#animalsasleaders — Public Fediverse posts

Well, I probably could have gotten better, but here is an intermediate result.

(Sound coming from Fender Mustang Micro)

#Music #ElectricGuitar #AnimalsAsLeaders

🇺🇦 #NowPlaying on #KEXP's #SoundsOfSurvivance

Animals As Leaders:
🎵 Kascade

#AnimalsAsLeaders

https://open.spotify.com/track/2TUErRpZQmsRFF5LfQURH6

Osmium Gate – Cannibal Universe Review

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal,…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #AmericanMetal #AnimalsasLeaders #BlackMetal #CannibalUniverse #Entertainment #InstrumentalMetal #Intervals #Mar26 #MorbidAngel #OdiousMortem #OsmiumGate #Plini #Possessed #review #reviews #ScaletheSummit #SelfRelase
https://www.newsbeep.com/us/579956/

Osmium Gate – Cannibal Universe Review

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal,…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.0 #AmericanMetal #AnimalsasLeaders #BlackMetal #CannibalUniverse #Entertainment #InstrumentalMetal #Intervals #Mar26 #MorbidAngel #OdiousMortem #OsmiumGate #Plini #Possessed #review #reviews #ScaletheSummit #SelfRelase
https://www.newsbeep.com/us/579956/

https://www.europesays.com/ie/432114/ Osmium Gate – Cannibal Universe Review #2026 #30 #AmericanMetal #AnimalsAsLeaders #BlackMetal #CannibalUniverse #Éire #Entertainment #IE #InstrumentalMetal #Intervals #Ireland #Mar26 #MorbidAngel #Music #OdiousMortem #OsmiumGate #Plini #Possessed #Review #Reviews #ScaleTheSummit #SelfRelase

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal, the biggest sticking point has got to be the vocals. As inoffensive as we might find, for example, vintage Dave Vincent (Morbid Angel) or early Possessed, going all the way back to the genre roots, casual listeners find themselves appalled by what started out as gravely growls and has evolved into full retching and intestinal spew. While desensitization through repeated listens is the obvious solution, some bands solve the problem wholesale by eschewing vocals at all. I’ve been let down lately by some of my favorite genres, and while perusing the almost picked-clean promo pit, my eyes were caught by a bit of a rare tag around these parts: “Instrumental black metal.” Osmium Gate have arrived with a platter devoid of any vocals, a curious name, and some gorgeous artwork to emphasize the atmospheres within. Let’s strap in for a carnivorous adventure!

Cannibal Universe is a melodic release, heavy on atmosphere and beauty filtered through the requisite heavy sheen. Though ostensibly described as black metal, the overall production and tone sidesteps fuzzed-out tropes or crystalline polish with a sound more reminiscent of modern death metal but utilizing black metal composition techniques. This imparts a thicker flavor to the requite snare-and-bass trem heavy riffing (“Booming Dunes”, “Blood Rain”) while adding extra brass knuckles to some atypically chug-heavy movements (“Waters of Natron”). A heavy focus on sustained open chords for big mood and pathos is a major tool in Osmium Gate’s wheelhouse, with slower, emptier sections that feel tailor-made for amphitheater reverb rather than the blistering assault typically found in blackened wares.

Cannibal Galaxy by Osmium Gate

Instrumental music needs to have a dollop of “busyness” to justify the lack of vocals, and at their best Osmium Gate have the chops to get the job done. “Sailing Stone” features a fantastic spot of noodlage where a lead runs interlocked with a separate rhythm for a full and complex emotive experience. Cannibal Universe spots a decent amount of such highlights, where fun leads and overlapping time signatures summon the spirit of Scale the Summit or Plini. Fret not, the occasional thunderous blast or vintage Intervals chug is never far away to remind you that there’s nothing “post” about this album. Title track “Cannibal Universe” throws everything into the kitchen sink, sculpting doom-tempo’d plods into an avalanche of chord progressions which immediately scale back into a dollop of Odious Mortem melody with infinitely better production. But the real climax comes in mid-album cut “Nacreous.” This is the jewel of the album, running a wistful, melancholic lead under blast beats, which are worked in more atmospheric conjuncture with the slow-moving melodies. Such a highlight is an easy contender for song of the year, channeling genuine catharsis and summoning up enough feelings to bring some mist to even Tyme‘s crusty, battle-hardened eyes.

