#cough — Public Fediverse posts

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#sunset #arctic #pink #purple #clouds #sky #nordic #copenhagen #bog #marsh #periphery #hood #trees #walk #locals #speech #meet #look #up #down #logic #direction #stab #presence #acknowledge #waves #morse #click #turban #rice #paddy #teleport #tube #reborn #magic #medicine #fruit #cough #breathe #transplant #perception #collection #connectome #exp #nav #use #soc #move #swim #climb #purpose #free #no #bother #company #luck #ritual #commune #burden #contribution #payment #immaterial #action #veiled

#sunset #arctic #pink #purple #clouds #sky #nordic #copenhagen #bog #marsh #periphery #hood #trees #walk #locals #speech #meet #look #up #down #logic #direction #stab #presence #acknowledge #waves #morse #click #turban #rice #paddy #teleport #tube #reborn #magic #medicine #fruit #cough #breathe #transplant #perception #collection #connectome #exp #nav #use #soc #move #swim #climb #purpose #free #no #bother #company #luck #ritual #commune #burden #contribution #payment #immaterial #action #veiled

#sunset #arctic #pink #purple #clouds #sky #nordic #copenhagen #bog #marsh #periphery #hood #trees #walk #locals #speech #meet #look #up #down #logic #direction #stab #presence #acknowledge #waves #morse #click #turban #rice #paddy #teleport #tube #reborn #magic #medicine #fruit #cough #breathe #transplant #perception #collection #connectome #exp #nav #use #soc #move #swim #climb #purpose #free #no #bother #company #luck #ritual #commune #burden #contribution #payment #immaterial #action #veiled

Each writer here in the Hall has their own ritual for fishing new promo from the sump. Some utter incantations to eldritch gods. Some engage in druidic rites under the full moon. Some offer blood sacrifices to our Ape Overlord and heed the direction of the splatters. While my own ritual is a closely guarded secret, I can tell you that Verdun’s genre tag, “blackened dissonant sludge,” bypassed all ritual requirements. I swiped the French four-piece’s third LP so fucking fast I got dizzy. Of course, the genre tags we glean from labels’ promo language have no objective connection to quality or reality. Does Abyssal Womb deliver the promised goods, or is it just another case of hollow hyperbole?

Abyssal Womb marks a substantial departure from Verdun’s earlier work. 2014 debut The Eternal Drift’s Canticles used the same crushing, long-form structures as Cough or Warhorse. In 2019, sophomore effort Astral Sabbath saw the band experiment more heavily with abrasive and blackened textures, but it would take seven years for those elements to be fully realized. On Abyssal Womb, Verdun is still fundamentally a sludge band—and has the groove to prove it—but they’ve dispensed with much of the atmospherics and psychedelia of previous releases in favor of a darker and more direct sound. Roughly 15 minutes shorter than its predecessors, Abyssal Womb gets in, delivers grit, groove, and unease in equal measures, then makes like a tree and fucking leaves.

Where blackened dissonance served as a decoration on Astral Sabbath, it suffuses nearly every second of Abyssal Womb. Whether vocalist David Sadok rasps in French (“La Lame et la Chair,”1 “Les Noces du Néant”2) or in English, he’s malevolently caustic. What surprised me most was how much more terrifying he is in French. The rhythm section often sways between exhausted, blackened plodding (“Silent Witness”), macabre processions (“Funeral of the Cosmic Knight,” “Rise of the Atomic Ghouls”), and sludgy grooves (“He Who Killed the Devil”), but Jay Pinelli’s strident leads curdle blood at every opportunity. Even when I know it’s coming, his dreadful solo in “Funeral of the Cosmic Knight” sends shivers down my spine, reminding me of the primal fear in Primitive Man’s Observance. This is one of my favorite moments on the album, along with the imperious march on the back half of “Rise of the Atomic Ghouls.” Drummer Geraud Jonquet violently punctuates Pinelli’s stomping, palm-muted chugs in a way that feels like I’m ascending the steps to the gallows.

