Since my #LanguageTool browser add-on stopped working today, because my demo period had expired I decided to run a local LanguageTool server on my #Bazzite machine at home: https://perfectlynormalgeek.com/posts/running-local-languagetool-quadlet/
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21 results for “tongpu”
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The legendary tongue 👅 with @dnanian at #sumibiyakinikunakahara #Tokyo
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TIFFING. Eating or drinking out of meal time, disputing or falling out; also lying with a wench, A tiff of punch, a small bowl of punch.
A selection from Francis Grose’s “Dictionary Of The Vulgar Tongue” (1785)
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#books #literature #dictionaries #history #society #language #slang @histodons -
CAXON. An old weather-beaten wig.
A selection from Francis Grose’s “Dictionary Of The Vulgar Tongue” (1785)
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#books #literature #dictionaries #history #society #language #slang @histodons -
UNCLE. Mine uncle's; a necessary house. He is gone to visit his uncle; saying of one who leaves his wife soon after marriage. It likewise means a pawnbroker's: goods pawned are frequently said to be at mine uncle's, or laid up in lavender.
A selection from Francis Grose’s “Dictionary Of The Vulgar Tongue” (1785)
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#books #literature #dictionaries #history #society #language #slang @histodons -
Byte your tongue.
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CW: Adult content
Lick between my toes until your tongue is tired and your locked clit is throbbing and dripping nonstop. A fg worships feet because it makes them leak harder. Stay down there. Is the cage already wet from how badly you are dripping for me?
#FootWorship #Chastity -
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Not enough is said about how the Dalai Lama is a hardcore creep who has associated with some really fucked up and organizations over the years. People think it is just the "suck my tongue" incident but no, there's a history there.
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Such happy days
spent in idleness
Now the sea is warm
and the wine is young
Evening brings the action
and the main attraction
Love is a mood
and a slip of the tongue -
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Just now I finally fixed that system: speech filters.
For testing, I gave both myself and Yuuko here the same setup: Elmew Fudd syndrome on the "personal" layer, and sharp teeth and a long tongue on the "body" layer.
There's also an unused "culture" layer.
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"Adults under 35 are disappearing from #showroom floors" w #NewCar ownership dropping to a new low of 10% in 2024. GREAT PICS #car w tongue, a furry driver...
Besides fewer modern technology to require repair and the freedom from *paying to activate features* like heated seats which are already installed, they can pay cash, no car loan!
Plus, "An old car with the right music on is the closest thing to a time machine."
- Hear, hear.
#rusty #dented #cheap #classic #Mustang
https://www.theguardian.com/us-news/2026/oct/23/y2k-used-cars-gen-z -
'... nearly $41 million development contract to Singapore-based iX Biopharma to develop Wafermine, a small, ketamine-packed wafer that dissolves under the tongue.
'A federal emergency use approval declaration by the U.S. Department of Health and Human Services on Sept. 3 opened the possibility of early official authorization, giving the FDA a route to use unapproved medications to treat war wounds.
'... iX Biofarma’s domestic manufacturing partner lacks the Nevada license required to operate.
'... increasingly been employed by the U.S. military as the primary analgesic for combat casualties'.
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Skeumorphism = Duo.
I hope Jon Ive has a fit. *sticks out tongue at him*
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Kiss traditional aphrodisiacs goodbye: Smooch ‘social soda’ is here
The package arrived attentioned to ‘Raspberries & Cream for Cream Magazine’. Well, well, welly well, we thought, what’s this handsome looking four-pack of cans labelled ‘Smooch’? It all looks pretty intriguing, beautifully packaged, dubbed ‘Blush Rush: Raspberries & Cream Social Soda’, and instantly inviting. It’s the weekend, so the cans have been dropped into the freezer for an insta-chill’; 10 minutes later a can popped open and a bubbly looking elixer is being poured over ice.
During that li’l chilling period, I read the press release. “Smooch is Australia’s first aphrodisiac soda,” it says. “Smooch launches following research revealing 87% of Aussies have experienced a dip in desire,” it says. “Smooch is betting that intimacy could be the next wellness frontier,” it says.
