#coffins — Public Fediverse posts

In a genre as insular as the often meme’d-and-mocked “one man raw black metal” offerings, Black Cilice have managed to become kind of a big deal. With an early release schedule that makes Coffins look like a bunch of slackers, their output has finally begun to slow down over the years, going from multiple splits and demos in one season to multi-year bouts of interruption. Votive Fire comes after an unusual four-year gap between full-lengths, claiming a slightly improved production and an emphasis on bigger songs. Black Cilice have been on a bit of an evolutionary bent as of late, transitioning from an almost impenetrable wall of noise into crafters of riffs with real might without sacrificing mood. I was curious to see how this newest creation would manifest itself, so go get your favorite goat to sacrifice and come take a walk through the fires with me.

How raw is raw? While older Black Cilice albums channel piercing treble tones through wind-tunnel cacophony, later works have tinkered with just a touch of varied emphasis. Previous LP Esoteric Atavism had decipherable leads which shimmered over the blast-heavy chords, and recent EP Tomb Emanations1 had a radical focus on emphasized doomy chord progressions in lieu of sheer assault. Votive Fire continues this slight change, returning to the more fog-and-moonlight murk of Transfixion of Spirits, but this time the band gives the listener a slightly brighter lantern. The drums have the bass kick cranked way up, giving every slowed rhythm a tribal pulse. The rest of the kit benefits too, with the expected speed in bits of “Into the Inner Temple” letting cymbals shine brightly in their fills and accents, somehow well articulated while still buried enough to offend people looking for something with the clarity of Necrophobic.

The net result of this production is an album that seeks to be meditative and soothing more than frightening and oppressive. The compositional approach of Votive Fire is four long songs that pick a key motif and then, ever so slightly, tweak and evolve the main riff through tempo changes and sustained chord pounding. It’s in these slower moments that the Fire shines the brightest; see the climactic slowdown ending “Released by Fire”, where the open space lets the drums run full scales while the looping chord progressions slowly build tension before exploding into another burst of speed without losing the established melancholy. That melancholy permeates the whole of Votive Fire. While Black Cilice could hardly be accused of ever making something uplifting, this particular album sidesteps the typical bleak claustrophobia with a vision much more inclined to introspection and self-reflection.

The one knock on Votive Fire is that, from a formula standpoint, each song follows roughly the same pattern: repetitive, hypnotic progressions under crystalline blasts evolving into a chunkier, punkier refrain before collapsing back into more anguished strums, all lashed forward by the glass-shattering vocals. With such a scant song selection, it may seem a little silly to try to find highlights. However, this is a headphone purist’s dream album, where the repetition of formula disguises the unique twists genuinely present, rewarding repeated listens in the right environment. “Vows Sworn for Centuries” hides a real gem of a riff in a shifting blast-beat instead of a slowdown, and “Deconstruction of All Realities” carries a main midtempo refrain which is both ritualistic and head-bangable. The production helps with this, somehow managing to mix everything to the bottom instead of to the front and letting the listener search for details articulated in the mire, rather than pushing everything forward and letting the disparate elements compete for attention. Consequently, this is a rare album that is raw af but somehow graceful to the ears, inviting the listener to dive deeper rather than partake in a display of auditory masochism.

Votive Fire manages to give itself an identity apart from previous Black Cilice releases, but where it can rank depends on what you’re looking for. It’s not as aggressive and riff-centric as Esoteric Atavism, not as punishingly raw as Summoning the Night, or as frighteningly atmospheric as Transfixion of Spirits. Instead, by fusing the riff game of the former into the misty comfort of the latter, Votive Fire transcends being a slab of aural abuse by way of offering moments with genuine, wistful beauty. That’s not a label I often get to associate with this genre, but I’m hardly disappointed. If you’re bored by the air-conditioner sound of your average one-man black metal, go light a candle and let the Votive Fire offer you a glimpse into something more, just beyond the veil.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Website: Album Bandcamp
Available Worldwide: May 1st, 2026

Our April meeting (Sunday 12th April, ONLINE via Zoom) will feature Professor Rita Lucarelli giving a talk on "Coffins as Magical Machines: Visualizing Ancient Egyptian Funerary Texts in 3D" (1/5)

#egyptology #ancientEgypt #coffins #bookOfTheDead #ancientHistory

An old ossuary in Portugal. Not abandoned, I just thought it was a perfect mix of spooky-pretty ☠️

