#artificial-brain — Public Fediverse posts

Hot on the heels of my first encounter with Alice Simard’s work (Luminesce), another notch in her roster dropped into my unsuspecting lap. Canadian brutal slam/goregrind trio Onchocerciasis Esophagogastroduodenoscopy (henceforth referred to simply as OE) spawned seven years ago from a mire of gore, and Fugue Gnawed from the Scabbed God Cerebrum marks their second full expulsion. Mere seconds after slamming that play button, viscous fluids so voluminous as to mismatch the mass of the entities that expel them flood the entirety of my being, overflowing gushingly into the surrounding environs with destructive force. The general public gazes upon this outlandishly fecund release with equal parts disgust and fascination. Despite the grotesque nature of it all, though, I can’t in good conscience call the experience unpleasurable. Quite the opposite, in fact.

Brutal in the same inhuman way as known slammers Epicardiectomy and Organectomy, absurd as a lot of material coming out of the Indonesian and Chinese scenes are, and irreverently creative enough to recall the novel songwriting of Wormhole, Artificial Brain, Unhuman, and Unfathomable Ruination, OE’s style is often a delight and moreso a challenge. Alice (who is here credited under guitars, songwriting, and drum programming), Jesse Agiomamitis (vocals, lyrics1), and the mysterious The Popu (drum programming, guitars, lyrics, songwriting, synth, vocals) shine as a collaborative team, delivering a deceptively wide variety to what is typically an extremely limited stylistic palette. All 33 minutes of Fugue fall neatly in the brutal slamgrind niche, but it’s undeniably one of the wildest executions of the style. That unhinged spirit affords the ballistic percussion a sense of immediate danger that belies its impossible technicality, the monstrously toilet-tastic vocals a sense of vibrant dynamics they absolutely should not have, and the multifaceted guitar work a kaleidoscopic personality that colors the entire record in vivid detail.

Fugue Gnawed from the Scabbed God Cerebrum by Onchocerciasis Esophagogastroduodenoscopy

However, and perhaps even as a consequence of these aforementioned traits, Fugue is a trial in music appreciation. Not for the faint of heart or the frail of ear, Fugue seems to wholly reject the idea of memorability as a virtue. Certainly, in its first half, before “Gutted & Corpsed” shocks me with an almost beautiful shift from relentless assault to thoughtful transitions and subversive intricacies, Fugue is hell-bent on punishing any listener that comes close. Gnashing with serrated teeth crowding a jaw capable of crushing diamond like Nerds candy, “Conquering Divinity” through “Entombed Within the Infinite Panopticon” bullies anyone that approaches with endless slam riffs (but fast), violent scrapes (“The Fallen Lament, Paralytikus Ascends”), fucked-up lead guitar atmospheres (“Severing What Makes Me Human,” “Apotheotic Apotemnophilia”), machine-gun blasts and double-bass abuse (“Entombed Within the Inifinite Panopticon”), and unreal spans of sustained phlegmy gutturals (name a song, any song). The addition of eerie bongs and bells adds to the sinister nature of these initial songs, but only minimally aids their memorability. Yet, they are all counterintuitively enjoyable in the same manner as discovering your first kink.

Thankfully, that first prolonged salvo of abject violence only takes 13 minutes, at which time Fugue shifts. It’s hard to expect creativity and thoughtful detailing to come into play with this kind of extreme fringe music. Undeterred by that reality, OE start integrating more purposeful dissonant flourishes, effervescent leads bordering against—but never quite crossing into—melody, and a downright airy atmosphere that together recall 50% Wormhole, 50% Afterbirth (“Heaven’s Empty Halls”). More Wormhole-isms abound in conjunction with Epicardiectomy madness and Artificial Brain-ed atmosphere as “Hurt Beyond Healing” and “Forged in the Blackest Reaches of Blasphemy” pair high-detail phrasing with terrifying brutalizations. While still escaping the realm of immediacy, memorability, or accessibility, Fugue’s second act shows OE’s greater range as songwriters in such a way as to compel me to revisit with great anticipation, enthusiastic for the deeper details I might uncover.