Could this be for reals? Or is it a Shakespearean-like case of ‘Smooch Ado About Nothing’? Let’s give this bevvy a try…
Three sips later and Smooch definitely passes the taste test. Sweet but not too sweet. A zesty raspberry hit but with a cream soda-like after-texture on the tongue. Yes, I’m feeling somewhat calmer. You could say a little more focused. But what about that aphrodisiac bit?
Reading on, I learn that this new, non-alcoholic drink falls under a category of ‘functional sodas’ and that it contains a blend of five active ingredients designed to mimic aphrodisiac effects by reducing anxiety and increasing circulation and ‘desire support’. I’m not sure what the support part means exactly but it’s definitely got a soothing, calming effect this drink does. More research. Those five key ingredients are actually damiana (a traditional aphrodisiac aimed at supporting sensory feelings and arousal); maca root (reportedly boosts vitality, libido and overall mood); ginkgo biloba (promotes blood flow); L-theanine (promotes relaxation and quietens the mental chatter – needing that); and citric acid (which the folks at Smooch playfully note “helps triple saliva output”).After one and a half glasses, I am feeling nice and relaxed, and just wanting to do something. Luckily I have this review to finish.
I can certainly see how this drink is being posited as an alternative relaxant, and it’s pretty much timely in its release since October is when our stress levels start to pick up pre-Christmas. Speaking of which, I think I’ll try this drink as a mixer and so now I’m going to pour it over ice and a nip of gin. Yep, nice. But what about trying it with vodka? Yep, also very nice. And, what the heck, how about I go full cocktail with it. I pick a recipe out of Cream contributor Jane Rocca’s great little book ‘The Cocktail’ – the Couture Fizz it’s called – and things are already looking messier. But the taste of the drink is actually even better. For those wanting to know, a Couture Fizz consists of 5ml of Campari, 10ml of raspberry liqueur, a dash of lemon juice, 130ml of Champagne (Lanson, thank you) and – in place of Jane’s suggested dash of sugar syrup and three real raspberries, I’ve poured in a third of a can of Smooch Blush Rush. The result? Over-the-top and overflowing and yes, that little bit messy, but one sip and I’m all good with the mess. In fact, this might be the kind of drink you want to see the silly season in. Just don’t get too carried away in case its aphrodesiac qualities prove too potent. Back to serious mode, with this notion of ‘functional drinks’ sure to be trending soon – bevvies available that target sleep, focus and energy – like that press release said, I’m betting intimacy could next be on the wellness frontier. In sum, I found Smooch to be a bit of a cross between a tonic and an energy drink. It’s nice to sip on its own if you’re wanting a traditional-type soda, and decent as a sweet mixer to counter-balance a quality hard spirit or good champagne. Now, who’s making the next round? Antonino TatiRed Bull gives you zings: two zesty new flavours to add punch to Friday night drinks
Going Bananas: we’re seeing a lot of this fabulous ingredient around this season
Spring Racing Season 2026 is officially on: This year’s Do’s and Don’ts
From the spooky to the serene, the 10 perfect spots to take snaps around W.A.
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#ANTONINOTATI #beverageReviews #drinkReviews #foodDrink #foodAndDrink #halloween #halloween2026 #smooch #smoochSocialSoda #smoochSoda -
Soliloquium – Upheaval Review By Steel DruhmAnd they’re back! The tiny one-man band (plus a few friends) I love, with the name I can never spell correctly. Soliloquium first darkened my iron doorstep with their 2018 sophomore outing Contemplations, impressing with a combination of early Katatonia-meets-Rapture that resulted in a nigh-irresistible melodoom sound. The brains behind the project is one Stefan Nordström, who handles vocals and guitars, and over the years he’s been aided and abetted by Jonas Bergkvist, who manned the bass. This is the first Soliloquium release without Bergkvist’s talents, and from what I can glean, Nordström brought in Henrik Ekholm (ex-Within the Fall) to play bass and Filipe Caeiro (ex-Steel Arctus) to man the kit. Staying true to the melodoom template heard on past albums, Upheaval finds Soliloquium expanding their sonic palette slightly, giving the material a deeper, more complex flavor. Soliloquium already released several gripping, mood-drenched albums that transport you to dark, melancholic headspaces, yet they still seem criminally underappreciated. Will their 6th full-length finally see them landing in more ears and on more wagging tongues?