#Portugal #Ossuary #Death #Coffin #Coffins #Macabre #Spooky #Photography

An old ossuary in Portugal. Not abandoned, I just thought it was a perfect mix of spooky-pretty ☠️

#Portugal #Ossuary #Death #Coffin #Coffins #Macabre #Spooky #Photography

Saturday, December 6, 2025

https://activitypub.writeworks.uk/2025/12/saturday-december-6-2025/

Saturday, December 6, 2025

https://activitypub.writeworks.uk/2025/12/saturday-december-6-2025/

Saturday, December 6, 2025

https://activitypub.writeworks.uk/2025/12/saturday-december-6-2025/

Saturday, December 6, 2025

https://activitypub.writeworks.uk/2025/12/saturday-december-6-2025/

Saturday, December 6, 2025

https://activitypub.writeworks.uk/2025/12/saturday-december-6-2025/

If you'd like to learn about pests and diseases of potatoes, here are 14 pics that show spuds in various types of distress. From a visit to The Canadian Potato Museum in O'Leary, Prince Edward Island. #PrinceEdwardIsland #pei #potatoes #museum #garden #gardening #agriculture #coffins #blog #solanum https://colinpurrington.com/2025/08/gallery-of-dead-potatoes-in-silk-lined-coffins/

#Phoenician #Sarcophagi Texts

#Phoenicia #AncientLevant #AncientNearEast #Coffins #Canaanites #Phoenicians #Sidon #Byblos
https://sapiru.wordpress.com/2025/07/16/phoenician-sarcophagi-texts/

Tuesday, April 29, 2025

Zelensky slams Putin’s 3-day truce proposal as ‘manipulation,’ reiterates calls for 30-day unconditional ceasefire — Russia’s military building up at Finland’s border — Drones reportedly strike Russian plant producing parts for missiles, radars — Over 95% of drones used at front line made in Ukraine … and more

https://activitypub.writeworks.uk/2025/04/tuesday-april-29-2025/

Sanctuarium – Melted and Decomposed Review

By Angry Metal Guy

By: Nameless_n00b_85

Sanctuarium is a young band with an old, rotted soul. Beginning life as a one-man old-school death project, the outfit quickly expanded after its first demo into a two-man unit for its debut full-length, Into the Mephitic Abyss. This change shifted the band’s approach from straightforward OSDM into a more synth-drenched death/doom hybrid, heavy on atmosphere blending their doomy dirges in with mid-paced death. On their sophomore outing, Melted and Decomposed, the band has upped to a full five-piece and further evolved sound. With this stylistic shift and three new members, it remains to be seen if Melted and Decomposed innovates or not.

Good death/doom needs to have the sound to back up the music, and here Melted and Decomposed excels at its soundscape. This album sounds monstrous, with a thick, buzzsaw guitar tone that serves the death and doom elements equally well. Drummer Agus alternates between fills and flourishes, as the death riffs allow him to show his chops in snare abuse and creative fills, while the doom passages shift him into the background. Vocalist Carlos adds heaps of atmosphere with his performance, alternating between gutturals and prolonged, vaguely blackened screeches that are drowned in reverb and always seem to be cutting through from the back of the mix. The whole package sounds foul and is a real treat for lovers of that vintage OSDM sound. This time, however, Sanctuarium has opted to separate the ingredients of death and doom and offer them up in alternating layers instead of a proper blending of sounds. As a result, this is a mixed bag of an album, with its core approach to songwriting proving to be its biggest stumbling block.

When Sanctuarium focuses on playing proper death metal, they sound properly infected. Their approach is at times beatdown heavy, such as the ending of “Exultant Dredges of Nameless Tombs,” which features some of the album’s most creative drumming over a riff that Bongripper would be proud of. Elsewhere, “Phlegmatic Convulsions” sports stank-face-inducing riffs that glide forward like tanks and sports a midsection that sounds pulled straight from the Coffins playbook of grooves. It is in such moments that Sanctuarium is at its most lethal. While never approaching anything that could be considered “technical,” the death portions of every cut never lack energy and zeal.

