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12 results for “mojarrison”
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Viernes días, fedinauters.
Ya está aquí la nueva temporada de mocos.
Y con ella, vuelve la moda de llevar papel de culos en los bolsillos. -
Buenos días de casiviernes, fedinauters.
He dormido como un tronco: en mitad del monte y cubierto de musgo. -
Buenos días, fedinauters.
El café está ya preparado, y a mi despertador le queda algo más de una hora para sonar.
Sólo se escucha el zumbido del fluorescente de la cocina, y ocasionalmente, el motor del coche de alguien que ha madrugado más que yo y va a darle su plusvalía a un capitalista. -
Allies and Morrison’s pedestrianisation plans for London’s West End delayed
The proposals for the council and the Crown Estate looked at pedestrianising Piccadilly Circus and Pall Mall while…
#London #UnitedKingdom #UK #GB #England #Headlines #News #Europe #EU #AlliesandMorrison #Britain #CityofWestminster #GreatBritain #london #pedestrianisation #PublicRealm #WestEnd
https://www.europesays.com/uk/1251763/ -
‘Love of Your Life’ Director Rachel Morrison on Margaret Qualley’s ‘Wild Range,’ Confronting COVID-19 and Subverting Romantic Drama Expectations: ‘Finding Herself Is Enough’
#Variety #Global #News #LoveofYourLife #MargaretQualley #RachelMorrison -
West Bromwich Albion opinion: James Morrison keeps finding solutions
James Morrison may only be in his infancy as a manager, but he’s faced more challenges than many…
#Football #Soccer #News
https://www.europesays.com/football/73607/ -
Today is #GlobalHandwashingDay, see where Jim Morrison washed his hands https://toilet-guru.com/jim-morrison.html?s=mb #travel #history
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https://www.europesays.com/uk/1251763/ Allies and Morrison’s pedestrianisation plans for London’s West End delayed #AlliesAndMorrison #Britain #CityOfWestminster #England #GreatBritain #london #pedestrianisation #PublicRealm #UK #UnitedKingdom #WestEnd
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Lidl snaps up market share as rival Aldi stalls
Tuesday 13 October 2026 12:30 pm Lidl is the only major supermarket growing its hold on UK shoppers…
#Germany #DE #Europe #EU #Europa #Aldi #Asda #Business #grocer #groceries #grocers #Grocery #grocerydata #lidl #Morrisons #News #retail #retailer #Retailers #Sainsbury's #Süd&Nord #supermarket #supermarketgiants #Supermarkets #Tesco #uksupermarket #uksupermarkets #Worldpanel
https://www.europesays.com/germany/108352/ -
Blood and Sun – Aion’s Light Review By Andy-War-HallFew bands are as kvlt as Blood and Sun, and they play folk. Luke Tromiczak has toiled away at his dark Americana neofolk project since the mid-2010s, mixing 70s-style folk and black metal atmosphere with the purpose of delving “into the borderlands between song, spell, and memory.” With two albums behind him—most recently 2020’s Love & Ashes—Tromiczak now reaches into Blood and Sun’s deepest history for this year’s Aion’s Light. What he found was a Tascam 414 four-track cassette, the same he used for the project’s earliest demos. On it, he recorded each of Aion’s Light’s songs as they were written and tracked, every decision and mistake put to tape and heard in the same order as they were committed. This stringent, low-tech approach to recording leaves little room for mistake. So, does Aion’s Light capture an artist’s rawest expression in unmasked clarity, or do Blood and Sun capture more recording artifacts than magic?
If you’ve longed to hear Jim Morrison sing Leonard Cohen songs with black metal production, say hello to Aion’s Light. Blood and Sun’s distinct moody Americana and Tromiczak’s booming voice are as puissant as always on Aion’s Light, but now with an even more energetic, organic, and off-the-cuff feel. Blood and Sun weave dark tones and raw production into pensive folk scores, sporting dungeon-like synths and an Aquilusesque rustic, romantic dread. Listeners are treated to strident acoustics and bombastic synths with sprinklings of percussion,1 ranging from simple and aggressive solo guitar (“A Nation Falling”) to full-blown symphonic grandeur (“All Is Bloom All Is Ruin”). “Gifts of Oneiroi” and “Aion’s Light” showcase Tromiczak’s baritone croon at its most sultry, while “Jacob’s Ladder” and “Life Lessons” flex a greater theatrical bombast. At its best, Aion’s Light is a gripping foray into American gothic and western balladry, replete with eerie tales for odder trails.
Blood and Sun set a strong mood on Aion’s Light and write like they have somewhere to be. Like a Giles Corey or Reverend Kristin Michael Hayter record, Aion’s Light often sounds like it’s at the cusp of breaking. Its strings pop and synths waver while its tape crackles under Blood and Sun’s intensity, felt strongest on the haunted “Horrid Host” and “Jacob’s Ladder.” In Aion’s Light’s biggest moments, it feels ready to burst (“Axe and Mistletoe,” “All Is Bloom All Is Ruin”). But Blood and Sun maintain lean form and keep each track tight and economical. Even when spinning harrowing stories on “A Nation Falling” or majestic scenes in “Kiss the Wilds,” Aion’s Light keeps to easily digestible runtimes and only flirts with bloat on the six-and-a-half-minute “Gift of the Oneiroi.” This keeps Aion’s Light immediate, which is largely to its benefit, as the longer songs on Love & Ashes could get away from them. Aion’s Light feels like the work of an expert storyteller, both timeless and timely and deeply enjoyable.
