#exodus — Public Fediverse posts

The Intersection of AI and Bible: Insights from Exodus

https://thegospelaccordingtoai.com/2026/07/02/the-intersection-of-ai-and-bible-insights-from-exodus/

The Intersection of AI and Bible: Insights from Exodus

https://thegospelaccordingtoai.com/2026/07/02/the-intersection-of-ai-and-bible-insights-from-exodus/

𝐘𝐀𝐇 𝐎𝐍𝐋𝐘 𝐓𝐕 100 𝐁𝐈𝐁𝐋𝐄 𝐎𝐋𝐃 𝐓𝐄𝐒𝐓𝐀𝐌𝐄𝐍𝐓 𝐋𝐈𝐕𝐄 𝐒𝐓𝐑𝐄𝐀𝐌|𝐂𝐋𝐈𝐂𝐊 𝐓𝐇𝐄 𝐋𝐈𝐍𝐊 𝐁𝐄𝐋𝐎𝐖

https://youtube.com/live/YrFJwbMSrC0?is=QTEXwBG0asNNznPr

𝐘𝐀𝐇 𝐎𝐍𝐋𝐘 𝐓𝐕 100 𝐁𝐈𝐁𝐋𝐄 𝐎𝐋𝐃 𝐓𝐄𝐒𝐓𝐀𝐌𝐄𝐍𝐓 𝐋𝐈𝐕𝐄 𝐒𝐓𝐑𝐄𝐀𝐌|𝐂𝐋𝐈𝐂𝐊 𝐓𝐇𝐄 𝐋𝐈𝐍𝐊 𝐁𝐄𝐋𝐎𝐖

https://youtube.com/live/YrFJwbMSrC0?is=QTEXwBG0asNNznPr

The Mass Effect sci-fi RPG subgenre "hasn't had a good game in a long time", says Hasbro, and it believes Exodus can change that

https://fed.brid.gy/r/https://www.eurogamer.net/exodus-hasbro-mass-effect-rpg

@murena #murena_eos #lineageos
Kann es sein, dass #AdvancedPrivacy halluziniert?
Auf meinem bisherigen Smartphone ist auch der #fossbrowser installiert. Version und Installationsquelle identisch. #exodus findet keinen einzigen Tracker. Advanced Privacy (AP) angeblich 4!?? Beim #privacybrowser Exodus 0, AP 1...
#firefoxklar AP 4, die Exodus nicht findet, dafür kennt Exodus 2, die AP nicht findet...
(Die Version, die Exodus untersucht hat, ist 149, nicht 150)
HÄ?? Wem soll ich glauben??

@murena #murena_eos #lineageos
Kann es sein, dass #AdvancedPrivacy halluziniert?
Auf meinem bisherigen Smartphone ist auch der #fossbrowser installiert. Version und Installationsquelle identisch. #exodus findet keinen einzigen Tracker. Advanced Privacy (AP) angeblich 4!?? Beim #privacybrowser Exodus 0, AP 1...
#firefoxklar AP 4, die Exodus nicht findet, dafür kennt Exodus 2, die AP nicht findet...
(Die Version, die Exodus untersucht hat, ist 149, nicht 150)
HÄ?? Wem soll ich glauben??

This year has already kicked off in thrash-tastic fashion. We’ve seen new releases from the likes of Megadeth, Exodus, and Kreator, with Anthrax and more on the way. A quick check of my thrash bingo card shows that, by the end of the year, at least half of the “Big 4”1 will have dropped new records, with many of the honorable-mention heavyweights joining the fray. While we wait for the next boot to drop, we turn our attention to Würzburg, Germany’s Zerre, one of modern thrash’s promising upstarts. Their debut, Scorched Souls, was a Metallica-meets-Municipal Waste slab of old-school aggression loaded with crossover, beer-chugging grooves. Taking the foundations of their debut, Rotting on a Golden Throne finds Zerre tearing through nine tracks with a sharpened sense of purpose—more aggressive, more political, and more sadistic than its predecessor. And let me tell you, it delivers in spades. I hope you’re thirsty for some tallboys, because thrash is still on the menu.

Forging their songwriting into material that’s meaner, tighter, and far more assured, Rotting on a Golden Throne shines with the violently tempered alloy of classic thrash and modern crossover’s street-level grit that never lets its energy wane. Heavily steeped in Municipal Waste’s party chaos and …And Justice for All’s rapid, surgical picking, Zerre also imbues the album with Power Trip’s coarseness, Anthrax’s stomping swagger (“Killing Taste”) and the frantic wails of Slayer (“No Alibi,” “Deception of the Weak”). Riffs hit in relentless waves, with raw aggression spilling over into massive, replay-ready grooves, while strategically placed interludes are woven directly into the album’s 40-minute runtime rather than sliced off as filler (“Mental Vacation,” “Rotting on a Golden Throne”). This smart choice gives Rotting on a Golden Throne a more cohesive flow and breaks up the record’s accelerated attack just enough to keep things elastic. Zerre delivers it all seamlessly, with a dialed‑up piss‑and‑vinegar attitude that hits you right between the eyes.

Rotting on a Golden Throne by Zerre

Neck-snapping riffs abound on Rotting on a Golden Throne, driven by Zerre’s full-throttle dual axe attack of Dominik Bertelt and Rocco Lepore. The two throw their weight around effortlessly with hyperspeed picking mixed with trilling, power cord syncopations, whammy dives, and a metric ton of technical solos. After the “Battery”-inspired acoustic intro, “Pigs will be Pigs” fires the first shot with blistering runs that give way to a soaring melodic solo, while “Deception of the Weak” counters with sharp twin harmonies and nimble hammer‑ons and pull‑offs. Even the slower approach of “Concrete Hell” packs a punch and “Tin God” seals the deal with a squealing, tapping frenzy that illustrates how purposefully Zerre uses solos—coupled with keen songwriting—to drive the record’s peaks. The Nordic folk lick stretching out into intertwining leads in “Mental Vacation” is also a pleasant surprise, as is the power metal riff in the self-titled track, proving that when these guys branch out of their comfort zone, they do so tastefully and with restraint rather than veering off into left field.

Vocalist Nick Ziska2 brings a feral edge to Zerre’s sound. His performance swings between Tom Araya‑styled screams (“No Alibi”) and a Riley Gale-esque snarling mid‑range, anchoring Rotting on a Golden Throne’s songs with a serrated bark that sounds abrasive and weathered, yet still clear enough to slice through the chaos. Zerre’s songwriting leans heavily on gang vocals, and while they’re a clear fallback move, they inject a sense of rowdy fun that magnifies Ziska’s lyrics and makes the choruses instantly hooky. Ziska takes the lead, and the rest of the crew pile in behind him, creating shout-along moments that demand listener participation. Lyrically, Rotting on a Golden Throne sticks to thrash’s customary grievances—anti-police sentiment, prison system disdain and broad political ire—but these tropes feel less like a crutch and more like part of the total package, reinforcing the album’s scrappy, kinetic energy.

Talking about this album in the staff lounge, our resident Reaper categorized Rotting on a Golden Throne as one of the best straight-up thrash records of the year so far, and I couldn’t agree more. Detractors may point to Zerre’s stylistic touchstones as a mere recombination of established genre language, and while they wouldn’t be wrong, I don’t care. Zerre has dropped an album that embodies everything I want my thrash to be. Rotting on a Golden Throne is bursting with energy, aggression, groove, and a sense of unfiltered fun. It’s a combination that’s hard to find in today’s thrash metal landscape, and it’s one that’s worth raising a beer for.

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: dyingvictimsproductions.bandcamp.com/album/rotting-on-a-golden-throne | facebook.com/zerre.thrash
Releases Worldwide: March 27th, 2026

This year has already kicked off in thrash-tastic fashion. We’ve seen new releases from the likes of Megadeth, Exodus, and Kreator, with Anthrax and more on the way. A quick check of my thrash bingo card shows that, by the end of the year, at least half of the “Big 4”1 will have dropped new records, with many of the honorable-mention heavyweights joining the fray. While we wait for the next boot to drop, we turn our attention to Würzburg, Germany’s Zerre, one of modern thrash’s promising upstarts. Their debut, Scorched Souls, was a Metallica-meets-Municipal Waste slab of old-school aggression loaded with crossover, beer-chugging grooves. Taking the foundations of their debut, Rotting on a Golden Throne finds Zerre tearing through nine tracks with a sharpened sense of purpose—more aggressive, more political, and more sadistic than its predecessor. And let me tell you, it delivers in spades. I hope you’re thirsty for some tallboys, because thrash is still on the menu.

Forging their songwriting into material that’s meaner, tighter, and far more assured, Rotting on a Golden Throne shines with the violently tempered alloy of classic thrash and modern crossover’s street-level grit that never lets its energy wane. Heavily steeped in Municipal Waste’s party chaos and …And Justice for All’s rapid, surgical picking, Zerre also imbues the album with Power Trip’s coarseness, Anthrax’s stomping swagger (“Killing Taste”) and the frantic wails of Slayer (“No Alibi,” “Deception of the Weak”). Riffs hit in relentless waves, with raw aggression spilling over into massive, replay-ready grooves, while strategically placed interludes are woven directly into the album’s 40-minute runtime rather than sliced off as filler (“Mental Vacation,” “Rotting on a Golden Throne”). This smart choice gives Rotting on a Golden Throne a more cohesive flow and breaks up the record’s accelerated attack just enough to keep things elastic. Zerre delivers it all seamlessly, with a dialed‑up piss‑and‑vinegar attitude that hits you right between the eyes.

Rotting on a Golden Throne by Zerre

Neck-snapping riffs abound on Rotting on a Golden Throne, driven by Zerre’s full-throttle dual axe attack of Dominik Bertelt and Rocco Lepore. The two throw their weight around effortlessly with hyperspeed picking mixed with trilling, power cord syncopations, whammy dives, and a metric ton of technical solos. After the “Battery”-inspired acoustic intro, “Pigs will be Pigs” fires the first shot with blistering runs that give way to a soaring melodic solo, while “Deception of the Weak” counters with sharp twin harmonies and nimble hammer‑ons and pull‑offs. Even the slower approach of “Concrete Hell” packs a punch and “Tin God” seals the deal with a squealing, tapping frenzy that illustrates how purposefully Zerre uses solos—coupled with keen songwriting—to drive the record’s peaks. The Nordic folk lick stretching out into intertwining leads in “Mental Vacation” is also a pleasant surprise, as is the power metal riff in the self-titled track, proving that when these guys branch out of their comfort zone, they do so tastefully and with restraint rather than veering off into left field.

Vocalist Nick Ziska2 brings a feral edge to Zerre’s sound. His performance swings between Tom Araya‑styled screams (“No Alibi”) and a Riley Gale-esque snarling mid‑range, anchoring Rotting on a Golden Throne’s songs with a serrated bark that sounds abrasive and weathered, yet still clear enough to slice through the chaos. Zerre’s songwriting leans heavily on gang vocals, and while they’re a clear fallback move, they inject a sense of rowdy fun that magnifies Ziska’s lyrics and makes the choruses instantly hooky. Ziska takes the lead, and the rest of the crew pile in behind him, creating shout-along moments that demand listener participation. Lyrically, Rotting on a Golden Throne sticks to thrash’s customary grievances—anti-police sentiment, prison system disdain and broad political ire—but these tropes feel less like a crutch and more like part of the total package, reinforcing the album’s scrappy, kinetic energy.

Talking about this album in the staff lounge, our resident Reaper categorized Rotting on a Golden Throne as one of the best straight-up thrash records of the year so far, and I couldn’t agree more. Detractors may point to Zerre’s stylistic touchstones as a mere recombination of established genre language, and while they wouldn’t be wrong, I don’t care. Zerre has dropped an album that embodies everything I want my thrash to be. Rotting on a Golden Throne is bursting with energy, aggression, groove, and a sense of unfiltered fun. It’s a combination that’s hard to find in today’s thrash metal landscape, and it’s one that’s worth raising a beer for.

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: dyingvictimsproductions.bandcamp.com/album/rotting-on-a-golden-throne | facebook.com/zerre.thrash
Releases Worldwide: March 27th, 2026

https://www.europesays.com/at/63931/ Exodus-Musikvideo wurde immer wieder von Youtube gesperrt #3111 #AT #Austria #Drogenkrieg #Entertainment #exodus #Music #Musik #Österreich #Unterhaltung #unzensiert #verbannt #verboten #Video #Zensiert

https://www.europesays.com/at/53228/ Gary Holt (Exodus): „Ich bereue gar nichts.“ #AT #Austria #Entertainment #exodus #GaryHolt #Goliath #MasterOfPuppets #Metallica #Music #Musik #Österreich #RobDukes #Unterhaltung

#Exodus bei #ElonMusk's #xAI: Weitere Mitbegründer verlassen Unternehmen - Business Insider
#Xodus bei Elon Musks xAI: Weitere Mitbegründer verlassen Unternehmen - Business Insider https://share.google/Ordkq37eDXKEE5apX

#Exodus bei #ElonMusk's #xAI: Weitere Mitbegründer verlassen Unternehmen - Business Insider
#Xodus bei Elon Musks xAI: Weitere Mitbegründer verlassen Unternehmen - Business Insider https://share.google/Ordkq37eDXKEE5apX

66,000 passengers offloaded.
280,000 Afghans forced out.
8.5 million Pakistanis leaving to survive.
A state that exports its people, then blames them for leaving. This is not control. This is collapse.
#Exodus #HumanRights #StateFailure #Offloading

https://globalvoices.org/2025/12/02/pakistani-travellers-with-valid-visas-being-quietly-offloaded-at-airports-in-silent-ban/

EXODUS Recordings presents the third chapter: Nevi'im. Filled with the harder spectrum of the technosphere. #music #VariousArtists #neviim #exodus #compilation #techno

https://evl.one/exodus-recordings-presents-neviim

Blood, Bonds, and Bitterness: the Perverse Pervasiveness of the the Re-Recording of Bonded by Blood

By Steel Druhm

The insidious need to rant and rave about a nagging issue I have with Exodus has been gnawing at me for many months. For the sake of my very sanity, I needed to vent my spleen of frustrations in a very Festivus-appropriate way, by shoving this unadorned aluminum pole of a tirade up your asses. And because the name Exodus cannot even be whispered around AMG HQ without deranged fanboy Doc Grier popping out of absolutely nowhere like Candyman to stick his 200 cents in, I’ve pragmatically allowed him to desecrate contribute to my work by adding whatever he thinks passes for “color commentary.” I apologize in advance for what follows.