It may be a strange critique given the genre, but the only real stumbling block facing Osmium Gate is that not all the songs warrant an instrumental presentation. There’s no cut across this album that is bad, and much that is quite enjoyable, perfect for stargazing or late-night drives under the moon. But the band’s insistence on using large open chord structures across the album leaves a great deal of unbusy, open space where I found myself instinctively expecting vocal lines to fill the void. These particular cuts (“Waters of Natron”) aren’t definitively poor in any real sense as much as feeling incomplete, with the chord structures telling a partial story and lacking a sense of fullness elsewhere in the album. Bands like Animals As Leaders and their ilk nail the instrumental presentation by ushering the listener from one passage to the next without leaving any space for extra flair, where literally and metaphorically the music does all the talking. Here, Osmium Gate make real effort and grasp the goal more than once, but not consistently across the album. Tellingly, the tracks that throw off such restrictions are the least traditionally black metal sounding, as it’s when the songs sound the most typical that they sound the most unfinished.

Still, I’ve enjoyed my time with Cannibal Universe as a nice detour from my usual brutal and blackened fare. There’s genuine chops and promise here, and you owe it to yourself to at least listen to “Nacreous”. Osmium Gate have offered up a delicious platter of melodic black metal with limitations entirely surmountable. I’m not necessarily encouraging them to go out and get a vocalist (though I have no doubt they’d be capable of making a good album with one), but to push their songwriting to match the highlights here across an entire platter. Nevertheless, this album has moments worthy of note and any lover of instrumental metal should find something worthy of interest to be devoured…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Album Bandcamp
Releases Worldwide: March 13th 2025

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal, the biggest sticking point has got to be the vocals. As inoffensive as we might find, for example, vintage Dave Vincent (Morbid Angel) or early Possessed, going all the way back to the genre roots, casual listeners find themselves appalled by what started out as gravely growls and has evolved into full retching and intestinal spew. While desensitization through repeated listens is the obvious solution, some bands solve the problem wholesale by eschewing vocals at all. I’ve been let down lately by some of my favorite genres, and while perusing the almost picked-clean promo pit, my eyes were caught by a bit of a rare tag around these parts: “Instrumental black metal.” Osmium Gate have arrived with a platter devoid of any vocals, a curious name, and some gorgeous artwork to emphasize the atmospheres within. Let’s strap in for a carnivorous adventure!

Cannibal Universe is a melodic release, heavy on atmosphere and beauty filtered through the requisite heavy sheen. Though ostensibly described as black metal, the overall production and tone sidesteps fuzzed-out tropes or crystalline polish with a sound more reminiscent of modern death metal but utilizing black metal composition techniques. This imparts a thicker flavor to the requite snare-and-bass trem heavy riffing (“Booming Dunes”, “Blood Rain”) while adding extra brass knuckles to some atypically chug-heavy movements (“Waters of Natron”). A heavy focus on sustained open chords for big mood and pathos is a major tool in Osmium Gate’s wheelhouse, with slower, emptier sections that feel tailor-made for amphitheater reverb rather than the blistering assault typically found in blackened wares.

Cannibal Galaxy by Osmium Gate

Instrumental music needs to have a dollop of “busyness” to justify the lack of vocals, and at their best Osmium Gate have the chops to get the job done. “Sailing Stone” features a fantastic spot of noodlage where a lead runs interlocked with a separate rhythm for a full and complex emotive experience. Cannibal Universe spots a decent amount of such highlights, where fun leads and overlapping time signatures summon the spirit of Scale the Summit or Plini. Fret not, the occasional thunderous blast or vintage Intervals chug is never far away to remind you that there’s nothing “post” about this album. Title track “Cannibal Universe” throws everything into the kitchen sink, sculpting doom-tempo’d plods into an avalanche of chord progressions which immediately scale back into a dollop of Odious Mortem melody with infinitely better production. But the real climax comes in mid-album cut “Nacreous.” This is the jewel of the album, running a wistful, melancholic lead under blast beats, which are worked in more atmospheric conjuncture with the slow-moving melodies. Such a highlight is an easy contender for song of the year, channeling genuine catharsis and summoning up enough feelings to bring some mist to even Tyme‘s crusty, battle-hardened eyes.