While far from easy to love, for any number of reasons all associated with the extreme nature of its composition and its over-the-top execution, Fugue Gnawed from the Scabbed God Cerebrum is an album of rare quality in the scene of disgusting, inhuman music. Many will balk at its cartoonish gurgle vox, its total lack of subtlety in the first phase, and the relentlessness of its dense and complex instrumentation. Those who weather that storm will discover something a bit more substantial underneath. I didn’t expect to find that substance myself, but here I am. Join me, if you think you can handle it!

Rating: Good!
DR: 42 | Format Reviewed: 320 kb/s mp3
Label: Stillbirth Records
Websites: officialonchocerciasis.bandcamp.com | facebook.com/OnchoOfficial
Releases Worldwide: April 3rd, 2026

Hot on the heels of my first encounter with Alice Simard’s work (Luminesce), another notch in her roster dropped into my unsuspecting lap. Canadian brutal slam/goregrind trio Onchocerciasis Esophagogastroduodenoscopy (henceforth referred to simply as OE) spawned seven years ago from a mire of gore, and Fugue Gnawed from the Scabbed God Cerebrum marks their second full expulsion. Mere seconds after slamming that play button, viscous fluids so voluminous as to mismatch the mass of the entities that expel them flood the entirety of my being, overflowing gushingly into the surrounding environs with destructive force. The general public gazes upon this outlandishly fecund release with equal parts disgust and fascination. Despite the grotesque nature of it all, though, I can’t in good conscience call the experience unpleasurable. Quite the opposite, in fact.

Brutal in the same inhuman way as known slammers Epicardiectomy and Organectomy, absurd as a lot of material coming out of the Indonesian and Chinese scenes are, and irreverently creative enough to recall the novel songwriting of Wormhole, Artificial Brain, Unhuman, and Unfathomable Ruination, OE’s style is often a delight and moreso a challenge. Alice (who is here credited under guitars, songwriting, and drum programming), Jesse Agiomamitis (vocals, lyrics1), and the mysterious The Popu (drum programming, guitars, lyrics, songwriting, synth, vocals) shine as a collaborative team, delivering a deceptively wide variety to what is typically an extremely limited stylistic palette. All 33 minutes of Fugue fall neatly in the brutal slamgrind niche, but it’s undeniably one of the wildest executions of the style. That unhinged spirit affords the ballistic percussion a sense of immediate danger that belies its impossible technicality, the monstrously toilet-tastic vocals a sense of vibrant dynamics they absolutely should not have, and the multifaceted guitar work a kaleidoscopic personality that colors the entire record in vivid detail.

Fugue Gnawed from the Scabbed God Cerebrum by Onchocerciasis Esophagogastroduodenoscopy

However, and perhaps even as a consequence of these aforementioned traits, Fugue is a trial in music appreciation. Not for the faint of heart or the frail of ear, Fugue seems to wholly reject the idea of memorability as a virtue. Certainly, in its first half, before “Gutted & Corpsed” shocks me with an almost beautiful shift from relentless assault to thoughtful transitions and subversive intricacies, Fugue is hell-bent on punishing any listener that comes close. Gnashing with serrated teeth crowding a jaw capable of crushing diamond like Nerds candy, “Conquering Divinity” through “Entombed Within the Infinite Panopticon” bullies anyone that approaches with endless slam riffs (but fast), violent scrapes (“The Fallen Lament, Paralytikus Ascends”), fucked-up lead guitar atmospheres (“Severing What Makes Me Human,” “Apotheotic Apotemnophilia”), machine-gun blasts and double-bass abuse (“Entombed Within the Inifinite Panopticon”), and unreal spans of sustained phlegmy gutturals (name a song, any song). The addition of eerie bongs and bells adds to the sinister nature of these initial songs, but only minimally aids their memorability. Yet, they are all counterintuitively enjoyable in the same manner as discovering your first kink.