–Steel

As a metal-obsessed teen in the 80s, I fell hard for Exodus and their Bonded by Blood debut. It certainly wasn’t the first thrash album to hit my ears since it landed in 1985, but the sheer feral viciousness of the thing set it apart from the likes of what Metallica, Anthrax, and Exciter were doing. Those crunching, frenzied riffs on the title track, “Pirraha,” and “Strike of the Beast” were next-level insanity, with only Slayer’s debut residing in the same approximate suburb of Hell. 1 Bonded by Blood had a very dark, violent edge to it that was both intimidating and weirdly appealing to a young, impressionable me. It felt like something I shouldn’t be listening to and shouldn’t even have in the house. It was too adult, too hardcore, too dangerous.

Doc Grier: Fuck, you’re olde.2

Apart from the killer riffs that ran throughout the album, a big part of what made Bonded by Blood such an intense listen was the unhinged vocals by Paul Baloff. The man sounded like a complete psycho nutjob who would as soon kill you as give you the time of day. Reports of his general demeanor suggest this wasn’t too far from the case if he smelled the slightest hint of poserism on you. He screamed, snarled, made weird intonations, and just went nuts vocally, and damn if it didn’t work wonders. Sure, Paul was the ultimate everyman at the mic, but what he lacked in real vocal ability, he made up for in raw energy and infernal overkill. His weird, totally berserk performance makes Bonded a special piece of metal thuggery that can never be replicated, duplicated, or bettered.

Doc Grier: As an esteemed disciple of Zetro (even somewhat mimicking his voice and style when doing my own vocals), even I think Baloff is an untouchable gold nugget. Had he been less of a psychopath, who knows what other wild, unhinged beauties would have surfaced from his Exodus contributions. Unfortunately, we’ll never know, but Bonded stands alone as a unique, unlikely masterpiece.

We all know the history that followed. Baloff was replaced by Steve “Zetro” Souza, who led Exodus through the rest of the 80s and 90s, and was on board for the band’s big comeback in 2004 with Tempo of the Damned. Thereafter, Zetro left, and in came Rob Dukes for 2005’s Shovel Headed Kill Machine. Now, I’m not here to bash on Mr. Dukes, but he’s my least favorite Exodus vocalist. I always felt his style and abilities were a better fit for a punky crossover act like Biohazard than a thrash institution like Exodus, but he’s a competent vocalist and has his supporters.

Doc Grier: Tempo of the Damned might be my favorite (yup, I said it) Zetro-era Exodus release. This was the beginning of lengthier songs, that new Exodus tone that anyone can recognize, and more lyrics in a single song than there are people in California. And, Shovel Headed Kill Machine would have been just as good if it weren’t for the loss of Zetro. Dukes himself has even admitted that he finds it difficult to sing one of the most killer tunes on the record: “Deathamphetamine.” Though Zet might have been burned out with the band’s direction at the time, it’s difficult to say what this album would have been with him behind the mic. That said, Shovel is the best of the Dukes era.3

Where things really went pear-shaped for Yours Steely was when Exodus opted to re-record Bonded by Blood with Dukes on the mic in 2008, rebranding it as Let There Be Blood. It was a dubious decision on its face, as Bonded by Blood was and is considered a stone-cold classic, but Gary Holt does what Gary Holt wants. I listened to it a few times and was put off by Duke’s monotone shouting. But what really made me furious was how the slick, modern production sapped away every ounce of the original’s charm and scary, violent edge. Let There Be Blood is vastly inferior to the original, as most re-recordings are, and any reasonable person could have predicted that things would turn out this way. Thus baffled as to how anyone thought this re-recording was a good idea, I memory-holed it and moved on.

Doc Grier: I bought this fucking release because I had faith. I gave it more than its fair share of listens and have come to fucking despise it. This decision was obviously one of Holt’s, but the result strips everything (not just vocals) away from the original classic. The other band that comes to mind that loves doing this shit is Iced Earth, using old material to somehow spit insults back on previous vocalists who have left or been let go. Don’t get me wrong, Stu Block is a great vocalist, but no one should be on a recording of “Dante’s Inferno” except Matt Barlow. And that’s what Exodus did here.

However, bad decisions from the past have a way of coming back around to bite you in the ass. In my case, it was when I became a user of Stingray Music’s metal streaming service. Since I find much of what Sirius XM offers in the way of metal channels to be either half-assed or no-assed, Stingray Music’s metal channels were an attractive alternative. Their “Golden Age of Metal” channel is pure Steel bliss since it’s a time-locked stream of metal spanning 1980 through approximately 1995, with only the later works of that era’s artists occasionally breaking through and getting playtime.4 Curiously, Stingray decided that when something from Bonded by Blood gets played, it should be from 2008’s Let There Be Blood, and not the far superior 1985 original. Should this very minor first-world issue bother me enough to pen this lengthy, Unabomber-esque manifesto? Fuck yes, it should!

Doc Grier: I’d say the same thing happens with remastered material. No one agrees with me because you’re all simpletons,5 but I don’t want to hear the remastered, 800+ tracks of Metallica’s Load when streaming. I’m good with the original eight dozen tracks.

I can’t help wondering why Stingray would force a re-recording of a classic 80s album on listeners when the new version is so far removed from metal’s “golden age” and is but a pale shadow of the original. It makes no sense unless there are copyright issues that suppress the use of the original album. Every time I hear one of the Bonded tunes start up on Stingray, I experience a pang of hope that the Powers That Be will have seen the light and switched to the OG version, only to be bitterly disappointed again and again.6

Doc Grier: Dreadful.

I don’t begrudge Rob Dukes his time with Exodus, which is fortunate indeed since he’s once again back behind the mic, recording a new album. I just don’t want him or anyone else tampering with the beloved classics. Hell, I wouldn’t have appreciated Anthrax re-recording Spreading the Disease or Among the Living with Jon Bush on vocals, and I fucking LOVE Jon Bush! I’ve weighed in on this pet peeve before, and it’s still peeving me in 2025. I’m well aware that I’m a cranky metal purist, but it’s not unreasonable to believe that classic albums should be put on a pedestal and left to the ages. In short, stop with the fucking re-recordings and “re-imaginings” of older, highly respected albums, and stop pushing these cheeseball do-overs on us years after they crash and burn!

Thank you for listening to this Steel rant, and for tolerating Grier as he foamed at the mouth like a mindless mouth-foamer. I feel better now. Until I get Duked again, anyway.

#2025 #andBitternessThePerversePervasivenessOfTheTheReRecordingOfBondedByBlood #BlogPost #Blood #BondedByBlood #Bonds #Exodus #LetThereBeBlood #ThrashMetal

Blood, Bonds, and Bitterness: the Perverse Pervasiveness of the the Re-Recording of Bonded by Blood

By Steel Druhm

The insidious need to rant and rave about a nagging issue I have with Exodus has been gnawing at me for many months. For the sake of my very sanity, I needed to vent my spleen of frustrations in a very Festivus-appropriate way, by shoving this unadorned aluminum pole of a tirade up your asses. And because the name Exodus cannot even be whispered around AMG HQ without deranged fanboy Doc Grier popping out of absolutely nowhere like Candyman to stick his 200 cents in, I’ve pragmatically allowed him to desecrate contribute to my work by adding whatever he thinks passes for “color commentary.” I apologize in advance for what follows.

–Steel

As a metal-obsessed teen in the 80s, I fell hard for Exodus and their Bonded by Blood debut. It certainly wasn’t the first thrash album to hit my ears since it landed in 1985, but the sheer feral viciousness of the thing set it apart from the likes of what Metallica, Anthrax, and Exciter were doing. Those crunching, frenzied riffs on the title track, “Pirraha,” and “Strike of the Beast” were next-level insanity, with only Slayer’s debut residing in the same approximate suburb of Hell. 1 Bonded by Blood had a very dark, violent edge to it that was both intimidating and weirdly appealing to a young, impressionable me. It felt like something I shouldn’t be listening to and shouldn’t even have in the house. It was too adult, too hardcore, too dangerous.

Doc Grier: Fuck, you’re olde.2

Apart from the killer riffs that ran throughout the album, a big part of what made Bonded by Blood such an intense listen was the unhinged vocals by Paul Baloff. The man sounded like a complete psycho nutjob who would as soon kill you as give you the time of day. Reports of his general demeanor suggest this wasn’t too far from the case if he smelled the slightest hint of poserism on you. He screamed, snarled, made weird intonations, and just went nuts vocally, and damn if it didn’t work wonders. Sure, Paul was the ultimate everyman at the mic, but what he lacked in real vocal ability, he made up for in raw energy and infernal overkill. His weird, totally berserk performance makes Bonded a special piece of metal thuggery that can never be replicated, duplicated, or bettered.

Doc Grier: As an esteemed disciple of Zetro (even somewhat mimicking his voice and style when doing my own vocals), even I think Baloff is an untouchable gold nugget. Had he been less of a psychopath, who knows what other wild, unhinged beauties would have surfaced from his Exodus contributions. Unfortunately, we’ll never know, but Bonded stands alone as a unique, unlikely masterpiece.

We all know the history that followed. Baloff was replaced by Steve “Zetro” Souza, who led Exodus through the rest of the 80s and 90s, and was on board for the band’s big comeback in 2004 with Tempo of the Damned. Thereafter, Zetro left, and in came Rob Dukes for 2005’s Shovel Headed Kill Machine. Now, I’m not here to bash on Mr. Dukes, but he’s my least favorite Exodus vocalist. I always felt his style and abilities were a better fit for a punky crossover act like Biohazard than a thrash institution like Exodus, but he’s a competent vocalist and has his supporters.

Doc Grier: Tempo of the Damned might be my favorite (yup, I said it) Zetro-era Exodus release. This was the beginning of lengthier songs, that new Exodus tone that anyone can recognize, and more lyrics in a single song than there are people in California. And, Shovel Headed Kill Machine would have been just as good if it weren’t for the loss of Zetro. Dukes himself has even admitted that he finds it difficult to sing one of the most killer tunes on the record: “Deathamphetamine.” Though Zet might have been burned out with the band’s direction at the time, it’s difficult to say what this album would have been with him behind the mic. That said, Shovel is the best of the Dukes era.3

Where things really went pear-shaped for Yours Steely was when Exodus opted to re-record Bonded by Blood with Dukes on the mic in 2008, rebranding it as Let There Be Blood. It was a dubious decision on its face, as Bonded by Blood was and is considered a stone-cold classic, but Gary Holt does what Gary Holt wants. I listened to it a few times and was put off by Duke’s monotone shouting. But what really made me furious was how the slick, modern production sapped away every ounce of the original’s charm and scary, violent edge. Let There Be Blood is vastly inferior to the original, as most re-recordings are, and any reasonable person could have predicted that things would turn out this way. Thus baffled as to how anyone thought this re-recording was a good idea, I memory-holed it and moved on.

Doc Grier: I bought this fucking release because I had faith. I gave it more than its fair share of listens and have come to fucking despise it. This decision was obviously one of Holt’s, but the result strips everything (not just vocals) away from the original classic. The other band that comes to mind that loves doing this shit is Iced Earth, using old material to somehow spit insults back on previous vocalists who have left or been let go. Don’t get me wrong, Stu Block is a great vocalist, but no one should be on a recording of “Dante’s Inferno” except Matt Barlow. And that’s what Exodus did here.

However, bad decisions from the past have a way of coming back around to bite you in the ass. In my case, it was when I became a user of Stingray Music’s metal streaming service. Since I find much of what Sirius XM offers in the way of metal channels to be either half-assed or no-assed, Stingray Music’s metal channels were an attractive alternative. Their “Golden Age of Metal” channel is pure Steel bliss since it’s a time-locked stream of metal spanning 1980 through approximately 1995, with only the later works of that era’s artists occasionally breaking through and getting playtime.4 Curiously, Stingray decided that when something from Bonded by Blood gets played, it should be from 2008’s Let There Be Blood, and not the far superior 1985 original. Should this very minor first-world issue bother me enough to pen this lengthy, Unabomber-esque manifesto? Fuck yes, it should!

Doc Grier: I’d say the same thing happens with remastered material. No one agrees with me because you’re all simpletons,5 but I don’t want to hear the remastered, 800+ tracks of Metallica’s Load when streaming. I’m good with the original eight dozen tracks.

I can’t help wondering why Stingray would force a re-recording of a classic 80s album on listeners when the new version is so far removed from metal’s “golden age” and is but a pale shadow of the original. It makes no sense unless there are copyright issues that suppress the use of the original album. Every time I hear one of the Bonded tunes start up on Stingray, I experience a pang of hope that the Powers That Be will have seen the light and switched to the OG version, only to be bitterly disappointed again and again.6

Doc Grier: Dreadful.

