#discharge — Public Fediverse posts on home.social

BC BY-NC-SA @[email protected] · 2026-09-01 · 19:48 UTC

Dystopiate – IHN015 // Dystopiate - Filth Film
#Amebix #Electronic #Mayhem #Motorhead #blackmetal #crustpunk #dbeat #discharge #indie #noisepop #noiserock #postrock #psychedelicrock #rawpunk #voivod #Boston
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://iheartnoise.bandcamp.com/album/ihn015-dystopiate-filth-film

#amebix #electronic #mayhem #motorhead #blackmetal #crustpunk

💧🌏 Greg Cocks @[email protected] · 2026-08-27 · 14:34 UTC

Mapping Flood Agents In The Northern Pantanal Wetland Using Multiple Spatio-Temporal GIS And Remote Sensing Techniques
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https://doi.org/10.1007/s13157-026-02082-3 <-- shared paper
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H/T @renato Gatto de Morais | Geógrafo | Mestre em Recursos Hídricos | Doutorando em Geografia
“Combining MODIS data, TRMM, river discharge, a digital terrain model, and multinomial logistic regression, [the authors] identified three predominant classes of flood origin: local rainfall, bank overflow, and mixed areas. The model achieved a Nagelkerke Pseudo-R² of 0.63 and a classification accuracy of up to 81.2% (10-fold cross-validation). To the best of [their] knowledge, this is the first explicit approach to mapping flood agents for this wetland, a component that has historically remained unmapped despite its recognized influence on habitats and biodiversity…”
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“The mapping of functional hydrologic units is crucial for enhancing our understanding of flooding and hydroecological processes in large wetlands. These units are typically defined by flooding frequency, duration, and magnitude, but another important hydrologic characteristic is the origin of flooding, known as the flood agent. This study presents an empirical framework utilizing remote sensing and GIS procedures for modeling flood agents in the northern Pantanal wetland. Eleven spatial data layers were derived from multi-year MODIS flood maps, daily rainfall estimates from the TRMM 3B42 grid, in situ discharge data, the BEST Digital Terrain Model, and a hydrographic network layer. These layers were tested for their predictive power in a multinomial logistic regression mapping model. Model performance metrics, along with qualitative validation of mapping outcomes using in situ flooding measurements, and vegetation and soil data from field test sites, support the plausibility of the proposed mapping scheme. However, they also highlight the challenges of flood agent mapping in large tropical wetlands…”
#GIS #spatial #mapping #MODIS #TRMM #riverdischarge #digitalterrainmodel #multinomiallogisticregression #geostatistics #Pantanal #Cuiaba #Brazil #water #hydrology #spatialanalysis #spatiotemporal #remotesensing #earthobservation #flood #flooding #source #type #floodagent #tropical #wetland #habitat #biodiversity #ecosystem #hydrologicunit #hydroecology #model #modeling #rainfall #precipitation #weather #climate #discharge #network #metrics

#gis #spatial #mapping #modis #trmm #riverdischarge

Angry Metal Guy @[email protected] · 2026-08-19 · 15:57 UTC

Street Tombs – Existence is Corruption Review By ClarkKent

Sometimes it just feels good to let rip some ferocious riffs, pound the drums at headbanging velocity, and rail about society’s ills at a pitch that a caveman can appreciate. At least that’s how I imagine New Mexico’s Street Tombs approaches their songwriting. In 2023, they gave out a good ol’ thrashing on their debut, Reclusive Decay, which didn’t see coverage here, but did land on Decibel’s top 40 albums of the year. Though Reclusive Decay had barely above 30 minutes of music, it’s taken three years to release Existence is Corruption, yet another 30 minutes of high-octane crusty punk. Maybe they used that time to research the thematic content of their lyrics, whose topics include the “complacency, corruption, and destruction” that plague modern society. Nah, who am I kidding? They just want to bludgeon you over the head with the well-honed vocal, riff, and d-beat attack they’ve spent that time sharpening.

Street Tombs combine the punky influence of early d-beat purveyors, Discharge and Celtic Frost, with the physical, in-your-face riffage of Bolt Thrower. This blend makes for a high-energy attack with endless riffs and plenty of whiplash as your neck attempts to navigate their bruising soundscape. Existence is Corruption is a no-frills dose of death metal, skipping the usual atmospheric opener and going straight for the jugular on the pummeling “Pestilent Storm.” This proves the norm, as song after song blasts with furious drum beats and killer riffs, only really pausing for atmospherics once, when “Systematic Suffering” ends on some guitar feedback and atmospherics, to horrifying effect. The risk for this kind of approach is that the music might bleed together, but Street Tombs keep their riffs creative and mix up the pacing. There are plenty of brief but spectacular solos as well as mood shifts that allow the guitars to dig in at a different, less furious angle. So yes, the caveman will dig what these guys are doing, but so will the more evolved among our species.

While they have the vibe of early Discharge, Street Tombs filter it through more modern production values, giving the instruments more punch. This probably comes across on the drums more strongly than anything else. Ben Brodsky’s performance provides a sturdy foundation for the music, and his sheer power gives a boost thanks to a relentless, pounding energy. Brodsky has the sense to lay back and get creative in order to avoid any fatigue from constant d-beat jackhammering, notably some mid-tempo antics on “Systematic Suffering.” The riff attack from David McMaster and Damian Jacoby also engages the brain at a primal level, yet there’s a progressiveness to how they play, allowing surprising developments to permeate the songs. “Mental Mutilation” displays this ability to engage carnal pleasures while the guitars organically shift, leading to a fabulous, though sadly brief, solo.

