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60 results for “ItsBrilliant”
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Very sad learning about Peter Cooper's passing. He was an excellent writer, musician, and curious human. He worked at the Country Music Hall of Fame in Nashville and did this great interview of OG Roots Rockers Webb Wilder and Jason Ringenberg and their history with the iconic Exit In venue. RIP Peter.
#PeterCooper, #CountryMusicHallofFame
#WebbWilder
#JasonRingenberg -
"Good luck! We're all counting on you."
https://youtu.be/aB2yqeD0Nus
#Airplane #ElectionDay #bestmovieever -
I highly recommend "The G Word with Adam Conover" on Netflix. A look at what it is government does - good and bad (in the US) - and our role in it. Funny, quick, and I learned a bunch. Pres. Obama is executive producer and appears in 2 episodes, but it doesn't get into party politics much, until the end. Fascinating.
Six 30 min. episodes. https://www.netflix.com/title/81037116
#TheGWord, #Obama #government #democracy -
Yet more overstimulation of this #fediverse cauldron of #Humankind and #HumanCreation where new society blossoms in all its brilliant colors. 🌈
#SocialInnovationSpaces also.
Where people give a 🪙 and add their 🪙🪙https://social.coop/@smallcircles/116454115562895220
Ping 🔔 #UrgentPlatitude delivery..
A wisdom tile has arrived, @EUCommission
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Yet more overstimulation of this #fediverse cauldron of #Humankind and #HumanCreation where new society blossoms in all its brilliant colors. 🌈
#SocialInnovationSpaces also.
Where people give a 🪙 and add their 🪙🪙https://social.coop/@smallcircles/116454115562895220
Ping 🔔 #UrgentPlatitude delivery..
A wisdom tile has arrived, @EUCommission
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Yet more overstimulation of this #fediverse cauldron of #Humankind and #HumanCreation where new society blossoms in all its brilliant colors. 🌈
#SocialInnovationSpaces also.
Where people give a 🪙 and add their 🪙🪙https://social.coop/@smallcircles/116454115562895220
Ping 🔔 #UrgentPlatitude delivery..
A wisdom tile has arrived, @EUCommission
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Yet more overstimulation of this #fediverse cauldron of #Humankind and #HumanCreation where new society blossoms in all its brilliant colors. 🌈
#SocialInnovationSpaces also.
Where people give a 🪙 and add their 🪙🪙https://social.coop/@smallcircles/116454115562895220
Ping 🔔 #UrgentPlatitude delivery..
A wisdom tile has arrived, @EUCommission
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Yet more overstimulation of this #fediverse cauldron of #Humankind and #HumanCreation where new society blossoms in all its brilliant colors. 🌈
#SocialInnovationSpaces also.
Where people give a 🪙 and add their 🪙🪙https://social.coop/@smallcircles/116454115562895220
Ping 🔔 #UrgentPlatitude delivery..
A wisdom tile has arrived, @EUCommission
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Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Devolver's Steam sale is now on, so I'm using it as an excuse to tell you about its brilliant oddball horror adventure Look Outside
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Cardinal on a Railing — This vibrant Northern Cardinal adds a splash of color to a backyard scene. The male cardinal is known for its brilliant red plumage, while the female is a more subdued reddish-brown. This particular bird appears to be a female, perched comfortably on a metal railing.
#Perching #Railing #Metal #Vibrant #Bird #NorthernCardinal #Cardinal #Backyard
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“When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)commentary
“When Harry Met Sally” is Rob Reiner’s everlasting message of love
A classic scene written to reflect Reiner’s love for his wife, Michele, embraces a brighter future
By Coleman Spilde, Senior Writer, Published December 17, 2025 12:00PM (EST)
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)It’s almost time for the page to turn again. Whether we like it or not, time marches on, the year comes to a close and we reflect on everything that’s happened. It’s a time for old friends, new loves, and speaking to our feelings so that we don’t dare carry a single burden into another year.
Needless to say, shaking off 2025 will require quite a bit of verbal blotting. The year has felt like a century, at best, and just when things were supposed to wind down and get quiet, a weekend of tumult and tragedy reminded the world just how much we’re suffering.