Things kick off bigly with the 7 minutes of “Tightrope,” which is the near-perfect fusion of vintage Ghost Brigade with Viva Emptiness-era Katatonia sprinkled with bits of the almighty Rapture. It’s edgy and depressive, and heavy as hell thanks to the jangled, discordant riffs and booming death roars that fill the gaps between the melancholic trilling and weepy leads. The forlorn clean vocals (courtesy of Toni Hatakka of Hanging Garden) cut deep in a song filled to the brim with emotions. It’s a strong candidate for Song o’ the Year. “Contrarians” is nearly as good, finding the ideal balance of black, death, and melodoom sadboi sounds that tickle your negative emotions while still making you want to commit acts of random wiolence. There’s more Rapture in the DNA of the guitar work here, and that’s always a win, and the clean vocals (I assume from Stefan Nordström) are frail and a touch twee, but convey a sense of vulnerability and pain. The title track has a similar vibe to Deathwhite, rocking an extra bleak, joyless atmosphere. It’s particularly beautiful in its crippling despair as the guitar work holds you in a chilly thrall. It’s a haunting tune that will stick with you.
Unlike the last Soliloquium outing, Upheaval doesn’t lose steam on the back half. The album is consistent from start to finish with no tracks that feel like they could/should be cut. Later offering “Livsöden” is nearly 7 minutes and uses that time well to create a captivatingly atmospheric experience with plenty of twists and turns along the way. It’s one of those rare songs that gets better as it goes along, and by the end you’re left wanting MOAR. “Time Stands Still” captures the spirit and sound of Slumber’s highly underappreciated debut Fallout. It even has bits and pieces of the vintage Agalloch magic bubbling up at times. Perhaps some of that Slumber influence can be attributed to Jari Lindholm helming the mixing and mastering. As one of the folks behind Slumber as well as Enshine and Exgenesis, he knows his way around the melodoom sound better than most, and the production demonstrates that with a deep, satisfying mix. At a tight 44 minutes, there isn’t much bloat to Upheaval, even though 2 tracks exceed the 7-minute mark.
I can’t give Stefan Nordström enough credit. His death roars and blackened shrieks are as good as ever, and his singing has improved quite a bit. His guitar work across the album is impressive and creates many emotive moments that resonate deeper with each spin. He utilizes every element of sadboi melodoom that I love and slathers everything in such a heavy coat of gloom that it almost feels like too much of a grim thing. Almost. Hired gun Filipe Caeiro does a fine job on drums, bringing enough pop and propulsion to keep the listener awake, especially on the heavy, abrasive bits.
I had concerns after Famine that Soliloquium may have seen their best days, but Upheaval proves me dead wrong. This is a very good slice of melodoom that often borders on greatness. I may, in fact, come to realize that I underrated it in the fullness of time. That’s the joy of an album with real depth and layers. With winter just around the bend, Upheaval will make a spectacular companion on those snowbound days of frigid isolation. Learn to spell Soliloquium correctly and order this album.
Rating: 3.5/5.0
#2026 #35 #DeathMetal #Deathwhite #DoomMetal #GhostBrigade #Katatonia #MelodicDoomMetal #MeuseMusicRecords #Oct26 #Rapture #Review #Reviews #Slumber #Soliloquium #SwedishMetal #Upheaval
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Meuse Music
Websites: deathdoom.com | soliloquium.bandcamp.com |facebook.com/soliloquiumband
Releases Worldwide: October 23rd, 2026 -
I Love Israel: Defense Manufacturer Elbit Systems Acquires Canadian Underwater Drone Company
Elbit Systems, the international military technology company and defense contractor based in Israel, recently announced its successful acquisition of the Canadian advanced autonomous underwater firm Submarine Engineering Ltd. (ISE), according to a news report by The Jerusalem Post. This breakthrough strengthens Elbit Systems’ underwater surveillance, mine countermeasures and anti-submarine warfare capabilities.
To put things in perspective, posted below is an excerpt from The Jerusalem Post report. Some parts in boldface.
Israeli defense manufacturer Elbit Systems Ltd. completed the acquisition of Canada-based advanced autonomous underwater company International Submarine Engineering Ltd. (ISE), the company announced on Tuesday.
