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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 -
Kafeta Revoltosa - Actualización sobre la insurrección en fRancia
CSOA La Revoltosa, dijous, 22 d’octubre, a les 19:00 CEST
Kafeta Revoltosa - Actualización sobre la insurrección en fRancia.
El 17 de setiembre el instituto Saint-Exupéry de Créteil abre la veda de toda una serie de movilizaciones estudiantiles y contra la vida cara que han desencadenado situaciones insurreccionales y una represión desenfrenada en el estado francés, algunes dicen no ver esto desde el 68. Como apoyarles? Como nutrirse de la ruptura de la apatía social a la que parece que estemos condenades? Como extender los vientos de revuelta y solidaridad que soplan este otoño? Vente!
https://bcn.convoca.la/event/kafeta-revoltosa-actualizacion-sobre-la-insurreccion-en-francia
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Armory – Echoes of the Astrolith Review By KenstrositySci-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
#2026 #35 #AgentSteel #Armory #BlackenedSpeedMetal #Bütcher #DarkAngel #DyingVictimsProductions #EchoesOfTheAstrolith #Hellripper #Oct26 #Review #Reviews #RiotCity #SpeedMetal #SpeedThrash #SwedishMetal #Xoth
DR: 10 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: Bandcamp | Official
Releases Worldwide: October 23rd, 2026 -
Reading List – 2026-10-21
The agent workflows here depend on written constraints and design docs staying coherent as code changes. That shifts maintenance work from prompt setup to keeping those inputs and checks current. Separately, rising inference prices make token-heavy features an operating commitment. I’d treat caching and workload-specific cost checks as design concerns, not cleanup for later.
New prize launches for books co-written with AI
The Prix Pascal makes AI co-writing explicit: entrants submit unpublished French fiction, 10,000–50,000 words, and identify the model and prompt. I like the sound of it; it even has me considering whether to dust off my half-finished manuscript, though entering remains a maybe. The harder constraint is that fiction must also help solve an ethical, social, or ecological problem, so a submission has to satisfy two ambitions at once.
The career risk here isn’t only that a skill expires; a reputation can harden around the old way of working, even while those skills remain useful. The article makes that tension concrete: one employee keeps today’s organization running, while another builds experience with emerging technology, and the first may lose out after the transition. What catches my attention is how hard it is to protect time for that second track without neglecting the systems and teams that still depend on the first.
Rust off Rails: The opinionated web stack for the AI era
Rust off Rails puts its conventions, recipes, and stack choices in 60 Markdown files; an agent generates app code and tests it on SQLite and Postgres. The framework is the written constraint set, not a shipped library, while the generated code stays in the app. My maintainerd plugin has the same shape: Markdown skills and an agent loop run my software factory. The approach depends on keeping those written decisions coherent as the conventions evolve.
Design Docs, Nightly Audits, and Vycari’s Agent Development Loop
What stands out is that Vycari treats design docs as maintained inputs to agent work, not artifacts that go stale after planning. A nightly process compares them with code changes and proposes updates; PR follow-ups become issues with enough design detail for the implementation pipeline. That makes documentation quality and issue detail part of the system’s operating surface, not just project hygiene. I had fun recoding this conversation with Dan, and hope other people find the workflow useful.
Speeding up code review with `small-change` | Irrational Exuberance
Proposal for Allen to review: Imprint’s small-change gate uses concrete proxies—under 1,000 lines, an experienced author, limited service impact, and no high-severity AI-review findings—to make some PRs eligible for fast approval. I like the direction, but “small” seems less useful than low risk: a risk estimate from low to high could set the amount of review each change gets. Only about 10% qualify so far, so expanding coverage still depends on stronger verification.
DeepSeek Dials Up the Pressure on OpenAI and Anthropic With Open-Source Inference Tool
Inference cost is becoming a product constraint, not just a serving-team metric. DeepSeek has made its production inference stack, DeepInfer, available on GitHub, though it currently supports only V4-1 Flash. The article says techniques such as speculative decoding could lower costs further; what catches my attention is how tightly those gains may depend on the model. For teams weighing a switch, the unresolved question is whether the savings hold for their workloads and deployment constraints.
Alibaba hikes DeepSeek V4 Flash 0731 output prices by 230%
Proposal: Alibaba raised DeepSeek V4 Flash 0731 output pricing from $0.40 to $1.32 per million tokens, a 230% increase. I read that as a sign that subsidized inference will become more expensive and less generous, especially for frontier and coding models. For teams building token-heavy features, this makes cost controls like caching and tighter prompts part of the product’s operating assumptions, not just later optimization.
LayerFS: The filesystem for AI coding agents
Each agent gets a writable workspace over shared committed history and commits its own changes, a useful shape for parallel work. I lose time getting agents’ dependencies set up, so a shared dependency layer would catch my attention, though this description doesn’t say LayerFS provides one. If it does, the question is how that shared setup stays reliable while agents work independently.
