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73 results for “fylgja”
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https://www.donna-anna.org/de/fylgja.html Fylgjen: Die schattenhaften Beschützerinnen und ihre Rolle im Universum. #Fylgja #Schutzgeist #Dämonologie #Metaphysik #Lexikon
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Looking forward to the new attr()
https://fylgja.dev/blog/native-css-utilities/#fylgjacss #css #tailwindcss #css-utilities
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Just dropped a new blog post! 🚀
We're demystifying Design Tokens and showing you how to manage your design decisions like a pro. Stop the copy-paste madness and create a single source of truth for your UI.
Check it out: https://fylgja.dev/blog/what-are-design-tokens/
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🦊 Fylgja 2.1 is Live: New Utilities, Performance Boosts, and more: https://fylgja.dev/blog/release-of-version-21/
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🚀 Fylgja v2 is LIVE! 🎉 Small & feature-rich CSS library: utilities, CSS props, & classless styling. Versatile web design! 👇
🔗 https://fylgja.dev/
🔗 https://fylgja.dev/blog/release-of-version-2/ -
Did you know that Fylgja CSS plays nicely with CSS utility frameworks like Tailwind CSS and UnoCSS?
If you haven't tried it yet, give it a shot and see how it works for you.
We also released a cool new plugin for Tailwind CSS that lets you configure all of your CSS props (variables) right from your tailwind.config.js file. Check it out here: https://github.com/fylgja/tailwindcss-plugin-cssprops
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The Fylgja Colors Tokens Componenten is making significant progress and is now in its beta phase. You have the opportunity to try it out and access the updated documentation at https://fylgja.dev/components/colors/. We are currently fine-tuning the colors and preparing the documentation for oklch, so there's even more great stuff on the way. Stay tuned!
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Fylgja v1.3 is out! 🎉
New in #FylgjaCSS v1.3 is full support for #cssprops, #csslayers and our first steps to v2 with beter focus on native #html styles, to simplify your frontend with a good foundation, check it out https://github.com/fylgja/fylgja/releases/tag/1.3.0
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Af þessum reikningi #ætla ég að #fylgja almennt öllum sem ég rekst á sem gera #tútt þar sem #íslenska er aðalmálið.
Einnig fólki sem ég sé að er íslenskt þó það tútti aðallega á ensku. Ég er með annan reikning til að fylgja þeim sem eru ekki íslendingar eða ekki hægt að segja til um það og tútta bara á ensku eða skandinavísku. Þannig að ekki móðgast þó þið fáið ekki #fylgjatilbaka frá þessum reikningi ef það á við um ykkur. -
Soleiðis kanst tú finna tíni lið og fylgja við, hvussu gongur hjá rennarunum og nær skal gerast klárt at skifta. Úrslitasíðan er tøk á https://my.raceresult.com/257114/ #FaroeExpressStafettin #FES23 #renning #Bragdið #RaceResult
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Soleiðis kanst tú finna tíni lið og fylgja við, hvussu gongur hjá rennarunum og nær skal gerast klárt at skifta. Úrslitasíðan er tøk á https://my.raceresult.com/257114/ #FaroeExpressStafettin #FES23 #renning #Bragdið #RaceResult
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Soleiðis kanst tú finna tíni lið og fylgja við, hvussu gongur hjá rennarunum og nær skal gerast klárt at skifta. Úrslitasíðan er tøk á https://my.raceresult.com/257114/ #FaroeExpressStafettin #FES23 #renning #Bragdið #RaceResult
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@islendingur Er til auðveld leið til að fylgjast með öllum íslendginum á mastodon, eða bara öllum sem fylgjast þér? #IslMasto
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Af þessum reikningi #ætla ég að #fylgja almennt öllum sem ég rekst á sem gera #tútt þar sem #íslenska er aðalmálið.
Einnig fólki sem ég sé að er íslenskt þó það tútti aðallega á ensku. Ég er með annan reikning til að fylgja þeim sem eru ekki íslendingar eða ekki hægt að segja til um það og tútta bara á ensku eða skandinavísku. Þannig að ekki móðgast þó þið fáið ekki #fylgjatilbaka frá þessum reikningi ef það á við um ykkur. -
Good morning and happy Thursday!