An antisemitic massacre during a Hanukkah celebration at Australia’s Bondi Beach. A shooting at Brown University killed two students and injured nine others. And, late Sunday night, the horrific, violent deaths of Hollywood legend Rob Reiner and his wife, Michele Singer Reiner, purportedly at the hands of their son, Nick. The extent of the horror is indescribable, and it’s occurring on a global scale. And, yes, it often feels as though the weight of it is too much to bear. All we’re left with is confusion and the frustrating feeling of helplessness. We are at our wits’ end. There is no more avoiding, no more pretending. Something has got to change as soon as possible.
There’s something to that. I don’t mean to sound trite or wilfully glib, but it’s merely the truth that every ending is followed by a beginning. Reiner’s seminal film “When Harry Met Sally” is full of them — beginnings and endings, false starts and full stops. It’s a movie for dreamers, realists and romantics alike, the kind of film that’s so fantastic and so painfully human that its brilliant existence is reason enough to believe in good things. Reiner’s filmography was full of these gems, with stunners like “Stand By Me” and “The Princess Bride” that defined not just their era but people’s entire lives.
(Emma McIntyre/Getty Images for TCM) Rob Reiner, Meg Ryan and Billy Crystal attend The 30th Anniversary Screening of “When Harry Met Sally…” on April 11, 2019 in Hollywood, California.Loving openly and candidly shouldn’t feel like a radical act, but in a world proliferated with violence and hatred, it’s become one.
“When Harry Met Sally,” however, is a special kind of classic. It’s no mere comfort watch, and certainly no chick flick. It’s a film for autumn, winter, spring and summer, just as much of a Christmas and New Year’s movie as it is a Valentine’s Day or anniversary movie. In its bones, there is a deep, true love that is the result of a close working relationship with screenwriter Nora Ephron, stars Billy Crystal and Meg Ryan, and Reiner’s wife, Michele, whom he met and fell in love with during production. Their passion incited a change of the film’s ending, and in turn, one of the all-time great professions of love ever captured on film — a change of fate, right at the stroke of midnight. Call it lightning in a bottle. Call it evidence of magic. Call it a kernel of hope to hold onto as we turn the page.
Related, The questions “When Harry Met Sally” make us consider today
In Kristin Marguerite Doidge’s 2022 biography of Ephron, the author peers into the fascinating details behind Ephron and Reiner’s long-gestating film, which began as an idea tossed toward Ephron from Reiner after a few lunch meetings. It was over those meals where Ephron became intrigued with the way Reiner talked about his bachelorhood. His anecdotes would become the basis for Crystal’s character, Harry, while Ryan’s witty foil, Sally, was the embodiment of Ephron’s sharp and observant eye. “This is a talk piece,” Reiner said about the film in 1985. “There are no chase scenes, no food fights. This is walks, phones, restaurants, movies.”
Editor’s Note: Movie information below, a new feature from DWD. –DrWeb
When Harry Met Sally... Plot: Sex always gets in the way of friendships between men and women. At least, that's what Harry Burns believes. So when Harry meets Sally Albright and a deep friendship blossoms between them, Harry's determined not to let his attraction to Sally destroy it. But when a night of weakness ends in a morning of panic, can the pair avoid succumbing to Harry's fears by remaining friends and admitting they just might be the perfect match for each other? The Movie DB: 7.404/10 Information Runtime: 96 min Genre: Comedy, Romance, Drama Language: English Country: United States of America Budget: $16,000,000 Revenue: $92,823,546 Homepage: Release date: July 12 1989A talk piece, indeed. While it’s Ephron’s characteristically strong dialogue and flair for realism that so many viewers fall head over heels for, Reiner’s blissfully simplistic direction is what captures the spark of two people slowly falling in love. Across years, Reiner follows Harry and Sally from their first meeting during a long-haul drive after college through their reconnection and eventual friendship and flirtation. There are long walks and even longer talks, conversations in book stores, on the leaf-strewn concrete sidewalks of a bygone era of New York City and, of course, on the phone.