Elbit said the “acquisition was completed for a purchase price that is not material,” which means it was not a notable amount of money.
ISE specializes in advanced autonomous underwater and remotely operated systems for the maritime domain, which Elbit described as a “high-technology company engaged in the development and manufacture of undersea vehicles, including Autonomous Underwater Vehicles (AUVs) and Remotely Operated Vehicles (ROVs), as well as computer control systems and robotics.”
“Elbit Systems delivers proven naval capabilities supporting missions ranging from coastal security to blue-water operations,” the company said.
Acquisition of Canadian naval drone company boosts Elbit’s underwater capabilities – “The addition of ISE’s underwater autonomous technologies is intended to expand Elbit Systems’ capabilities in underwater Intelligence, Surveillance and Reconnaissance (ISR), Mine Counter-Measures (MCM) and Anti-Submarine Warfare (ASW), further strengthening the company’s end-to-end maritime offering,” Elbit added.
“With more than 50 years of experience in subsea robotics, ISE has delivered over 250 underwater vehicles to customers in more than 20 countries worldwide,” Elbit said.
The Israeli defense giant’s naval portfolio includes “unmanned surface vessels, underwater systems, integrated command-and-control (C2) suites, electro-optical and sonar systems, communications, and electronic warfare technologies.”
“This acquisition marks another milestone in Elbit Systems’ strategy to expand its offerings in the naval domain. Combined with our existing capabilities in naval electronic warfare, autonomous systems, naval precision munitions and maritime mission systems, ISE’s underwater technologies will further strengthen our position as a global provider of comprehensive, integrated maritime solutions,” said President and CEO of Elbit Systems, Bezhalel “Butzi” Machlis.
To all my readers, I encourage you to thank the Lord for this tremendous breakthrough. Elbit Systems’ acquisition of International Submarine Engineering is very crucial for a variety of reasons.
At the same time, I encourage you all to realize the truth that Israel is the land God designated specifically for the Jewish people (read Genesis 35:10-12) and His command must be followed without hesitation. If you want to be blessed further by the Lord, do so by loving and blessing the Jewish people (Genesis 12:1-3). I did my part when I was in Israel. Also, let me remind you all that the ties between the Jews and Christians are truly biblical!
I encourage you all to pray to the Lord God in support of Israel, to love and bless the Jewish people, and pray for the peace of Jerusalem.
If you truly believe in Lord Jesus, the Holy Spirit and God the Heavenly Father wholeheartedly and you continue to be faithful, you should be aware that Christians are meant to stand united with Israel and love the Jewish people no matter what. You can do your part supporting Israel by donating to Christians United for Israel (CUFI). Do not forget to read the Holy Bible, then pray in tongues to the Lord in the privacy of your room with the door shut.
Always be the fearless and aggressive church of Lord Jesus!
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Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @CarloCarrascoPH as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco
#AntiSubmarineWarfareASW #Asia #AutonomousUnderwaterVehiclesAUVs #BeTheFearlessAndAggressiveChurchOfLordJesus #BookOfGenesis #business #businessNews #Canada #CarloCarrasco #ChatGPT #ChristiansUnitedForIsraelCUFI #Defense #Elbit #ElbitSystems #engineering #Faith #Fediverse #geek #God #GodAlmighty #Google #GoogleSearch #HeavenlyFather #ILoveIsrael #IStandWithIsrael #Israel #Jerusalem #JerusalemPost #Jesus #LordJesus #Mastodon #military #militaryEquipment #militaryHardware #militaryLifestyle #militaryModernization #nationalDefense #navalDrones #news #NorthAmerica #prayingInTongues #RemotelyOperatedVehiclesROVs #selfDefense #standUnitedWithIsrael #StandWithIsrael #StateOfIsrael #submarine #SubmarineEngineeringLtdISE #submarines #SupportIsrael #technology #TheJerusalemPost #victoryOfLordJesus #war #warfare #WordPress #WordPressCom -
DATE: October 24, 2026 at 06:00AM
SOURCE: PSYPOST.ORG** Research quality varies widely from fantastic to small exploratory studies. Please check research methods when conclusions are very important to you. **
-------------------------------------------------TITLE: Psychologists showed extreme metal fans a series of disgusting images, and their reactions stood out
Fans of extreme metal music appear to view repulsive imagery through a very different lens than the average music listener, according to new research published in Psychology of Aesthetics, Creativity, and the Arts. When confronted with gruesome artworks, graphic album covers, and gross photographs, enthusiasts of the genre report less disgust and fewer negative reactions than nonfans. These listeners also tend to find grotesque artworks and album covers more amusing, which the authors suggest may reflect a tendency to treat repulsive visuals as safe and playful rather than threatening.