There’s plenty to praise on Abyssal Womb. Unsettling blackened plucking opens “Silent Witness.” Florian Celdran’s bass cleverly caresses the gaps between sustained chords in “La Lame et la Chair,” and Verdun weaves a few surprisingly emotive passages through the album (“Funeral of the Cosmic Knight,” “The Man Behind My Eyes”). “Les Noces du Néant” opens on a powerful sadboi doom riff that resurfaces throughout, and the track serves as a great closer, leaving me suitably unsettled, anxious, and unsafe. There’s less to critique, but there is some. “The Man Behind My Eyes” feels like a low point, failing to coalesce as well as the rest of Abyssal Womb. There’s a bafflingly non-sequitous noir-shaded bass solo in “He Who Killed the Devil,” and several tracks shoot past ideal endings in favor of dedicated outros or reprisals (“Silent Witness,” “He Who Killed the Devil,” “The Man Behind My Eyes”). None of these are dealbreakers—or even close—but they can briefly shake me out of Abyssal Womb’s immersion.

I rolled the dice on Verdun, declining to listen to advance tracks or previous output and trusting in the genre tag alone. This strategy doesn’t normally yield the best results, but it certainly paid off here. Abyssal Womb sees Verdun venturing deep into unknown waters and dredging up something dark and grisly, something that sets the teeth on edge. Abyssal Womb isn’t without its faults, but they’re not calamitous, nor do they overly detract from the band’s exciting new direction. If Verdun’s trajectory is any indication—and I hope it is—Abyssal Womb could be the first few steps toward something buried even deeper in the lightless abyss.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Transcending Obscurity Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: June 26th, 2026

Each writer here in the Hall has their own ritual for fishing new promo from the sump. Some utter incantations to eldritch gods. Some engage in druidic rites under the full moon. Some offer blood sacrifices to our Ape Overlord and heed the direction of the splatters. While my own ritual is a closely guarded secret, I can tell you that Verdun’s genre tag, “blackened dissonant sludge,” bypassed all ritual requirements. I swiped the French four-piece’s third LP so fucking fast I got dizzy. Of course, the genre tags we glean from labels’ promo language have no objective connection to quality or reality. Does Abyssal Womb deliver the promised goods, or is it just another case of hollow hyperbole?

Abyssal Womb marks a substantial departure from Verdun’s earlier work. 2014 debut The Eternal Drift’s Canticles used the same crushing, long-form structures as Cough or Warhorse. In 2019, sophomore effort Astral Sabbath saw the band experiment more heavily with abrasive and blackened textures, but it would take seven years for those elements to be fully realized. On Abyssal Womb, Verdun is still fundamentally a sludge band—and has the groove to prove it—but they’ve dispensed with much of the atmospherics and psychedelia of previous releases in favor of a darker and more direct sound. Roughly 15 minutes shorter than its predecessors, Abyssal Womb gets in, delivers grit, groove, and unease in equal measures, then makes like a tree and fucking leaves.

Where blackened dissonance served as a decoration on Astral Sabbath, it suffuses nearly every second of Abyssal Womb. Whether vocalist David Sadok rasps in French (“La Lame et la Chair,”1 “Les Noces du Néant”2) or in English, he’s malevolently caustic. What surprised me most was how much more terrifying he is in French. The rhythm section often sways between exhausted, blackened plodding (“Silent Witness”), macabre processions (“Funeral of the Cosmic Knight,” “Rise of the Atomic Ghouls”), and sludgy grooves (“He Who Killed the Devil”), but Jay Pinelli’s strident leads curdle blood at every opportunity. Even when I know it’s coming, his dreadful solo in “Funeral of the Cosmic Knight” sends shivers down my spine, reminding me of the primal fear in Primitive Man’s Observance. This is one of my favorite moments on the album, along with the imperious march on the back half of “Rise of the Atomic Ghouls.” Drummer Geraud Jonquet violently punctuates Pinelli’s stomping, palm-muted chugs in a way that feels like I’m ascending the steps to the gallows.

There’s plenty to praise on Abyssal Womb. Unsettling blackened plucking opens “Silent Witness.” Florian Celdran’s bass cleverly caresses the gaps between sustained chords in “La Lame et la Chair,” and Verdun weaves a few surprisingly emotive passages through the album (“Funeral of the Cosmic Knight,” “The Man Behind My Eyes”). “Les Noces du Néant” opens on a powerful sadboi doom riff that resurfaces throughout, and the track serves as a great closer, leaving me suitably unsettled, anxious, and unsafe. There’s less to critique, but there is some. “The Man Behind My Eyes” feels like a low point, failing to coalesce as well as the rest of Abyssal Womb. There’s a bafflingly non-sequitous noir-shaded bass solo in “He Who Killed the Devil,” and several tracks shoot past ideal endings in favor of dedicated outros or reprisals (“Silent Witness,” “He Who Killed the Devil,” “The Man Behind My Eyes”). None of these are dealbreakers—or even close—but they can briefly shake me out of Abyssal Womb’s immersion.

