#kowloon-walled-city — Public Fediverse posts

#25 #2025 #deadlyCarnage #englishMetal #explosionsInTheSky #hopeScars #kowloonWalledCity #mogwai #oct25 #postMetal #review #reviews #ripcordRecords #sludgeMetal #vandampire

By Spicie Forrest

Post- historically implies an evolution of or successor to a previous idea (modernism, rock, structuralism, punk, hardcore, colonialism, etc.). While a little nebulous, post-metal more or less riffs on the post-rock blueprint. It utilizes metal’s intense, abrasive instrumentation to create an emotional vulnerability that even the best power ballads fail to capture. There is a tenderness in its crushing weight, a sense of freedom and catharsis in its restraint. It is this corner of the metalverse that South West England-based Vandampire inhabits. Founded in 2018 and with two EPs1 under their belt, Hope Scars not only marks Vandampire’s debut full-length, but the official debut of their second guitarist, as well. Post-metal is a saturated field, though, and it’ll take a lot for Hope Scars to stand out in the crowd.

One thing I can say for certain is that Hope Scars stands head and shoulders above Vandampire’s previous EPs. Past releases certainly contained all the elements on display here, but Hope Scars sees Vandampire mixing those sounds in elegant fashion. Where once sludge and post-metal stood apart or minimally integrated, here they are inseparable, a cohesive whole. Crushing, abrasive guitars (Joseph Siddons, Matthew Billingham) dance and thrash over basslines (Michael Edmonds) three c’s thiccc. Drummer Mark Litchfield, rather than simply keeping time, enunciates and elevates his bandmates’ performances. The result is tonally sludgy, like Kowloon Walled City, but softened by the patient, thorough sensibilities of post-metal songcraft. In keeping with this description, Billingham utilizes hardcore shouts and screams, but is smartly pushed back in the mix, so his vocals feel more like an instrument than a focal point. His delivery occasionally fails to capitalize on Hope Scars’ more emotive landscape, but it’s generally well-suited to the style. The Vandampire of Hope Scars is unmistakably the Vandampire of early EPs, but the maturity and nuance on display here is astonishing by comparison.

As noted in their promo material, Vandampire’s core weapon is The Riff™, and Siddons and Billingham wield it well. They oscillate between stone and sludge with surprising dexterity, riffs effortlessly flowing from one to the next (“Ultralow,” “A Promise”). Vaunted lead guitars soar over a dense rhythm section (“Hope Scars,” “Let Ruin End Here”), reminding me of Explosions in the Sky and the erhu played on Deadly Carnage’s Endless Blue. Those leads are my favorite thing on the album, searingly bright amidst the sludge. Siddons and Billingham, in concert with Edmonds’ teeth-rattling bass and Litchfield’s lively and energetic drums, weave a spell both heavy and heartfelt, hopeful and tragic. Like a metal Mogwai, Vandampire ties your feet to a sinking anchor but always makes sure you can see light on the surface.

Vandampire’s evolved style on Hope Scars fails to avoid the bloated and poorly paced pitfalls of the genre. Hope Scars’ two interludes break the album into three digestible parts, but ultimately prove frustrating. “In Ascension” builds beautifully in the back half, but fades out and misses the opportunity to lead into “Eaves.” I enjoyed the Americana tone of “I Will Miss Everything I Forget,” but this is also a standalone, and at three minutes each, these interludes linger entirely too long for what they are. The biggest bloatual offenders, however, are “Eaves” and “Let Ruin End Here.” The former fades out halfway through its five-minute runtime, leaving me with ambient noises and muffled conversation that suggest they just…forgot to turn off the mic. The latter begins to wind down a full three minutes before the end of its 12-minute runtime and concludes with 80 seconds of bird sounds. All told, Hope Scars could stand to lose at least ten minutes.

Vandampire’s vast improvement over previous efforts and an instrumental section that’s absolutely locked in make for good, engaging music. There’s a lot of great playlist fodder on here, but playlist fodder doesn’t make a great album. Roughly a quarter of Hope Scars is fluff, and while some of it—the interludes—could have been better utilized, at least half of it just wastes time. Vandampire has come a long way since they started in 2018, and if Hope Scars proves anything, it’s that they have the chops to go much further. I’ll just have to wait until next time to see if they get there.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripcord Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#deadlycarnage #englishmetal #explosionsinthesky #hopescars #kowloonwalledcity #mogwai

Angry Metal Guy @[email protected] · 2025-11-15 · 15:31 UTC

#25 #2025 #deadlyCarnage #englishMetal #explosionsInTheSky #hopeScars #kowloonWalledCity #mogwai #oct25 #postMetal #review #reviews #ripcordRecords #sludgeMetal #vandampire

By Spicie Forrest

Post- historically implies an evolution of or successor to a previous idea (modernism, rock, structuralism, punk, hardcore, colonialism, etc.). While a little nebulous, post-metal more or less riffs on the post-rock blueprint. It utilizes metal’s intense, abrasive instrumentation to create an emotional vulnerability that even the best power ballads fail to capture. There is a tenderness in its crushing weight, a sense of freedom and catharsis in its restraint. It is this corner of the metalverse that South West England-based Vandampire inhabits. Founded in 2018 and with two EPs1 under their belt, Hope Scars not only marks Vandampire’s debut full-length, but the official debut of their second guitarist, as well. Post-metal is a saturated field, though, and it’ll take a lot for Hope Scars to stand out in the crowd.