For the lunch notes for my kids this morning, I decided to do random manga characters from manga I read.
For MDMRNia (14), I picked Fylgja from Otr of the Flame. She LOVED The Hunters Guild from the same creator (has read it in full twice), so I figured she may be interested in this series.
Hope you have a great one!
#Manga #FediArt #OtrOfTheFlame #Parenting #Thursday #GoodMorning #MorningMoments
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392 lið (við 3 á hvørjum liði) hava teknað seg til Faroe Express Stafettina nú leygardagin kl 16. 1.176 rennarar og gongufólk. Sí luttakaralista á https://my.raceresult.com/257114/, har tað eisini ber til at fylgja við meðan tiltakið er. #renning #Bragdið
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392 lið (við 3 á hvørjum liði) hava teknað seg til Faroe Express Stafettina nú leygardagin kl 16. 1.176 rennarar og gongufólk. Sí luttakaralista á https://my.raceresult.com/257114/, har tað eisini ber til at fylgja við meðan tiltakið er. #renning #Bragdið
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392 lið (við 3 á hvørjum liði) hava teknað seg til Faroe Express Stafettina nú leygardagin kl 16. 1.176 rennarar og gongufólk. Sí luttakaralista á https://my.raceresult.com/257114/, har tað eisini ber til at fylgja við meðan tiltakið er. #renning #Bragdið
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Í dag kl 18 er ólavsøkurenningin á Skálatrøð við 240 luttakarum, og hjá okkum í @flowcore verður spennandi at síggja, hvussu nýggja RaceResult tíðtakingarskipanin hjá Bragdinum skikkar sær.
Til ber at fylgja við millumtíðum og síggja forsagnir meðan runnið verður á https://my.raceresult.com/254255/live
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Í dag kl 18 er ólavsøkurenningin á Skálatrøð við 240 luttakarum, og hjá okkum í @flowcore verður spennandi at síggja, hvussu nýggja RaceResult tíðtakingarskipanin hjá Bragdinum skikkar sær.
Til ber at fylgja við millumtíðum og síggja forsagnir meðan runnið verður á https://my.raceresult.com/254255/live
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Í dag kl 18 er ólavsøkurenningin á Skálatrøð við 240 luttakarum, og hjá okkum í @flowcore verður spennandi at síggja, hvussu nýggja RaceResult tíðtakingarskipanin hjá Bragdinum skikkar sær.
Til ber at fylgja við millumtíðum og síggja forsagnir meðan runnið verður á https://my.raceresult.com/254255/live
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Eg rokni við at hesin plattformurin fer at vera brúktur til politikk, so eitt sindur um hvar eg standi politiskt:
Eg eri loysingarmaður. Eg eri sannførdur um, at vit føroyingar duga best at stýra hesum landinum.
Øll tey sum búgva í hesum lamdinum, rinda skatt her og annars fylgja landsins lógum, skulu hava somu rættindir.
Búskaparlig liggi eg uml á miðuni. Vinnan skal hava fríar teymar til at fortjena nógv til vælferðarsamfelagi.
Eg eri semjusøkjandi. Saman standa vit sterkast.
#innleiðsla -
By Carcharodon
Dutch one-man project Thurnin were unknown to me before I snagged Harmr for review. Having now investigated, I see that I’m in for a subdued time. Following a similar, winding path to that walked by Wardruna’s Einar Selvik, Thurnin main minstrel Jurre Timmer wandered away from his black metal roots, corpse paint washing off in a Dutch downpour, to arrive in instrumental neofolk land. He has now taken up permanent residence there, with two albums under his belt as Thurnin, 2021’s Menhir, followed two years later by Útiseta. I am informed (whether reliably or not) by the promo blurb for this latest platter that the Icelandic word Harmr is now understood to mean ‘sorrow.’ However, Timmer adopts it as the title of his third album for the (apparently) older, more traditional sense of ‘grief.’ So, let us skip down the road, lute in hand, and see what Harmr has been done.
