7 results for “exu”
アルゼンチン発の新鋭トリオ、TRÍADAがデビューアルバム『EXUVIA』をリリース！ – トリアーダ
アルゼンチン・ブエノスアイレスを拠点に活動する3人組、トリアーダ（TRÍADA）が、デビュー・アルバム『EXUVIA』を10月23日にヴァーヴ・レコード／マーキュリー・レコードよりリリースした。 トリアーダは、ディアメ・ [...]
#MAGMOE #JP #JAPAN #Celebrity #Music音楽 #MUSIC #音楽
https://www.magmoe.com/3304971/music/2026-10-24/
A Comunidade, a Fazenda e o Cassino
Parábola em que se compreende a exultação dos rentistas com o resultado do primeiro turno. E se demonstra que o Brasil real precisa, além de derrotá-los, decifrar a aritmética por trás de seu júbilo. Pois quanto mais intenso ele for, mais lágrimas tenderão a produzir ao povo trabalhadorhttps://outraspalavras.net/mercadovsdemocracia/a-comunidade-a-fazenda-e-o-cassino/
Bold women #activists of #NorthCarolina x historic women #artists.
Lillian Exum Clement × Baya Mahieddine
Eva M. Clayton × Fahrelnissa Zeid
Cassandra Brooks × Kiki Kogelnik
Patti Reiser × Atsuko Tanaka
#MissKittyArt #1/1/X #gm #web3 #ETH #TransientLabs@misskitty
https://www.wacoca.com/news/2965465/ アルゼンチン発の新鋭トリオ、TRÍADAがデビューアルバム『EXUVIA』をリリース！ – トリアーダ #Argentina #アルゼンチン
https://www.walknews.com/1410966/ アルゼンチン発の新鋭トリオ、TRÍADAがデビューアルバム『EXUVIA』をリリース！ – トリアーダ #Argentina #アルゼンチン
Sci-fi and speed metal. If that isn’t enough to get your hyperdrives boosted, then I don’t know what will. This particular combo isn’t as well represented in the metalverse as some of the more common varieties—sci-fi and black metal, campy horror and death metal, you know the ones—which puts Swedish speed freaks Armory in a prime position to dominate. With three full lengths under their belt so far, one of which positively received by our own Ape ov Steel, and a new vocalist at the helm, what new wonders await in fourth excursion Echoes of the Astrolith?
Well, MOAR speed, of course! This is high-octane, laser-focused fare set to collide with Earth at warp 9.5. Touchstones ranging from Agent Steel to Bütcher to Riot City inform Armory’s various traipses through speedy riffs, heavy metal bravado, and black metal flourishes. Melodies move with an almost Xoth-like wiggliness that brings a lot of whimsy and exuberance to otherwise dark and seedy songwriting (“Interceptor Squadron,” “Frequencies of Terror”). Riffs pound and pummel with the vigor of death metal without venturing into the structures that genre often builds, which gives Armory a sense of heft and fullness not unlike what Dark Angel’s seminal Darkness Descends must’ve felt like when it was new (“Sanity Disposed,” “The Final Invention,” “Astrolith (Rising)”). Of course, it wouldn’t be speed metal without 10,000^10 ft/lbs of torque to send it flying off the galactic rails, and thankfully Armory fueled up extra before launching. Echoes of the Astrolith moves with an urgency rarified even in this vigorous style (“Return of the True Godz,” “Frequencies of Terror,” “Pillars of Fire”).