I don’t begrudge Rob Dukes his time with Exodus, which is fortunate indeed since he’s once again back behind the mic, recording a new album. I just don’t want him or anyone else tampering with the beloved classics. Hell, I wouldn’t have appreciated Anthrax re-recording Spreading the Disease or Among the Living with Jon Bush on vocals, and I fucking LOVE Jon Bush! I’ve weighed in on this pet peeve before, and it’s still peeving me in 2025. I’m well aware that I’m a cranky metal purist, but it’s not unreasonable to believe that classic albums should be put on a pedestal and left to the ages. In short, stop with the fucking re-recordings and “re-imaginings” of older, highly respected albums, and stop pushing these cheeseball do-overs on us years after they crash and burn!

Thank you for listening to this Steel rant, and for tolerating Grier as he foamed at the mouth like a mindless mouth-foamer. I feel better now. Until I get Duked again, anyway.

#2025 #andBitternessThePerversePervasivenessOfTheTheReRecordingOfBondedByBlood #BlogPost #Blood #BondedByBlood #Bonds #Exodus #LetThereBeBlood #ThrashMetal

Blood, Bonds, and Bitterness: the Perverse Pervasiveness of the the Re-Recording of Bonded by Blood

By Steel Druhm

The insidious need to rant and rave about a nagging issue I have with Exodus has been gnawing at me for many months. For the sake of my very sanity, I needed to vent my spleen of frustrations in a very Festivus-appropriate way, by shoving this unadorned aluminum pole of a tirade up your asses. And because the name Exodus cannot even be whispered around AMG HQ without deranged fanboy Doc Grier popping out of absolutely nowhere like Candyman to stick his 200 cents in, I’ve pragmatically allowed him to desecrate contribute to my work by adding whatever he thinks passes for “color commentary.” I apologize in advance for what follows.

–Steel

As a metal-obsessed teen in the 80s, I fell hard for Exodus and their Bonded by Blood debut. It certainly wasn’t the first thrash album to hit my ears since it landed in 1985, but the sheer feral viciousness of the thing set it apart from the likes of what Metallica, Anthrax, and Exciter were doing. Those crunching, frenzied riffs on the title track, “Pirraha,” and “Strike of the Beast” were next-level insanity, with only Slayer’s debut residing in the same approximate suburb of Hell. 1 Bonded by Blood had a very dark, violent edge to it that was both intimidating and weirdly appealing to a young, impressionable me. It felt like something I shouldn’t be listening to and shouldn’t even have in the house. It was too adult, too hardcore, too dangerous.

Doc Grier: Fuck, you’re olde.2

Apart from the killer riffs that ran throughout the album, a big part of what made Bonded by Blood such an intense listen was the unhinged vocals by Paul Baloff. The man sounded like a complete psycho nutjob who would as soon kill you as give you the time of day. Reports of his general demeanor suggest this wasn’t too far from the case if he smelled the slightest hint of poserism on you. He screamed, snarled, made weird intonations, and just went nuts vocally, and damn if it didn’t work wonders. Sure, Paul was the ultimate everyman at the mic, but what he lacked in real vocal ability, he made up for in raw energy and infernal overkill. His weird, totally berserk performance makes Bonded a special piece of metal thuggery that can never be replicated, duplicated, or bettered.

Doc Grier: As an esteemed disciple of Zetro (even somewhat mimicking his voice and style when doing my own vocals), even I think Baloff is an untouchable gold nugget. Had he been less of a psychopath, who knows what other wild, unhinged beauties would have surfaced from his Exodus contributions. Unfortunately, we’ll never know, but Bonded stands alone as a unique, unlikely masterpiece.

We all know the history that followed. Baloff was replaced by Steve “Zetro” Souza, who led Exodus through the rest of the 80s and 90s, and was on board for the band’s big comeback in 2004 with Tempo of the Damned. Thereafter, Zetro left, and in came Rob Dukes for 2005’s Shovel Headed Kill Machine. Now, I’m not here to bash on Mr. Dukes, but he’s my least favorite Exodus vocalist. I always felt his style and abilities were a better fit for a punky crossover act like Biohazard than a thrash institution like Exodus, but he’s a competent vocalist and has his supporters.

Doc Grier: Tempo of the Damned might be my favorite (yup, I said it) Zetro-era Exodus release. This was the beginning of lengthier songs, that new Exodus tone that anyone can recognize, and more lyrics in a single song than there are people in California. And, Shovel Headed Kill Machine would have been just as good if it weren’t for the loss of Zetro. Dukes himself has even admitted that he finds it difficult to sing one of the most killer tunes on the record: “Deathamphetamine.” Though Zet might have been burned out with the band’s direction at the time, it’s difficult to say what this album would have been with him behind the mic. That said, Shovel is the best of the Dukes era.3

Where things really went pear-shaped for Yours Steely was when Exodus opted to re-record Bonded by Blood with Dukes on the mic in 2008, rebranding it as Let There Be Blood. It was a dubious decision on its face, as Bonded by Blood was and is considered a stone-cold classic, but Gary Holt does what Gary Holt wants. I listened to it a few times and was put off by Duke’s monotone shouting. But what really made me furious was how the slick, modern production sapped away every ounce of the original’s charm and scary, violent edge. Let There Be Blood is vastly inferior to the original, as most re-recordings are, and any reasonable person could have predicted that things would turn out this way. Thus baffled as to how anyone thought this re-recording was a good idea, I memory-holed it and moved on.

Doc Grier: I bought this fucking release because I had faith. I gave it more than its fair share of listens and have come to fucking despise it. This decision was obviously one of Holt’s, but the result strips everything (not just vocals) away from the original classic. The other band that comes to mind that loves doing this shit is Iced Earth, using old material to somehow spit insults back on previous vocalists who have left or been let go. Don’t get me wrong, Stu Block is a great vocalist, but no one should be on a recording of “Dante’s Inferno” except Matt Barlow. And that’s what Exodus did here.

However, bad decisions from the past have a way of coming back around to bite you in the ass. In my case, it was when I became a user of Stingray Music’s metal streaming service. Since I find much of what Sirius XM offers in the way of metal channels to be either half-assed or no-assed, Stingray Music’s metal channels were an attractive alternative. Their “Golden Age of Metal” channel is pure Steel bliss since it’s a time-locked stream of metal spanning 1980 through approximately 1995, with only the later works of that era’s artists occasionally breaking through and getting playtime.4 Curiously, Stingray decided that when something from Bonded by Blood gets played, it should be from 2008’s Let There Be Blood, and not the far superior 1985 original. Should this very minor first-world issue bother me enough to pen this lengthy, Unabomber-esque manifesto? Fuck yes, it should!

Doc Grier: I’d say the same thing happens with remastered material. No one agrees with me because you’re all simpletons,5 but I don’t want to hear the remastered, 800+ tracks of Metallica’s Load when streaming. I’m good with the original eight dozen tracks.

I can’t help wondering why Stingray would force a re-recording of a classic 80s album on listeners when the new version is so far removed from metal’s “golden age” and is but a pale shadow of the original. It makes no sense unless there are copyright issues that suppress the use of the original album. Every time I hear one of the Bonded tunes start up on Stingray, I experience a pang of hope that the Powers That Be will have seen the light and switched to the OG version, only to be bitterly disappointed again and again.6

Doc Grier: Dreadful.

I don’t begrudge Rob Dukes his time with Exodus, which is fortunate indeed since he’s once again back behind the mic, recording a new album. I just don’t want him or anyone else tampering with the beloved classics. Hell, I wouldn’t have appreciated Anthrax re-recording Spreading the Disease or Among the Living with Jon Bush on vocals, and I fucking LOVE Jon Bush! I’ve weighed in on this pet peeve before, and it’s still peeving me in 2025. I’m well aware that I’m a cranky metal purist, but it’s not unreasonable to believe that classic albums should be put on a pedestal and left to the ages. In short, stop with the fucking re-recordings and “re-imaginings” of older, highly respected albums, and stop pushing these cheeseball do-overs on us years after they crash and burn!

Thank you for listening to this Steel rant, and for tolerating Grier as he foamed at the mouth like a mindless mouth-foamer. I feel better now. Until I get Duked again, anyway.

#2025 #andBitternessThePerversePervasivenessOfTheTheReRecordingOfBondedByBlood #BlogPost #Blood #BondedByBlood #Bonds #Exodus #LetThereBeBlood #ThrashMetal

Blood, Bonds, and Bitterness: the Perverse Pervasiveness of the the Re-Recording of Bonded by Blood

By Steel Druhm

The insidious need to rant and rave about a nagging issue I have with Exodus has been gnawing at me for many months. For the sake of my very sanity, I needed to vent my spleen of frustrations in a very Festivus-appropriate way, by shoving this unadorned aluminum pole of a tirade up your asses. And because the name Exodus cannot even be whispered around AMG HQ without deranged fanboy Doc Grier popping out of absolutely nowhere like Candyman to stick his 200 cents in, I’ve pragmatically allowed him to desecrate contribute to my work by adding whatever he thinks passes for “color commentary.” I apologize in advance for what follows.

–Steel

As a metal-obsessed teen in the 80s, I fell hard for Exodus and their Bonded by Blood debut. It certainly wasn’t the first thrash album to hit my ears since it landed in 1985, but the sheer feral viciousness of the thing set it apart from the likes of what Metallica, Anthrax, and Exciter were doing. Those crunching, frenzied riffs on the title track, “Pirraha,” and “Strike of the Beast” were next-level insanity, with only Slayer’s debut residing in the same approximate suburb of Hell. 1 Bonded by Blood had a very dark, violent edge to it that was both intimidating and weirdly appealing to a young, impressionable me. It felt like something I shouldn’t be listening to and shouldn’t even have in the house. It was too adult, too hardcore, too dangerous.

Doc Grier: Fuck, you’re olde.2

Apart from the killer riffs that ran throughout the album, a big part of what made Bonded by Blood such an intense listen was the unhinged vocals by Paul Baloff. The man sounded like a complete psycho nutjob who would as soon kill you as give you the time of day. Reports of his general demeanor suggest this wasn’t too far from the case if he smelled the slightest hint of poserism on you. He screamed, snarled, made weird intonations, and just went nuts vocally, and damn if it didn’t work wonders. Sure, Paul was the ultimate everyman at the mic, but what he lacked in real vocal ability, he made up for in raw energy and infernal overkill. His weird, totally berserk performance makes Bonded a special piece of metal thuggery that can never be replicated, duplicated, or bettered.

Doc Grier: As an esteemed disciple of Zetro (even somewhat mimicking his voice and style when doing my own vocals), even I think Baloff is an untouchable gold nugget. Had he been less of a psychopath, who knows what other wild, unhinged beauties would have surfaced from his Exodus contributions. Unfortunately, we’ll never know, but Bonded stands alone as a unique, unlikely masterpiece.

We all know the history that followed. Baloff was replaced by Steve “Zetro” Souza, who led Exodus through the rest of the 80s and 90s, and was on board for the band’s big comeback in 2004 with Tempo of the Damned. Thereafter, Zetro left, and in came Rob Dukes for 2005’s Shovel Headed Kill Machine. Now, I’m not here to bash on Mr. Dukes, but he’s my least favorite Exodus vocalist. I always felt his style and abilities were a better fit for a punky crossover act like Biohazard than a thrash institution like Exodus, but he’s a competent vocalist and has his supporters.

Doc Grier: Tempo of the Damned might be my favorite (yup, I said it) Zetro-era Exodus release. This was the beginning of lengthier songs, that new Exodus tone that anyone can recognize, and more lyrics in a single song than there are people in California. And, Shovel Headed Kill Machine would have been just as good if it weren’t for the loss of Zetro. Dukes himself has even admitted that he finds it difficult to sing one of the most killer tunes on the record: “Deathamphetamine.” Though Zet might have been burned out with the band’s direction at the time, it’s difficult to say what this album would have been with him behind the mic. That said, Shovel is the best of the Dukes era.3

Where things really went pear-shaped for Yours Steely was when Exodus opted to re-record Bonded by Blood with Dukes on the mic in 2008, rebranding it as Let There Be Blood. It was a dubious decision on its face, as Bonded by Blood was and is considered a stone-cold classic, but Gary Holt does what Gary Holt wants. I listened to it a few times and was put off by Duke’s monotone shouting. But what really made me furious was how the slick, modern production sapped away every ounce of the original’s charm and scary, violent edge. Let There Be Blood is vastly inferior to the original, as most re-recordings are, and any reasonable person could have predicted that things would turn out this way. Thus baffled as to how anyone thought this re-recording was a good idea, I memory-holed it and moved on.

Doc Grier: I bought this fucking release because I had faith. I gave it more than its fair share of listens and have come to fucking despise it. This decision was obviously one of Holt’s, but the result strips everything (not just vocals) away from the original classic. The other band that comes to mind that loves doing this shit is Iced Earth, using old material to somehow spit insults back on previous vocalists who have left or been let go. Don’t get me wrong, Stu Block is a great vocalist, but no one should be on a recording of “Dante’s Inferno” except Matt Barlow. And that’s what Exodus did here.

However, bad decisions from the past have a way of coming back around to bite you in the ass. In my case, it was when I became a user of Stingray Music’s metal streaming service. Since I find much of what Sirius XM offers in the way of metal channels to be either half-assed or no-assed, Stingray Music’s metal channels were an attractive alternative. Their “Golden Age of Metal” channel is pure Steel bliss since it’s a time-locked stream of metal spanning 1980 through approximately 1995, with only the later works of that era’s artists occasionally breaking through and getting playtime.4 Curiously, Stingray decided that when something from Bonded by Blood gets played, it should be from 2008’s Let There Be Blood, and not the far superior 1985 original. Should this very minor first-world issue bother me enough to pen this lengthy, Unabomber-esque manifesto? Fuck yes, it should!

Doc Grier: I’d say the same thing happens with remastered material. No one agrees with me because you’re all simpletons,5 but I don’t want to hear the remastered, 800+ tracks of Metallica’s Load when streaming. I’m good with the original eight dozen tracks.