Where the album struggles is when the band brings the music to a screeching halt. With every song clearing a minimum mark of eight minutes, each contains multiple doom passages that teeter on funeral doom pacing–single-note, single-snare-hit dirges that derail the momentum of any song. This approach is pervasive throughout the album—groovy, catchy, wonderful death riffs suddenly interrupted without warning by brake-slamming, overly sustained chords (for especially egregious examples, check out “Abhorrent Excruciation in Reprisal” and “Sadistic Cremation of Emaciated Offal”) There is no build up to such moments—nor a cathartic explosion after them—instead, they are treated like an afterthought, as if the band remembered they needed to put doom into the album to adhere to their sound, before moving right along to the next death riff. Frustratingly, the final minutes of the closing track “The Disembodied Grip of Putrescence” even show the band suddenly grasping at the last moment how to make doom work to serve the song structure rather than the other way around. All too late, the writing proves capable, vindicating their sandwiching approach. Unfortunately, no other song manages this balance, and the doom elements commit the greatest crime in metal music: being boring.

Ultimately, Melted and Decomposed is a curious listen. I’ve never heard an album at once hit such delightful highs and experience such abysmal failings, and within the same song.1 The sound is excellent, the death metal elements strong, the atmosphere pervasive, and the doom doesn’t have to suck as hard as it does. Resuming the blended approach of their first album or improving the transitions and bridges between their divided song structures will let them unleash something truly putrid to the world on their next outing. Nevertheless, the death portions present an EP’s worth of genuine goodness, and lovers of all things audibly foul should investigate for themselves.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kb/s CBR MP3
Label: Me Saco un Ojo Records
Websites: sanctuarium.bandcamp.com (old) | mesacounojo.bandcamp.com (current album)
Releases Worldwide: September 3rd, 2024

#20 #2024 #Bongripper #Coffins #DeathMetal #DoomMetal #MeltedAndDecomposed #OSDM #Review #Reviews #Sanctuarium #Sep24

Sanctuarium – Melted and Decomposed Review

By Angry Metal Guy

By: Nameless_n00b_85

Sanctuarium is a young band with an old, rotted soul. Beginning life as a one-man old-school death project, the outfit quickly expanded after its first demo into a two-man unit for its debut full-length, Into the Mephitic Abyss. This change shifted the band’s approach from straightforward OSDM into a more synth-drenched death/doom hybrid, heavy on atmosphere blending their doomy dirges in with mid-paced death. On their sophomore outing, Melted and Decomposed, the band has upped to a full five-piece and further evolved sound. With this stylistic shift and three new members, it remains to be seen if Melted and Decomposed innovates or not.

Good death/doom needs to have the sound to back up the music, and here Melted and Decomposed excels at its soundscape. This album sounds monstrous, with a thick, buzzsaw guitar tone that serves the death and doom elements equally well. Drummer Agus alternates between fills and flourishes, as the death riffs allow him to show his chops in snare abuse and creative fills, while the doom passages shift him into the background. Vocalist Carlos adds heaps of atmosphere with his performance, alternating between gutturals and prolonged, vaguely blackened screeches that are drowned in reverb and always seem to be cutting through from the back of the mix. The whole package sounds foul and is a real treat for lovers of that vintage OSDM sound. This time, however, Sanctuarium has opted to separate the ingredients of death and doom and offer them up in alternating layers instead of a proper blending of sounds. As a result, this is a mixed bag of an album, with its core approach to songwriting proving to be its biggest stumbling block.

When Sanctuarium focuses on playing proper death metal, they sound properly infected. Their approach is at times beatdown heavy, such as the ending of “Exultant Dredges of Nameless Tombs,” which features some of the album’s most creative drumming over a riff that Bongripper would be proud of. Elsewhere, “Phlegmatic Convulsions” sports stank-face-inducing riffs that glide forward like tanks and sports a midsection that sounds pulled straight from the Coffins playbook of grooves. It is in such moments that Sanctuarium is at its most lethal. While never approaching anything that could be considered “technical,” the death portions of every cut never lack energy and zeal.

Where the album struggles is when the band brings the music to a screeching halt. With every song clearing a minimum mark of eight minutes, each contains multiple doom passages that teeter on funeral doom pacing–single-note, single-snare-hit dirges that derail the momentum of any song. This approach is pervasive throughout the album—groovy, catchy, wonderful death riffs suddenly interrupted without warning by brake-slamming, overly sustained chords (for especially egregious examples, check out “Abhorrent Excruciation in Reprisal” and “Sadistic Cremation of Emaciated Offal”) There is no build up to such moments—nor a cathartic explosion after them—instead, they are treated like an afterthought, as if the band remembered they needed to put doom into the album to adhere to their sound, before moving right along to the next death riff. Frustratingly, the final minutes of the closing track “The Disembodied Grip of Putrescence” even show the band suddenly grasping at the last moment how to make doom work to serve the song structure rather than the other way around. All too late, the writing proves capable, vindicating their sandwiching approach. Unfortunately, no other song manages this balance, and the doom elements commit the greatest crime in metal music: being boring.