Ok, that was misleading. As far as I know, Thurnin makes no use of lutes on Harmr. Instead, the majority of the work is done by Timmer’s acoustic guitars, adorned by other strings, including violins and occasional pipes. The guitars are multi-tracked and densely layered, meaning that, despite being both instrumental (a few background vocal effects, like on “Arcturus,” aside) and largely percussion-free (save for “Heortece” and a few moments of “Eitr”), there are multiple layers to this tapestry. Whether one interprets Harmr as depicting sorrow or grief will, I suspect, come down to your own individual perception of those two words. For me, I lean more to the former. The soundscapes conjured on the album feel forlorn and melancholy, imbued with a sense of longing, but not the despair, desperation or hopelessness that I associate with grief.
As Harmr progresses, Thurnin confidently crafts and maintains the mood, its sombre tones resonating across the album’s full 42-minute run. There is something about it that reminds me of an accordion. Not in the sound—no accordions were Harmred, or used, in the making of this album—but in the breathy quality of the music. It almost feels like, track to track, the record in- and exhales, just as the air flows into an accordion, before being slowly expelled again. Perhaps breathing would be a better metaphor because Harmr feels very organic in its flow. The delicate, relatively stripped back notes of “Fylgja” or closer “Folkvangr” are at once notably different in mood from, but clearly belong alongside, the more urgent and insistent refrain of “Heortece” and the backend of “Eitr,” which feature the only percussion (it sounds like it’s probably a handheld drum along the lines of a bhodran) on the album.
Thurnin’s overall approach is perhaps best described as dreamlike. Harmr seems to slowly wander, weaving between moods and pacing without ever breaking the spell. For me, however, this is both the charm and Achilles heel of this album and indeed Thurnin’s prior releases. For all its richness of sound and compositional consistency, it also lacks differentiation. The absence of vocals and very limited use of percussion means that the album is crafted using a fairly limited palette, compared to the likes of Wardruna. Moreover, although there are changes in pacing (compare, for example, “Heortece” and “Fylgja”), these are relative, within the spectrum of what Thurnin does. That said, the production here is worthy of a callout, as Harmr sounds phenomenal. Although albums like this, without the backbone of drums, often seem to return high DR scores, the 11 here feels right. Its component parts breathe and sway like the wind-in-the-grass vibes that open “Folkvangr,” feeling rich enough to almost touch.
Harmr is one of those albums where I wish we didn’t give out scores or ratings. Whatever I choose will feel wrong, and mileage will likely vary significantly. On the one hand, Thurnin’s forlorn dark folk is expertly crafted and executed but on the other, it also feels a bit limited in scope. I find myself largely unable to recall individual moments, left instead with the overall sense and mood evoked by the album, but without any details. Above, I likened Harmr to a dream, and perhaps that intangibility is the epitome of this. Either way, I don’t see myself returning to this album often because, I suspect, its virtues will fade quickly. However, if I find myself listening to it, I will no doubt be borne away again, as I was the first time round.
Rating: 2.5/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Auerbach Tonträger
Websites: thurnin.bandcamp.com | facebook.com/ThurninFolk
Releases Worldwide: March 14th, 2025#25 #2025 #AuerbachTonträger #DarkFolk #DarkNeofolk #DutchMetal #Folk #Harmr #Instrumental #Mar25 #NotMetal #Review #Reviews #Thurnin #Wardruna
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By Carcharodon
Dutch one-man project Thurnin were unknown to me before I snagged Harmr for review. Having now investigated, I see that I’m in for a subdued time. Following a similar, winding path to that walked by Wardruna’s Einar Selvik, Thurnin main minstrel Jurre Timmer wandered away from his black metal roots, corpse paint washing off in a Dutch downpour, to arrive in instrumental neofolk land. He has now taken up permanent residence there, with two albums under his belt as Thurnin, 2021’s Menhir, followed two years later by Útiseta. I am informed (whether reliably or not) by the promo blurb for this latest platter that the Icelandic word Harmr is now understood to mean ‘sorrow.’ However, Timmer adopts it as the title of his third album for the (apparently) older, more traditional sense of ‘grief.’ So, let us skip down the road, lute in hand, and see what Harmr has been done.