I can’t help wondering why Stingray would force a re-recording of a classic 80s album on listeners when the new version is so far removed from metal’s “golden age” and is but a pale shadow of the original. It makes no sense unless there are copyright issues that suppress the use of the original album. Every time I hear one of the Bonded tunes start up on Stingray, I experience a pang of hope that the Powers That Be will have seen the light and switched to the OG version, only to be bitterly disappointed again and again.6

Doc Grier: Dreadful.

I don’t begrudge Rob Dukes his time with Exodus, which is fortunate indeed since he’s once again back behind the mic, recording a new album. I just don’t want him or anyone else tampering with the beloved classics. Hell, I wouldn’t have appreciated Anthrax re-recording Spreading the Disease or Among the Living with Jon Bush on vocals, and I fucking LOVE Jon Bush! I’ve weighed in on this pet peeve before, and it’s still peeving me in 2025. I’m well aware that I’m a cranky metal purist, but it’s not unreasonable to believe that classic albums should be put on a pedestal and left to the ages. In short, stop with the fucking re-recordings and “re-imaginings” of older, highly respected albums, and stop pushing these cheeseball do-overs on us years after they crash and burn!

Thank you for listening to this Steel rant, and for tolerating Grier as he foamed at the mouth like a mindless mouth-foamer. I feel better now. Until I get Duked again, anyway.

#2025 #andBitternessThePerversePervasivenessOfTheTheReRecordingOfBondedByBlood #BlogPost #Blood #BondedByBlood #Bonds #Exodus #LetThereBeBlood #ThrashMetal

Blood, Bonds, and Bitterness: the Perverse Pervasiveness of the the Re-Recording of Bonded by Blood

By Steel Druhm

The insidious need to rant and rave about a nagging issue I have with Exodus has been gnawing at me for many months. For the sake of my very sanity, I needed to vent my spleen of frustrations in a very Festivus-appropriate way, by shoving this unadorned aluminum pole of a tirade up your asses. And because the name Exodus cannot even be whispered around AMG HQ without deranged fanboy Doc Grier popping out of absolutely nowhere like Candyman to stick his 200 cents in, I’ve pragmatically allowed him to desecrate contribute to my work by adding whatever he thinks passes for “color commentary.” I apologize in advance for what follows.

–Steel

As a metal-obsessed teen in the 80s, I fell hard for Exodus and their Bonded by Blood debut. It certainly wasn’t the first thrash album to hit my ears since it landed in 1985, but the sheer feral viciousness of the thing set it apart from the likes of what Metallica, Anthrax, and Exciter were doing. Those crunching, frenzied riffs on the title track, “Pirraha,” and “Strike of the Beast” were next-level insanity, with only Slayer’s debut residing in the same approximate suburb of Hell. 1 Bonded by Blood had a very dark, violent edge to it that was both intimidating and weirdly appealing to a young, impressionable me. It felt like something I shouldn’t be listening to and shouldn’t even have in the house. It was too adult, too hardcore, too dangerous.

Doc Grier: Fuck, you’re olde.2

Apart from the killer riffs that ran throughout the album, a big part of what made Bonded by Blood such an intense listen was the unhinged vocals by Paul Baloff. The man sounded like a complete psycho nutjob who would as soon kill you as give you the time of day. Reports of his general demeanor suggest this wasn’t too far from the case if he smelled the slightest hint of poserism on you. He screamed, snarled, made weird intonations, and just went nuts vocally, and damn if it didn’t work wonders. Sure, Paul was the ultimate everyman at the mic, but what he lacked in real vocal ability, he made up for in raw energy and infernal overkill. His weird, totally berserk performance makes Bonded a special piece of metal thuggery that can never be replicated, duplicated, or bettered.

Doc Grier: As an esteemed disciple of Zetro (even somewhat mimicking his voice and style when doing my own vocals), even I think Baloff is an untouchable gold nugget. Had he been less of a psychopath, who knows what other wild, unhinged beauties would have surfaced from his Exodus contributions. Unfortunately, we’ll never know, but Bonded stands alone as a unique, unlikely masterpiece.

We all know the history that followed. Baloff was replaced by Steve “Zetro” Souza, who led Exodus through the rest of the 80s and 90s, and was on board for the band’s big comeback in 2004 with Tempo of the Damned. Thereafter, Zetro left, and in came Rob Dukes for 2005’s Shovel Headed Kill Machine. Now, I’m not here to bash on Mr. Dukes, but he’s my least favorite Exodus vocalist. I always felt his style and abilities were a better fit for a punky crossover act like Biohazard than a thrash institution like Exodus, but he’s a competent vocalist and has his supporters.

Doc Grier: Tempo of the Damned might be my favorite (yup, I said it) Zetro-era Exodus release. This was the beginning of lengthier songs, that new Exodus tone that anyone can recognize, and more lyrics in a single song than there are people in California. And, Shovel Headed Kill Machine would have been just as good if it weren’t for the loss of Zetro. Dukes himself has even admitted that he finds it difficult to sing one of the most killer tunes on the record: “Deathamphetamine.” Though Zet might have been burned out with the band’s direction at the time, it’s difficult to say what this album would have been with him behind the mic. That said, Shovel is the best of the Dukes era.3

Where things really went pear-shaped for Yours Steely was when Exodus opted to re-record Bonded by Blood with Dukes on the mic in 2008, rebranding it as Let There Be Blood. It was a dubious decision on its face, as Bonded by Blood was and is considered a stone-cold classic, but Gary Holt does what Gary Holt wants. I listened to it a few times and was put off by Duke’s monotone shouting. But what really made me furious was how the slick, modern production sapped away every ounce of the original’s charm and scary, violent edge. Let There Be Blood is vastly inferior to the original, as most re-recordings are, and any reasonable person could have predicted that things would turn out this way. Thus baffled as to how anyone thought this re-recording was a good idea, I memory-holed it and moved on.

Doc Grier: I bought this fucking release because I had faith. I gave it more than its fair share of listens and have come to fucking despise it. This decision was obviously one of Holt’s, but the result strips everything (not just vocals) away from the original classic. The other band that comes to mind that loves doing this shit is Iced Earth, using old material to somehow spit insults back on previous vocalists who have left or been let go. Don’t get me wrong, Stu Block is a great vocalist, but no one should be on a recording of “Dante’s Inferno” except Matt Barlow. And that’s what Exodus did here.

However, bad decisions from the past have a way of coming back around to bite you in the ass. In my case, it was when I became a user of Stingray Music’s metal streaming service. Since I find much of what Sirius XM offers in the way of metal channels to be either half-assed or no-assed, Stingray Music’s metal channels were an attractive alternative. Their “Golden Age of Metal” channel is pure Steel bliss since it’s a time-locked stream of metal spanning 1980 through approximately 1995, with only the later works of that era’s artists occasionally breaking through and getting playtime.4 Curiously, Stingray decided that when something from Bonded by Blood gets played, it should be from 2008’s Let There Be Blood, and not the far superior 1985 original. Should this very minor first-world issue bother me enough to pen this lengthy, Unabomber-esque manifesto? Fuck yes, it should!

Doc Grier: I’d say the same thing happens with remastered material. No one agrees with me because you’re all simpletons,5 but I don’t want to hear the remastered, 800+ tracks of Metallica’s Load when streaming. I’m good with the original eight dozen tracks.

I can’t help wondering why Stingray would force a re-recording of a classic 80s album on listeners when the new version is so far removed from metal’s “golden age” and is but a pale shadow of the original. It makes no sense unless there are copyright issues that suppress the use of the original album. Every time I hear one of the Bonded tunes start up on Stingray, I experience a pang of hope that the Powers That Be will have seen the light and switched to the OG version, only to be bitterly disappointed again and again.6

Doc Grier: Dreadful.

I don’t begrudge Rob Dukes his time with Exodus, which is fortunate indeed since he’s once again back behind the mic, recording a new album. I just don’t want him or anyone else tampering with the beloved classics. Hell, I wouldn’t have appreciated Anthrax re-recording Spreading the Disease or Among the Living with Jon Bush on vocals, and I fucking LOVE Jon Bush! I’ve weighed in on this pet peeve before, and it’s still peeving me in 2025. I’m well aware that I’m a cranky metal purist, but it’s not unreasonable to believe that classic albums should be put on a pedestal and left to the ages. In short, stop with the fucking re-recordings and “re-imaginings” of older, highly respected albums, and stop pushing these cheeseball do-overs on us years after they crash and burn!

Thank you for listening to this Steel rant, and for tolerating Grier as he foamed at the mouth like a mindless mouth-foamer. I feel better now. Until I get Duked again, anyway.

#2025 #andBitternessThePerversePervasivenessOfTheTheReRecordingOfBondedByBlood #BlogPost #Blood #BondedByBlood #Bonds #Exodus #LetThereBeBlood #ThrashMetal

Bloodletter – Leave the Light Behind Review

By ClarkKent

Hot off Holdeneye’s 3.5 for their third album, Chicago’s Bloodletter jumps right back into more thrashy melodeath with album number four, Leave the Light Behind. Holdeneye saw a big improvement between sophomore record Funeral Hymns and A Different Kind of Hell, saying he finally saw what so enamored Angry Metal Guy about Funeral Hymns.1 I too, grew enamored when I first set my ears on their style of smooth, polished thrash. Bloodletter play my kind of kryptonite—catchy, melodic guitar leads with tons of energy. When I saw this hit the promo bin, I immediately snatched it before Dr. AMG could get his hands on it. I was anxious to discover if Bloodletter could keep up with the energy and expert melodicism of their previous work.

Leave the Light Behind continues in the melothrash vein of its predecessor, combining thunderous, lightning-fast blast beats with memorable harmonic riffs. Bloodletter sounds as if they were born of an orgy between Black Dahlia Murder, Death Angel, Exodus, and At the Gates. If that doesn’t sound like a good time, then you should get your ears checked by one of our staff doctors. Bloodletter has an undeniable polish, giving them a modern sound, though that means they miss out on the charms of the raw energy of Bonded by Blood or Slaughter of the Soul. In some ways, they’ve even upped their thrash game—some of those tremolos are so speedy I can’t help but wonder if they contracted Flash as a special guest. However, it’s not all speed all the time. A few songs slow things down to a mid-tempo while still managing to sound fresh and vivacious (“Terminal,” “Call of the Deep One”). They even have a moment on “Night Terrors” where a haunting piano intro lulls you into expecting a ballad before the sudden booming snare drum knocks you flat. Nonetheless, the album’s breakneck velocity ensures that its 34 minutes are over in the blink of an eye. So you better pay attention.

Between Funeral Hymns and Leave the Light Behind, there’s no denying the quality and growth of these musicians. The muscular drums and frenzied, yet disciplined, riffs keep a breathless pace. Yet drummer Zach Sutton and guitarists Peter Carparelli and Pat Armamentos display some nuance to show that Bloodletter is more than simple speed bag-level velocity. Most impressive are the harmonic guitar leads featured in many choruses. You might not find yourself singing along to the words, but you might instead hum along to the catchy melodic riffage on display during “A World Unmade,” “Terminal,” and “Unearthing Darkness.” For these alone, I feel that Leave the Light Behind is a step up from its predecessor. Even outside of the harmonic leads, the riffs are a blast, and thanks to their variety, they never grow stale or repetitive

One major point of criticism aimed at Bloodletter, both from Holdeneye and readers, is Carparelli’s one-note vocals. Personally, they don’t bother me much. His scratchy shouts bring a punky energy that adds some urgency to the thrash. Yet it’s true that his voice hovers in a state of limbo—he lacks the snarls of Trevor Strnad, nor does he truly sing like Anthrax’s Joey Belladonna. Those put off by him on previous albums won’t find the vocal situation any different this time around. I still find Carparelli effective, especially on “The Black Death,” the rare song where the singing on the chorus is more fun than the riffs. He brings forth a burst of raw, despairing anger as he sings “This is more than sickness / It’s a god damn tragedy.” Carparelli nicely complements the rest of the music, and his personality has begun to bleed into the DNA of Bloodletter, making him an inseparable part of it.

If what you want is a tight, enjoyable piece of melodic thrash, then you can’t do much better than Leave the Light Behind. Bloodletter has undeniably honed their craft into a no-frills, efficient exemplar of the style. And it’s another notch in the belt for Chicago, Illinois, along with Blind Equation, Bear Mace, and the new Pope. Maybe if Chicago sports stadiums played music from these local bands, fans would have something to cheer about. Leave the Light Behind also continues the winning streak for Bloodletter. As far as thrash and melodeath go, this is one of the standouts of 2025.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Wise Blood Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 25th, 2025

#2025 #40 #AmericanMetal #Anthrax #AtTheGates #BearMace #BlackDahliaMurder #BlindEquation #Bloodletter #DeathAngel #Exodus #Jul25 #LeaveTheLightBehind #MelodicDeathMetal #Review #Reviews #ThrashMetal #WiseBloodRecords

Bloodletter – Leave the Light Behind Review

By ClarkKent

Hot off Holdeneye’s 3.5 for their third album, Chicago’s Bloodletter jumps right back into more thrashy melodeath with album number four, Leave the Light Behind. Holdeneye saw a big improvement between sophomore record Funeral Hymns and A Different Kind of Hell, saying he finally saw what so enamored Angry Metal Guy about Funeral Hymns.1 I too, grew enamored when I first set my ears on their style of smooth, polished thrash. Bloodletter play my kind of kryptonite—catchy, melodic guitar leads with tons of energy. When I saw this hit the promo bin, I immediately snatched it before Dr. AMG could get his hands on it. I was anxious to discover if Bloodletter could keep up with the energy and expert melodicism of their previous work.