Thankfully, that first prolonged salvo of abject violence only takes 13 minutes, at which time Fugue shifts. It’s hard to expect creativity and thoughtful detailing to come into play with this kind of extreme fringe music. Undeterred by that reality, OE start integrating more purposeful dissonant flourishes, effervescent leads bordering against—but never quite crossing into—melody, and a downright airy atmosphere that together recall 50% Wormhole, 50% Afterbirth (“Heaven’s Empty Halls”). More Wormhole-isms abound in conjunction with Epicardiectomy madness and Artificial Brain-ed atmosphere as “Hurt Beyond Healing” and “Forged in the Blackest Reaches of Blasphemy” pair high-detail phrasing with terrifying brutalizations. While still escaping the realm of immediacy, memorability, or accessibility, Fugue’s second act shows OE’s greater range as songwriters in such a way as to compel me to revisit with great anticipation, enthusiastic for the deeper details I might uncover.

While far from easy to love, for any number of reasons all associated with the extreme nature of its composition and its over-the-top execution, Fugue Gnawed from the Scabbed God Cerebrum is an album of rare quality in the scene of disgusting, inhuman music. Many will balk at its cartoonish gurgle vox, its total lack of subtlety in the first phase, and the relentlessness of its dense and complex instrumentation. Those who weather that storm will discover something a bit more substantial underneath. I didn’t expect to find that substance myself, but here I am. Join me, if you think you can handle it!

Rating: Good!
DR: 42 | Format Reviewed: 320 kb/s mp3
Label: Stillbirth Records
Websites: officialonchocerciasis.bandcamp.com | facebook.com/OnchoOfficial
Releases Worldwide: April 3rd, 2026

I don’t know if Garry Brents is the busiest person in metal, but he’s active enough that I worry for his work-life balance. In 2025 alone, Brents cranked out releases for multiple projects, including Sallow Moth’s latest platter, Mossbane Lantern. This is death metal for purveyors of the unrepentantly weird, especially those who indulge in sci-fi and fantasy. From a storytelling perspective, Mossbane Lantern takes an anthological approach in describing experiences that assorted characters have with the titular artifact.1 To capture these events through song, Brents casts a wide, chaotic net of sounds and influences. While it doesn’t fit neatly under either technical or brutal death metal, Mossbane Lantern cherry picks elements of each and infuses them with enough avant-garde, proggy nuttiness to trigger an allergic reaction. All told, Sallow Moth establishes a firmly singular take on death metal.

Though Sallow Moth has consistently embraced the unconventional, Mossbane Lantern ratchets up the stylistic fluidity from previous outings. In particular, the band takes Artificial Brain’s off-kilter, melodic sensibilities and inhuman gutturals, then weds them with Igorrr’s knack for unpredictable stutter-stops and abrupt musical shifts. With this foundation, Brents injects jazz-riddled Ingurgitating Oblivion accents and Cynic aesthetics under accelerated paces, giving Mossbane Lantern so many dimensions that juggling them would be disastrous in less-capable hands. Fear not, for Sallow Moth’s execution achieves the daunting vision laid out, beguiling with wackadoo impishness that’s as sure to bring a smile to your face as make you ask yourself, “What the fuck am I listening to?”2

Mossbane Lantern by Sallow Moth

Listening to Mossbane Lantern without context is a fun and brutal experience, but Sallow Moth’s true magic reveals itself once grounded in its world-building. Without getting too mired in lore, the eponymous Lantern allows users to teleport across distances great and small, though unexpected outcomes occur when the Lantern commingles with varied beings and enchantments. Musically, this allows a common thematic presence in the Mossbane Lantern itself while not strictly adhering to a single story. “Cauldron Brim Neurosilk” and “Runemilk Amulet” portray characters under chemical duress, urgently lurching between techy, fetid death metal and trip-hop, signaling when the pendulum of madness swings. Similarly, “Psionic Battery” and “Aethercave Boots” describe artifacts designed to aid with the Lantern’s use. When side effects emerge, psychedelic embellishments clue listeners in to the events’ warped natures. Through it all, Sallow Moth assaults listeners with fretless (and fretted) bass, guitar squeals, croaks, and more, keeping them off-balance as the music continuously evolves.