It may be a strange critique given the genre, but the only real stumbling block facing Osmium Gate is that not all the songs warrant an instrumental presentation. There’s no cut across this album that is bad, and much that is quite enjoyable, perfect for stargazing or late-night drives under the moon. But the band’s insistence on using large open chord structures across the album leaves a great deal of unbusy, open space where I found myself instinctively expecting vocal lines to fill the void. These particular cuts (“Waters of Natron”) aren’t definitively poor in any real sense as much as feeling incomplete, with the chord structures telling a partial story and lacking a sense of fullness elsewhere in the album. Bands like Animals As Leaders and their ilk nail the instrumental presentation by ushering the listener from one passage to the next without leaving any space for extra flair, where literally and metaphorically the music does all the talking. Here, Osmium Gate make real effort and grasp the goal more than once, but not consistently across the album. Tellingly, the tracks that throw off such restrictions are the least traditionally black metal sounding, as it’s when the songs sound the most typical that they sound the most unfinished.

Still, I’ve enjoyed my time with Cannibal Universe as a nice detour from my usual brutal and blackened fare. There’s genuine chops and promise here, and you owe it to yourself to at least listen to “Nacreous”. Osmium Gate have offered up a delicious platter of melodic black metal with limitations entirely surmountable. I’m not necessarily encouraging them to go out and get a vocalist (though I have no doubt they’d be capable of making a good album with one), but to push their songwriting to match the highlights here across an entire platter. Nevertheless, this album has moments worthy of note and any lover of instrumental metal should find something worthy of interest to be devoured…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Album Bandcamp
Releases Worldwide: March 13th 2025

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal, the biggest sticking point has got to be the vocals. As inoffensive as we might find, for example, vintage Dave Vincent (Morbid Angel) or early Possessed, going all the way back to the genre roots, casual listeners find themselves appalled by what started out as gravely growls and has evolved into full retching and intestinal spew. While desensitization through repeated listens is the obvious solution, some bands solve the problem wholesale by eschewing vocals at all. I’ve been let down lately by some of my favorite genres, and while perusing the almost picked-clean promo pit, my eyes were caught by a bit of a rare tag around these parts: “Instrumental black metal.” Osmium Gate have arrived with a platter devoid of any vocals, a curious name, and some gorgeous artwork to emphasize the atmospheres within. Let’s strap in for a carnivorous adventure!

Cannibal Universe is a melodic release, heavy on atmosphere and beauty filtered through the requisite heavy sheen. Though ostensibly described as black metal, the overall production and tone sidesteps fuzzed-out tropes or crystalline polish with a sound more reminiscent of modern death metal but utilizing black metal composition techniques. This imparts a thicker flavor to the requite snare-and-bass trem heavy riffing (“Booming Dunes”, “Blood Rain”) while adding extra brass knuckles to some atypically chug-heavy movements (“Waters of Natron”). A heavy focus on sustained open chords for big mood and pathos is a major tool in Osmium Gate’s wheelhouse, with slower, emptier sections that feel tailor-made for amphitheater reverb rather than the blistering assault typically found in blackened wares.

Cannibal Galaxy by Osmium Gate

Instrumental music needs to have a dollop of “busyness” to justify the lack of vocals, and at their best Osmium Gate have the chops to get the job done. “Sailing Stone” features a fantastic spot of noodlage where a lead runs interlocked with a separate rhythm for a full and complex emotive experience. Cannibal Universe spots a decent amount of such highlights, where fun leads and overlapping time signatures summon the spirit of Scale the Summit or Plini. Fret not, the occasional thunderous blast or vintage Intervals chug is never far away to remind you that there’s nothing “post” about this album. Title track “Cannibal Universe” throws everything into the kitchen sink, sculpting doom-tempo’d plods into an avalanche of chord progressions which immediately scale back into a dollop of Odious Mortem melody with infinitely better production. But the real climax comes in mid-album cut “Nacreous.” This is the jewel of the album, running a wistful, melancholic lead under blast beats, which are worked in more atmospheric conjuncture with the slow-moving melodies. Such a highlight is an easy contender for song of the year, channeling genuine catharsis and summoning up enough feelings to bring some mist to even Tyme‘s crusty, battle-hardened eyes.