Disgust is a basic human emotion that evolved as an internal alarm system to help people avoid disease-carrying substances like rotting food, bodily fluids, and corpses. While these triggers usually prompt people to look away, the intensity of that reaction varies from person to person, a trait psychologists call disgust propensity. One subculture that actively embraces repulsive themes is extreme metal, an umbrella term for heavy metal subgenres like death metal and grindcore that feature heavily distorted guitars, fast drumming, and guttural, animalistic vocals.
Extreme metal bands routinely center their lyrics, band names, and visual art around gore, mutilation, and decay. While outsiders often experience tension, anger, or revulsion when exposed to this material, dedicated fans report feelings of joy and empowerment. A driving factor behind this appeal may be a personality trait known as morbid curiosity, or an interest in unpleasant topics like death; a 2022 study covered by PsyPost found that people with higher morbid curiosity are more likely to enjoy and listen to violently themed music.
Much of the research on how negative emotions can produce enjoyable artistic experiences has focused on sadness, such as why people enjoy tear-jerker movies, a phenomenon often explained by the feeling of being emotionally moved. Expanding on this idea, the authors of a 2017 theoretical paper argued that art provides a sense of psychological distance that reminds viewers they are physically safe, allowing them to embrace dark or gross emotions as intense, enjoyable experiences. This aligns with research covered by PsyPost in 2025, which indicated that people are more willing to look at distressing imagery when it is framed as artwork rather than a real-life photograph because the artistic context lowers the emotional toll.
When safety and distance are established, grotesque material can even become funny. According to a 2010 experimental study, people tend to experience humor and amusement when something violates a social norm or moral standard, provided that the violation simultaneously feels harmless. In a 2025 study of music listeners, Albert Wabnegger, a senior scientist in the Department of Clinical Psychology at the Institute of Psychology at the University of Graz in Austria, and his colleague Anne Schienle found that extreme metal fans generally have a lower tendency to feel disgusted and are less bothered by repulsive sounds, lyrics, and photos than fans of other genres.
“These findings raised an important follow-up question: Do extreme metal fans also have a different aesthetic experience when confronted with disgust-related content?” Wabnegger told PsyPost. “The present study was designed to address this question—and our results indicate that they indeed do.”
In their latest work, Wabnegger and Schienle wanted to look beyond basic revulsion to see how metal fans actually evaluate repulsive imagery as art. They designed an online experiment to test whether fans and nonfans experience different emotional pathways when viewing graphic visuals, and whether humor plays a role in how they process these images.
To measure how people process challenging visuals, the researchers used a psychological framework called the Vienna Integrated Model of Art Perception. This model outlines five possible emotional outcomes a viewer might experience when looking at art: feeling bored and unengaged; feeling surprised by something new; feeling a sense of harmony and being emotionally moved; having a negative experience marked by confusion and a desire to look away; or experiencing a sense of personal insight and mental transformation.
The researchers recruited participants primarily through university campuses and online forums. After filtering out incomplete surveys and responses that were clicked through too quickly to be genuine, they identified 79 extreme metal fans and 208 nonfans. To confirm that the metal fans truly knew the genre, those participants had to name at least one extreme metal band.
To ensure a fair comparison, the researchers used a statistical matching technique to pair extreme metal fans with nonfans of similar age and gender, while excluding people who liked traditional heavy metal but disliked extreme subgenres. This process yielded a final sample of 74 extreme metal fans and 74 matched nonfans, with an average age of about 30 years. Across the entire group of 148 participants, there were 79 men, 62 women, and 7 nonbinary individuals. The study’s design and analysis plan were preregistered.