In recording Aion’s Light the way Blood and Sun did, however, comes certain difficulties the record doesn’t completely overcome. For instance, Aion’s Light is relatively back-loaded, with the opening title track and “Kiss the Wilds” lacking the gravitas of later cuts like “Gifts of Oneiroi” or “All Is Bloom All Is Ruin.” None of Aion’s Light is bad, but I think Tromiczak really got rolling about halfway through recording it. Also, though Blood and Sun’s songwriting has never been better than it is on Aion’s Light, they don’t sound as great as they have before. I find myself missing Love & Ashes’ lush soundscape—see “By What Road”—a reality most likely out of the reach of this album’s constraints. Nonetheless, if given the choice of having a more conventionally made rendition of Aion’s Light or the one Blood and Sun gave us, I’d take the latter every time; you’d lose more than you’d gain otherwise.
Blood and Sun rocked that four-track and gave us their best record yet with Aion’s Light. Tromiczak possesses a mightily compelling voice and an ear for song structure, imbuing his newest opus just the right amount of blackened rawness, dreamlike effects, and gothic swoon. It’s an easy listen for uneasy feelings and just what the doctor ordered for these autumn days. If neofolk’s on your horizon, then let the Aion’s Light in at once.
Rating: Very Good
#2026 #35 #AionSLight #AmericanMetal #Aquilus #BloodAndSun #GilesCorey #LeonardCohen #Neofolk #NordvisProduktion #NotMetal #Oct26 #ReverendKristinMichaelHayter #Review #Reviews
DR: 7 | Format Reviewed: 256 kbps MP3
Label: Nordvis Produktion
Websites: bloodandsun.net | facebook.com/Blood-and-Sun | bloodandsun.bandcamp.com
Releases Worldwide: October 16th, 2026 -
Mother of Graves – The Light That Keeps Us Review By ClarkKentAs the year begins to transition into the sort of gloomy weather that proves a perfect companion to doom metal, this fall season isn’t quite cooperating. Rather than the gloom pervading the cover art’s beautiful painting by Larisa Brechun, the light is still keeping us. Only a few days before Mother of Graves’s latest take on ’90s-style death/doom, the temps around my parts hit 80°F. Does the good cheer this warmth brings hamper any enjoyment for the music Mother of Graves plays? Hardly. This mid-October release date has become a tradition for the Indiana quintet. Grymm enjoyed their debut over a pumpkin spice latte when they released Where the Shadows Adorn on October 14, 2022. When Carcharodon admired their “sweet, sweet sadboi vibes” in his TYMHM 2024 post, they had released The Periapt of Absence on October 18. Now releasing The Light That Keeps Us on October 16, the promo promises us that, yes, this is still your grandfather’s Mommy Graves.
Mother of Graves continues to hone what made many listeners fall in love with them on their last two records. They hop from an aggressive Paradise Lost-style of death/doom to a slower and thicker shade of My Dying Bride funeral doom with some Swallow the Sun and early Katatonia mixed in. Their transitions between these elements feel effortless thanks to impeccable mixing from Dan Swanö. Mother of Graves shines in their ability to craft evocative melodic doom. The eight-minute opener, “Wingless Soul,” contains a melody so catchy that it’ll stick like a well-loved lollipop that slipped from your hands and tangled itself in your beard hair. And speaking of Swanö, he has a brief part singing cleans on the opener, albeit a little awkwardly.1 “Wingless Soul” displays a little bit of everything the band has to offer, from gentle piano to cleans to heavy doom to up-tempo death. While it’s a strong start, it’s not even the best thing on the album.
Nowhere does Mother of Graves better demonstrate the power of their songwriting prowess than on the final three songs of The Light That Keeps Us. “A Moonlit Tryst” begins like a piece from a Dolven record, complete with nighttime campfire sounds and acoustic guitars. The brutal, slow-moving doom that follows casts a mournful spell that’ll leave you feeling crushed in the most gentle way possible. When “The Beggar’s Allegory” begins with its beautiful gothic piano tune, it feels almost like more of the same thing. Yet the track dives into a speedier death/doom anchored by a killer melody, and there are moments on it where you can hear whispers of early Opeth. “The Endless Climb,” however, comes pretty close to SOTY material, with a terrific melodic lead, some violins, and a gentle classical piano bit, all coalescing into a conclusion that just may be the year’s most powerful.
Yet, The Light That Keeps Us falls just short of the greatness of The Periapt of Absence. It doesn’t as consistently weave its spell, as a few songs in the front half lack the impact of the rest. Mother of Graves also employs some spoken/whispered word bits throughout the record that pull listeners out of their doom-y trance. They rear their ugly head in the already lengthy “Wingless Soul” and also conclude “Through the Pale Shade” with a whimper. The worst section comes from “Eventide Angel,” though that tune at least ends in terrific, aggressive fashion. In a way, these are nitpicks, but they go to show that this album just isn’t as consistently great as its predecessor. With a more pared-back tempo, it’s also not as immediate, though it offers plenty of rewards on repeat spins.
Three records in, Mother of Graves continue to impress with their emotive compositions and incredible performances. Brandon Howe growls with strength and depth, evoking the image of a gentle giant—powerful yet sensitive. Coupled with Ben Sandman and Chris Morrison’s calculated riffs, which effortlessly carry the music from dense heaviness to melodic beauty to tenderness, Mother of Graves writes music that’s comforting in its familiarity yet rewarding in its depth. It wouldn’t surprise me if this ends up on many year-end lists, and maybe with repeat spins it could elevate itself onto mine. Whatever the case, I look forward to their next album to land October 13, 2028.
Rating: 3.5/5.0
#2026 #35 #AmericanMetal #DeathDoom #DeathMetal #Dolven #DoomMetal #Katatonia #MelodicDeathMetal #MotherOfGraves #MyDyingBride #Oct26 #Opeth #ParadiseLost #ProfoundLoreRecords #Review #Reviews #SwallowTheSun #TheLightThatKeepsUs
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: October 16th, 2026