While new vocalist Chris Rostoff acquits himself with aplomb here, guitarists G.Sundin and N.Ingelman steal the show and make Echoes of the Astrolith a clinic in guitar wizardry. If it isn’t by way of screaming solos that nosedive and pitch back up in aerobatic fashion (“Interceptor Squadron,” “Frequencies of Terror”), Armory’s axe arsenal displays electrified pyrotechnics through monolithic riffs that find a perfect center position between death, thrash, and speed (“Astrolith (Rising)”); or with melodious leads and tremolo flares that writhe impatiently from measure to measure as they pull the rest of the band into unexplored space (“Return of the True Godz,” “Cosmic Dreams,” “Pillars of Fire”). A.Holmström blisters his way through asteroid fields with double-bass pummels, sharp blasts, and menacing gallops all throughout. Yet, his unhinged fill work sends his weaponry into overdrive at every opportunity to leave even the space dust in Armory’s wake obliterated (“Interceptor Squadron,” “Omens,” “Sanity Disposed”). Chris Rostoff, as previously mentioned, proves himself an absolute powerhouse on the mic here. His sneering bark and soaring wails are a perfect fit for this sound, and his scalpel-precise pitch-work is nothing short of astounding at the record’s peaks (“Interceptor Squadron,” “Pillars of Fire”). I just wish I could hear Jesper Lundin’s bass better. I’m sure he’s keeping up with the band with ease, but his presence lacks oomph in many quadrants and what playing I do hear with clarity follows the path laid by the rest of the rhythm section (“Frequencies of Terror”).
Quality speed metal albums like this make me rethink my high estimation of other quality acts like Hellripper ever so slightly, but it’s hard to know what kind of staying power Echoes of the Astrolith has. Certain highlights such as “Interceptor Squadron” are sure to be trapped in the event horizon that is my playlist rotation. At 39 minutes, Echoes as a whole is tight enough to get regular spins out of me regardless of long-term memorability. However, a small question of consistency in songwriting quality nags at my thoughts. “Cosmic Dreams” is fun, but its mid-paced and slightly repetitive riffing introduces a poorly timed speed bump in the first quarter. In the second half, fluffy three-minute instrumental interlude “Spaceworkz” once again interrupts Echoes of the Astrolith’s momentum right before two high-octane bangers save the final third from certain doom. In the center, Echoes of the Astrolith keeps up a consistent level of songwriting quality—one that any band in this space should be proud to have penned—but a preponderance of overlong intros (“Omens”), and overlong outros (“The Final Invention”) conspire to pull these works back from greatness.
You know speed metal is really fucking good if I’m close to calling it Great, and Echoes of the Astrolith is almost great. Armory deliver an impressive salvo of cooler-than-you’ll-ever-be speed metal tracks embellished with blackened, deathened, and thrashened elements the likes of which are sure to set your blasters to kill. If you’re looking for something to jam while you scream directly into a space-bound dogfight with the enemy mothership, look no further than Echoes of the Astrolith!
Rating: Very Good
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: Bandcamp | Official
Releases Worldwide: October 23rd, 2026
Though it may only take you five or so minutes to read—well, one to skim, ten seconds to stare at the scores, another few to check whether the score safety counter still works, 30 seconds to draft a snarky “what is this site coming to” comment that you delete, a couple minutes to see what other bewildered folks have to say about something completely unrelated, and a final scan to skim the conclusions again—this article, and another 26 minutes to listen to Vntrve if you please, the beauty of Beaten to Death lies in that none of that will be enough time. In a genre of microblasts and unintelligible grunts and barks and bleats, this Norwegian exercise in twanged-out chaos delivers methodical and memorable vignettes of pure punk outpour. If there ever were a cure for stagnation, grindcore—particularly the buoyant and eclectic variety that Beaten to Death produces—would be it.
To this point, Vntrve true to legacy, Beaten to Death has never put out the same album twice. At first blush, between the booming Norwegian rap intro1 and groovier pacing to match (“Slosspit”), it feels as though Beaten to Death doesn’t even want to grind. The traditions of grind would, of course, feel like shackles to the wiles of these time-tested tricksters. Yet, blast-addled breakaways crash into reggaeton dembows (“Electrocuted by the Sky”), reverb-soaked sax wailing (“The Tolerator”), and twisted synth dial screeches (“Vntrve”). Near every song challenges the expectations of grind, right down to the continued inclusion of their trademarked “distort the bass only” aggression tactic, which Beaten to Death also manages to subvert with a doomy opening guitar boom on “Memento Sugo.” It’s Christian Svendsen’s (Doedsvangr, ex-Tsjuder) reckless kick and snare play, really, that keeps transitioning moments tied to the necessary whiplash of the base genre. If you know what’s coming next, it’s a result of repeated digestion of Vntrve’s nooks and crannies.