Leave the Light Behind continues in the melothrash vein of its predecessor, combining thunderous, lightning-fast blast beats with memorable harmonic riffs. Bloodletter sounds as if they were born of an orgy between Black Dahlia Murder, Death Angel, Exodus, and At the Gates. If that doesn’t sound like a good time, then you should get your ears checked by one of our staff doctors. Bloodletter has an undeniable polish, giving them a modern sound, though that means they miss out on the charms of the raw energy of Bonded by Blood or Slaughter of the Soul. In some ways, they’ve even upped their thrash game—some of those tremolos are so speedy I can’t help but wonder if they contracted Flash as a special guest. However, it’s not all speed all the time. A few songs slow things down to a mid-tempo while still managing to sound fresh and vivacious (“Terminal,” “Call of the Deep One”). They even have a moment on “Night Terrors” where a haunting piano intro lulls you into expecting a ballad before the sudden booming snare drum knocks you flat. Nonetheless, the album’s breakneck velocity ensures that its 34 minutes are over in the blink of an eye. So you better pay attention.

Between Funeral Hymns and Leave the Light Behind, there’s no denying the quality and growth of these musicians. The muscular drums and frenzied, yet disciplined, riffs keep a breathless pace. Yet drummer Zach Sutton and guitarists Peter Carparelli and Pat Armamentos display some nuance to show that Bloodletter is more than simple speed bag-level velocity. Most impressive are the harmonic guitar leads featured in many choruses. You might not find yourself singing along to the words, but you might instead hum along to the catchy melodic riffage on display during “A World Unmade,” “Terminal,” and “Unearthing Darkness.” For these alone, I feel that Leave the Light Behind is a step up from its predecessor. Even outside of the harmonic leads, the riffs are a blast, and thanks to their variety, they never grow stale or repetitive

One major point of criticism aimed at Bloodletter, both from Holdeneye and readers, is Carparelli’s one-note vocals. Personally, they don’t bother me much. His scratchy shouts bring a punky energy that adds some urgency to the thrash. Yet it’s true that his voice hovers in a state of limbo—he lacks the snarls of Trevor Strnad, nor does he truly sing like Anthrax’s Joey Belladonna. Those put off by him on previous albums won’t find the vocal situation any different this time around. I still find Carparelli effective, especially on “The Black Death,” the rare song where the singing on the chorus is more fun than the riffs. He brings forth a burst of raw, despairing anger as he sings “This is more than sickness / It’s a god damn tragedy.” Carparelli nicely complements the rest of the music, and his personality has begun to bleed into the DNA of Bloodletter, making him an inseparable part of it.

If what you want is a tight, enjoyable piece of melodic thrash, then you can’t do much better than Leave the Light Behind. Bloodletter has undeniably honed their craft into a no-frills, efficient exemplar of the style. And it’s another notch in the belt for Chicago, Illinois, along with Blind Equation, Bear Mace, and the new Pope. Maybe if Chicago sports stadiums played music from these local bands, fans would have something to cheer about. Leave the Light Behind also continues the winning streak for Bloodletter. As far as thrash and melodeath go, this is one of the standouts of 2025.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Wise Blood Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 25th, 2025

#2025 #40 #AmericanMetal #Anthrax #AtTheGates #BearMace #BlackDahliaMurder #BlindEquation #Bloodletter #DeathAngel #Exodus #Jul25 #LeaveTheLightBehind #MelodicDeathMetal #Review #Reviews #ThrashMetal #WiseBloodRecords

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

Stuck in the Filter: April 2025’s Angry Misses

By Kenstrosity

The cicadas have passed, the brood has bred. And now, it’s all being washed away by a constant deluge of heavy rain and hail amidst thunderous storm of increasing intensity. I imagine those skyborne rumblings shudder every wall of the ducts where my minions toil. I am sure they are frightened, claustrophobic, and soaked. And yet, they persist under my demanding and ruthless management—all so you can have more of what you already get every day in these halls.

Show your appreciation for what we bring to you, and enjoy ov deep Filter!

Kenstrosity’s Biblically-Accurate Beast

Ancient Death // Ego Dissolution [April 18th, 2025 – Profound Lore Records]

A lot of people pine for Death. We know this due to the sheer number of Death worship acts out there, most of which operate eternally under that legend’s shadow. Less common, however, are acts of worship in the service of underground-er heroes The Chasm. Thankfully, Massachusetts death metal quartet Ancient Death take on this mantle, blending much Death and The Chasm inspo with their own curated, abyssal sound. Everything here hearkens back to the ways of olde, but updated to feel relevant in the modern era. Such as this is the case, opening salvos “Ego Dissolution” and “Breaking the Barriers of Hope” strike while the iron is hot, piercing through all expectation with sharp riffs, evolving passages, and dynamic shifts in structure. So effective is this attack strategy that even instrumental aberrations like “Journey to the Inner Soul” feel story driven and purposeful. Standout tracks like “Breathe – Transcend (Into the Glowing Streams of Forever),” “Echoing Chambers Within the Dismal Mind,” and “Unspoken Earth” steal the show, however, boasting Ancient Death’s best riffs, a downright surprising display of vocal versatility, and disgusting solos and dive bombs. It needs time and dedicated spins to bloom and come alive, though, which may discourage listeners hoping for a cheap fix. But trust me, it’s worth the investment!

Killjoy’s Flavorful Feasts

Malphas // Extinct [April 11th, 2025 – Soulseller Records]

If I’m to enjoy no-frills black metal, it needs to have lots of hooks. In this sense, Switzerland’s Malphas had their priorities straight while writing Extinct. Their melodic guitar leads may not be as exuberant or exaggerated as, say, Moonlight Sorcery’s, but they have a thrashy flair which is just as much fun. Once the riffs captured my attention, they reeled me in for a battering vocal assault of coarse barks and spiteful snarls. Drummer Jöschu Käser (also of Aara and many others) can play seemingly any rhythm or tempo, best exemplified across the entirety of “Butcher’s Broom.” This is key for Malphas to prove they have the nuance to pull off mid-paced tempos (“Majestic Moon,” “Consumed,” “Armada Christi”), a quality that I find important in black metal. There are a few neat little surprises as well, like the piano section midway through “Majestic Moon” and the icy synths popping up momentarily in the instrumental closer “Astral Dissonance.” Fans of engaging and catchy meloblack won’t want to miss out on Extinct.

Svnth // Pink Noise Youth [April 18th, 2025 – These Hands Melt]

You’ve likely heard of white noise, but what about its counterpart, pink noise? Whereas white noise contains equal amounts of all frequencies audible to humans, pink noise favors lower frequencies and is generally considered to be easier on the ears. Likewise, Pink Noise Youth, Svnth’s fourth album, is a remarkably pleasant listen. This unassuming post-black group from Rome, Italy has evolved considerably since Cherd’s review of 2020’s Spring in Blue. The familiar glossy guitar tremolos and chords now have an unexpected companion: the electric sitar. This newcomer is mainly supportive, with stray notes and lines drizzled atop the already dreamy guitars for extra sweetness. There are spicier moments, too, like the punky riffs and d-beats peppered with rasping barks that kick off “Winter Blues.” There’s also a much greater prevalence of clean singing this time around, Rodolfo Ciuffo’s hypnotic intonation complements the chunky post-metal of “Perfume” as easily as the carefree guitar strumming in “Nairoby Lullaby.” Gone are the overlong, meandering tracks of before; Pink Noise Youth gets straight to the point with sharper songs hovering in the 5-minute range across a tight 37 minutes in total. Svnth seem determined to make the post-black genre their own and, by all indications, it’s working.

Owlswald’s Wide-Eyed Wonders

Game Over // Face the End [April 25th, 2025 – Scarlet Records]

In the absolutely loaded month that was April, two records surprised these owl ears enough to earn regular spots in my playlist. First up is Game Over’s sixth full-length, Face the End. These Italian thrashers have been peddling their version of the Bay Area sound since 2009, yet this is somehow my first encounter with them. Following the departure of co-founder/bassist/vocalist Renato Chiccoli, Game Over revamped its lineup, bringing in Danny Schiavina on vocals and Leonard Molinari on bass. This refreshed five-piece delivers a newly polished sound, making Face the End the most fun I’ve had with a thrash album in recent memory. “Grip of Time,” “Weaving Fate” and “Veil of Insanity” showcase Game Over’s mastery of Testament and Exodus-level aggression while “Neck Breaking Dance” offers a light-hearted pit call reminiscent of early Anthrax. Alessandro Sansone’s and Luca Zironi’s fast and forceful down-picking, melodic leads and flashy solos run over Anthony Dantone’s rock-solid drumming, all within a crisp and powerful production with ample punch. Schiavina’s charismatic, high-flying vocals immediately grab your attention on “Lust for Blood,” never relinquishing their grasp as they transmit their 70s and 80s horror-inspired themes above abundant gang vocals. In a genre plagued by inconsistency, Face the End is everything I want my thrash to be—aggressive, dynamic and fun.

Kiritsis // Kiritsis [April 4th, 2025 – Wise Blood Records/Pout Records]

Next up is the ruthless sludge and hardcore of Kiritsis. I hope you checked your fun at the door because this Indianapolis-based quartet isn’t here to make friends. Formed by members of Trenches, Hatesong, and Sundown, Kiritsis’ self-titled debut is here to punch you square in the face and take your lunch money. Over the course of thirty-one minutes, this foursome bludgeons listeners with uncompromisingly heavy doses of abrasive distortion, hard-hitting beats and pure unadulterated anger, all slathered in a blackened layer of Carcass-like filth. Blake Henry’s roars and rasps tear through your speakers with pure vitriol and torment, perfectly complementing Eric Mason’s grim riffing, Bill Scott’s demonic bass growls and Nik Jensen’s weighty drum strikes. “Like the Taste,” “Pissant” and “Deny.Defend.Dispose” embody a Will Haven spirit with a barrage of penetrating, assaulting riffs and pounding half-time slams underpinning Henry’s blood-curdling screams. Meanwhile, the sorrowful and doom-tinged “It Ain’t Easy” and “Thieves and Fools” drag you into anguish-ridden depths, draped in their dark, hopeless atmospheres and plodding facades. You won’t find any overly technical or flashy music here—this is pure hatred and loathing in a tight, cathartic package, meant to blast at high volume while you fuck shit up.

Tyme’s Grungy Gift

Melvins 1983 // Thunderball [April 18th, 2025 – Ipecac Recordings]

Hot on the heels and building off of 2024’s Tarantula Heart, stalwart grunge/sludge rock icon Buzz Osborne has teamed back up with original drummer Mike Dillard for Melvins 1983‘s third release and first in four years, Thunderball. This time around, Osborne and Dillard have partnered with experimental electronic artists Void Manes and Ni Maîtres to deliver yet another in a long line of inimitable, don’t-give-a-fuck-what-you-think releases that have become synonymous with the Melvins brand. As influential a band as any going right now on sludgy noise rock emanating from garages across the world, I take note anytime a new Melvins project hits shelves. With Thunderball, Buzz ‘n company have delivered another tasty morsel packed with some o’ that Houdini-sweet heaviness (“King of Rome”) that sweats grunge like “Negative Creep.” A merging of shimmery post-rock with punky garage rock and bass-laden disso-doom that meanders to a close in a wash of plodding riffs and bleep-bloop electronics, “Victory of the Pyramids” is a decent summation of what you’ll find lurking around most of Thunderball‘s thirty-four minute, five track corners, as Void Manes and Ni Maîtres don’t so much enhance as they incorporate their particular brand of electronica into Thunderball‘s sonic aesthetic. As a newcomer still assimilating into the Melvin hive mind here at AMG, I still have the independent lock-step wherewithal to recommend Melvins 1983‘s Thunderball to those who might have missed it.

Dolphin Whisperer’s Ample Acquisitions

Emma Goldman // All You Are Is We [April 28th, 2025 – Zegema Beach Records]

Sassy is as sassy does or somethin’ like that. If you were wondering whether anarchist icon Emma Goldman came back to life to front a mathcore band, I’m sorry to report that that is not the case. However, if you’re in the ballpark for Canadian punks speedballin’ through skronked-out, strung-out chorus barks with a hundred words trapped in ten seconds, then Emma Goldman will be your ticket to a hot psych ward summer.1 From working class psychosis (“i don’t think much at all,” “this is your brain on minimum wage”) to patchwork insomniac ramblings as loaded as the cut-and-scan cover collage (“at rock bottom i was a piss girl,” “that is the land of lost content”), vocalist Victoria delivers a shredded flurry of barks, nags, and cries that pierce straight through the boomy mix. And though the rhythm guitars and bass pulse and industrial cracklings (particularly the two interlude scratches) register on the lower end of the sound spectrum, a fluid twang and tight, clanging snare find an abrasive balance throughout—two broken tones make a right. In under half an hour, All You Are Is We both breezes by in its effortless flow and brandishes passersby with heart-stained tirades and boiled-over emotion. Along with modern acts like Massa Nera and Blind Girls, Emma Goldman in bold, romantic, and unsettled rage makes a strong case for how true skramz can continue to evolve through rich musicianship, progressive leanings, all while maintaining an adherence to post-indebted builds (“it rubs the boycott ketchup on its brand new slacks,” “that is the land…”). And with a dollop more of that cathartic and capturing energy, Emma Goldman may yet charge with the notoriety of its namesake at the front of this genre pack.