I rolled the dice on Verdun, declining to listen to advance tracks or previous output and trusting in the genre tag alone. This strategy doesn’t normally yield the best results, but it certainly paid off here. Abyssal Womb sees Verdun venturing deep into unknown waters and dredging up something dark and grisly, something that sets the teeth on edge. Abyssal Womb isn’t without its faults, but they’re not calamitous, nor do they overly detract from the band’s exciting new direction. If Verdun’s trajectory is any indication—and I hope it is—Abyssal Womb could be the first few steps toward something buried even deeper in the lightless abyss.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Transcending Obscurity Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: June 26th, 2026

Each writer here in the Hall has their own ritual for fishing new promo from the sump. Some utter incantations to eldritch gods. Some engage in druidic rites under the full moon. Some offer blood sacrifices to our Ape Overlord and heed the direction of the splatters. While my own ritual is a closely guarded secret, I can tell you that Verdun’s genre tag, “blackened dissonant sludge,” bypassed all ritual requirements. I swiped the French four-piece’s third LP so fucking fast I got dizzy. Of course, the genre tags we glean from labels’ promo language have no objective connection to quality or reality. Does Abyssal Womb deliver the promised goods, or is it just another case of hollow hyperbole?

Abyssal Womb marks a substantial departure from Verdun’s earlier work. 2014 debut The Eternal Drift’s Canticles used the same crushing, long-form structures as Cough or Warhorse. In 2019, sophomore effort Astral Sabbath saw the band experiment more heavily with abrasive and blackened textures, but it would take seven years for those elements to be fully realized. On Abyssal Womb, Verdun is still fundamentally a sludge band—and has the groove to prove it—but they’ve dispensed with much of the atmospherics and psychedelia of previous releases in favor of a darker and more direct sound. Roughly 15 minutes shorter than its predecessors, Abyssal Womb gets in, delivers grit, groove, and unease in equal measures, then makes like a tree and fucking leaves.

Where blackened dissonance served as a decoration on Astral Sabbath, it suffuses nearly every second of Abyssal Womb. Whether vocalist David Sadok rasps in French (“La Lame et la Chair,”1 “Les Noces du Néant”2) or in English, he’s malevolently caustic. What surprised me most was how much more terrifying he is in French. The rhythm section often sways between exhausted, blackened plodding (“Silent Witness”), macabre processions (“Funeral of the Cosmic Knight,” “Rise of the Atomic Ghouls”), and sludgy grooves (“He Who Killed the Devil”), but Jay Pinelli’s strident leads curdle blood at every opportunity. Even when I know it’s coming, his dreadful solo in “Funeral of the Cosmic Knight” sends shivers down my spine, reminding me of the primal fear in Primitive Man’s Observance. This is one of my favorite moments on the album, along with the imperious march on the back half of “Rise of the Atomic Ghouls.” Drummer Geraud Jonquet violently punctuates Pinelli’s stomping, palm-muted chugs in a way that feels like I’m ascending the steps to the gallows.

There’s plenty to praise on Abyssal Womb. Unsettling blackened plucking opens “Silent Witness.” Florian Celdran’s bass cleverly caresses the gaps between sustained chords in “La Lame et la Chair,” and Verdun weaves a few surprisingly emotive passages through the album (“Funeral of the Cosmic Knight,” “The Man Behind My Eyes”). “Les Noces du Néant” opens on a powerful sadboi doom riff that resurfaces throughout, and the track serves as a great closer, leaving me suitably unsettled, anxious, and unsafe. There’s less to critique, but there is some. “The Man Behind My Eyes” feels like a low point, failing to coalesce as well as the rest of Abyssal Womb. There’s a bafflingly non-sequitous noir-shaded bass solo in “He Who Killed the Devil,” and several tracks shoot past ideal endings in favor of dedicated outros or reprisals (“Silent Witness,” “He Who Killed the Devil,” “The Man Behind My Eyes”). None of these are dealbreakers—or even close—but they can briefly shake me out of Abyssal Womb’s immersion.