#Agents #AI #CareerPlanning #OpenSource #SoftwareEngineering -
Beaten to Death – Vntrve Review By Dolphin Whisperer
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, 2026Alekhines 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 -
LiveWire – Steel Surpasses Flesh Review By Grin Reaper
When Sydney, Australia’s LiveWire dropped debut Under Attack! four years ago, they earned a glowing write-up from the Paragon of Porifera and even landed atop our resident Thrashhound’s top ten. Sophomore outing Steel Surpasses Flesh picks up where Under Attack! left off, and on it, LiveWire galvanizes listeners with full-throttle bangers that drill deep into your brain batter and ossify into permanent residents. Discharging unrelenting hooks at voracious speeds, LiveWire earns their name through eleven riveting tracks that won’t allow you to let go of their electrifying charm. Does Steel Surpasses Flesh top the high water mark of Under Attack!? The results may shock you.
Finger-flaying leads and gluey melodies secure LiveWire’s firm hold on what made their debut so damn powerful, and their consummate collision of melodic genres excites and delights with wild-eyed enthusiasm. Speed metal’s belligerent paces run rampant across Steel Surpasses Flesh, channeling the likes of Exciter and Agent Steel as they whip arrangements into tightly-wound ragers. Unlike classic speed metal, though, LiveWire dodges raw aesthetics in favor of a crisper production that suggests retro vibes while cutting the fuzz to allow the instrumentation to gleam. Classic heavy metal also rears it head with Riot’s Thundersteeled aggression anchoring cuts like “Pathway to Ruin” and “Steel Surpasses Flesh” while “Fast Mean Killing Machine” struts with the West Coast sleaze of Mötley Crüe united with Van Halen-tinged virtuosity as LiveWire looses lyrics that blur lines between fast cars and faster women.1 The rest of Steel Surpasses Flesh mostly operates with reckless momentum that careens and caroms between speed, thrash, and power metal. Rather than sounding scattershot or unfocused, though, LiveWire welds these backdrops with “Surgical Precision” and elicits finely forged, genre-fused bliss.
Like Under Attack!, Steel Surpasses Flesh inundates listeners with gigawatt riffage and anthemic refrains. “Epinephrine Attack” crackles with slickety licks from the moment you hit play, shining a dazzling spotlight on guitarists Anthony Ierardo and Chris Puglia. Their theatrics scorch fretboards and sear pickguards as the master shredders go “Lightspeed Crazy” in an “All Consuming Nightmare” of turbocharged audio adrenaline. The track names give away exactly the type of high-velocity hijinks that LiveWire deals, and marshaling those forces is singer/bassist Nick Wilks. Where his vocals took a backseat to the guitars and drums on Under Attack!’s mix, Wilks races to the fore on Steel Surpasses Flesh and delivers a confident performance that spends more time in falsetto reaches (“Demon Witch”), occasionally recalling Gama Bomb’s Philly Byrne (“Lightspeed Crazy,” “Pathway to Ruin”). I can understand why this might not work for some listeners, but he’s got great pipes and uses them while proving a deft bass player to boot. Lastly, George Delinicolis’s kitwork might feel unobtrusive compared to the stringed onslaught, yet he keeps the motör running and still finds opportunities to pour gasoline on LiveWire’s fire with savvy fills and rumbling double bass thunder.
Steel Surpasses Flesh revels in rampant fun, but don’t let its carefree attitude fool you into thinking LiveWire’s tunes lack substance. The compositions remain as sharp as before, and where Under Attack! hinged its success almost entirely on the almighty riff, Steel Surpasses Flesh hones the vocal arrangements to maximize fist-pumping rapture without sacrificing six-stringed ecstasy. I also appreciate the greater emphasis on Wilks’ voice in the mix, and though the vocals intermittently sound over-processed and glossy, I notice this less with each listen. Even so, the gang vocal echoes on “Epinephrine Attack” and “Lightspeed Crazy” are as irrepressibly exquisite as the surrounding instrumentation, and the production does a fine job balancing audibility and punch. With a band this talented it would be easy to succumb to excess, but these Aussies demonstrate a keen understanding of the tightrope walk between exuberance and restraint.
I’ve gone back and forth on which LiveWire album I prefer, and although Steel Surpasses Flesh edges out Under Attack!,2 I’m thrilled to have both. Excluding bonus tracks, Steel Surpasses Flesh runs about twelve minutes longer, but the only opportunity to cut bloat lives on “Speed Kills,” and one minute out of forty-two hardly merits consideration. Steel Surpasses Flesh has quickly become my de facto companion when I can’t decide what to listen to, and it’s only picked up steam since I got the opportunity to write about it.3 If you need a jolt of energy as the year winds to a close, don’t be afraid to pick up this LiveWire and let its juice flow through you.
Rating: Great!
#2026 #40 #AgentSteel #AustralianMetal #Exciter #GamaBomb #HeavyMetal #LiveWire #MotleyCrue #PowerMetal #Review #Reviews #Riot #RiotV #SelfRelease #SelfReleased #SelfReleases #Sep26 #SpeedMetal #SteelSurpassesFlesh #ThrashMetal #VanHalen
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Self-Release
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 30th, 2026