Ok, that was misleading. As far as I know, Thurnin makes no use of lutes on Harmr. Instead, the majority of the work is done by Timmer’s acoustic guitars, adorned by other strings, including violins and occasional pipes. The guitars are multi-tracked and densely layered, meaning that, despite being both instrumental (a few background vocal effects, like on “Arcturus,” aside) and largely percussion-free (save for “Heortece” and a few moments of “Eitr”), there are multiple layers to this tapestry. Whether one interprets Harmr as depicting sorrow or grief will, I suspect, come down to your own individual perception of those two words. For me, I lean more to the former. The soundscapes conjured on the album feel forlorn and melancholy, imbued with a sense of longing, but not the despair, desperation or hopelessness that I associate with grief.
As Harmr progresses, Thurnin confidently crafts and maintains the mood, its sombre tones resonating across the album’s full 42-minute run. There is something about it that reminds me of an accordion. Not in the sound—no accordions were Harmred, or used, in the making of this album—but in the breathy quality of the music. It almost feels like, track to track, the record in- and exhales, just as the air flows into an accordion, before being slowly expelled again. Perhaps breathing would be a better metaphor because Harmr feels very organic in its flow. The delicate, relatively stripped back notes of “Fylgja” or closer “Folkvangr” are at once notably different in mood from, but clearly belong alongside, the more urgent and insistent refrain of “Heortece” and the backend of “Eitr,” which feature the only percussion (it sounds like it’s probably a handheld drum along the lines of a bhodran) on the album.
Thurnin’s overall approach is perhaps best described as dreamlike. Harmr seems to slowly wander, weaving between moods and pacing without ever breaking the spell. For me, however, this is both the charm and Achilles heel of this album and indeed Thurnin’s prior releases. For all its richness of sound and compositional consistency, it also lacks differentiation. The absence of vocals and very limited use of percussion means that the album is crafted using a fairly limited palette, compared to the likes of Wardruna. Moreover, although there are changes in pacing (compare, for example, “Heortece” and “Fylgja”), these are relative, within the spectrum of what Thurnin does. That said, the production here is worthy of a callout, as Harmr sounds phenomenal. Although albums like this, without the backbone of drums, often seem to return high DR scores, the 11 here feels right. Its component parts breathe and sway like the wind-in-the-grass vibes that open “Folkvangr,” feeling rich enough to almost touch.
Harmr is one of those albums where I wish we didn’t give out scores or ratings. Whatever I choose will feel wrong, and mileage will likely vary significantly. On the one hand, Thurnin’s forlorn dark folk is expertly crafted and executed but on the other, it also feels a bit limited in scope. I find myself largely unable to recall individual moments, left instead with the overall sense and mood evoked by the album, but without any details. Above, I likened Harmr to a dream, and perhaps that intangibility is the epitome of this. Either way, I don’t see myself returning to this album often because, I suspect, its virtues will fade quickly. However, if I find myself listening to it, I will no doubt be borne away again, as I was the first time round.
Rating: 2.5/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Auerbach Tonträger
Websites: thurnin.bandcamp.com | facebook.com/ThurninFolk
Releases Worldwide: March 14th, 2025#25 #2025 #AuerbachTonträger #DarkFolk #DarkNeofolk #DutchMetal #Folk #Harmr #Instrumental #Mar25 #NotMetal #Review #Reviews #Thurnin #Wardruna
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By Carcharodon
Dutch one-man project Thurnin were unknown to me before I snagged Harmr for review. Having now investigated, I see that I’m in for a subdued time. Following a similar, winding path to that walked by Wardruna’s Einar Selvik, Thurnin main minstrel Jurre Timmer wandered away from his black metal roots, corpse paint washing off in a Dutch downpour, to arrive in instrumental neofolk land. He has now taken up permanent residence there, with two albums under his belt as Thurnin, 2021’s Menhir, followed two years later by Útiseta. I am informed (whether reliably or not) by the promo blurb for this latest platter that the Icelandic word Harmr is now understood to mean ‘sorrow.’ However, Timmer adopts it as the title of his third album for the (apparently) older, more traditional sense of ‘grief.’ So, let us skip down the road, lute in hand, and see what Harmr has been done.