I rolled the dice on Verdun, declining to listen to advance tracks or previous output and trusting in the genre tag alone. This strategy doesn’t normally yield the best results, but it certainly paid off here. Abyssal Womb sees Verdun venturing deep into unknown waters and dredging up something dark and grisly, something that sets the teeth on edge. Abyssal Womb isn’t without its faults, but they’re not calamitous, nor do they overly detract from the band’s exciting new direction. If Verdun’s trajectory is any indication—and I hope it is—Abyssal Womb could be the first few steps toward something buried even deeper in the lightless abyss.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Transcending Obscurity Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: June 26th, 2026

Each writer here in the Hall has their own ritual for fishing new promo from the sump. Some utter incantations to eldritch gods. Some engage in druidic rites under the full moon. Some offer blood sacrifices to our Ape Overlord and heed the direction of the splatters. While my own ritual is a closely guarded secret, I can tell you that Verdun’s genre tag, “blackened dissonant sludge,” bypassed all ritual requirements. I swiped the French four-piece’s third LP so fucking fast I got dizzy. Of course, the genre tags we glean from labels’ promo language have no objective connection to quality or reality. Does Abyssal Womb deliver the promised goods, or is it just another case of hollow hyperbole?

Abyssal Womb marks a substantial departure from Verdun’s earlier work. 2014 debut The Eternal Drift’s Canticles used the same crushing, long-form structures as Cough or Warhorse. In 2019, sophomore effort Astral Sabbath saw the band experiment more heavily with abrasive and blackened textures, but it would take seven years for those elements to be fully realized. On Abyssal Womb, Verdun is still fundamentally a sludge band—and has the groove to prove it—but they’ve dispensed with much of the atmospherics and psychedelia of previous releases in favor of a darker and more direct sound. Roughly 15 minutes shorter than its predecessors, Abyssal Womb gets in, delivers grit, groove, and unease in equal measures, then makes like a tree and fucking leaves.

Where blackened dissonance served as a decoration on Astral Sabbath, it suffuses nearly every second of Abyssal Womb. Whether vocalist David Sadok rasps in French (“La Lame et la Chair,”1 “Les Noces du Néant”2) or in English, he’s malevolently caustic. What surprised me most was how much more terrifying he is in French. The rhythm section often sways between exhausted, blackened plodding (“Silent Witness”), macabre processions (“Funeral of the Cosmic Knight,” “Rise of the Atomic Ghouls”), and sludgy grooves (“He Who Killed the Devil”), but Jay Pinelli’s strident leads curdle blood at every opportunity. Even when I know it’s coming, his dreadful solo in “Funeral of the Cosmic Knight” sends shivers down my spine, reminding me of the primal fear in Primitive Man’s Observance. This is one of my favorite moments on the album, along with the imperious march on the back half of “Rise of the Atomic Ghouls.” Drummer Geraud Jonquet violently punctuates Pinelli’s stomping, palm-muted chugs in a way that feels like I’m ascending the steps to the gallows.

There’s plenty to praise on Abyssal Womb. Unsettling blackened plucking opens “Silent Witness.” Florian Celdran’s bass cleverly caresses the gaps between sustained chords in “La Lame et la Chair,” and Verdun weaves a few surprisingly emotive passages through the album (“Funeral of the Cosmic Knight,” “The Man Behind My Eyes”). “Les Noces du Néant” opens on a powerful sadboi doom riff that resurfaces throughout, and the track serves as a great closer, leaving me suitably unsettled, anxious, and unsafe. There’s less to critique, but there is some. “The Man Behind My Eyes” feels like a low point, failing to coalesce as well as the rest of Abyssal Womb. There’s a bafflingly non-sequitous noir-shaded bass solo in “He Who Killed the Devil,” and several tracks shoot past ideal endings in favor of dedicated outros or reprisals (“Silent Witness,” “He Who Killed the Devil,” “The Man Behind My Eyes”). None of these are dealbreakers—or even close—but they can briefly shake me out of Abyssal Womb’s immersion.