Participants first completed questionnaires measuring their general interest in art, their preferences for complex or ambiguous artwork, and their everyday disgust propensity, which gauges how grossed out they would feel in hypothetical scenarios like accidentally touching an amputee’s stump. Each person was then randomly assigned to view one of two separate sets of eight images presented in random order (meaning 16 images were used across the study in total). Each set included two disgusting fine artworks (such as a portrait of a face covered in feces), two extreme metal album covers with band names removed, two everyday gross photographs (such as a skin infection), and two neutral control images created by digitally scrambling disgusting pictures into unrecognizable abstract blocks of color.
Beneath each image, participants rated their immediate reactions on a 1-to-5 scale covering the five art perception outcomes (boredom, surprise, feeling moved, negative confusion, and insight), along with how humorous they found the picture. They also used a 0-to-100 sliding scale to rate how familiar the image looked, how much disgust they felt, and how much they liked it.
The questionnaire results showed that extreme metal fans and nonfans had almost identical levels of general art interest and similar preferences for complex art. However, extreme metal fans reported spending more time listening to music (about 151 minutes on average, compared to 100 minutes for nonfans) and scored lower on everyday disgust propensity, averaging 2.21 on a 0-to-4 scale compared to 2.57 for nonfans.
When looking at the images, the two groups diverged in their emotional reactions. On the 0-to-100 scale, extreme metal fans rated the disgusting artworks 12.73 points less disgusting, the album covers 10.09 points less disgusting, and the gross everyday photos 8.86 points less disgusting than nonfans did. Disgust ratings for the scrambled control images were nearly identical across the two groups.
“We were able to replicate the results from our previous study, again showing reduced disgust reactivity to disgusting content in extreme metal fans,” Wabnegger noted. “This suggests that the effect is relatively stable. Moreover, these findings are striking because they show that, under certain conditions, an emotion that is typically strongly aversive can be experienced in a markedly different, and even enjoyable, way.”
Metal fans also expressed greater liking for the stylized gross imagery. On the 100-point scale, they rated their liking of the artworks 11.90 points higher and the album covers 17.56 points higher than nonfans did, while the two groups did not differ in how much they liked the real-life gross photos or the neutral control images. This may suggest that metal fans appreciate grotesque themes specifically in an artistic context, though fans also rated the album covers as more familiar (by about 17 points), which could partly explain their warmer response to that category.
In terms of the five art perception pathways, the two groups did not show reliable differences in boredom, surprise, feeling moved, or experiencing deep insight. However, they differed on the fourth pathway, which tracks negative reactions and confusion. On the 1-to-5 scale, extreme metal fans scored 0.55 points lower in negative confusion for artworks, 0.57 points lower for album covers, and 0.39 points lower for gross photos compared to nonfans, which the authors interpret as a sign they felt less threatened and less inclined to mentally reject the images.
This reduced negativity was accompanied by a rise in amusement. Extreme metal fans rated the artworks 0.62 points higher and the album covers 0.68 points higher in humor on the 5-point scale than nonfans did. They also found the gross photographs and neutral images slightly funnier than nonfans, though those differences were much smaller (0.21 and 0.26 points, respectively).
“The effects we observe are moderate in size, but robust and consistent across different types of disgust-related stimuli,” Wabnegger explained. “This means that extreme metal fans do not simply differ from non-fans by a tiny, trivial margin; rather, there is a reliable shift in how they emotionally and aesthetically respond to disgust-containing content.”
Merrick Powell, who studies fans of violently themed music and led the 2022 morbid curiosity study described earlier, said the results fit with the idea that fans actively reframe dark material rather than passively absorbing it. “I think the most important takeaway is that it aligns with theories of extreme metal fans being active agents in reappraising extreme content even extending to the visual medium associated with the music,” Powell, a postdoctoral researcher at the University of Melbourne who was not involved in the new study, told PsyPost.
The authors noted that extreme metal culture frequently treats grotesque subjects with tongue-in-cheek exaggeration, such as the Czech band Gutalax, which builds its album art and live shows around toilet humor. Because fans are familiar with these tropes, they may view grotesque art and album covers as playful, harmless norm violations, allowing them to laugh at material that leaves outsiders unsettled.
“Relative to non-fans, extreme metal fans do not experience disgust primarily as something revulsive; instead, they often feel it differently—as something exciting, fun, and part of an aesthetic experience,” Wabnegger said. “In this sense, they are ‘in the game’: they engage with disgust-related themes as playful, aesthetic elements rather than as purely aversive content. Our work shows that context can transform even ‘disgusting’ material into something enjoyable, highlighting how emotional experience can be reshaped.”