It may be a strange critique given the genre, but the only real stumbling block facing Osmium Gate is that not all the songs warrant an instrumental presentation. There’s no cut across this album that is bad, and much that is quite enjoyable, perfect for stargazing or late-night drives under the moon. But the band’s insistence on using large open chord structures across the album leaves a great deal of unbusy, open space where I found myself instinctively expecting vocal lines to fill the void. These particular cuts (“Waters of Natron”) aren’t definitively poor in any real sense as much as feeling incomplete, with the chord structures telling a partial story and lacking a sense of fullness elsewhere in the album. Bands like Animals As Leaders and their ilk nail the instrumental presentation by ushering the listener from one passage to the next without leaving any space for extra flair, where literally and metaphorically the music does all the talking. Here, Osmium Gate make real effort and grasp the goal more than once, but not consistently across the album. Tellingly, the tracks that throw off such restrictions are the least traditionally black metal sounding, as it’s when the songs sound the most typical that they sound the most unfinished.

Still, I’ve enjoyed my time with Cannibal Universe as a nice detour from my usual brutal and blackened fare. There’s genuine chops and promise here, and you owe it to yourself to at least listen to “Nacreous”. Osmium Gate have offered up a delicious platter of melodic black metal with limitations entirely surmountable. I’m not necessarily encouraging them to go out and get a vocalist (though I have no doubt they’d be capable of making a good album with one), but to push their songwriting to match the highlights here across an entire platter. Nevertheless, this album has moments worthy of note and any lover of instrumental metal should find something worthy of interest to be devoured…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Album Bandcamp
Releases Worldwide: March 13th 2025

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal, the biggest sticking point has got to be the vocals. As inoffensive as we might find, for example, vintage Dave Vincent (Morbid Angel) or early Possessed, going all the way back to the genre roots, casual listeners find themselves appalled by what started out as gravely growls and has evolved into full retching and intestinal spew. While desensitization through repeated listens is the obvious solution, some bands solve the problem wholesale by eschewing vocals at all. I’ve been let down lately by some of my favorite genres, and while perusing the almost picked-clean promo pit, my eyes were caught by a bit of a rare tag around these parts: “Instrumental black metal.” Osmium Gate have arrived with a platter devoid of any vocals, a curious name, and some gorgeous artwork to emphasize the atmospheres within. Let’s strap in for a carnivorous adventure!

Cannibal Universe is a melodic release, heavy on atmosphere and beauty filtered through the requisite heavy sheen. Though ostensibly described as black metal, the overall production and tone sidesteps fuzzed-out tropes or crystalline polish with a sound more reminiscent of modern death metal but utilizing black metal composition techniques. This imparts a thicker flavor to the requite snare-and-bass trem heavy riffing (“Booming Dunes”, “Blood Rain”) while adding extra brass knuckles to some atypically chug-heavy movements (“Waters of Natron”). A heavy focus on sustained open chords for big mood and pathos is a major tool in Osmium Gate’s wheelhouse, with slower, emptier sections that feel tailor-made for amphitheater reverb rather than the blistering assault typically found in blackened wares.