I rolled the dice on Verdun, declining to listen to advance tracks or previous output and trusting in the genre tag alone. This strategy doesn’t normally yield the best results, but it certainly paid off here. Abyssal Womb sees Verdun venturing deep into unknown waters and dredging up something dark and grisly, something that sets the teeth on edge. Abyssal Womb isn’t without its faults, but they’re not calamitous, nor do they overly detract from the band’s exciting new direction. If Verdun’s trajectory is any indication—and I hope it is—Abyssal Womb could be the first few steps toward something buried even deeper in the lightless abyss.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Transcending Obscurity Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: June 26th, 2026

Each writer here in the Hall has their own ritual for fishing new promo from the sump. Some utter incantations to eldritch gods. Some engage in druidic rites under the full moon. Some offer blood sacrifices to our Ape Overlord and heed the direction of the splatters. While my own ritual is a closely guarded secret, I can tell you that Verdun’s genre tag, “blackened dissonant sludge,” bypassed all ritual requirements. I swiped the French four-piece’s third LP so fucking fast I got dizzy. Of course, the genre tags we glean from labels’ promo language have no objective connection to quality or reality. Does Abyssal Womb deliver the promised goods, or is it just another case of hollow hyperbole?

Abyssal Womb marks a substantial departure from Verdun’s earlier work. 2014 debut The Eternal Drift’s Canticles used the same crushing, long-form structures as Cough or Warhorse. In 2019, sophomore effort Astral Sabbath saw the band experiment more heavily with abrasive and blackened textures, but it would take seven years for those elements to be fully realized. On Abyssal Womb, Verdun is still fundamentally a sludge band—and has the groove to prove it—but they’ve dispensed with much of the atmospherics and psychedelia of previous releases in favor of a darker and more direct sound. Roughly 15 minutes shorter than its predecessors, Abyssal Womb gets in, delivers grit, groove, and unease in equal measures, then makes like a tree and fucking leaves.

Where blackened dissonance served as a decoration on Astral Sabbath, it suffuses nearly every second of Abyssal Womb. Whether vocalist David Sadok rasps in French (“La Lame et la Chair,”1 “Les Noces du Néant”2) or in English, he’s malevolently caustic. What surprised me most was how much more terrifying he is in French. The rhythm section often sways between exhausted, blackened plodding (“Silent Witness”), macabre processions (“Funeral of the Cosmic Knight,” “Rise of the Atomic Ghouls”), and sludgy grooves (“He Who Killed the Devil”), but Jay Pinelli’s strident leads curdle blood at every opportunity. Even when I know it’s coming, his dreadful solo in “Funeral of the Cosmic Knight” sends shivers down my spine, reminding me of the primal fear in Primitive Man’s Observance. This is one of my favorite moments on the album, along with the imperious march on the back half of “Rise of the Atomic Ghouls.” Drummer Geraud Jonquet violently punctuates Pinelli’s stomping, palm-muted chugs in a way that feels like I’m ascending the steps to the gallows.

There’s plenty to praise on Abyssal Womb. Unsettling blackened plucking opens “Silent Witness.” Florian Celdran’s bass cleverly caresses the gaps between sustained chords in “La Lame et la Chair,” and Verdun weaves a few surprisingly emotive passages through the album (“Funeral of the Cosmic Knight,” “The Man Behind My Eyes”). “Les Noces du Néant” opens on a powerful sadboi doom riff that resurfaces throughout, and the track serves as a great closer, leaving me suitably unsettled, anxious, and unsafe. There’s less to critique, but there is some. “The Man Behind My Eyes” feels like a low point, failing to coalesce as well as the rest of Abyssal Womb. There’s a bafflingly non-sequitous noir-shaded bass solo in “He Who Killed the Devil,” and several tracks shoot past ideal endings in favor of dedicated outros or reprisals (“Silent Witness,” “He Who Killed the Devil,” “The Man Behind My Eyes”). None of these are dealbreakers—or even close—but they can briefly shake me out of Abyssal Womb’s immersion.

