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A pest-control company in Georgia ran the numbers on their AI phone agent and found something their...#ai #customersupport #automation #operations #software #coding #development #engineering #inclusive #community
Your AI said 'one moment please' — and the customer heard nothing for 9 minutes -
Sometimes I forget how quickly life can change, and continues to change.
It’s common for folks to think that disability happens in one moment - in one instance when something bad happens to you.
For me, it’s been happening for years and is still happening. It will persist for my entire life, unless a cure is found.
This post was prompted by me remembering that I take a strong immunosuppressant to keep my immune system from further damaging my body. That I’m vulnerable.
If you’d told me at 29, that at 39, I’d be fighting so hard… I’d have been left speechless and terrified.
Yet, I persist. We all persist.
Day by day, my friends. You are enough. I see you. 🫶
#disability #disabled -
Cursebinder – Psychohazard Review By Grin ReaperIn the Rush documentary Beyond the Lighted Stage,1 Jack Black describes musicians’ wells of creative juices as ‘rocket sauce.’ He notes that some musicians and bands only muster enough for one BIG album, while others seem to run on an endless supply.2 This description stuck with me through the years, and remains my go-to reference when someone gilds whatever they touch. Kraków vocalist Maciej Proficz is one such individual, and both his active projects Dormant Ordeal and Cursebinder run on vast reserves of rocket sauce while offering multifaceted interpretations of their respective genres. Dormant Ordeal’s Tooth and Nail landed at the #3 spot in last year’s Aggregated List; third album The Grand Scheme of Things received a glowing review from Dr. Wvrm and appeared on several 2021 end-of-year lists despite a late December release, and Cursebinder’s debut Drifting found itself atop Carcharodon’s Top Ten(ish) of 2023. Such accolades can’t guarantee future triumphs, but they can send expectations into the stratosphere—does Cursebinder’s sophomore album Psychohazard harness the rocket sauce to send us there?
Though Cursebinder operates under the black metal umbrella, no single genre encapsulates Psychohazard’s breadth. In his write-up of Drifting, Carcharodon cites doom, death, and post-metal as descriptors for Cursebinder’s chameleonic character. Instead of using camouflage in a way that makes Psychohazard difficult to absorb or engage with, though, this Polish quartet employs it to disguise barriers between genres and inculcate an atmosphere both familiar and unique. Compared to Drifting, Psychohazard submits more direct applications of riffs (“Saturnine Rage,” “Prayers for the Living, Flowers for the Dead”) and synths (“Limits”), and where Drifting’s genre-hopping evinced distinct moods with thoughtful transitions, Psychohazard blurs lines together with subtler craft.3 Psychohazard’s first four tracks flow together in a sublime strand that ricochets between textured aggression (“Death Season”) and gentler grooves (“The Astronaut”), culminating in a rabid fusion that seethes with angst and catharsis (“Saturnine Rage”). Honestly, this track would make a resounding closer, and to use it at Psychohazard’s midpoint illustrates the puissance of Cursebinder’s surrounding material.
Merging these sounds into a unified platter requires keen grace, and to then layer in the emotional depth that Cursebinder achieves is stunning. Cursebinder’s promo materials describe Psychohazard’s theme as a study in the collision of life’s ‘rat race’ and humanity’s inherent desire for love and acceptance. As the demands of my own life continue to creep,4 this idea strikes a chord that thrums with self-renewing relevance every day. “Death Season” bustles with vitriol and vigor as Proficz’s caustic vocals impel the track in a blinding tempest, while “The Astronaut” and “Under the Skin” float upon currents that relax and unwind one moment before boiling over into frenzied bursts the next. But even this is an oversimplification, as each track proves vibrant and diverse, refusing to condense into single emotions. Broadly, the back half of Psychohazard feels lighter than the front, putting more emphasis on dimensions that evoke post-metal’s vagrant dreaminess without losing the threads of riffs or motifs.
Considering Cursebinder’s sprawling ambitions, Psychohazard sounds focused and urgent throughout its runtime. The post-addled haze never drifts too far, the scorching fury never burns too hot, and the tender flashes never linger long enough to caramelize into mawkishness. I credit this purposefulness to the efficient instrumentation that Cursebinder unfurls with nary a wasted flourish. Guitarist Hubert Fudała and bassist Łukasz Sojka wend together in climactic swells and releases that expertly pace the album’s fifty-three minutes,5 and Marek Koszycki drums with nuanced timekeeping that flits between punk-powered d-beats (“Saturnine Rage”), insistent blast beats (“Made to Be Sold”), and delicate rhythms (“The Astronaut”). Proficz’s synth presence penetrates Psychohazard’s compositions, and in totality Cursebinder rewards repeat listens as each musician’s contributions impress individually while coalescing into an assembly greater than its sum.