Sonum // The Obscure Light Awaits [April 11th, 2025 – Dusktone]

As a product of a previous filter fetching, I had hoped to provide a lengthier statement on my enjoyment of Sonum’s sophomore outing The Obscure Light Awaits. You see, this Italian act has a knack for supplying death metal that holds true to the origins of dark and twisted riffage while still pushing at edges of richer composition in hypnotic rhythms. As a second attempt at deathly glory, The Obscure Light Awaits shows studio knowledge growth in a drum sound that highlights expansive cymbal textures and quick-turn tom rolls that power the mood-driven world in which Sonum inhabits. And in post-growing melodic builds—the kind of atmosphere that leans dissonant like the Ulcerate-channeling broodings of Devenial Verdict—Sonum shows that mood can swell and explode on the backs of horror-tinged orchestral accompaniment and creaking refrains (“Trapped in the Labyrinth of Aberration,” “Nobody Is Innocent”). Trimmed to a three-piece set for The Obscure Light Awaits, the focus that borders on self-similarity on this extended-length journey feels both intimate and indulgent—the closing psychedelic jam session certainly leans on the latter feeling. But with churning tremolo runs that lead to gruff-toned cries, the majority of what Sonum brings to the table lands in consistent and crushing effort (“In This Void We Dwell,” “Messenger of Cosmic Dread”). As a band still finding their footing in the grander scheme of the death metal universe, Sonum has a sense of identity that gives them a fighting edge. And though The Obscure Light Awaits wears its unique vision a little loose at the waist, its journey is well worth exploring.

Zmarłym // Wielkie Zanikanie [April 18th, 2025 – Godz of War Productions]

Once upon a time, Zmarłym fancied themselves a Polish sadboi act whose turmoil was wrapped in the urban decay of early COVID lockdown measures. And now that we’ve all stepped some distance—a safe distance you might say—away from that reality, Zmarłym has learned that the sad doesn’t dissipate quite that easily. Wielkie Zanikanie finds a familiar malaise in isolation, frustration, and a general defeated nature wrapped up in a longing black metal wane with post-punk and progressive undertones, much like you’d find on a record like Voice’s Frightened or Cursebinder’s Drifting. Blaring synth throbs give way to entrancing drum patterns and phase-shifting vocal howls (“Miejsca,” “Bunt maszyn”). Classic tremolo flurries raze playful energy to set the stage for sinister, blood-soaked cries (“Sny o lataniu,” “Plamy II”). And though a goofy mid-album Killing Joke-indebted romp—even a switch to heavy accent English from the brooding native tongue—threatens to break the sinister ambiance that Zmarłym explores throughout the rest of Wielkie Zanikanie, its soft and bouncy inclusions still find layering amongst smoldering black metal riffage. And as all elements come to join hands in the space-bound, synth squealing crescendo of the closing title track, Zmarłym has delivered an experience full of variety and surprise, curated to bore a hole into a mind searching for melancholy with a sense of adventure and play.

#2025 #Aara #AllYouAreIsWe #AmericanMetal #AncientDeath #Anthrax #Apr25 #BlackMetal #BlindGirls #Carcass #Cursebinder #Death #DeathMetal #DevenialVerdict #Dusktone #EgoDissolution #EmmaGoldman #Exodus #Extinct #FaceTheEnd #GameOver #GodzOfWarProductions #Grunge #Hardcore #Hatesong #IpecacRecordings #ItalianMetal #KillingJoke #Kirtisis #Malphas #MassaNera #Mathcore #MelodicBlackMetal #Melvins #Melvins1983 #Metal #MoonlightSorcery #NiMaîtres #PinkNoiseYouth #PolishMetal #PostBlackMetal #postPunk #PoutRecords #ProfoundLoreRecords #ProgressiveDeathMetal #Review #Reviews #ScarletRecords #Screamo #Sludge #SludgeMetal #SludgeRock #Sonum #SoulsellerRecords #StuckInTheFilter #StuckInTheFilter2025 #Sundown #Svnth #Swiss #Testament #TheChasm #TheObscureLightAwaits #TheseHandsMelt #ThrashMetal #Thunderball #Trenches #Ulcerate #Voices #VoidManes #WielkieZanikanie #WillHaven #WiseBloodRecords #ZegemaBeachRecords #Zmarłym

“Prone to Wander”: Human Judgment, Judged

Psalm 116: 1,10 I love Abba God, because Abba God has heard the voice of my supplication, because Abba God has inclined Abba God’s ear to me whenever I called upon Abba God. How shall I repay Abba God for all the good things Abba God has done for me?

Introduction

Our journey through Lent to Holy Week has brought us to the reality of our situation. We have seen that we’re prone to forsake and give up following the way of the reign of God; we have seen that we’re prone to tromp and tread on the land, on our neighbor, on God, and on ourselves; we have seen that we’re eager to estrange ourselves and become strangers to God, thus to our neighbor, thus to ourselves. While we would love for the exposure of Lent to be over, our exposure is, only now, getting personal.

Maundy Thursday isn’t really about “foot washing” or about finding ways to make yourselves smaller and more servant-like to your neighbor—even though such acts are exposing and can bring a certain (healthy) amount of humility. Rather, Maundy Thursday is about Peter being exposed for what he doesn’t understand about who Jesus is and what his mission on earth is all about. And, thus—if it’s about Peter being exposed—it’s about us being exposed for not really getting what Jesus is truly up to. While we claim all year to know what God’s mission is in Christ by the power of the Holy Spirit, we don’t really know and we often forget what it is once we’re told, and we conflate it and force it to conform with our own desires, and (then) walk away from it completely. Maundy Thursday is designed to drive some of those final and big nails into our coffin of exposure. As we gaze upon Christ in the gospel story, watch him remove his clothes and don only a wrap around his waist and begin to wash the feet of his disciples, we should feel the urge building up to blurt out, with Peter, “‘You will never wash my feet!’” A simple statement meant for respect yet exposing how much we really don’t understand what is happening or why Christ is here. On Maundy Thursday, our judgment is called to account for itself, and it will be found lacking.

We are prone to bad judgment because we are prone to wander from our God of love.

Exodus 12:1-14

Here in our First Testament passage from the book of Exodus, Moses and Aaron receive the instructions for the Passover event. The Passover marks the beginning of a new era for Israel. While the exodus event through the Sea of Reeds is the tangible component of Israel’s promised liberation, it is the meal that marks the beginning of the new era defined by redemption. [1] It is this Passover event that is, for Israel, the break in time and space between what was and what will be. Their liberation begins in believing God, trusting God’s word—faith manifesting in action; this is why the Passover event of liberation becomes the mark of a new year for Israel and will always be a mark of a new year: each new year will solicit a new faith to enter the dusk setting on yesterday and dawn rising on tomorrow.[2]

The response of Israel built on faith in God’s trustworthiness and truthfulness is to prepare, eat, and perform a meal in a specific way. God informs Moses and Aaron that on the tenth day of the month all of Israel is to take an unblemished, one year-old, male lamb (one per household or one per a couple of small households), and on the fourteenth day they must slaughter their lambs at twilight. The blood from this sacrifice is to be painted onto the doorposts and lintels of the households where the Passover lamb must be eaten. God then gives very specific instructions regarding the eating of the lamb and the Passover meal:

“They shall eat the lamb that same night; they shall eat it roasted over the fire with unleavened bread and bitter herbs. Do not eat any of it raw or boiled in water, but roasted over the fire, with its head, legs, and inner organs. You shall let none of it remain until the morning; anything that remains until the morning you shall burn. This is how you shall eat it: your loins girded, your sandals on your feet, and your staff in your hand; and you shall eat it hurriedly.” (Ex. 12:8-11)

This isn’t any other meal; it’s a meal that’s refusing enjoyment, merriment, and lingering. Every part of this meal must take place with intention and presence; it’s to be done in haste as if the threat of death looms on the boundary of the meal—because it does loom.[3] “The blood shall be a sign for you on the houses where you live: when I see the blood, I will pass over you, and no plague shall destroy you when I strike the land of Egypt,” (v.13). They will eat this meal, putting all their faith in God and that God is faithful to God’s promises that those who follow what has been told to Aaron and Moses will be exempted from this final curse of the passing over of God and the execution of divine judgment on all the firstborns of the land.[4]

The Israelites must suspend their own judgment. They must step into the void from where God beckons them and faith lures them. They must not pause and consider what is common sense or what aligns with what they know to be good and right. In this moment, human judgment comes under attack by the unstated, whom do you love? The Israelites, individually and as a community had to give their answer. That night, as the angel of death swept over Egypt striking down all the firstborn of the land, divine judgment was executed; that night as families woke up human judgment received its verdict.

Conclusion

Would you? Put yourselves in Israel’s shoes. Would you kill the lamb, paint its blood on your door frames, and eat that meal in haste? Would you risk the life of your child, the life of your sibling, the your own life to appease what made the most sense to you? While we read this as a myth, it’s still a myth with a purpose to expose us. The question comes to us through these Ancient Israelites stuck in captivity and oppression. Would each of us, would we as a community, be able to see the depth at which God is doing a new thing in our lives to liberate us from captivity? Would we be able to trust that God is doing this thing and that God is truthful and trustworthy and will make good on God’s promises? Would we be able to suspend our judgment long enough to let God be God?

I’m neither advocating for “blind” and “uninformed” faith no affirming that voice in your head you think may God’s Spirit telling you to do something a bit uncharacteristic (always have those ideas checked by scripture and teaching!). What I am advocating for is this: are we able to suspend our human informed judgment long enough to see when God is doing something new in the world even when it contradicts our conception of what should be done in the world? Are we able to suspend what we think is right and good long enough to see when God is working a new thing for the wellbeing of our neighbor, which ends up being (ultimately) for our own wellbeing? Are we able to unplug our eyes and ears from what we have grown accustomed to seeing and hearing long enough to see and hear when God is calling us into liberation, into love, and into life and away from captivity, away from indifference, and away from death? Would we be able to learn something new about God’s divine mission in the world so to echo Peter’s eager and desperate response to Jesus, Wash not only my feet but my whole body, inside and out!? Would you be able to suspend your judgment long enough to let God be God?

The bad news is that we, as fleshy meat creatures prone to wander, will deliver our answer; the good news is that God knows this and comes to do something about it.

[1] Jeffrey H. Tigay, “Exodus,” The Jewish Study Bible Jewish Publication Society Tanakh Translation, eds. Adele Berlin and Marc Zvi Brettler (Oxford: OUP, 2004), 125. “Preparations for the exodus” “Israel is to prepare for the coming redemption with a sacrificial banquet while the final plague is occurring and is to commemorate the event in the future on its anniversary by eating unleavened bread for a week and reenacting the banquet. This banquet became the prototype of the postbiblical Seder, the festive meal at which the exodus story is retold and expounded each year to this day on the holiday of Pesah (Passover), as explained below.”

[2] Tigay, “Exodus,” 125. “Since the exodus will be commemorated on its anniversary every year…the preparatory instructions begin with the calendar. Henceforth the year will commence with the month of the exodus, and months will be referred to by ordinal numbers rather than names….Since the number will mean essentially ‘in the Xth month since we gained freedom,’ every reference to a month will commemorate the redemption.”

[3] Tigay, “Exodus,” 126. “The Israelites are to eat while prepared to leave on a moment’s notice.”

[4] Tigay, “Exodus,” 126. “In most European languages, it is also the name of Easter (as in French ‘Paques’). The translation ‘passover’ (and hence the English name of the holiday) is probably incorrect. The alternativity translation ‘protective offering’ is more likely…”

#DivineLiberation #DivineLife #DivineLove #Exodus #HolyWeek #JeffreyTigay #JPSStudyBible #Judgment #Liberation #Life #Love #MaundyThursday #Passover #Peter #ThePassover

“Prone to Wander”: Human Judgment, Judged

Psalm 116: 1,10 I love Abba God, because Abba God has heard the voice of my supplication, because Abba God has inclined Abba God’s ear to me whenever I called upon Abba God. How shall I repay Abba God for all the good things Abba God has done for me?

Introduction

Our journey through Lent to Holy Week has brought us to the reality of our situation. We have seen that we’re prone to forsake and give up following the way of the reign of God; we have seen that we’re prone to tromp and tread on the land, on our neighbor, on God, and on ourselves; we have seen that we’re eager to estrange ourselves and become strangers to God, thus to our neighbor, thus to ourselves. While we would love for the exposure of Lent to be over, our exposure is, only now, getting personal.

Maundy Thursday isn’t really about “foot washing” or about finding ways to make yourselves smaller and more servant-like to your neighbor—even though such acts are exposing and can bring a certain (healthy) amount of humility. Rather, Maundy Thursday is about Peter being exposed for what he doesn’t understand about who Jesus is and what his mission on earth is all about. And, thus—if it’s about Peter being exposed—it’s about us being exposed for not really getting what Jesus is truly up to. While we claim all year to know what God’s mission is in Christ by the power of the Holy Spirit, we don’t really know and we often forget what it is once we’re told, and we conflate it and force it to conform with our own desires, and (then) walk away from it completely. Maundy Thursday is designed to drive some of those final and big nails into our coffin of exposure. As we gaze upon Christ in the gospel story, watch him remove his clothes and don only a wrap around his waist and begin to wash the feet of his disciples, we should feel the urge building up to blurt out, with Peter, “‘You will never wash my feet!’” A simple statement meant for respect yet exposing how much we really don’t understand what is happening or why Christ is here. On Maundy Thursday, our judgment is called to account for itself, and it will be found lacking.

We are prone to bad judgment because we are prone to wander from our God of love.