Such an absurd concept shouldn’t work this well, but Sallow Moth’s unhinged melting pot of jazzy intonations, bowel-churning gurgles, and genre-bending mayhem makes Mossbane Lantern a can’t-miss romp. As a fan of the bizarre and grotesque within metal, there are few (if any) facets of Mossbane Lantern I haven’t heard before, but the way Sallow Moth chucks the pieces into an industrial-grade blender and sets it to ‘Liquify’ is utterly novel and rewards multiple spins. Some listeners may find the adventure too jarring for their liking, but after spending time with Mossbane Lantern, I don’t find its components haphazard or incidental. Just the opposite—there’s a method to Sallow Moth’s madness, though it requires patience to appreciate. So grab your gear, head for Mossbane Lantern’s light, and prepare to get weird. It’s a trip you don’t want to miss.

Tracks to Check Out: “Icegorger Gauntlets,” “Psionic Battery,” “Cauldron Brim Neurosilk,” “Runemilk Amulet”

I don’t know if Garry Brents is the busiest person in metal, but he’s active enough that I worry for his work-life balance. In 2025 alone, Brents cranked out releases for multiple projects, including Sallow Moth’s latest platter, Mossbane Lantern. This is death metal for purveyors of the unrepentantly weird, especially those who indulge in sci-fi and fantasy. From a storytelling perspective, Mossbane Lantern takes an anthological approach in describing experiences that assorted characters have with the titular artifact.1 To capture these events through song, Brents casts a wide, chaotic net of sounds and influences. While it doesn’t fit neatly under either technical or brutal death metal, Mossbane Lantern cherry picks elements of each and infuses them with enough avant-garde, proggy nuttiness to trigger an allergic reaction. All told, Sallow Moth establishes a firmly singular take on death metal.

Though Sallow Moth has consistently embraced the unconventional, Mossbane Lantern ratchets up the stylistic fluidity from previous outings. In particular, the band takes Artificial Brain’s off-kilter, melodic sensibilities and inhuman gutturals, then weds them with Igorrr’s knack for unpredictable stutter-stops and abrupt musical shifts. With this foundation, Brents injects jazz-riddled Ingurgitating Oblivion accents and Cynic aesthetics under accelerated paces, giving Mossbane Lantern so many dimensions that juggling them would be disastrous in less-capable hands. Fear not, for Sallow Moth’s execution achieves the daunting vision laid out, beguiling with wackadoo impishness that’s as sure to bring a smile to your face as make you ask yourself, “What the fuck am I listening to?”2

Mossbane Lantern by Sallow Moth

Listening to Mossbane Lantern without context is a fun and brutal experience, but Sallow Moth’s true magic reveals itself once grounded in its world-building. Without getting too mired in lore, the eponymous Lantern allows users to teleport across distances great and small, though unexpected outcomes occur when the Lantern commingles with varied beings and enchantments. Musically, this allows a common thematic presence in the Mossbane Lantern itself while not strictly adhering to a single story. “Cauldron Brim Neurosilk” and “Runemilk Amulet” portray characters under chemical duress, urgently lurching between techy, fetid death metal and trip-hop, signaling when the pendulum of madness swings. Similarly, “Psionic Battery” and “Aethercave Boots” describe artifacts designed to aid with the Lantern’s use. When side effects emerge, psychedelic embellishments clue listeners in to the events’ warped natures. Through it all, Sallow Moth assaults listeners with fretless (and fretted) bass, guitar squeals, croaks, and more, keeping them off-balance as the music continuously evolves.

Such an absurd concept shouldn’t work this well, but Sallow Moth’s unhinged melting pot of jazzy intonations, bowel-churning gurgles, and genre-bending mayhem makes Mossbane Lantern a can’t-miss romp. As a fan of the bizarre and grotesque within metal, there are few (if any) facets of Mossbane Lantern I haven’t heard before, but the way Sallow Moth chucks the pieces into an industrial-grade blender and sets it to ‘Liquify’ is utterly novel and rewards multiple spins. Some listeners may find the adventure too jarring for their liking, but after spending time with Mossbane Lantern, I don’t find its components haphazard or incidental. Just the opposite—there’s a method to Sallow Moth’s madness, though it requires patience to appreciate. So grab your gear, head for Mossbane Lantern’s light, and prepare to get weird. It’s a trip you don’t want to miss.