Even on first listen, Vntrve reveals its tendency for barbed hook and diverse expression. As if B2D didn’t already have an ear for unmistakable melodies, the kind of post-hardcore-imbued flutters that would feel at place scattered about a The Fall of Troy or Botch jam (“Electrocuted by the Sky,” “(Du er verken Jesus eller Buddha) Du er Ugmod”), their ability to frame these moments of beauty against crash cymbal overloaded gallops and tattered layers of barks allows each song’s thread to weave that much tighter. Now seven albums down this idiosyncratic path, Beaten to Death runs the risk of sounding too much like themselves. And it’s true that the main riffs to “The Tolerator,” “Scroll On, Homeboy,” and “Satan Spawn, the K-Pop Demon” wear that identity proudly. But when there are ten others songs that each bring their own ideas to the table, these brief retreads—and I do mean brief; this is still grind after all—do little to get in the way of frequent enjoyment, especially when that enjoyment means shouting “SCROLL OOOON! HOME-BOY!”
And a high frequency of playthroughs will reveal hidden treasures around every corner of Vntrve. On more than one occasion, as I played through the tapped-harmony transition of “Fångad i en Battle Vest,” I paused to find which Death song most fit as the proper object of homage and smiled as I could unite two legendary bands so closely in my head canon.2 The classic high and low vocal assault of “Fear of Being Included” rings very Napalm Death, which adds an irony to the track being the most straightforward grindcore piece of the whole set (and its stop-start uncertainty). And in stark contrast, the Abbath-ian croak that mic man Anders Bakke summons on “Sunburn Satanist”3 causes equal parts giddy black metal glee and pit-running abandon when it breaks back to grind on the back half. Though it’s easy to attribute parody to the cause, the play that B2D brings to their joking statements on aging in a metal world4 help bring each of these referential statements to a place of reverence.
In this stretch of the real experimental side of their career, their most progressive leanings spawning with 2020’s Laat maar, ik verhuis naar het bos, Vntrve strikes the best balance of simple structures with oddball asides. While the closing title track runs as almost the longest in the B2D discography, it showcases too how quickly Beaten to Death can flip a stuttering mosh rhythm into a panning, dissociating fizzle of sax and synth bound together by an urgent kick and scaffolding folk melody. Guided by speed, fueled by chaos, and honed by an undying urge to make it all work—you can call that a manifestation of an unyielding DIY attitude—Vntrve marks another triumph in the undercelebrated story of Norway’s best-kept secret.
Rating: 4.0/5.0
DR: 45 | Format Reviewed: 320 kb/s mp3
Label: Mas-Kina Recordings
Websites: beatentodeath.net | beatentodeath.bandcamp.com | facebook.com/beatentodeath
Releases Worldwide: October 23rd, 2026
Alekhines Grind
Genre-defying, progressive, inscrutable, idiosyncratic, bizarre, and avant-garde are but a few of the superlatives laid at the feet of the Beaten to Death body of work. And why not? Since their first full-length in 2011, these Norwegians have dedicated their entire careers to upending and rewriting the building blocks of grindcore with manic glee. Waving middle fingers at genre conventions with tongue planted firmly in cheek, the band have unleashed one platter after another of fast-paced, ADHD-riddled music which offers up a cascade of color and sound that incites as much joy as violence upon the listener. Seventh album Vntrve reveals its mission statement in its title; itself a sendup of the ludicrous saturation of letter-abuse in modern-day metal nomenclature while being utterly self-aware in doing so. But this long into such a forward-thinking career, are the jokes running thin? Or do the boys still know how to make you smile through the pain?