Ultimately, Melted and Decomposed is a curious listen. I’ve never heard an album at once hit such delightful highs and experience such abysmal failings, and within the same song.1 The sound is excellent, the death metal elements strong, the atmosphere pervasive, and the doom doesn’t have to suck as hard as it does. Resuming the blended approach of their first album or improving the transitions and bridges between their divided song structures will let them unleash something truly putrid to the world on their next outing. Nevertheless, the death portions present an EP’s worth of genuine goodness, and lovers of all things audibly foul should investigate for themselves.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kb/s CBR MP3
Label: Me Saco un Ojo Records
Websites: sanctuarium.bandcamp.com (old) | mesacounojo.bandcamp.com (current album)
Releases Worldwide: September 3rd, 2024

#20 #2024 #Bongripper #Coffins #DeathMetal #DoomMetal #MeltedAndDecomposed #OSDM #Review #Reviews #Sanctuarium #Sep24

Sanctuarium – Melted and Decomposed Review

By Angry Metal Guy

By: Nameless_n00b_85

Sanctuarium is a young band with an old, rotted soul. Beginning life as a one-man old-school death project, the outfit quickly expanded after its first demo into a two-man unit for its debut full-length, Into the Mephitic Abyss. This change shifted the band’s approach from straightforward OSDM into a more synth-drenched death/doom hybrid, heavy on atmosphere blending their doomy dirges in with mid-paced death. On their sophomore outing, Melted and Decomposed, the band has upped to a full five-piece and further evolved sound. With this stylistic shift and three new members, it remains to be seen if Melted and Decomposed innovates or not.

Good death/doom needs to have the sound to back up the music, and here Melted and Decomposed excels at its soundscape. This album sounds monstrous, with a thick, buzzsaw guitar tone that serves the death and doom elements equally well. Drummer Agus alternates between fills and flourishes, as the death riffs allow him to show his chops in snare abuse and creative fills, while the doom passages shift him into the background. Vocalist Carlos adds heaps of atmosphere with his performance, alternating between gutturals and prolonged, vaguely blackened screeches that are drowned in reverb and always seem to be cutting through from the back of the mix. The whole package sounds foul and is a real treat for lovers of that vintage OSDM sound. This time, however, Sanctuarium has opted to separate the ingredients of death and doom and offer them up in alternating layers instead of a proper blending of sounds. As a result, this is a mixed bag of an album, with its core approach to songwriting proving to be its biggest stumbling block.

When Sanctuarium focuses on playing proper death metal, they sound properly infected. Their approach is at times beatdown heavy, such as the ending of “Exultant Dredges of Nameless Tombs,” which features some of the album’s most creative drumming over a riff that Bongripper would be proud of. Elsewhere, “Phlegmatic Convulsions” sports stank-face-inducing riffs that glide forward like tanks and sports a midsection that sounds pulled straight from the Coffins playbook of grooves. It is in such moments that Sanctuarium is at its most lethal. While never approaching anything that could be considered “technical,” the death portions of every cut never lack energy and zeal.

Where the album struggles is when the band brings the music to a screeching halt. With every song clearing a minimum mark of eight minutes, each contains multiple doom passages that teeter on funeral doom pacing–single-note, single-snare-hit dirges that derail the momentum of any song. This approach is pervasive throughout the album—groovy, catchy, wonderful death riffs suddenly interrupted without warning by brake-slamming, overly sustained chords (for especially egregious examples, check out “Abhorrent Excruciation in Reprisal” and “Sadistic Cremation of Emaciated Offal”) There is no build up to such moments—nor a cathartic explosion after them—instead, they are treated like an afterthought, as if the band remembered they needed to put doom into the album to adhere to their sound, before moving right along to the next death riff. Frustratingly, the final minutes of the closing track “The Disembodied Grip of Putrescence” even show the band suddenly grasping at the last moment how to make doom work to serve the song structure rather than the other way around. All too late, the writing proves capable, vindicating their sandwiching approach. Unfortunately, no other song manages this balance, and the doom elements commit the greatest crime in metal music: being boring.