Ephron based the late-night phone conversations between Sally and Harry on Reiner’s frequent talks with Crystal, when the two would watch something on television together and provide commentary throughout. From Sally’s overly particular restaurant orders to Harry’s shock that women fake orgasms, all of it came out in the development process between Ephron and Reiner, and made it into the script. “When Harry Met Sally” rings so true because there isn’t a single false note in its lovely sonata.
Continue/Read Original Article Here: “When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
#1989 #BillyCrystal #Director #Everlasting #MegRyan #MessageOfLove #NoraEphron #RobReiner #Salon #SalonCom #WhenHarryMetSally -
⚪️ Patrick McGoohan, star of surreal 1960s spy series The Prisoner and its brilliant precursor Danger Man, died on this day in 2009. Listen to Speckled Band’s tribute Prisoner, streaming everywhere now 👉 https://youtu.be/pHGALnGbh4s?si=3oVQCd6Gld435tHL
www.speckled.band
#PatrickMcGoohan #otd #OnThisDay #tv #television #1960s #60s #spies #theprisoner #prisoner #DangerMan
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Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus SpokeAs is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
If there was one reason I liked coding in #Java, it'd be #AssertJ and its brilliant extensibility.
Here's an example of it from bjForth (https://github.com/bahmanm/bjforth)
The ability to create custom assertions makes the test code concise and read naturally.
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In Deep Lakes, Mixing is Disappearing
With a depth of nearly 600 meters, Crater Lake in Oregon is the deepest lake in the United States. It’s known for its brilliant blue hue and startling clarity. But, like other deep lakes, Crater Lake is changing as temperatures warm. It’s edging ever closer to a day where its deep, cold waters no longer mix.
Although the details of mixing vary from lake to lake, older records show that most deep lakes would overturn and fully mix on a frequency that ranged from twice a year to every seven years. This overturning happens when winds push frigid, near-frozen water. As that water approaches the shoreline, it gets forced downward, where the pressure at depth makes the cold water denser still, causing it to sink beneath the warmer water layer near the lake bottom. That kicks off larger-scale mixing that redistributes oxygen, nutrients, and toxins in the lake.
When this regular mixing stops, the entire ecosystem gets affected. Over time, oxygen gets depleted in deeper in the lake, leaving a dead zone unable to support fish and other aquatic life. Meanwhile, longer and warmer growing seasons favor phytoplankton and algae that cloud the waters and disrupt a lake’s unique ecology.
For a much more detailed look at deep lake mixing and the changes we’re seeing, check out this article over at Quanta Magazine. It’s a longer read but well worth your time. (Image credit: N. Perez Aguilar; see also: Quanta Magazine)
#biology #fluidDynamics #lakes #mixing #physics #science #stratification
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‘Wolf Man’ Review: Blumhouse’s Emo Monster Mash Is a Far Cry From Its Brilliant ‘Invisible Man’ Model
#Variety #Reviews #ChristopherAbbott #JuliaGarner #LeighWhannell #WolfManhttps://variety.com/2025/film/reviews/wolf-man-review-christopher-abbott-1236274656/
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@ithinkiam
Have you seen #RichMansTrick. Its the greatest history lesson. Produced by a history teacher and released in 2014, #FrancisRichardConolly grounds his documentary in cold hard facts that scholars over the years tend to all settle on.Was taken down for using a 5-second clip of a WWII film.
Its brilliant. There are torrents of it around, if you don't want to use the version someone reposted on YouTube.
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#WangYibo #dance #streetdance #hiphop
Found this cute vid on Wang Yibo's dancing. I really love the way Wang Yibo moves. He puts so much thought into everything he does, and his body control is god-like.The vid is kind of tongue in cheek, but her conclusion is that Wang Yibo always takes dance battles seriously. I agree, and its brilliant!
https://www.youtube.com/watch?v=BwmoD9lN40M -
So after much community backlash #GATK has reverted back to the ./. representation for no-calls.
The question is, will something like this occur again? and how many people have already switched away to other tools like #bcftools.