Ok, that was misleading. As far as I know, Thurnin makes no use of lutes on Harmr. Instead, the majority of the work is done by Timmer’s acoustic guitars, adorned by other strings, including violins and occasional pipes. The guitars are multi-tracked and densely layered, meaning that, despite being both instrumental (a few background vocal effects, like on “Arcturus,” aside) and largely percussion-free (save for “Heortece” and a few moments of “Eitr”), there are multiple layers to this tapestry. Whether one interprets Harmr as depicting sorrow or grief will, I suspect, come down to your own individual perception of those two words. For me, I lean more to the former. The soundscapes conjured on the album feel forlorn and melancholy, imbued with a sense of longing, but not the despair, desperation or hopelessness that I associate with grief.
As Harmr progresses, Thurnin confidently crafts and maintains the mood, its sombre tones resonating across the album’s full 42-minute run. There is something about it that reminds me of an accordion. Not in the sound—no accordions were Harmred, or used, in the making of this album—but in the breathy quality of the music. It almost feels like, track to track, the record in- and exhales, just as the air flows into an accordion, before being slowly expelled again. Perhaps breathing would be a better metaphor because Harmr feels very organic in its flow. The delicate, relatively stripped back notes of “Fylgja” or closer “Folkvangr” are at once notably different in mood from, but clearly belong alongside, the more urgent and insistent refrain of “Heortece” and the backend of “Eitr,” which feature the only percussion (it sounds like it’s probably a handheld drum along the lines of a bhodran) on the album.
Thurnin’s overall approach is perhaps best described as dreamlike. Harmr seems to slowly wander, weaving between moods and pacing without ever breaking the spell. For me, however, this is both the charm and Achilles heel of this album and indeed Thurnin’s prior releases. For all its richness of sound and compositional consistency, it also lacks differentiation. The absence of vocals and very limited use of percussion means that the album is crafted using a fairly limited palette, compared to the likes of Wardruna. Moreover, although there are changes in pacing (compare, for example, “Heortece” and “Fylgja”), these are relative, within the spectrum of what Thurnin does. That said, the production here is worthy of a callout, as Harmr sounds phenomenal. Although albums like this, without the backbone of drums, often seem to return high DR scores, the 11 here feels right. Its component parts breathe and sway like the wind-in-the-grass vibes that open “Folkvangr,” feeling rich enough to almost touch.
Harmr is one of those albums where I wish we didn’t give out scores or ratings. Whatever I choose will feel wrong, and mileage will likely vary significantly. On the one hand, Thurnin’s forlorn dark folk is expertly crafted and executed but on the other, it also feels a bit limited in scope. I find myself largely unable to recall individual moments, left instead with the overall sense and mood evoked by the album, but without any details. Above, I likened Harmr to a dream, and perhaps that intangibility is the epitome of this. Either way, I don’t see myself returning to this album often because, I suspect, its virtues will fade quickly. However, if I find myself listening to it, I will no doubt be borne away again, as I was the first time round.
Rating: 2.5/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Auerbach Tonträger
Websites: thurnin.bandcamp.com | facebook.com/ThurninFolk
Releases Worldwide: March 14th, 2025#25 #2025 #AuerbachTonträger #DarkFolk #DarkNeofolk #DutchMetal #Folk #Harmr #Instrumental #Mar25 #NotMetal #Review #Reviews #Thurnin #Wardruna
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By Carcharodon
Dutch one-man project Thurnin were unknown to me before I snagged Harmr for review. Having now investigated, I see that I’m in for a subdued time. Following a similar, winding path to that walked by Wardruna’s Einar Selvik, Thurnin main minstrel Jurre Timmer wandered away from his black metal roots, corpse paint washing off in a Dutch downpour, to arrive in instrumental neofolk land. He has now taken up permanent residence there, with two albums under his belt as Thurnin, 2021’s Menhir, followed two years later by Útiseta. I am informed (whether reliably or not) by the promo blurb for this latest platter that the Icelandic word Harmr is now understood to mean ‘sorrow.’ However, Timmer adopts it as the title of his third album for the (apparently) older, more traditional sense of ‘grief.’ So, let us skip down the road, lute in hand, and see what Harmr has been done.