I rolled the dice on Verdun, declining to listen to advance tracks or previous output and trusting in the genre tag alone. This strategy doesn’t normally yield the best results, but it certainly paid off here. Abyssal Womb sees Verdun venturing deep into unknown waters and dredging up something dark and grisly, something that sets the teeth on edge. Abyssal Womb isn’t without its faults, but they’re not calamitous, nor do they overly detract from the band’s exciting new direction. If Verdun’s trajectory is any indication—and I hope it is—Abyssal Womb could be the first few steps toward something buried even deeper in the lightless abyss.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Transcending Obscurity Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: June 26th, 2026

April, Hegseth: No mandatory flu vaccines.
May: Only 40% of recruits "op-in" and get the flu vaccine.
June: TX Air Force base residents see 160 confirmed cases of flu, one death unconfirmed.
Today: All Lackland residents forced to get flu vaccine.
#fascist #USA #ChristoFascist #bodily #autonomy #vaccine #AirForce #military #base #mandatory #public #health #crisis #COVID #MaskUp #influenza #airborne #particles #sneeze #cough
https://www.theguardian.com/us-news/2026/jun/18/lackland-air-force-base-flu-outbreak

April, Hegseth: No mandatory flu vaccines.
May: Only 40% of recruits "op-in" and get the flu vaccine.
June: TX Air Force base residents see 160 confirmed cases of flu, one death unconfirmed.
Today: All Lackland residents forced to get flu vaccine.
#fascist #USA #ChristoFascist #bodily #autonomy #vaccine #AirForce #military #base #mandatory #public #health #crisis #COVID #MaskUp #influenza #airborne #particles #sneeze #cough
https://www.theguardian.com/us-news/2026/jun/18/lackland-air-force-base-flu-outbreak

April, Hegseth: No mandatory flu vaccines.
May: Only 40% of recruits "op-in" and get the flu vaccine.
June: TX Air Force base residents see 160 confirmed cases of flu, one death unconfirmed.
Today: All Lackland residents forced to get flu vaccine.
#fascist #USA #ChristoFascist #bodily #autonomy #vaccine #AirForce #military #base #mandatory #public #health #crisis #COVID #MaskUp #influenza #airborne #particles #sneeze #cough
https://www.theguardian.com/us-news/2026/jun/18/lackland-air-force-base-flu-outbreak

April, Hegseth: No mandatory flu vaccines.
May: Only 40% of recruits "op-in" and get the flu vaccine.
June: TX Air Force base residents see 160 confirmed cases of flu, one death unconfirmed.
Today: All Lackland residents forced to get flu vaccine.
#fascist #USA #ChristoFascist #bodily #autonomy #vaccine #AirForce #military #base #mandatory #public #health #crisis #COVID #MaskUp #influenza #airborne #particles #sneeze #cough
https://www.theguardian.com/us-news/2026/jun/18/lackland-air-force-base-flu-outbreak

April, Hegseth: No mandatory flu vaccines.
May: Only 40% of recruits "op-in" and get the flu vaccine.
June: TX Air Force base residents see 160 confirmed cases of flu, one death unconfirmed.
Today: All Lackland residents forced to get flu vaccine.
#fascist #USA #ChristoFascist #bodily #autonomy #vaccine #AirForce #military #base #mandatory #public #health #crisis #COVID #MaskUp #influenza #airborne #particles #sneeze #cough
https://www.theguardian.com/us-news/2026/jun/18/lackland-air-force-base-flu-outbreak

#jouRapNal #book19 day 30

20260515Thu

#3goodThings #anniversary #escooter #bike #threeGoodThings

#cough #hourly85 #quote

#jouRapNal #book19 day 30

20260515Thu

#3goodThings #anniversary #escooter #bike #threeGoodThings

#cough #hourly85 #quote

#jouRapNal #book19 day 30

20260515Thu

#3goodThings #anniversary #escooter #bike #threeGoodThings

#cough #hourly85 #quote

#jouRapNal #book19 day 30

20260515Thu

#3goodThings #anniversary #escooter #bike #threeGoodThings

#cough #hourly85 #quote

Licorice Root Tea
🍯🌿 Sore throat? Dry cough? Licorice root tea soothes and coats irritated tissues. Naturally sweet. Short-term use only - can raise blood pressure.
https://meganpublishingservices.com/herbal-tea-benefits/licorice-root-tea-benefits/
#LicoriceRootTea #SoreThroatRelief #HerbalTea #NaturalRemedies #Tiktokenglish#tiktokaus #tiktokireland #tiktokuk_uk #tiktokindia #tiktoknz #sorethroat #cough