Powell pointed out that this shared sense of absurdity is central to the subculture, and it may set extreme metal apart from standard theories of how people safely embrace dark art, such as the Distancing-Embracing model proposed by Winfried Menninghaus and colleagues.
“One thing that extreme metal and other ‘extreme’ music genre fans report is knowing and realizing the music is often ridiculous and over the top, which is a key appeal,” Powell said. “Hence, it is often seen as funny or absurd, whereas people who are not part of these subcultures often do not realize this is the response or reaction that the in-group fans may have. It can be a bit like ‘being in the joke.’ This is where it might differ from some of the other prevalent theories about typically negative emotions and art, such as Menninghaus et al., Distancing-Embracing model, but we would need to do more to know!”
The authors themselves list that model among several frameworks that could account for their findings, alongside the idea that harmless norm violations become funny.
At the same time, the researchers emphasized that these lower disgust ratings do not mean listeners are cold or desensitized to emotion in general. “One important misinterpretation we want to preempt is the idea that extreme metal fans are somehow emotionally blunted or ‘numb’ because of their reduced disgust reactivity,” Wabnegger explained. “Instead, extreme metal fans tend to experience disgust-related content (such as images depicting decay) as more fun or entertaining. In other words, they are more deeply engaged in the aesthetic and emotional ‘game’ that such content invites.”
As with all research, there are some caveats to consider when interpreting these results. Because the study measured participants at a single point in time, it cannot determine cause and effect. It remains an open question whether listening to extreme metal gradually desensitizes people and teaches them to find gore funny, or whether people who already have a strong stomach and a dark sense of humor are naturally drawn to the genre in the first place.
Sorting out whether fans are actively reframing gross material, perhaps by enjoying their own reactions to it (what psychologists call metaemotions), or simply becoming accustomed to it will require tools beyond self-report surveys. “It continues an interesting conversation about the role of reappraisal/metaemotions vs desensitization,” Powell noted. “It is a challenging question to answer, but future work involving physiological measures and other ‘pre-conscious’ response indicators in this domain would be really interesting.”
There are a few other limitations to keep in mind. The participant sample had a higher proportion of men, particularly in the extreme metal group, which reflects the male-dominated nature of the metal fanbase but limits how well the findings apply to other demographics. Additionally, the experiment relied entirely on still visual images. Future longitudinal studies tracking listeners over time, as well as experiments combining music with visuals, could help clarify how sound and imagery work together to turn revulsion into entertainment.
“Looking ahead, we aim to investigate the role of humor in the perception of disgust-related content,” Wabnegger said. “Our findings so far suggest that extreme metal fans may not only tolerate such content better, but also be more likely to interpret it as playful or amusing.”
Beyond explaining the appeal of extreme music, Wabnegger suggested that understanding how people use humor to reframe revulsion could eventually help patients in clinical settings. “In the longer term, this line of work could have applied relevance,” he added. “Disgust plays a central role in several mental disorders characterized by heightened disgust reactivity, such as OCD. If humor can modulate how disgust is experienced—turning aversive material into something more playful or manageable—it might offer a promising additional tool for interventions, for example by integrating humorous or ‘gamified’ elements into exposure-based treatments.”
“Our findings also suggest a broader message: emotional responses are not fixed; they are strongly shaped by context, expectations, and shared cultural ‘rules of the game,'” Wabnegger concluded. “And finally, as an avid extreme-metal fan myself: listen to metal!”
The study, “Gore, Guts, and Giggles: Aesthetic Processing of Disgust Stimuli in Extreme Metal Fans,” was authored by Albert Wabnegger and Anne Schienle.
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#psychology #counseling #socialwork #psychotherapy @psychotherapist @psychotherapists @psychology @socialpsych @socialwork @psychiatry #mentalhealth #psychiatry #healthcare #depression #psychotherapist #ExtremeMetal #MetalMusic #DeathMetal #HeavyMetal #MusicPsychology #Psychology #MorbidCuriosity #DarkHumor #ArtAndEmotion #MusicResearch
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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
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