Exodus 12:1-14

Here in our First Testament passage from the book of Exodus, Moses and Aaron receive the instructions for the Passover event. The Passover marks the beginning of a new era for Israel. While the exodus event through the Sea of Reeds is the tangible component of Israel’s promised liberation, it is the meal that marks the beginning of the new era defined by redemption. [1] It is this Passover event that is, for Israel, the break in time and space between what was and what will be. Their liberation begins in believing God, trusting God’s word—faith manifesting in action; this is why the Passover event of liberation becomes the mark of a new year for Israel and will always be a mark of a new year: each new year will solicit a new faith to enter the dusk setting on yesterday and dawn rising on tomorrow.[2]

The response of Israel built on faith in God’s trustworthiness and truthfulness is to prepare, eat, and perform a meal in a specific way. God informs Moses and Aaron that on the tenth day of the month all of Israel is to take an unblemished, one year-old, male lamb (one per household or one per a couple of small households), and on the fourteenth day they must slaughter their lambs at twilight. The blood from this sacrifice is to be painted onto the doorposts and lintels of the households where the Passover lamb must be eaten. God then gives very specific instructions regarding the eating of the lamb and the Passover meal:

“They shall eat the lamb that same night; they shall eat it roasted over the fire with unleavened bread and bitter herbs. Do not eat any of it raw or boiled in water, but roasted over the fire, with its head, legs, and inner organs. You shall let none of it remain until the morning; anything that remains until the morning you shall burn. This is how you shall eat it: your loins girded, your sandals on your feet, and your staff in your hand; and you shall eat it hurriedly.” (Ex. 12:8-11)

This isn’t any other meal; it’s a meal that’s refusing enjoyment, merriment, and lingering. Every part of this meal must take place with intention and presence; it’s to be done in haste as if the threat of death looms on the boundary of the meal—because it does loom.[3] “The blood shall be a sign for you on the houses where you live: when I see the blood, I will pass over you, and no plague shall destroy you when I strike the land of Egypt,” (v.13). They will eat this meal, putting all their faith in God and that God is faithful to God’s promises that those who follow what has been told to Aaron and Moses will be exempted from this final curse of the passing over of God and the execution of divine judgment on all the firstborns of the land.[4]

The Israelites must suspend their own judgment. They must step into the void from where God beckons them and faith lures them. They must not pause and consider what is common sense or what aligns with what they know to be good and right. In this moment, human judgment comes under attack by the unstated, whom do you love? The Israelites, individually and as a community had to give their answer. That night, as the angel of death swept over Egypt striking down all the firstborn of the land, divine judgment was executed; that night as families woke up human judgment received its verdict.

Conclusion

Would you? Put yourselves in Israel’s shoes. Would you kill the lamb, paint its blood on your door frames, and eat that meal in haste? Would you risk the life of your child, the life of your sibling, the your own life to appease what made the most sense to you? While we read this as a myth, it’s still a myth with a purpose to expose us. The question comes to us through these Ancient Israelites stuck in captivity and oppression. Would each of us, would we as a community, be able to see the depth at which God is doing a new thing in our lives to liberate us from captivity? Would we be able to trust that God is doing this thing and that God is truthful and trustworthy and will make good on God’s promises? Would we be able to suspend our judgment long enough to let God be God?

I’m neither advocating for “blind” and “uninformed” faith no affirming that voice in your head you think may God’s Spirit telling you to do something a bit uncharacteristic (always have those ideas checked by scripture and teaching!). What I am advocating for is this: are we able to suspend our human informed judgment long enough to see when God is doing something new in the world even when it contradicts our conception of what should be done in the world? Are we able to suspend what we think is right and good long enough to see when God is working a new thing for the wellbeing of our neighbor, which ends up being (ultimately) for our own wellbeing? Are we able to unplug our eyes and ears from what we have grown accustomed to seeing and hearing long enough to see and hear when God is calling us into liberation, into love, and into life and away from captivity, away from indifference, and away from death? Would we be able to learn something new about God’s divine mission in the world so to echo Peter’s eager and desperate response to Jesus, Wash not only my feet but my whole body, inside and out!? Would you be able to suspend your judgment long enough to let God be God?

The bad news is that we, as fleshy meat creatures prone to wander, will deliver our answer; the good news is that God knows this and comes to do something about it.

[1] Jeffrey H. Tigay, “Exodus,” The Jewish Study Bible Jewish Publication Society Tanakh Translation, eds. Adele Berlin and Marc Zvi Brettler (Oxford: OUP, 2004), 125. “Preparations for the exodus” “Israel is to prepare for the coming redemption with a sacrificial banquet while the final plague is occurring and is to commemorate the event in the future on its anniversary by eating unleavened bread for a week and reenacting the banquet. This banquet became the prototype of the postbiblical Seder, the festive meal at which the exodus story is retold and expounded each year to this day on the holiday of Pesah (Passover), as explained below.”

[2] Tigay, “Exodus,” 125. “Since the exodus will be commemorated on its anniversary every year…the preparatory instructions begin with the calendar. Henceforth the year will commence with the month of the exodus, and months will be referred to by ordinal numbers rather than names….Since the number will mean essentially ‘in the Xth month since we gained freedom,’ every reference to a month will commemorate the redemption.”

[3] Tigay, “Exodus,” 126. “The Israelites are to eat while prepared to leave on a moment’s notice.”

[4] Tigay, “Exodus,” 126. “In most European languages, it is also the name of Easter (as in French ‘Paques’). The translation ‘passover’ (and hence the English name of the holiday) is probably incorrect. The alternativity translation ‘protective offering’ is more likely…”

#DivineLiberation #DivineLife #DivineLove #Exodus #HolyWeek #JeffreyTigay #JPSStudyBible #Judgment #Liberation #Life #Love #MaundyThursday #Passover #Peter #ThePassover

When diplomacy becomes population management, what remains of justice? The forced relocation of Palestinians isn’t just a crime—it’s a shift in global power dynamics. A deep dive into how this shapes the future of international law.

https://medium.com/@ptit.tolier/when-diplomacy-turns-into-population-management-what-remains-of-international-justice-aa08e7b1a5fc

#Palestine
#Gaza
#MiddleEast
#Geopolitics
#HumanRights
#InternationalLaw
#ForcedMigration
#DisplacedPeople
#PoliticalCrisis
#Sovereignty
#Justice
#Refugees
#Diplomacy
#PowerPolitics
#Exodus
#Colonialism
#WarCrimes
#GlobalConflict
#Ethics

Stress Test – Stress Test Review

By Dolphin Whisperer

Just as much as any genre that’s been around for 40-plus years, hardcore is not a monolith, not by a long stretch. As an unleashing of rough-and-tumble punk energy with an extra flash of sharpness and swagger, its permutations can run the gamut of high-tempo riffage, ragged vocal attitude, and instrumental histrionics, all while wearing the speed-loaded label. With a classic thrash attack and a dash of grind spirit, Stress Test wears the genre like a tattered and patched denim vest befitted with snappy pull-off runs, d-beat anthemics, and short bursts fit for a moshing audience. No one needs to reinvent the urge to start up the pit to have a good time.

Featuring the rhythm section of Unto Others, with Brandon Hill assuming guitar and vocals instead of bass for Stress Test, Stress Test lands with a polish and focus not typical of acts whose songs frequent the sub-two minute range. Though that energy presents in some of the harder-hitting cuts that Unto Others has to offer, Stress Test shares little but members in the kind of drive that this debut holds. Hill and co.’s understanding of the studio helps Stress Test find smart and punchy pockets for deep bass propulsions (“Coward,” “Bastard Behavior,” “Stress Test”), which go a long way in adding color to the snarl and shifty riffcraft that perpetuates its eighteen-minute run. And with colors that range from the early 90s death/grind of Napalm Death to the meatheaded aggro-crossover of Terror, Stress Test uses their experience to travel familiar paths with a skanking stride that sounds urgent.

Even though time-tested riffs and a cadence rooted in thrash history defines the simple appeal of Stress Test, its tracks flow with healthy variation to maintain a momentum that remains unbreakable and memorable. Embracing the smooth and sliding Exodus stomp with the brevity of Municipal Waste party bangers spells, on its own, an easy-to-enjoy, never-ending circle of punky abandon (“Coward,” “Bastard Behavior”). But that p-word attitude, alongside the other important p’s of pummel and political edge, also serves as its hissing core, fueling snarky sample punches (“Degrees of Violence,” “It Isn’t Real,” “God Sucks”) and unrelenting layered vocal assaults—a barking fervor and accompanying caveman-frenzied bellow—color the bouncing intensity as Stress Test progresses. Nothing that Stress Test rips from the sweat and beer-stained pages of thrash reads as new, but its in-and-out groove remains difficult to deny.

The choice to keep Stress Test svelte hinders how high it can fly, though. Stress Test knows their way around a whiplash tune and quick guitar hero cut-in to let accelerating tempos breathe (“Degrees of Violence,” “It Isn’t Real,” “Gullible”). And while these bite-size ragers take up a small percentage of runtime in this already low-commitment affair, they also make for the most interesting guitar parts that Stress Test can muster. Of course, it would be hard to call longer cuts like mid-album “Suffer” and “Bastard Behavior” slouching, as their vocal bite and rhythmic overload ensure swinging arms and cracking necks from start to finish. However, in their self-similar nature, along with “Stress Test,” they allow fewer avenues for Stress Test to leave a stronger identifying mark.

Yet, as a feisty debut, Stress Test makes for a powerful, practiced statement. It doesn’t take a virtuoso to make music that is fast, loud, and angry. But, as Stress Test shows, steady (enough) hands and an ear looking for the right accents and accelerations will find a grace in wild tempos that mimics the fury of an untethered mind. With a varied pool of legacy influences, these Portland-based punks hold the potential to develop their low-frills sound in just about any way that they choose. And though Stress Test lacks in extreme choices that could hoist this fledgling act to a loftier status, Stress Test has taken aim at becoming a primary form of relief for those in need of boiled-over thrash madness.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Transylvanian Recordings
Websites: stresstest.us | stresstestpdx.bandcamp.com | facebook.com/stresstestpdx
Releases Worldwide: February 28th, 2025

#2025 #30 #AmericanMetal #CrossoverThrash #CrustPunk #Exodus #Feb25 #Hardcore #MunicipalWaste #NapalmDeath #Review #Reviews #StressTest #Terror #TransylvanianRecordings #UntoOthers

Ja, wir sind etwas spät dran - der #GlobalSwitchDay ist ja schon ein paar Tage her, und #Twitter war seit einer Weile nur noch ein burning trashfire.

Besser spät als nie :)

#twexit #eXodus #fckelonmusk

Nog één keer: de wijzen uit het oosten

Ik heb al redelijk wat keren geblogd over Matteüs’ verhaal van de wijzen uit het oosten die naar Betlehem kwamen. Ik doe het vandaag nog één keer en dan houd ik ermee op, althans voor 2025.

Magiërs

Het gebruikte Griekse woord is magos, en ik vertelde dertien jaar geleden al eens dat dat verwees naar religieuze specialisten uit Perzië. Probleem één: dat zijn geen sterrenwichelaars, hoewel we daar bij Matteüs wel mee te maken hebben. In het Grieks heten sterrenwichelaars soms mathematikoi, vaak chaldaioi en zo nu en dan astrologoi. Geen magoi. Speculaties dat de Perzische magoi aan sterrenwichelarij waren gaan doen toen de Perzen Babylonië hadden onderworpen, zoals geopperd door Mary Boyce, zijn vooral bedacht om dit probleem op te lossen.

Toch is de woordkeuze van Matteüs niet onlogisch. Magoi waren namelijk wel aanwezig als een machthebber ergens arriveerde. Ze zeiden dan gebeden, vaak staand bij een vuuraltaar waarop ze geurstoffen verbrandden. Aangezien Matteüs Jezus presenteert als koning, is hun aanwezigheid in zijn evangelie logisch. Maar hij presenteert ze dus niet in de eerste plaats als sterrenkundigen.

De ster

Dan is er die ster. Dat is, om zo te zeggen, het logo van de firma messias. Sinds de vroege eerste eeuw v.Chr. – eigenlijk zolang als het messianisme bestaat – dacht men dat het vers uit Numeri 24.17:

Een ster komt op uit Jakob,
een scepter uit Israël.
Hij verbrijzelt Moab de slapen,
de kinderen van Set slaat hij neer.

verwees naar de messias. Dat Matteüs hier echt naar verwijst, blijkt uit de precieze formulering: de magiërs zeggen tegen koning Herodes “Wij hebben zijn ster zien opkomen”.noot De Statenvertaling “ster in het Oosten” gaat op dit punt de mist in. Met deze verwijzing maakt Matteüs duidelijk wat Jezus’ plaats is in de heilsgeschiedenis.

Citaten en allusies

Verder weeft hij nogal wat verzen uit de joodse religieuze literatuur door zijn betoog. Afgezien van het Numeri-citaat citeert hij letterlijk Micha 5.1, Hosea 11.1, Jeremia 31.15 (“Er klinkt een stem in Rama”) en Exodus 4.19, en alludeert hij aan Jesaja 60.6 en Exodus 1.16. Matteüs’ slotopmerking dat Jezus kwam te wonen in Nazaret om een profetie in vervulling te laten dat hij nazoreeër genoemd zal worden, verwijst naar een onbekend geschrift dat niet in de Bijbel is opgenomen. Het gaat om een woordspel: een nazoreeër is iemand uit Nazaret, is iemand die een gelofte heeft ingelost en verwijst naar netzer, “loot”, wat een ander messiaans motief is: zie Jesaja 11.1.

Ik som dit op omdat de aller-, allereerste vraag die we bij een tekstanalyse moeten stellen, die is naar het genre. Je kunt een roman niet lezen alsof het non-fictie is, een gedicht vergt een andere leeshouding dan proza, en toneel lees je hardop. In dit geval is de dichtstbijzijnde parallel de Dode Zee-rol die bekendstaat als 4QTestimonia, een bloemlezing uit de joodse literatuur die betrekking heeft op de messias. Matteüs heeft zulke citaten genomen en er een verhaal van geschapen.

Het verhaal is dus – ik vertel opnieuw wat ik al eens herhaalde – een literair spel. Het literaire vlechtwerk levert een gek verhaal op, met bijvoorbeeld een hoogst onlogische vlucht naar Egypte, die er vooral is om een Hosea-passage in vervulling te laten gaan. Het heeft dus niet zoveel zin te zoeken naar de ster van Betlehem, want dat is net zoiets als vragen wat die stem uit Rama heeft gezegd.