Cannibal Galaxy by Osmium Gate

Instrumental music needs to have a dollop of “busyness” to justify the lack of vocals, and at their best Osmium Gate have the chops to get the job done. “Sailing Stone” features a fantastic spot of noodlage where a lead runs interlocked with a separate rhythm for a full and complex emotive experience. Cannibal Universe spots a decent amount of such highlights, where fun leads and overlapping time signatures summon the spirit of Scale the Summit or Plini. Fret not, the occasional thunderous blast or vintage Intervals chug is never far away to remind you that there’s nothing “post” about this album. Title track “Cannibal Universe” throws everything into the kitchen sink, sculpting doom-tempo’d plods into an avalanche of chord progressions which immediately scale back into a dollop of Odious Mortem melody with infinitely better production. But the real climax comes in mid-album cut “Nacreous.” This is the jewel of the album, running a wistful, melancholic lead under blast beats, which are worked in more atmospheric conjuncture with the slow-moving melodies. Such a highlight is an easy contender for song of the year, channeling genuine catharsis and summoning up enough feelings to bring some mist to even Tyme‘s crusty, battle-hardened eyes.

It may be a strange critique given the genre, but the only real stumbling block facing Osmium Gate is that not all the songs warrant an instrumental presentation. There’s no cut across this album that is bad, and much that is quite enjoyable, perfect for stargazing or late-night drives under the moon. But the band’s insistence on using large open chord structures across the album leaves a great deal of unbusy, open space where I found myself instinctively expecting vocal lines to fill the void. These particular cuts (“Waters of Natron”) aren’t definitively poor in any real sense as much as feeling incomplete, with the chord structures telling a partial story and lacking a sense of fullness elsewhere in the album. Bands like Animals As Leaders and their ilk nail the instrumental presentation by ushering the listener from one passage to the next without leaving any space for extra flair, where literally and metaphorically the music does all the talking. Here, Osmium Gate make real effort and grasp the goal more than once, but not consistently across the album. Tellingly, the tracks that throw off such restrictions are the least traditionally black metal sounding, as it’s when the songs sound the most typical that they sound the most unfinished.

Still, I’ve enjoyed my time with Cannibal Universe as a nice detour from my usual brutal and blackened fare. There’s genuine chops and promise here, and you owe it to yourself to at least listen to “Nacreous”. Osmium Gate have offered up a delicious platter of melodic black metal with limitations entirely surmountable. I’m not necessarily encouraging them to go out and get a vocalist (though I have no doubt they’d be capable of making a good album with one), but to push their songwriting to match the highlights here across an entire platter. Nevertheless, this album has moments worthy of note and any lover of instrumental metal should find something worthy of interest to be devoured…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Album Bandcamp
Releases Worldwide: March 13th 2025

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal, the biggest sticking point has got to be the vocals. As inoffensive as we might find, for example, vintage Dave Vincent (Morbid Angel) or early Possessed, going all the way back to the genre roots, casual listeners find themselves appalled by what started out as gravely growls and has evolved into full retching and intestinal spew. While desensitization through repeated listens is the obvious solution, some bands solve the problem wholesale by eschewing vocals at all. I’ve been let down lately by some of my favorite genres, and while perusing the almost picked-clean promo pit, my eyes were caught by a bit of a rare tag around these parts: “Instrumental black metal.” Osmium Gate have arrived with a platter devoid of any vocals, a curious name, and some gorgeous artwork to emphasize the atmospheres within. Let’s strap in for a carnivorous adventure!

Cannibal Universe is a melodic release, heavy on atmosphere and beauty filtered through the requisite heavy sheen. Though ostensibly described as black metal, the overall production and tone sidesteps fuzzed-out tropes or crystalline polish with a sound more reminiscent of modern death metal but utilizing black metal composition techniques. This imparts a thicker flavor to the requite snare-and-bass trem heavy riffing (“Booming Dunes”, “Blood Rain”) while adding extra brass knuckles to some atypically chug-heavy movements (“Waters of Natron”). A heavy focus on sustained open chords for big mood and pathos is a major tool in Osmium Gate’s wheelhouse, with slower, emptier sections that feel tailor-made for amphitheater reverb rather than the blistering assault typically found in blackened wares.

