#godflesh — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #godflesh, aggregated by home.social.
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https://www.europesays.com/be-fr/211810/ Godflesh : nouvel album, premier extrait en écoute #BE #BEFr #Belgique #Belgium #Divertissement #Entertainment #godflesh #Music #Musique #relapse
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https://www.europesays.com/ch-fr/259399/ Godflesh : nouvel album, premier extrait en écoute #Divertissement #Entertainment #godflesh #Music #Musique #relapse #Suisse
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https://www.europesays.com/ie/634671/ Godflesh Preview Penultimate Album With Pummeling Song ‘Living/Ending’ #Éire #Entertainment #Godflesh #IE #Ireland #JustinBroadrick #Music
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https://www.europesays.com/es/708432/ Godflesh anuncian ‘Decay’, su penúltimo disco de estudio #Entertainment #Entretenimiento #ES #España #Godflesh #industrial #Music #Música #Noticias #Relapse #Spain
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#Godflesh announce new album, Decay: https://godflesh.bandcamp.com/album/decay #music
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#Godflesh announce new album, Decay: https://godflesh.bandcamp.com/album/decay #music
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#Godflesh announce new album, Decay: https://godflesh.bandcamp.com/album/decay #music
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#Godflesh announce new album, Decay: https://godflesh.bandcamp.com/album/decay #music
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#Godflesh announce new album, Decay: https://godflesh.bandcamp.com/album/decay #music
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Altarage – Cogwheel Review By Alekhines GunWhat do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.
Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.
Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.
And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.
What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.
Rating: 2.5/5.0
#2026 #Altarage #AvantGardeDeathMetal #Cogwheel #DeathMetal #Godflesh #Jul26 #Portal #PrimitiveMan #Review #Reviews #SentientRuinLaboratories #SpanishMetal #Sunn0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026 -
Altarage – Cogwheel Review By Alekhines GunWhat do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.
Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.
Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.
And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.
What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.
Rating: 2.5/5.0
#2026 #Altarage #AvantGardeDeathMetal #Cogwheel #DeathMetal #Godflesh #Jul26 #Portal #PrimitiveMan #Review #Reviews #SentientRuinLaboratories #SpanishMetal #Sunn0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026 -
Altarage – Cogwheel Review By Alekhines GunWhat do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.
Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.
Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.
And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.
What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.
Rating: 2.5/5.0
#2026 #Altarage #AvantGardeDeathMetal #Cogwheel #DeathMetal #Godflesh #Jul26 #Portal #PrimitiveMan #Review #Reviews #SentientRuinLaboratories #SpanishMetal #Sunn0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026 -
Altarage – Cogwheel Review By Alekhines GunWhat do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.
Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.
Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.
And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.
What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.
Rating: 2.5/5.0
#2026 #Altarage #AvantGardeDeathMetal #Cogwheel #DeathMetal #Godflesh #Jul26 #Portal #PrimitiveMan #Review #Reviews #SentientRuinLaboratories #SpanishMetal #Sunn0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026 -
Altarage – Cogwheel Review By Alekhines GunWhat do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.
Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.
Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.
And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.
What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.
Rating: 2.5/5.0
#2026 #Altarage #AvantGardeDeathMetal #Cogwheel #DeathMetal #Godflesh #Jul26 #Portal #PrimitiveMan #Review #Reviews #SentientRuinLaboratories #SpanishMetal #Sunn0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026 -
Godflesh - Post Self - 2017
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #PostSelf -
Godflesh - Post Self - 2017
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #PostSelf -
Godflesh - Post Self - 2017
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #PostSelf -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
For today's #MondayRandom10 I'm going to share the #Doomgaze Primer from #BandCamp - I love me some slow electric guitar goodness and the picks on this playlist are all new to me, so it feels random. (The only artist I'm even tangentially familiar with is jesu but only because I've listened to a little #Godflesh.)
https://daily.bandcamp.com/lists/doomgaze-list -
OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities
at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?
As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.
Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘
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Godflesh - Selfless - 1994
#Music #AlbumSuggestions #NowPlaying #NowListening
#Godflesh #Selfless -
Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
Das ist eine .44er Magnum, die stärkste Handfeuerwaffe der Welt; sie bläst dir das Gehirn aus dem Schädel! #MagnumForce #Sielwolf Somewhere within the same spectrum as #EinstürzendeNeubauten and #Godflesh lies this musical dream made flesh. Live, they were simply brutal! #music #industrial
Magnum Force -
🔴 LIVE NOW ON VORTEX
📻 Vortex Night ⛓️ (Industrial metal)
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🎵 Godflesh - Crush My Soul▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Night ⛓️ (Industrial metal)
──────────────
🎵 Godflesh - Crush My Soul▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
Sundays are a good day to relax.
Lawns and grocery shopping completed this morning. Dinner is in the oven slow cooking for serving later this evening.
I have a nice cold glass of Guinness and Godflesh playing on the headphones.
I think I'm going to do some tweaking to the desktop.
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Sundays are a good day to relax.
Lawns and grocery shopping completed this morning. Dinner is in the oven slow cooking for serving later this evening.
I have a nice cold glass of Guinness and Godflesh playing on the headphones.
I think I'm going to do some tweaking to the desktop.
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Sundays are a good day to relax.
Lawns and grocery shopping completed this morning. Dinner is in the oven slow cooking for serving later this evening.
I have a nice cold glass of Guinness and Godflesh playing on the headphones.
I think I'm going to do some tweaking to the desktop.
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Sundays are a good day to relax.
Lawns and grocery shopping completed this morning. Dinner is in the oven slow cooking for serving later this evening.
I have a nice cold glass of Guinness and Godflesh playing on the headphones.
I think I'm going to do some tweaking to the desktop.
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When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
When #Scotland last beat #France, trophy, referee, #TV
https://kensbookinfo.blogspot.com/p/uk.html#scotsmanDo the Nuggets have a #NikolaJokić-Cam Johnson connection
https://kensbookinfo.blogspot.com/p/sports.html#25#Zelensky issues military threat against #EU
https://kensbookinfo.blogspot.com/p/markets.html#2#UAE Warriors books doubleheader amid #MiddleEast turmoil
https://kensbookinfo.blogspot.com/p/sports.html#25#Taxpayer dollars flood pregnancy centers Oversight
https://kensbookinfo.blogspot.com/p/etc-states.html#6Justin K Broadrick Outlines End Of #Godflesh Following
https://kensbookinfo.blogspot.com/p/media.html#13 -
Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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Justin K. Broadrick Halts Godflesh Live Shows Following Abdominal Surgery
https://thequietus.com/news/justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery/?utm_source=rss&utm_medium=rss&utm_campaign=justin-k-broadrick-halts-godflesh-live-shows-following-abdominal-surgery#thequietus #News #Godflesh #jesu #JK_Flesh #Justin_K_Broadrick
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So sad to hear about Justin Broadrick's health issues. He's an absolute legend and I'll be forever grateful for his music and the two times I had the chance to see #Godflesh live.
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So sad to hear about Justin Broadrick's health issues. He's an absolute legend and I'll be forever grateful for his music and the two times I had the chance to see #Godflesh live.