As much as Street Tombs does mix things up, a uniformity begins to creep into Existence is Corruption. Yes, there are shifts in tone and pacing within songs, but the persistent d-beat blasts and deathly riffs still dominate the record. It’s hard to complain when they play them this effectively, and in such a brief package, yet it does mean individual tracks begin to blend together. Given the style, the 3-4 minute range is the sweet spot, which means the songs that reach or hit the 5-minute mark start to feel repetitive (“Upset the Grave,” “Deceptor”). Jacoby’s vocal delivery similarly suffers from a one-dimensional nature. Don’t get me wrong. I love his vocals and believe they add a distinctive personality to the music, but the lack of diversity in delivery does contribute to that sense of uniformity. In all, these are some nitpicky ways of saying Existence is Corruption didn’t quite break the score counter, but it came close.

These streets may be mean, they may be ugly, and they may be gritty, but most importantly they are loads of fun. Where some death metal acts seek to be as dense and incomprehensible as possible, or insert levels of high artistry in their work, it’s refreshing that acts like Street Tombs exist to engage your id, though with a high level of creativity, mixing intellectual stimulation with brain-melting riffs. These guys don’t do anything that hasn’t been done before, yet they excel at it and have written a record that’s some of the most fun I’ve had with death metal this year.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Carbonized Records
Websites: Bandcamp
Releases Worldwide: August 21st, 2026

#2026 #35 #AmericanMetal #Aug26 #BoltThrower #CarbonizedRecords #CelticFrost #CrustPunk #DBeat #DeathMetal #Discharge #ExistenceIsCorruption #Review #Reviews #StreetTombs

#americanmetal #aug26 #boltthrower #carbonizedrecords #celticfrost #crustpunk

💧🌏 Greg Cocks @[email protected] · 2026-08-18 · 03:01 UTC

Widespread Landslide Activity in an Extreme Wet Season and Implications for Regional Sediment Management, Eastern San Francisco Bay Area, California
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https://doi.org/10.1029/2026EA005227 <-- shared paper
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H/T @amy East, Ph.D., P.G. | Researcher integrating geoscience and climate-change preparedness
“[This paper (link above) is] a collaboration with [the H/T’s] colleagues from [the] USGS Landslide Hazards Program, who mapped over 8,900 landslides in the eastern San Francisco Bay Area during an extreme wet winter.
How much sediment does such an extreme winter produce, from landslides or in stream discharge? How does that compare with long-term sediment production and landscape denudation rates?
[They] f[o]nd that landslide sediment mobilization is comparable to long-term denudation rates, emphasizing the role of extreme events in long-term sediment production. However, one extreme wet year has a negligible effect toward counteracting ongoing problems of sediment deficit in San Francisco Bay: to keep pace with sea-level rise, extreme wet conditions would need to occur in 50 out of the next 75 years…”
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"PLAIN LANGUAGE SUMMARY: Watersheds will likely produce more sediment in a warmer future with more extreme rain, primarily through landslides in steep terrain. This study examines how an extremely wet season affected sediment production and transport in the eastern San Francisco Bay area, California. By mapping and measuring 8,928 landslides, [they] found that rare, extreme rain conditions are likely responsible for the vast majority of long-term hillslope erosion rates in this region. However, due to long residence times for sediment on hillslopes and in stream channels, a maximum of 1%–2% of that newly mobilized landslide material could have potentially contributed to sediment carried by streams into the Bay that year. Even extremely wet years cannot provide enough sediment for Bay wetlands and shorelines to keep pace with rising sea levels. To meet the demand for sediment in the Bay, such extreme rain and sediment production would need to occur in most years, which is not realistic. To restore wetlands and protect shorelines, managers likely will need to supplement the coastal system with repurposed dredged material…”
#massmovement #soil #water #hydrology #hydrography #geology #soils #geomorphometry #hydrogeomorphology #geomorphology #landslide #masswasting #climatechange #extremeweather #precipitation #rainfall #weather #climate #mapping #engineeringgeology #mapping #SanFrancisco #BayArea #USA #California #fedscience #fedservice #oublicgood #sediment #stream #discharge #extremewinter #sealevelrise #SLR #hillslope #erosion #sedimentation #tidal #wetlands #coast #coastline #shoreline #GIS #spatial #spatialanalysis #spatiotemporal #watershed
#USGS | #USGSLandslideHazardsProgram

#massmovement #soil #water #hydrology #hydrography #geology

💧🌏 Greg Cocks @[email protected] · 2026-05-28 · 05:50 UTC

Effects Of Discharge And Morphology On Fluvial Sound
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https://doi.org/10.1029/2025EA004327 <-- shared paper
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#water #hydrology #stream #river #flowline #flow #gage #gauge #FluvialAcoustics #AcousticGauging #Hydroacoustics #StreamGauging #Hydrometrics #DischargeEstimation #RiverMorphology #ChannelMorphodynamics #Monitoring #NonInvasiveSensing #AcousticSensing #LowCostMonitoring #Geomorphology #FreshwaterScience #WatershedScience #Idaho #BoiseRiver #discharge #hydrodynamics #spatial #temporal

#water #hydrology #stream #river #flowline #flow

Angry Metal Guy @[email protected] · 2026-05-15 · 11:12 UTC

Arroganz – Death Doom Punks Review By Andy-War-Hall

Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?

Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.

That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.

Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.

Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026