If you’re new to the B2D sound, you may be surprised to learn that despite the outfits’ run-of-the-mill violent name, the music on offer is positively teeming with color and life, or at least pleasant surprise. Vntrve continues that trend, with the band gleefully snatching the listener from melodic leads and colorful tones to sudden, bone-savaging grooves without breaking a sweat. While personal favorite Laat Maar, ik verhuis naar het bos furrowed brows and turned frowns upside down thanks to weird sample use as much as song ideas (that dial-up tone, anyone?), for this outing B2D have stayed relatively stereotypical in their toolkit and pressed the gas on the competency of the compositions themselves. Highlight “Electrocuted by the Sky” alternates between melodic twanging and blackened leads only to punt in an eastern-sounding breakdown for no clear reason besides to show that they can, and it works. “And it works” is easily the best summary of their sound, as any selected track will have a sudden tonal shift, highlight, or riff switch-up which would be grounds for accusations of disjointed lack of focus in the hands of any other outfit.
One of the distinguishing factors of B2D is their unapologetic sense of humor. From the curious sporadic English lyrics peppering “Fanged i en Battle Vest” to straight-up subgenre parodies and goofy song titles, there’s small, blink and you’ll miss them references to various bands and sounds throughout the sphere of all things metal, all delivered with a knowing smirk. “Sunburnt Satanist” switches up its vocal stylings into much more Immortal-ized flair, coming replete with decipherable declarations of “rimfrosted kingdoms”. “Satan Spawn, the K-Pop Demon” doesn’t merely reference Deicide by way of Cannabis Corpse wordplay but goes so far as to double-track the vocal presentation to sound ripped right off of Legion (or Deicide, obviously). Even without direct and simplistic parody, there is a sparkling sense of delight in their compositions, as the vast majority of tracks come with clean tones, major keys, and melodic sheen both in contrast and companionship to all the bludgeonings which await.
And the bludgeoning exists in abundance, as each and every cut comes packed with at least one moment of raw violence, tweaked and sculpted to fit into the record’s dizzying and Vntrve nature. “The Tolerator” offers the most straightforward curbstomping breakdown, before sliding into a delirious saxophone crashout courtesy of Bendik Brænne. This is no Rivers of Nihil knockoff, as the sax resurfaces during the closing title track “Vntrve” in a climactic build of glorious, jazzy delirium. Beyond the expectedly-unexpected progressivisms, you also get swipes at djent (“Scroll On, Homeboy”) and straightforward hardcore (“Du er Umgod”) to say nothing of sporadic blackened leads and whammy abuse. This “chuck it in the blender” approach should be ghastly and unfocused, but B2D proved their identities as aural alchemists long ago, and Vntrve is a celebration of the band’s masterclass in whimsical wielding of the unpredictable and exuberant.
The last touch complimenting Vntrve is an appropriate one: a closing chime of bells, like a venue saying “thanks for coming out.” Beaten to Death keep their remarkable streak of creativity alive, offering up yet another release that makes for an enthralling, charming listen. Not every track smacks of the same cover-to-cover gloriousness, but with most landing in the traditional grind run of one to two and a half minutes, they at least each come with a highlight worthy of repeated listens and make for a package that could easily be called grin-inducing as much as mosh-worthy or violent. And how many other grind albums are you gonna find with psychedelic-looking flamingos on the cover? Beaten to Death remain as committed to the bit as ever, using a stereotypically ruthless subgenre to convey imagination and adventure with pulverization in equal measure; a remarkable declaration that though they can brawl with the best of them, they will always remain utterly Vntrve.
Rating: 4.0/5.0
#2026 #40 #Abbath #BeatenToDeath #Botch #Death #Deicide #Grind #Grindcore #Immortal #MasKinaRecordings #NapalmDeath #NorwegianMetal #Oct26 #Review #Reviews #TheFallOfTroy