Cannibal Galaxy by Osmium Gate

Instrumental music needs to have a dollop of “busyness” to justify the lack of vocals, and at their best Osmium Gate have the chops to get the job done. “Sailing Stone” features a fantastic spot of noodlage where a lead runs interlocked with a separate rhythm for a full and complex emotive experience. Cannibal Universe spots a decent amount of such highlights, where fun leads and overlapping time signatures summon the spirit of Scale the Summit or Plini. Fret not, the occasional thunderous blast or vintage Intervals chug is never far away to remind you that there’s nothing “post” about this album. Title track “Cannibal Universe” throws everything into the kitchen sink, sculpting doom-tempo’d plods into an avalanche of chord progressions which immediately scale back into a dollop of Odious Mortem melody with infinitely better production. But the real climax comes in mid-album cut “Nacreous.” This is the jewel of the album, running a wistful, melancholic lead under blast beats, which are worked in more atmospheric conjuncture with the slow-moving melodies. Such a highlight is an easy contender for song of the year, channeling genuine catharsis and summoning up enough feelings to bring some mist to even Tyme‘s crusty, battle-hardened eyes.

It may be a strange critique given the genre, but the only real stumbling block facing Osmium Gate is that not all the songs warrant an instrumental presentation. There’s no cut across this album that is bad, and much that is quite enjoyable, perfect for stargazing or late-night drives under the moon. But the band’s insistence on using large open chord structures across the album leaves a great deal of unbusy, open space where I found myself instinctively expecting vocal lines to fill the void. These particular cuts (“Waters of Natron”) aren’t definitively poor in any real sense as much as feeling incomplete, with the chord structures telling a partial story and lacking a sense of fullness elsewhere in the album. Bands like Animals As Leaders and their ilk nail the instrumental presentation by ushering the listener from one passage to the next without leaving any space for extra flair, where literally and metaphorically the music does all the talking. Here, Osmium Gate make real effort and grasp the goal more than once, but not consistently across the album. Tellingly, the tracks that throw off such restrictions are the least traditionally black metal sounding, as it’s when the songs sound the most typical that they sound the most unfinished.

Still, I’ve enjoyed my time with Cannibal Universe as a nice detour from my usual brutal and blackened fare. There’s genuine chops and promise here, and you owe it to yourself to at least listen to “Nacreous”. Osmium Gate have offered up a delicious platter of melodic black metal with limitations entirely surmountable. I’m not necessarily encouraging them to go out and get a vocalist (though I have no doubt they’d be capable of making a good album with one), but to push their songwriting to match the highlights here across an entire platter. Nevertheless, this album has moments worthy of note and any lover of instrumental metal should find something worthy of interest to be devoured…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Album Bandcamp
Releases Worldwide: March 13th 2025

Animals As Leaders - The Price of Everything and the Value of Nothing (2009)
https://youtu.be/vG6ILrVaZ7A

#Music #AnimalsAsLeaders #Metal #ProgressiveMetal #Djent

Animals As Leaders cancela su gira | vía #HyperMusicaCL

https://hypermusica.cl/animals-as-leaders-cancela-su-gira/

#animalsasleaders #paulaflores

Animals As Leaders cancela su gira | vía #HyperMusicaCL

https://hypermusica.cl/animals-as-leaders-cancela-su-gira/

#animalsasleaders #paulaflores

Self-Titled Summer | Animals As Leaders (2009, US)

Next in our Self-Titled Summer series is number 472 on The List, submitted by Chip_Unicorn. Here’s a quick rundown:

• Point(s) of origin: Founded in 2007 by the brilliant guitarist Tosin Abasi (formerly of Reflux), this debut album captures the Washington D.C.-based band when it was still a solo project. Abasi chose the name based on the novel Ishmael by Daniel Quinn.
• Tasting notes: Instrumental prog metal, math/prog rock, djent, sometimes jazzy, bits of electronica
• Standout track: This is sort of one of those albums where it’s sort of all or nothing – if you like one you’ll like all.
• Where are they now?: The band is currently a trio, with Javier Reyes and Matt Garstka. They will be touring Australia in September playing their 3rd album, The Joy of Motion, in its entirety in celebration of that album’s 10th anniversary. We also have their most recent release, Parrhesia, on The List, so we’ll be visiting their work again in the future! Abasi also founded the jazz rock supergroup T.R.A.M. with Reyes (alongside former Mars Volta member Adrián Terrazas-González and former Suicidal Tendencies member Eric Moore), and Garstka has also worked on Reyes’ prog metal side project, Mestis.
• Websites: Band website, Bandcamp, Wikipedia

Happy listening!

