beautiful solo in “Hêlēl ben-Šaḥar” standing tall among a litany of sing-along worthy licks and highlights. Alessandro Cupi’s drums are well placed; while never doing anything out of the ordinary, they come with thunder and thunk, adding heft and weight without ever overpowering the music on display.
We’ve arrived at the concluding paragraph, and I suddenly realize I’ve yet to heap scorn on much of anything. I suppose if I squint a bit, some of the atmospheric interludes don’t need to be as long as they are. The intro to “Crown of the Gods” sounds like a bit of an anticlimax compared to the rest of the album’s attention-gathering intros. And yet, I’m not sure I truly believe such ideas. Every time I’ve spun this album I’ve been left with a big dorky grin on my face, invisible oranges clutched firmly in bent palms, utterly and inarguably smitten. Aran Angmar have unleashed an album that has been an absolute joy to listen to, and a first contender for my end-of-year list. Get in on the Ordo while you can.
Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Soulseller Records
Websites: facebook.com/aranangmar | Bandcamp
Releases Worldwide: March 21st, 2025#2025 #40 #AmonAmarth #AranAngmar #BlackMetal #Immolation #InternationalMetal #LabrinthusStellarum #Mar25 #Mystifier #Nile #OrdoDiabolicum #Review #Reviews #SoulsellerRecords #Uada
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So, the other day I noticed a strap on my Honeywell RU6500 #FullFaceElastomeric had broken… this is one I was keeping around for parts, so not a big issue… but the thought of the same fate meeting my current one worried me a bit.
Looked around, found a new Sundström SR200 going for a bargain price (AU$250… normally they are >$550)… beauty. It's on its way south from Mt. Isa.
Today I ordered some filters (from a local supplier here in Brisbane), mainly some #P3 filters (my main concern is #bushfire smoke and #COVID19)… I happened to notice this little chart for the SR-510 particular filters.
https://www.allensindustrial.com.au/documents/Sundstrom%20SR510%20Brochure.pdf
Classes:
- P1: 80% | up to 20% leakage | Protect against Dry and Wet particles _except_ aerosols, carcinogens, radioactive particles, bacteria, *viruses*, spores or biochemicals such as enzymes or hormones
- P2: 94% | up to 6% leakage | Protect against Dry and Wet particles _except_ *viruses*, spores or biochemicals such as enzymes or hormones
- P3: 99.95% | <0.05% leakage | Protect against Dry and wet particles (all types)It was the exceptions for "viruses" in the #P2 and #P1 filters that surprised me. I thought #P2 was more or less equivalent to #N95 and #KF94. (P3 being equivalent to #N100) I hear people singing the praises of N95s with regards to COVID-19, and definitely it beats many common alternatives, but this has me scratching my head.
The SR-510 is a P3 filter, so no biggie… but I thought P2s were up to the task.