Dwellnought – Monolith of Ephemerality Review

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of…
#NewsBeep #News #Music #2.0 #2026 #BellWitch #blackeneddoommetal #BlutAusNord #CaligariRecords #Cough #Dwellnought #Entertainment #Feb26 #ItalianMetal #MonolithofEphemerality #Ossuary #review #Reviews #SufferingHour #Teitanblood #UK #UnitedKingdom
https://www.newsbeep.com/uk/493429/

https://www.europesays.com/uk/848014/ Dwellnought – Monolith of Ephemerality Review #20 #2026 #BellWitch #BlackenedDoomMetal #BlutAusNord #CaligariRecords #Cough #Dwellnought #Entertainment #Feb26 #ItalianMetal #MonolithOfEphemerality #music #Ossuary #Review #Reviews #SufferingHour #Teitanblood #UK #UnitedKingdom

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

https://www.europesays.com/ie/331181/ Safety perceptions of major vaccines show significant drop over the past three years #children #Cough #Covid19 #Éire #flu #Health #Hepatitis #HepatitisB #IE #Ireland #measles #MMR #mumps #PublicHealth #Research #Rubella #Vaccine #WhoopingCough

Click play
This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
https://play.google.com/store/books/details/Christine_Munroe_This_Is_What_Happens_When_You_Cat?id=RnmlEQAAQBAJ
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon #fever #headache

Click play
This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
https://play.google.com/store/books/details/Christine_Munroe_This_Is_What_Happens_When_You_Cat?id=RnmlEQAAQBAJ
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon #fever #headache

Click play
This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
https://play.google.com/store/books/details/Christine_Munroe_This_Is_What_Happens_When_You_Cat?id=RnmlEQAAQBAJ
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon

Click play
This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
https://play.google.com/store/books/details/Christine_Munroe_This_Is_What_Happens_When_You_Cat?id=RnmlEQAAQBAJ
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon

Thyme herbal tea (Thymus Vulgaris) fights colds with its antiviral properties, soothes sore throats, and eases digestion—perfect for winter! 🌿🍋 Pair with lemon & honey. Use organic, max 3 cups/day for 3 weeks. https://www.thes-traditions.com/en/content/thyme-herbal-tea #ThymeTea #HerbalRemedy #WinterWellness #Cold #Cough

Thyme herbal tea (Thymus Vulgaris) fights colds with its antiviral properties, soothes sore throats, and eases digestion—perfect for winter! 🌿🍋 Pair with lemon & honey. Use organic, max 3 cups/day for 3 weeks. https://www.thes-traditions.com/en/content/thyme-herbal-tea #ThymeTea #HerbalRemedy #WinterWellness #Cold #Cough

Click play.
This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
https://play.google.com/store/books/details/Christine_Munroe_This_Is_What_Happens_When_You_Cat?id=RnmlEQAAQBAJ
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon

Click play.
This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
https://play.google.com/store/books/details/Christine_Munroe_This_Is_What_Happens_When_You_Cat?id=RnmlEQAAQBAJ
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon

This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
Click play
https://www.beam-shop.de/belletristik/kinder-jugendbuch/kinderbuch/1200210/this-is-what-happens-when-you-catch-a-cold
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon

This Is What Happens - When You Catch A Cold
New edition!
Collection of four crazy and hilarious stories - have fun!
Click play
https://www.beam-shop.de/belletristik/kinder-jugendbuch/kinderbuch/1200210/this-is-what-happens-when-you-catch-a-cold
#author #books #book #writing #reading #selfpublishing #space #fantasy #universe #christinemunroe #cold #cough #school #moon

Babies fed blueberries show fewer allergy symptoms and boosted immune balance

Feeding blueberries to infants in the first year of life may help alleviate allergy symptoms and alter immune…
#NewsBeep #News #Health #allergy #AU #Australia #Bacterial #blueberries #Breastfeeding #Chemokines #Cold #Cough #Cytokine #Cytokines #diet #immunity #Inflammation #Lactobacillus #Microbiome #Nutrients #Placebo #research #Respiratory #Skin
https://www.newsbeep.com/au/110066/

This 2022 study of 38 different studies, showed that the percentage of people who are asymptomatic the whole time they're infected with COVID is 44%!
Highest in children and teens, then younger adults, decreasing in frequency to seniors who show the most symptoms. How many ppl have told me they'll put on a mask if they see someone coughing...
#CovidIsNotOver #MaskUp #airborne #virus #asymptomatic #carrier #cough #droplets #respirator #face #shield #measles #bird #flu #too https://pmc.ncbi.nlm.nih.gov/articles/PMC9935239/