Although post-related tags usually thwart my interest, something about Cursebinder’s spell called to me from beyond the ether. Psychohazard proves textures and layers can inculcate depth rather than acting as a standalone attraction, and going forward I hope to point to Cursebinder as my entry point into appreciating a wider expanse of metal. Cursebinder’s faults are few, and even if the record is slightly front-loaded or a few songs linger a tad overlong, these nitpicks pale in light of Psychohazard’s utter glory. If you seek an album that synthesizes the aura of post-metal with more conventional metal structures, I doubt you’ll find a better album this year. Barring that, you should listen to Cursebinder anyway, because missing it could be a Psychohazard to your health.
Rating: Great!
#2026 #40 #AvantgardeMusic #BlackMetal #Cursebinder #DormantOrdeal #Oct26 #PolishMetal #PostBlackMetal #Psychohazard #Review #Reviews #Rush
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Avantgarde Music
Websites: Bandcamp6 | Facebook | Instagram
Releases Worldwide: October 23rd, 2026 -
*Manchester dates* for The Crucified Silence – Sunday November 22nd – Irish World Heritage Centre. 6pm.
“A story anyone can relate to…” — Irish Independent
Click here to secure your ticket now!
About
Following acclaimed performances in Athlone, Castlebar, Ballinrobe and Galway, The Crucified Silence comes to Manchester on Sunday 22nd November at 6pm, bringing a distinctive voice from the West of Ireland to the iconic Irish World Heritage Centre.
Hilarious, heartbreaking and brimming with dark Irish humour, The Crucified Silence is a compelling one-man play written and performed by acclaimed Irish playwright Mick Donnellan. Set in Ballinrobe, Co. Mayo, the story follows Joe, a local guard who has crossed a line after a volatile altercation with his superintendent. As he drinks his way around town, he conjures vivid, nostalgic images of familiar landmarks and meeting places, including The Bowers walk, Art O’Neill’s Bar and Geoff’s pub. These recollections bring his world to life, drawing audiences into a community shaped by its own rhythms, rituals and relationships.
Yet beneath the laughter lies a deeply moving story of loneliness, loss, regret and the search for connection. Just as Joe’s sharp wit and comic observations have audiences laughing, glimpses of his troubled past reveal a more vulnerable man struggling to come to terms with the life he has lost. The result is a play that can have you laughing out loud one moment and breaking your heart the next.
Populated by recognisable Irish characters and brought vividly to life through authentic Irish dialect, cultural nuances and a rich tradition of storytelling, the play offers a compelling glimpse into the humour, warmth and complexities of everyday life in rural Ireland. For those familiar with Irish life, there is much to recognise; for those discovering it for the first time, an opportunity to experience a distinctive culture through characters who feel wonderfully real.
The Venue
A much-loved hub for Irish culture, arts and community in the North West of England, the Irish World Heritage Centre provides a fitting setting for a play that celebrates Irish storytelling while exploring experiences that transcend borders and backgrounds.
For Manchester’s Irish community, the evening offers a powerful sense of home, evoking the people, places, humour and shared experiences that connect us to where we come from. It is also a wonderful opportunity to celebrate the strength of Irish theatre and the remarkable stories being created in Ireland and finding audiences beyond its shores.
Universal Appeal
Although Joe’s world may be rooted in a small town in Co. Mayo, his struggles are universal. His attempts to make sense of a life shaped by difficult choices, personal loss and fading connections will resonate with anyone, from all cultures and backgrounds, who has ever looked back on their past and wondered how things might have turned out differently.
With minimal staging and intimate, uncompromising storytelling, the play places audiences face to face with Joe’s inner world, where humour becomes a defence against pain and silence can speak louder than words. Mick Donnellan’s powerful central performance draws audiences towards a devastating climax, balancing theatrical intensity with the feeling of a deeply personal confession.
All are welcome to join for an evening of big laughs, poignant storytelling, heartbreaking moments and an unforgettable injection of high-quality theatre!
Spaces limited so be sure to secure your seat as early as possible :)
About Mick Donnellan and Truman Town
Mick Donnellan works as a successful Playwright, Novelist and Screenwriter. Film credits include Tiger Raid adapted from Mick’s Play Radio Luxembourg. Optioned by London Film Company Dixon/Baxi/Evans, the script was developed in London and shot in Jordan. Starring Brian Gleeson, Damian Molony and Sofia Boutella, it was accepted into the Tribeca film festival (New York) and was also seen at Cannes and Edinburgh.