Tracks to Check Out: “Icegorger Gauntlets,” “Psionic Battery,” “Cauldron Brim Neurosilk,” “Runemilk Amulet”

Burning Palace – Elegy Review

By Thus Spoke

I’m sure most people reading have experienced that exchange where a friend, colleague, or family member, having caught wind of one’s enjoyment of heavy music asks incredulously, “how do you listen to that?!” It’s an interesting insight into the strange phenomenon of artistic taste,1 how a complex and disharmonic combination of notes and time signatures can be “just noise” to one pair of ears and a thrilling musical experience to another. It therefore amuses me that I can sit here and talk about Burning Palace, who craft progressive, technical, dissonant death metal that’s brutal, loud and restlessly dynamic. But, who pitch it perfectly in that golden zone of melodicism and lethality. Because—as is no surprise to us here, but likely baffles outside observers—there is a great deal of nuance between ineffectual disorganization and potent convolution.

Elegy falls into that specifically American brand of techy, dissonant death metal whose brutality is more corollary than intention. That which is thoughtful, and unexplainably “happy”-sounding despite its surface-level hostility. Jaunty, acerbic, riffs, imagined by an Artificial Brain, clamber to the fore out of formations where the same guitar lines melt into an indistinct yet driving ebb and flow. Sunless, paradoxically major scales spring up out of dissonance and the Afterbirth of inter-assault meandering, to which the occasional lapses into resonant, mournful melodies create gorgeous contrasts. But Burning Palace aren’t copycats, and Elegy actually demonstrates a transition from the grindier brutal death metal of Hollow into this more precise—but absolutely no less heavy—interpretation. As an example of technical sophistication meeting simple enjoyability, the record stands as perfect proof of the aesthetic value of supposedly impenetrable music.

What strikes particularly strongly about Elegy is the expertly deft way Burning Palace poised violence, intricacy, and beauty to craft it. Though occupying a category that in many senses eschews the adjective “catchy,” it has led to some frustration in my time with it, due to the fact that I’m unable to adequately sing, hum, or otherwise externalize its songs that have lodged themselves in my brain, thanks to their emphasis on riffs and time signatures that my unschooled vocal chords cannot copy. Ludicrous and ludicrously fun scale ascents, tempo switches, and rhythmic interplays abound (“Traversing the Black Arc,” “Awakening Extinction (Eternal Eclipse),” and clever dynamism and selective ambience make certain riffs stand out dramatically (“Birthing Uncertainty,” “Sunken Veil”). Burning Palace take the broadly progressive approach to songwriting via tangents and explorations of themes, but always reprise the key elements of those themes through escalation (“Traversing the Black Arc”), or evolution (“Birthing Uncertainty”), or just a snappy, definitive conclusion (“Awakening Extinction…”). Melody is, importantly, never actually absent, and the genuine beauty of the explicit refrains that slink in as a lone guitar takes centre-stage (“Malignant Dogma,” “Suspended in Emptiness,” “Sunken Veil”) are just the pinnacle of the shifting interplay that undergirds them, arising naturally and not as mere contrast to some ugly, dissonant mass.

There is nothing specifically within Elegy that one could single out as lesser in quality; the record is remarkably consistent, and if anything, Burning Palace save some of the best for its latter end (“Sunken Veil” is probably my personal favorite, and it comes second-to-last). There is a vague sensation that tracks share a little too much in common, but I’ve found that the more time spent in their company, the more personality each of them shows. But even if they do tend to melt a little into the realm of indistinguishability, the quality is invariably high, so I, for one, don’t really care—what does it matter, when you’ll be spinning it repeatedly in full anyway? That inkling of indistinctness runs the opposite direction and speaks somewhat to Elegy’s flow, as many songs pick up a similar riff or percussive pattern to that which closed their predecessor (“Malignant Dogma”).