• Bandcamp: Animals As Leaders – Animals As Leaders
• Discogs: Animals As Leaders – Animals As Leaders

#AnimalsAsLeaders #guitar #instrumental #mathRock #music #musicDiscovery #progMetal #progRock #selftitled #TosinAbasi

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

Show 3 footnotes

1. Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
2. DiGiorgio has been known to rock a 3-string bass too! ↩
3. Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

Quadvium – Tetradōm Review

By Dolphin Whisperer

Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.

In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.

Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.

Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.

Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025

#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech

Animals as Leaders confirma su regreso a Chile | vía #iRock

https://www.irock.cl/animals-as-leaders-confirma-su-regreso-a-chile-2/?utm_source=rss&utm_medium=rss&utm_campaign=animals-as-leaders-confirma-su-regreso-a-chile-2

#animalsasleaders #conciertos #internacional #metal #progjazz #rock #santiagofusión #teatrolacúpula

"This band plays on the edge of the technical prowess reachable by humankind"

Most of them will think about #Meshuggah, #DreamTheater, #Haken, #AnimalsAsLeaders, #FrankZappa, #Tool...

... To me, it comes to mind these guys:

https://www.youtube.com/watch?v=Y2UHiUc3U34&t=60s

#DillingerEscapePlan #TrashCore #MetalCore #Music #Song #YouTube #Live #Video

@RonRevog Für den Zweck würde ich #AimeeMann, #AlinCoen oder #AlabamaShakes empfehlen und #AnimalsAsLeaders eher vermeiden.

Anyway. Album reviews from current #eclipsed magazine that I want to check out:

- #Quantum - Down The Mountainside (ffo #StevenWilson, #Haken, #Opeth)
- #Amarok - Hope (ffo #Riverside, #Archive, #ThePineappleThief, #eMolecule)
- #NightVerses - Every Sound Has A Color In The Valley Of Night (ffo #AnimalsAsLeaders)

Anyway. Album reviews from current #eclipsed magazine that I want to check out:

- #Quantum - Down The Mountainside (ffo #StevenWilson, #Haken, #Opeth)
- #Amarok - Hope (ffo #Riverside, #Archive, #ThePineappleThief, #eMolecule)
- #NightVerses - Every Sound Has A Color In The Valley Of Night (ffo #AnimalsAsLeaders)

#TheMetalDogArticleList
#Loudwire
Bands Who Either Don't Have a Bassist or Don't Have a Guitarist
Not every band needs a guitarist or a bassist. These rock and metal band's certainly don't.

https://loudwire.com/rock-metal-bands-no-bassist-no-guitarist/

#DeathFromAbove1979 #AnimalsAsLeaders #Apocalyptica #BellWitch #TheBlackKeys #TheDoors #TheEvens #TheHu #ThePackAD #TheWhiteStripes #TwentyOnePilots #VanCanto #YeahYeahYeahs #RoyalBlood #SleaterKinney #TaipeiHouston #Japandroids

Original tempo! (Still making mistakes :blobcatsob: )

#guitar #tapping #animalsasleaders #progressive #music

#NowPlaying #AmListening #Parrhesia by #AnimalsAsLeaders. Will be seeing them perform tomorrow evening so filling my head with glorious #ProgressiveMetal. #AAL

https://www.youtube.com/watch?v=1Gi5KtoWY8U

#TheMetalDogArticleList
#MetalSucks
GoFundMe Started for Widow of Animals As Leader’s Guitar Tech
Stryper and Animals As Leaders are stepping up to support. The post GoFundMe Started for Widow of Animals As Leader’s Guitar Tech appeared first on MetalSucks.

https://www.metalsucks.net/2023/07/22/gofundme-started-for-widow-of-animals-as-leaders-guitar-tech/

#AnimalsAsLeaders #guitarTech #widow #fundraiser #RobKoester #GoFundMe #musicIndustry