The Irish Premiere was screened at the Galway Film Fleadh and you can watch the Tiger Raid trailer here.
Mick is the author of six novels:
Recent Work:
Mick Donnellan has had two major theatre productions hit the stage in 2025.
Outlaw Pete premiered at the Town Hall Studio, Galway in April 2025, starring Laura Hutchinson, Brian Cahill, and Carl Jones. Following its debut, the production toured to the Linenhall Arts Centre in Castlebar in May, before returning to Galway for the Galway Fringe Festival in July, where it sold out Kennedy’s Bar on Eyre Square.
Donnellan’s second new play of 2025, Class of ’57, was produced by Athlone Little Theatre and directed by Caroline Coyle, featuring standout performances from Ellen Ryan, Brian Toolan, and Nino Magilocco.
In December 2024, his most recent book Galway Blues was published to great acclaim. He received the Mayo Theatre Bursary through Mayo Arts Office in April the same year.
Prior to that, he was awarded the Agility Award through the Arts Council of Ireland and his play Nally was supported by Westmeath Arts Office.
In other theatre work, The Crucified Silence (as a short play) was chosen as part of the Scripts Ireland Play festival. After a week of intensive workshops with Playwright Eugene O’Brien, the monologue was directed by Jim Culleton (Fishamble) and performed by Aaron Monaghan. Following this, Mick took part in the Galway Theatre Development Programme, run by Andrew Flynn in conjunction with Galway’s Town Hall Theatre, which resulted in a residency at the Tyrone Guthrie Centre.
His other plays include Sunday Morning Coming Down, Shortcut to Hallelujah, Gun Metal Grey, and Velvet Revolution.
He is listed on the Irish theatre institute here: http://irishplayography.com/person.aspx?personid=47564
About Truman Town:
Truman Town Theatre exploded on to the theatrical circuit with their Play – Sunday Morning Coming Down. Written and directed by the company’s Artistic Director Mick Donnellan, it immediately sold out the Galway Town Hall Studio for five nights on the first run. Following that, the crew went on tour to Mayo, selling out Lisloughrey Lodge, Cong,The Valkenburg Niteclub, Ballinrobe and the Linenhall in Castlebar. It also enjoyed large audiences on the Main Stage on Galway’s Town Hall and went on a National Tour covering – Glor Ennis, St. John’s Listowel, Cork Arts Theatre and it sold out five nights at The New Theatre, Dublin. It was also performed by DRUID as a public reading during the Galway Arts Festival.
Truman Town followed this phenomenal success with a second Play – Shortcut to Hallelujah. Again, written and directed by Mick Donnellan, it deals with the curse on the Mayo football team. It sold out the Town Hall Studio, went on tour to Ballinrobe and the Linenhall in Castlebar and then down to St. John’s Theatre, Listowel Co. Kerry where it was requested back to headline Friday night of Listowel Writer’s week.
Between this, a third drama was produced as part of the Galway Theatre Festival. It was titled Gun Metal Grey.
Shortcut to Hallelujah returned from Listowel Writer’s Week to perform on the Main Stage Galway for a wildly successful five nights after which Velvet Revolution, the fourth Truman Town production, also written by Mick Donnellan, was premiered in St. John’s Theatre, Listowel. It went on tour to Kilmallock, Kenmare and Waterville, then up to Ballinrobe, on to Galway and ran for ten days as part of the Galway Fringe. Mentioned as a Highlight of the festival by the Irish times, it was subsequently performed in Campbell’s Tavern, Cloghanover, Headford, Electric Picnic and The New Theatre, Temple Bar, Dublin.
Radio Luxembourg, Mick’s fifth Play, was bought by a London Film Company (Dixon/Baxi/Evans) and has been adapted for the screen. The title for the movie version is “Tiger Raid”. Starring Brian Gleeson, Damian Molony and Sofia Boutella, it was accepted into the Tribeca film festival (New York) and was seen at Cannes and Edinburgh. The Irish Premiere was screened at the Galway Film Fleadh.
Currently Mick is working on the exciting screen adaptation of Shortcut to Hallelujah with Florence Films. The screenplay is titled Sam and is based around the curse supposedly put on the Mayo Football team as they returned home as All Ireland Champions in 1951. Drenched in Irish lyricism and modern day dark humour, the script has been met with keen interest by film producers and actors throughout the industry.
Between writing projects, Mick has enjoyed roles as a lecturer in writing at University of Ireland and TUS Athlone.
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Read more on www.mickdonnellan.com
#books #music #news #Poetry #writing