This 2022 study of 38 different studies, showed that the percentage of people who are asymptomatic the whole time they're infected with COVID is 44%!
Highest in children and teens, then younger adults, decreasing in frequency to seniors who show the most symptoms. How many ppl have told me they'll put on a mask if they see someone coughing...
#CovidIsNotOver #MaskUp #airborne #virus #asymptomatic #carrier #cough #droplets #respirator #face #shield #measles #bird #flu #too https://pmc.ncbi.nlm.nih.gov/articles/PMC9935239/

NB.1.8.1 "Nimbus" is growing, known as "razor blade throat". W.H.O. says it is a variant to monitor, as it is expected to take over soon as #1 strain infecting folks in U.S.A. Link is to COVID wastewater map (pictured), additional resources.
#CovidIsNotOver #SummerSurge #hospitalized #proper #respirator #face #shield #mask #asymptomatic #carrier #razor #blade #cough #COVID = #AirBorne #MaskUp #LongCOVID is #number #one #illness in #children #surpassing #asthma https://coronavirus.health.ny.gov/covid-19-wastewater-surveillance

82K ppl at Metlife Stadium for Shakira concert May 15 may have been exposed to measles. Out of state attendee became sick, fessed up. 1 in 5 who get it will need hospitalization(!) Symptoms might not appear til June 6!
I got blood work done, & sure enough, I'm getting my measles booster - MMR - measles mumps rubella.
#MaskUp #measles #BirdFlu #COVID #LongCOVID #airborne #virus #disease #stadium #concert #exposed #cough #sneeze #contagious #asymptomatic #spreader #event https://people.com/officials-warn-measles-exposure-shakira-nj-concert-metlife-stadium-east-rutherford-11739152

82K ppl at Metlife Stadium for Shakira concert May 15 may have been exposed to measles. Out of state attendee became sick, fessed up. 1 in 5 who get it will need hospitalization(!) Symptoms might not appear til June 6!
I got blood work done, & sure enough, I'm getting my measles booster - MMR - measles mumps rubella.
#MaskUp #measles #BirdFlu #COVID #LongCOVID #airborne #virus #disease #stadium #concert #exposed #cough #sneeze #contagious #asymptomatic #spreader #event https://people.com/officials-warn-measles-exposure-shakira-nj-concert-metlife-stadium-east-rutherford-11739152

Hey, #NewYorkCity, cases are way up, week over week. This wave has hit Asia and is coming to the US via NYC and LA right now. [Link is to NY state COVID wastewater surveillance map.]
#MaskUp #CovidIsNotOver #COVID #LongCOVID #flu #BirdFlu #measles #respirator #face #shield #cough #sneeze #asymptomatic #cases #airborne #disease #illness #infectious #infect #wave #spread #case #subway #train #bus #sidewalk #bar #restaurant #theatre #air #filtration #system https://coronavirus.health.ny.gov/covid-19-wastewater-surveillance

Hey, #NewYorkCity, cases are way up, week over week. This wave has hit Asia and is coming to the US via NYC and LA right now. [Link is to NY state COVID wastewater surveillance map.]
#MaskUp #CovidIsNotOver #COVID #LongCOVID #flu #BirdFlu #measles #respirator #face #shield #cough #sneeze #asymptomatic #cases #airborne #disease #illness #infectious #infect #wave #spread #case #subway #train #bus #sidewalk #bar #restaurant #theatre #air #filtration #system https://coronavirus.health.ny.gov/covid-19-wastewater-surveillance

https://nkvsspsundaycomics.thecomicseries.com/comics/371/

How long😳

#pardonOurArtist #covid19 #lingering #cough #sundayvibes #sundaycomic #webcomics #webcomichat #comics #postinfection #covidcough #SundayThoughts #health #vibecheck

My cold has turned unpleasant.

If I try to lie down to sleep I get musical wheezing from my chest, then I start coughing.
I've never been one for sleeping sitting up but I'm going to work on the technique because I desperately need to sleep.

I don't think I'm in 111 territory yet, so we'll see how today goes.

#cold #wheezing #cough

My cold has turned unpleasant.

If I try to lie down to sleep I get musical wheezing from my chest, then I start coughing.
I've never been one for sleeping sitting up but I'm going to work on the technique because I desperately need to sleep.

I don't think I'm in 111 territory yet, so we'll see how today goes.

#cold #wheezing #cough