Burning Palace might not be the average person’s idea of a great musical time, but it’s mine, and likely many of yours too. Elegy demonstrates the breadth of dissonance and complexity in extreme metal in its thoughtful yet exuberant form. Not cerebral, but clever, and never neglecting to dazzle with superb musicianship as worthy of the adjective “gnarly” as “technical.” Burning Palace have made subtly complex and repeatedly rewarding compositions, full of energy and ardor, and that you actually want to listen to, not just because you feel smart doing so. Those who can’t appreciate the style truly are missing out.

Rating: Very Good
DR: 6 | Format Reviewed: wav
Label: Total Dissonance Worship
Websites: Bandcamp | Facebook
Releases Worldwide: March 14th, 2025

#2025 #35 #Afterbirth #AmericanMetal #ArtificialBrain #BurningPalace #DeathMetal #DissonantDeathMetal #Elegy #Mar25 #ProgressiveTechnicalDeathMetal #Review #Reviews #Sunless #TechnicalDeathMetal #TotalDissonanceWorship

Gray Matter on a Chip: Building an Artificial Brain with Luminol https://hackaday.com/2024/12/05/gray-matter-on-a-chip-building-an-artificial-brain-with-luminol/ #artificialbrain #microfluidic #RobotsHacks #robotichand #graymatter #humanbrain #reaction #luminol #brain

Gray Matter on a Chip: Building an Artificial Brain with Luminol https://hackaday.com/2024/12/05/gray-matter-on-a-chip-building-an-artificial-brain-with-luminol/ #artificialbrain #microfluidic #RobotsHacks #robotichand #graymatter #humanbrain #reaction #luminol #brain

Gray Matter on a Chip: Building an Artificial Brain with Luminol - Ever wondered if you could build a robot controlled by chemical reactions? [Marb] ... - https://hackaday.com/2024/12/05/gray-matter-on-a-chip-building-an-artificial-brain-with-luminol/ #artificialbrain #microfluidic #robotshacks #robotichand #graymatter #humanbrain #reaction #luminol #brain

Gray Matter on a Chip: Building an Artificial Brain with Luminol - Ever wondered if you could build a robot controlled by chemical reactions? [Marb] ... - https://hackaday.com/2024/12/05/gray-matter-on-a-chip-building-an-artificial-brain-with-luminol/ #artificialbrain #microfluidic #robotshacks #robotichand #graymatter #humanbrain #reaction #luminol #brain

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DREAMLESS VEIL (INTER ARMA, PSYCROPTIC, Etc.) Streams New Single "Cyanide Mind"

https://metalinjection.net/new-music/dreamless-veil-inter-arma-psycroptic-etc-streams-new-single-cyanide-mind

#DreamlessVeil #InterArma #Psycroptic #ArtificialBrain

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#MetalInjection
DREAMLESS VEIL (INTER ARMA, PSYCROPTIC, Etc.) Streams New Single "Cyanide Mind"

https://metalinjection.net/new-music/dreamless-veil-inter-arma-psycroptic-etc-streams-new-single-cyanide-mind

#DreamlessVeil #InterArma #Psycroptic #ArtificialBrain

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#BraveWords
DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members Release New Single “Cyanide Mine”

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-release-new-single-cyanide-mine

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

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#BraveWords
DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members Release New Single “Cyanide Mine”

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-release-new-single-cyanide-mine

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

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DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members Release New Single "Saturnism"; Audio

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-release-new-single-saturnism-audio

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

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DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members Release New Single "Saturnism"; Audio

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-release-new-single-saturnism-audio

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

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#BraveWords
DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members To Release Debut Album In September; First Single Streaming

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-to-release-debut-album-in-september-first-single-streaming

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic

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#BraveWords
DREAMLESS VEIL Feat. INTER ARMA, ARTIFICIAL BRAIN & PSYCROPTIC Members To Release Debut Album In September; First Single Streaming

https://bravewords.com/news/dreamless-veil-feat-inter-arma-artificial-brain-psycroptic-members-to-release-debut-album-in-september-first-single-streaming

#DreamlessVeil #InterArma #ArtificialBrain #Psycroptic