I know I have moved all my pipelines back to bcftools and honestly its brilliant.
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Just heard about the Galaxy Watch 8 – 'brilliant but a little brutal,' apparently! Advanced health tools and voice assistant, but its running coach underestimated the reviewer. What's your go-to workout tech, and has it ever 'brutalized' you?
#WearableTech #GalaxyWatch8 #TechReview #Fitness #Samsung
https://www.cnet.com/tech/mobile/i-tested-the-galaxy-watch-8-its-brilliant-but-a-little-brutal/#ftag=CAD590a51e -
Blue-Ringed Octopus: Small, Stunning, and Seriously Dangerous
During a dive trip to Dauin, Philippines, I was fortunate to spot an incredible ocean creature: the fearsome Blue-ringed octopus. Roughly the size of a golf ball, this tiny cephalopod doesn’t look intimidating at first glance. But when threatened, it lights up with neon-blue rings. It’s an unforgettable sight. The display serves as a reminder of just how wild the underwater world can be.
A Mesmerizing and Deadly Defense Mechanism
The Blue-ringed octopus is known for its brilliant iridescent rings, which pulse with color when the animal feels threatened. It’s a mesmerizing display—almost like it’s glowing from within. Behind that beauty is a serious defense mechanism. Its venom contains tetrodotoxin, a powerful neurotoxin. This toxin can paralyze and, in rare cases, kill a human within minutes. It is even more dangerous because it often appears calm and unassuming—until provoked.
Despite its deadly potential, the Blue-ringed octopus is not aggressive. Like most marine life, it only flashes its warning colors when it feels threatened. Responsible divers know to admire from a distance and respect its space.
The Mighty Blue-ringed OctopusMacro Photography in Dauin
Dauin is a dream destination for macro underwater photographers. Black sand slopes and scattered coral patches create a perfect environment for rare critters. Some of these creatures are frogfish, ghost pipefish, flamboyant cuttlefish, and, of course, the Blue-ringed octopus. Finding one on a dive is a mix of luck, timing, and a good spotter—but when it happens, it’s magic.
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CW: Review of TÁR (2022)
Okay, perhaps this is more "aimless gushing" ... but seriously, TÁR slaps. You've heard the critical press, but this film is a cut above many films that are called great.
Its brilliant screenplay is a reminder that sometimes extraordinary films spend a long time being refined.
https://letterboxd.com/attentive/film/tar-2022/
Glad I waited for a big screen.
#Film #FilmReview #Review #Filmastodon #Cinema #Cinemastodon #CateBlanchett #ToddField @film
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“Western Meadowlark” — A western meadowlark wings while perched in winter bull rushes, Central Valley.
Few birds can brighten a gray, foggy morning as well as the western meadowlark. Its brilliant yellow coloration stands out in the blue-gray foggy landscape. But that’s not all — its song is effusive and cheery. I hear that I’m not the only one who counts it as a favorite…continues: https://gdanmitchell.com/2024/02/19/western-meadowlark-2/
#birds #meadowlark #wildlifephotography #wildlife #nature #naturephotography #centralvalley #fog #photography
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The Iconic Palace of the Winds! Learn the secrets behind Hawa Mahal�s 953 windows & its brilliant cooling design. Find the best viewing spot & photography tips in our Jaipur guide. #HawaMahal #JaipurArchitecture #PinkCity #Jaipur #India https://backpackandsnorkel.com/India/Hawa-Mahal/
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The Iconic Palace of the Winds! Learn the secrets behind Hawa Mahal’s 953 windows & its brilliant cooling design. Find the best viewing spot & photography tips in our Jaipur guide. #HawaMahal #JaipurArchitecture #PinkCity #Jaipur #India https://backpackandsnorkel.com/India/Hawa-Mahal/
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Listening to Anna B Savage's brand new album, in|FLUX. Inventive and unusual, and a step on from its brilliant predecessor, A Common Turn.
https://open.spotify.com/album/65k9o0mZEhxBLqeOAP2psB?si=06bKRGqsQoWBa6271K8UyQ