Ok, that was misleading. As far as I know, Thurnin makes no use of lutes on Harmr. Instead, the majority of the work is done by Timmer’s acoustic guitars, adorned by other strings, including violins and occasional pipes. The guitars are multi-tracked and densely layered, meaning that, despite being both instrumental (a few background vocal effects, like on “Arcturus,” aside) and largely percussion-free (save for “Heortece” and a few moments of “Eitr”), there are multiple layers to this tapestry. Whether one interprets Harmr as depicting sorrow or grief will, I suspect, come down to your own individual perception of those two words. For me, I lean more to the former. The soundscapes conjured on the album feel forlorn and melancholy, imbued with a sense of longing, but not the despair, desperation or hopelessness that I associate with grief.
As Harmr progresses, Thurnin confidently crafts and maintains the mood, its sombre tones resonating across the album’s full 42-minute run. There is something about it that reminds me of an accordion. Not in the sound—no accordions were Harmred, or used, in the making of this album—but in the breathy quality of the music. It almost feels like, track to track, the record in- and exhales, just as the air flows into an accordion, before being slowly expelled again. Perhaps breathing would be a better metaphor because Harmr feels very organic in its flow. The delicate, relatively stripped back notes of “Fylgja” or closer “Folkvangr” are at once notably different in mood from, but clearly belong alongside, the more urgent and insistent refrain of “Heortece” and the backend of “Eitr,” which feature the only percussion (it sounds like it’s probably a handheld drum along the lines of a bhodran) on the album.
Thurnin’s overall approach is perhaps best described as dreamlike. Harmr seems to slowly wander, weaving between moods and pacing without ever breaking the spell. For me, however, this is both the charm and Achilles heel of this album and indeed Thurnin’s prior releases. For all its richness of sound and compositional consistency, it also lacks differentiation. The absence of vocals and very limited use of percussion means that the album is crafted using a fairly limited palette, compared to the likes of Wardruna. Moreover, although there are changes in pacing (compare, for example, “Heortece” and “Fylgja”), these are relative, within the spectrum of what Thurnin does. That said, the production here is worthy of a callout, as Harmr sounds phenomenal. Although albums like this, without the backbone of drums, often seem to return high DR scores, the 11 here feels right. Its component parts breathe and sway like the wind-in-the-grass vibes that open “Folkvangr,” feeling rich enough to almost touch.
Harmr is one of those albums where I wish we didn’t give out scores or ratings. Whatever I choose will feel wrong, and mileage will likely vary significantly. On the one hand, Thurnin’s forlorn dark folk is expertly crafted and executed but on the other, it also feels a bit limited in scope. I find myself largely unable to recall individual moments, left instead with the overall sense and mood evoked by the album, but without any details. Above, I likened Harmr to a dream, and perhaps that intangibility is the epitome of this. Either way, I don’t see myself returning to this album often because, I suspect, its virtues will fade quickly. However, if I find myself listening to it, I will no doubt be borne away again, as I was the first time round.
Rating: 2.5/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Auerbach Tonträger
Websites: thurnin.bandcamp.com | facebook.com/ThurninFolk
Releases Worldwide: March 14th, 2025#25 #2025 #AuerbachTonträger #DarkFolk #DarkNeofolk #DutchMetal #Folk #Harmr #Instrumental #Mar25 #NotMetal #Review #Reviews #Thurnin #Wardruna
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Noticed a couple of #Bipolar episode tells: #OCD and fidgeting in overdrive. Hands are drier from excessive washing. I wasn't even really thinking about anything, but suddenly I noticed I was always rubbing my fingers. Then when I went to make food, my 'station' had to be completely free of every single crumb, and the things I was about to use needed to be aligned either perpendicular or parallel to the counter edge. 😬
Its surreal kind of... Analyzing and observing my symptoms.
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More medication adjustments, I've lost my appetite and am nauseous often. I am now living off Zofran, and protein shakes and bars. I feel great mentally - but I'd like to be able to eat real food again 😅
Another glimmer, getting a new fridge within the next 24hours! Ours decided to leak a ton of water all over our food (not good). Landlord is replacing it (good). 🙌🏼
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#Immigration #Hotlines | Líneas Directas de #Inmigración
#AbolishIce #KnowYourRights #ConoceTusDerechos #ChingaLaMigra