Ultimately, Melted and Decomposed is a curious listen. I’ve never heard an album at once hit such delightful highs and experience such abysmal failings, and within the same song.1 The sound is excellent, the death metal elements strong, the atmosphere pervasive, and the doom doesn’t have to suck as hard as it does. Resuming the blended approach of their first album or improving the transitions and bridges between their divided song structures will let them unleash something truly putrid to the world on their next outing. Nevertheless, the death portions present an EP’s worth of genuine goodness, and lovers of all things audibly foul should investigate for themselves.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kb/s CBR MP3
Label: Me Saco un Ojo Records
Websites: sanctuarium.bandcamp.com (old) | mesacounojo.bandcamp.com (current album)
Releases Worldwide: September 3rd, 2024

#20 #2024 #Bongripper #Coffins #DeathMetal #DoomMetal #MeltedAndDecomposed #OSDM #Review #Reviews #Sanctuarium #Sep24

When plant parts #survive thousands of years. Dead plant parts filled with #lignin fulfill a variety of tasks as #wood in living #trees, but they also allow wood to survive for an impressively #longtime under suitable conditions.

Here, for example, wooden #coffins from #ancient #Egypt:
1) Coffin of a child, 22/23. Dynasty, 9th century BC.
2) Lid of the inner coffin of the priest Nespamai, 27th Dynasty, 500 BC.
1)+2) #NeuesMuseum #Berlin

© #StefanFWirth 2024

24 New Songs Out Today
https://www.brooklynvegan.com/24-new-songs-out-today-58/

#brooklynvegan_category_music #Music #Alan_Sparhawk #Azalia_Snail #Caleb_Landry_Jones #Career_Woman #chanel_beads #Coffins #Cola #destroy_boys #Drowse #fair_visions #Graywave #Gustaf #Hana_Vu #Low #Lula_Asplund #Mary_Lattimore #mountain_movers #New_Songs #New_Tracks #Pacing #The_Secret_Sisters #Walt_McClements #Zombi

24 New Songs Out Today
https://www.brooklynvegan.com/24-new-songs-out-today-58/

#brooklynvegan_category_music #Music #Alan_Sparhawk #Azalia_Snail #Caleb_Landry_Jones #Career_Woman #chanel_beads #Coffins #Cola #destroy_boys #Drowse #fair_visions #Graywave #Gustaf #Hana_Vu #Low #Lula_Asplund #Mary_Lattimore #mountain_movers #New_Songs #New_Tracks #Pacing #The_Secret_Sisters #Walt_McClements #Zombi

24 New Songs Out Today
https://www.brooklynvegan.com/24-new-songs-out-today-58/

#brooklynvegan_category_music #Music #Alan_Sparhawk #Azalia_Snail #Caleb_Landry_Jones #Career_Woman #chanel_beads #Coffins #Cola #destroy_boys #Drowse #fair_visions #Graywave #Gustaf #Hana_Vu #Low #Lula_Asplund #Mary_Lattimore #mountain_movers #New_Songs #New_Tracks #Pacing #The_Secret_Sisters #Walt_McClements #Zombi

24 New Songs Out Today
https://www.brooklynvegan.com/24-new-songs-out-today-58/

#brooklynvegan_category_music #Music #Alan_Sparhawk #Azalia_Snail #Caleb_Landry_Jones #Career_Woman #chanel_beads #Coffins #Cola #destroy_boys #Drowse #fair_visions #Graywave #Gustaf #Hana_Vu #Low #Lula_Asplund #Mary_Lattimore #mountain_movers #New_Songs #New_Tracks #Pacing #The_Secret_Sisters #Walt_McClements #Zombi

24 New Songs Out Today
https://www.brooklynvegan.com/24-new-songs-out-today-58/

#brooklynvegan_category_music #Music #Alan_Sparhawk #Azalia_Snail #Caleb_Landry_Jones #Career_Woman #chanel_beads #Coffins #Cola #destroy_boys #Drowse #fair_visions #Graywave #Gustaf #Hana_Vu #Low #Lula_Asplund #Mary_Lattimore #mountain_movers #New_Songs #New_Tracks #Pacing #The_Secret_Sisters #Walt_McClements #Zombi

Peter De Schepper a écrit un nouvel article de blog pour montrer comment il fait des #coffins pour pierres à #faux et des pieds de #chaises en hêtre frais.

https://lepicvert951698768.wordpress.com/2022/07/31/coffins-pour-pierres-a-faux-et-pieds-de-chaises/

S'il habitait pas à 1h30 de route de chez moi, je pense que je passerais souvent chez lui.😁

#travailDuBois #boisVert #PeterDeSchepper #LePicVert