#TheMetalDogArticleList
#MetalInjection
ANIMALS AS LEADERS Guitar Tech DAVE COHEN Passes Away After Show Incident
Cohen was also the luthier behind Equilibrium Guitars.

https://metalinjection.net/this-is-just-a-tribute/animals-as-leaders-guitar-tech-dave-cohen-passes-away-after-show-incident

#AnimalsAsLeaders
#GuitarTechDaveCohen
#ShowIncident
#RIPDaveCohen
#Tribute

#NowPlaying #TheMetalDogIsNowPlaying
#AnimalsasLeaders
Animals as Leaders
CAFO
https://youtube.com/results?search_query=Animals+as+Leaders+Animals+as+Leaders+CAFO
https://genius.com/Animals-as-leaders-cafo-lyrics
http://www.youtube.com/watch?v=NmfzWpp0hMc
#Progressivemetal #DJENT #instrumental #mathmetal #metal

Le télétravail, c'est aussi la possibilité d'écouter Animals As Leaders avec un volume conséquent pendant les heures de travail.

Et ça, ça n'a pas de prix.

#AnimalsAsLeaders #MusiqueInstrumentale #Metal #PouetRadio

"A tight, eclectic trio led by guitarist #TosinAbasi, it definitely sits in the #djent space, but with notable digressions, which this cut, Red Miso, exemplifies. I generally like their less shreddy, more conceptual stuff, and this is the best cut I’ve heard from them since Physical Education..."

https://zeruch.wordpress.com/2023/01/22/sounds-that-have-been-made-ep-38-animals-as-leaders-red-miso/ #animalsasleaders #mathmetal

ANIMALS AS LEADERS - Red Miso (Official Music Video)

https://youtu.be/gu-_kyU4dWk

#music #metal #progressivemetal #heavymetal #animalsasleaders #sumerianrecrods

#7BandsToKnowMe / #7AlbumsToKnowMe are hard because I they change like, every year. My answers now are *vastly* different than even 5 years ago. Here’s what they are atm. Just gonna combine them since there’s so much overlap.

#SilversunPickups - Widow’s Weeds
#ZealAndArdor - Zeal and Ardor
#AesopRock - Skelethon
#MeWithoutYou - Brother, Sister (or maybe [Untitled]
#Dessa - A Badly Broken Code
#AnimalsAsLeaders - Parrhesia (or maybe Joy of Motion)
#Deftones - Diamond Eyes

#AnimalsAsLeaders coming out strong as usual. Masterfully crafted, technical but no unnecessary noodling.

#listening #nowplaying #metal #prog
#Parrhesia - Animals As Leaders

https://open.spotify.com/album/1mIiGxlTjTnNMTS9HYwsuB?si=hyENs9-ASWC8LW7oxTxuXQ&utm_source=native-share-menu

I’m pushing through #MECFS symptoms to enjoy some #music (a very rare thing since I’ve become severe) and I shouldn’t, but well.

Listening to #AnimalsAsLeaders’ song The Problem of Other Minds, there’s a high pitched note that concludes the #guitar solo (and the whole build-up leading to it) that is pretty eargasmic.

The only other one I can think of right now is the solo on #TheFaceless’ Autotheism Movement II: Emancipate.

Let me know if you think of other solos like this!

I’m pushing through #MECFS symptoms to enjoy some #music (a very rare thing since I’ve become severe) and I shouldn’t, but well.

Listening to #AnimalsAsLeaders’ song The Problem of Other Minds, there’s a high pitched note that concludes the #guitar solo (and the whole build-up leading to it) that is pretty eargasmic.

The only other one I can think of right now is the solo on #TheFaceless’ Autotheism Movement II: Emancipate.

Let me know if you think of other solos like this!

I’m pushing through #MECFS symptoms to enjoy some #music (a very rare thing since I’ve become severe) and I shouldn’t, but well.

Listening to #AnimalsAsLeaders’ song The Problem of Other Minds, there’s a high pitched note that concludes the #guitar solo (and the whole build-up leading to it) that is pretty eargasmic.

The only other one I can think of right now is the solo on #TheFaceless’ Autotheism Movement II: Emancipate.

Let me know if you think of other solos like this!