Niet alles is fictie

Dat Matteüs’ verslag van de geboorte van Jezus is geschreven op de wijze waarop joodse religieuze teksten destijds in elkaar zaten, wil overigens niet zeggen dat alles fictie is. Door wat citaten uit liedjes van Taylor Swift te combineren, kun je een feitelijk accuraat verslag schrijven van de ochtend in januari waarop je de kerstverlichting hebt opgeruimd. Zoals ik al eens schreef, kan de historicus een antieke tekst nooit zomaar helemaal letterlijk nemen maar is het ook verkeerd aan te nemen dat alles literaire fictie is.

Wat ik hierboven vertel, heb ik in diverse stukjes allemaal al weleens uitgelegd. Ik maakte deze samenvatting op verzoek van de onlangs overleden journalist Paul Damen, die hierover nog eens een stuk wilde schrijven en informatie bij me kwam vragen. Maar toen ik het op een druilerige zondagmorgen samenvatte, viel me iets op.

Heidense wijzen

De joodse religieuze literatuur verwijst weleens naar de magiërs, zoals in Daniël 2.2 en in Filon van Alexandriës Leven van Mozes 1.264. De magiërs zijn strijk en zet dwazen, die het eigenlijk niet snappen. Het zijn geen wijzen uit het oosten, maar onwijzen. De Griekse auteur Herodotos denkt er precies zo over. De Joodse precedenten van Matteüs zijn, als ik het goed zie, wel negatief, maar nog vér van de latere typering van magiërs als bedriegers.

In eerste instantie dacht ik dat Matteüs wilde zeggen dat de dwazen het licht zagen opkomen dat koning Herodes tot elke prijs wil doven. Dat zou, dacht ik, dezelfde omkering zijn die we bij Lukas aantreffen: herders, die spreekwoordelijke outcasts van de antieke samenleving, zijn daar de eersten die op de hoogte zijn van goed nieuws. Veel christelijker kon het niet, leek me, als de laatsten de eersten waren.

Gert Knepper, die weleens op deze blog schrijft en die ik altijd om advies kan vragen, had een betere uitleg van het curieuze gegeven dat Matteüs magoi presenteert die er in de joodse religieuze literatuur slecht vanaf komen. Hij attendeert erop dat de magiërs het niet snappen doordat hun wijsheid tekortschiet in vergelijking met de inzichten die de joodse religie biedt. In het Matteüs-evangelie concluderen ze op grond van hun beperkte wijsheid dat er een Joodse koning is geboren.

Zo’n presentatie – het zijn heidenen maar wel goede heidenen – past prima, zowel aan het einde van de eerste eeuw v.Chr. als in de eerste eeuw na Chr. In het eerste geval past het omdat het jodendom een steeds bredere definitie hanteerde van het Verbondsvolk (vgl. het blogje van 24 november); in het tweede geval omdat het christendom eind eerste eeuw na Chr. steeds meer heidense aanhangers kreeg.

Kortom, er is aan de Kerstverhalen nog een hoop te ontdekken, maar voor 2025 vind ik het wel mooi geweest.

[Een overzicht van deze reeks over het Nieuwe Testament is hier.]

Ik organiseer in het voorjaar van 2025 een reis naar de vernieuwde musea van Beieren. Door mee te gaan helpt u deze blog gratis te houden. Maar u kunt natuurlijk ook een van mijn boeken kopen (en lezen), een cursus doen, of doneren. U kunt de blog ook volgen via het Whatsapp-kanaal.

#4QTestimonia #Daniël #EvangelieVanLukas #EvangelieVanMatteüs #Exodus #FilonVanAlexandrië #HerodesDeGrote #HoseaProfeet_ #Jeremia #Jesaja #magiërs #MaryBoyce #messias #Micha #NieuweTestament #PaulDamen #SterVanBetlehem #TaylorSwift

"Decentralized social network Mastodon is also seeing some uplift from the X “exodus,” founder Eugen Rochko shared on the platform just ahead of the weekend."
#media #tech #socialmedia #news #twitter #exodus #twexit #mastodon
https://techcrunch.com/2024/11/18/mastodon-sees-a-boost-from-the-x-exodus-too-founder-says/

"Decentralized social network Mastodon is also seeing some uplift from the X “exodus,” founder Eugen Rochko shared on the platform just ahead of the weekend."
#media #tech #socialmedia #news #twitter #exodus #twexit #mastodon
https://techcrunch.com/2024/11/18/mastodon-sees-a-boost-from-the-x-exodus-too-founder-says/

#TheMetalDogArticleList
#BLABBERMOUTH
EXODUS's TOM HUNTING On His Health: 'Everything Is Good'

https://blabbermouth.net/news/exoduss-tom-hunting-on-his-health-everything-is-good

#TomHunting #EXODUS #Cancer #Health #Gastrectomy #Mesothelioma #Immunotherapy

For @derthomas' #ThrashThursday, a supergroup:

#Category7: In Stitches

https://song.link/wqdh2btjzdcxk

FFO the members:
#ArmoredSaint and former #Anthrax frontman John Bush
#KerryKing sideman and former #MachineHead guitarist Phil Demmel
#AdrenalineMob guitarist Mike Orlando
#Exodus bassist Jack Gibson
#Overkill and #ShadowsFall drummer Jason Bittner

Paraguay’s Power Chief: No Cryptocurrency Mining Company Has Left Yet - Felix Sosa, president of the National Power Administration of Paraguay (ANDE), has... - https://news.bitcoin.com/paraguays-power-chief-no-cryptocurrency-mining-company-has-left-yet/ #cryptocurrency #paraguay #mining #brazil #crypto #exodus #ande

Paraguay’s Power Chief: No Cryptocurrency Mining Company Has Left Yet - Felix Sosa, president of the National Power Administration of Paraguay (ANDE), has... - https://news.bitcoin.com/paraguays-power-chief-no-cryptocurrency-mining-company-has-left-yet/ #cryptocurrency #paraguay #mining #brazil #crypto #exodus #ande

#TheMetalDogArticleList
#BLABBERMOUTH
CATEGORY 7 Feat. OVERKILL, EXODUS, ARMORED SAINT And Ex-MACHINE HEAD Members: Debut Album Details Revealed

https://blabbermouth.net/news/category-7-feat-overkill-exodus-armored-saint-and-ex-machine-head-members-debut-album-details-revealed

#supergroup #machinehead #exodus #armoredsaint #overkill #jasonbittner #jackgibson #mikeorlando #philademmel #johnbush #shadowsfall #thrashmetal #heavymetal #punkmetal #melodicmetal

#NowPlaying #TheMetalDogIsNowPlaying
#Exodus
Fabulous Disaster
Low Rider - War Cover

YouTube Search:
https://youtube.com/results?search_query=Exodus+Fabulous+Disaster+Low+Rider+-+War+Cover

Songwhip:
https://songwhip.com/Exodus/Low-Rider---War-Cover

Lyrics:
#cover #thrashmetal #inna #evakarera #jadelaroche

#NowPlaying #TheMetalDogIsNowPlaying
#Exodus
Fabulous Disaster
Low Rider - War Cover

YouTube Search:
https://youtube.com/results?search_query=Exodus+Fabulous+Disaster+Low+Rider+-+War+Cover

Songwhip:
https://songwhip.com/Exodus/Low-Rider---War-Cover

Lyrics:
#cover #thrashmetal #inna #evakarera #jadelaroche

#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 March 24th, 2024 🤘EXODUS, VAN HALEN, MOTÖRHEAD, RUNNING WILD, BLUE ÖYSTER CULT
TALENT WE LOST R.I.P. Scott Clendenin (DEATH, CONTROL DENIED) – January 17th, 1968 – March 24, 2015 (aged 47) R.I.P. Steve Lang (APRIL WINE): March 24, 1949 – February 4, 2017 (aged 67) HEAVY BIRTHDAYS 60th Steve ‘Zetro’ Souza (EXODUS) – 1964 HEAVY RELEASES 49th LYNYRD...

https://bravewords.com/news/today-in-metal-history-march-24th-2024-exodus-van-halen-motorhead-running-wild-blue-oyster-cult

#Exodus #VanHalen #Motorhead #RunningWild #BlueOysterCult

#Exodus

I have no idea what this game will end up being, but this is a really compelling 5- minute short film.

I had also just finished #TheForeverWar, so I was primed for this kinda of story.

https://www.youtube.com/watch?v=WAKAZNQuLqw

#VideoGames
#ExodusGame
#JoeHaldeman

(2/3)

Wenn reaktionäre Menschen wie Söder und erzkonservative, moraline Menschen wie Bedford-Strohm (kirchen-) politische Debatten für beendet erklären, dann sollten echte Demokrat.inn.en aufhorchen. Dann geht es regelmäßig darum, für diese Machtmenschen unangenehme Diskussionen unter den Teppich zu kehren.

Meine Schlafstörungen (»Denk ich an Deutschland in der Nacht, so …«, ICD-10-Code H.31.n3) lassen sich davon nicht bessern, im Gegenteil.

Bedford-Strohms typische Äußerung ist schon Jahre her, hat sich mir aber eingebrannt.

#Aiwanger #Faschismus

#Befreiungstheologie #ChristinnenundChristenfürdenSozialismus #CfS #MaterialistischeBibellektüre #Religionskritik #Allende #Pinochet #CIA #PolitischeÖkonomie #GroßeErzählung #Menschenrechte #DorotheeSölle #KarlMarx #TonVeerkamp #MarieVeit #UnidadPopular #DickBoer #Prophetie #Antikapitalismus #Genesis #Exodus #Struktur #Emanzipation #BulletTheBlueSky #Evangelium #Agape #Solidarität #Herrschaftsreligion #Aufklärung #Wissenschaft

Wenn reaktionäre Menschen wie Söder und erzkonservative, moraline Menschen wie Bedford-Strohm (kirchen-) politische Debatten für beendet erklären, dann sollten echte Demokrat.inn.en aufhorchen. Dann geht es regelmäßig darum, für diese Machtmenschen unangenehme Diskussionen unter den Teppich zu kehren.

Meine Schlafstörungen (»Denk ich an Deutschland in der Nacht, so …«, ICD-10-Code H.31.n3) lassen sich davon nicht bessern, im Gegenteil.

Bedford-Strohms typische Äußerung ist schon Jahre her, hat sich mir aber eingebrannt.

#Aiwanger #Faschismus

#Befreiungstheologie #ChristinnenundChristenfürdenSozialismus #CfS #MaterialistischeBibellektüre #Religionskritik #Allende #Pinochet #CIA #PolitischeÖkonomie #GroßeErzählung #Menschenrechte #DorotheeSölle #KarlMarx #TonVeerkamp #MarieVeit #UnidadPopular #DickBoer #Prophetie #Antikapitalismus #Genesis #Exodus #Struktur #Emanzipation #BulletTheBlueSky #Evangelium #Agape #Solidarität #Herrschaftsreligion #Aufklärung #Wissenschaft

@Schnips

Das. Außerdem hab ich dieser Tage mal wieder gedacht, dass zB ein Remake der Buchverfilmung #Exodus von #LeonUris schon lange überfällig ist. Kaum ein Werk hat alle Hintergründe so gut beleuchtet wie dieses: Die Greuel der Shoa, die hürdenreiche Flucht der Jüd*innen aus Europa, die Mammut-Aufgabe, einen eigenen Staat quasi aus dem Nichts zu erschaffen. Und schließl der Versuch der Kibbuzim, ein friedl Zusammenleben mit den arab. Nomadenstämmen zu erreichen. Bewegt mich immer wieder...

@Schnips

Das. Außerdem hab ich dieser Tage mal wieder gedacht, dass zB ein Remake der Buchverfilmung #Exodus von #LeonUris schon lange überfällig ist. Kaum ein Werk hat alle Hintergründe so gut beleuchtet wie dieses: Die Greuel der Shoa, die hürdenreiche Flucht der Jüd*innen aus Europa, die Mammut-Aufgabe, einen eigenen Staat quasi aus dem Nichts zu erschaffen. Und schließl der Versuch der Kibbuzim, ein friedl Zusammenleben mit den arab. Nomadenstämmen zu erreichen. Bewegt mich immer wieder...

Binance Executives for Russia and Eastern Europe Leave Top Exchange - Two Binance executives responsible for the crypto giant’s operations in Eastern Eu... - https://news.bitcoin.com/binance-executives-for-russia-and-eastern-europe-leave-top-exchange/ #australianewzealand #regulatorycrackdown #vladimirsmerkis #cryptoexchange #changpengzhao #easterneurope #glebkostarev #executives #regulators #exchanges #exchange #managers #binance #founder #exodus #russia #turkey #execs #exits #apac

Binance Executives for Russia and Eastern Europe Leave Top Exchange - Two Binance executives responsible for the crypto giant’s operations in Eastern Eu... - https://news.bitcoin.com/binance-executives-for-russia-and-eastern-europe-leave-top-exchange/ #australianewzealand #regulatorycrackdown #vladimirsmerkis #cryptoexchange #changpengzhao #easterneurope #glebkostarev #executives #regulators #exchanges #exchange #managers #binance #founder #exodus #russia #turkey #execs #exits #apac

L'épisode 7 est sur https://pods.link/fr/i/1542148446

#haikus #h18 #damiengabriels #99haikus #michellaporte #neilyoung #hendrix #exodus #tomatito #theclash #bowiemedoquine #gototuva #sainkho #einsturzendeneubauten #floydllyod

Courtes citations :
Ider Inek Internet Sainkho & Garlo. https://song.link/album/i/1442022946
H18 Damien Gabriels cd 99 Haikus Garlo
https://open.spotify.com/album/4LnDhe7Z38GMmDjZFQHR6D