One thing I can say for certain is that Hope Scars stands head and shoulders above Vandampire’s previous EPs. Past releases certainly contained all the elements on display here, but Hope Scars sees Vandampire mixing those sounds in elegant fashion. Where once sludge and post-metal stood apart or minimally integrated, here they are inseparable, a cohesive whole. Crushing, abrasive guitars (Joseph Siddons, Matthew Billingham) dance and thrash over basslines (Michael Edmonds) three c’s thiccc. Drummer Mark Litchfield, rather than simply keeping time, enunciates and elevates his bandmates’ performances. The result is tonally sludgy, like Kowloon Walled City, but softened by the patient, thorough sensibilities of post-metal songcraft. In keeping with this description, Billingham utilizes hardcore shouts and screams, but is smartly pushed back in the mix, so his vocals feel more like an instrument than a focal point. His delivery occasionally fails to capitalize on Hope Scars’ more emotive landscape, but it’s generally well-suited to the style. The Vandampire of Hope Scars is unmistakably the Vandampire of early EPs, but the maturity and nuance on display here is astonishing by comparison.

As noted in their promo material, Vandampire’s core weapon is The Riff™, and Siddons and Billingham wield it well. They oscillate between stone and sludge with surprising dexterity, riffs effortlessly flowing from one to the next (“Ultralow,” “A Promise”). Vaunted lead guitars soar over a dense rhythm section (“Hope Scars,” “Let Ruin End Here”), reminding me of Explosions in the Sky and the erhu played on Deadly Carnage’s Endless Blue. Those leads are my favorite thing on the album, searingly bright amidst the sludge. Siddons and Billingham, in concert with Edmonds’ teeth-rattling bass and Litchfield’s lively and energetic drums, weave a spell both heavy and heartfelt, hopeful and tragic. Like a metal Mogwai, Vandampire ties your feet to a sinking anchor but always makes sure you can see light on the surface.

Vandampire’s evolved style on Hope Scars fails to avoid the bloated and poorly paced pitfalls of the genre. Hope Scars’ two interludes break the album into three digestible parts, but ultimately prove frustrating. “In Ascension” builds beautifully in the back half, but fades out and misses the opportunity to lead into “Eaves.” I enjoyed the Americana tone of “I Will Miss Everything I Forget,” but this is also a standalone, and at three minutes each, these interludes linger entirely too long for what they are. The biggest bloatual offenders, however, are “Eaves” and “Let Ruin End Here.” The former fades out halfway through its five-minute runtime, leaving me with ambient noises and muffled conversation that suggest they just…forgot to turn off the mic. The latter begins to wind down a full three minutes before the end of its 12-minute runtime and concludes with 80 seconds of bird sounds. All told, Hope Scars could stand to lose at least ten minutes.

Vandampire’s vast improvement over previous efforts and an instrumental section that’s absolutely locked in make for good, engaging music. There’s a lot of great playlist fodder on here, but playlist fodder doesn’t make a great album. Roughly a quarter of Hope Scars is fluff, and while some of it—the interludes—could have been better utilized, at least half of it just wastes time. Vandampire has come a long way since they started in 2018, and if Hope Scars proves anything, it’s that they have the chops to go much further. I’ll just have to wait until next time to see if they get there.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripcord Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#deadlycarnage #englishmetal #explosionsinthesky #hopescars #kowloonwalledcity #mogwai

Angry Metal Guy @[email protected] · 2025-11-15 · 15:31 UTC

#25 #2025 #deadlyCarnage #englishMetal #explosionsInTheSky #hopeScars #kowloonWalledCity #mogwai #oct25 #postMetal #review #reviews #ripcordRecords #sludgeMetal #vandampire

By Spicie Forrest

Post- historically implies an evolution of or successor to a previous idea (modernism, rock, structuralism, punk, hardcore, colonialism, etc.). While a little nebulous, post-metal more or less riffs on the post-rock blueprint. It utilizes metal’s intense, abrasive instrumentation to create an emotional vulnerability that even the best power ballads fail to capture. There is a tenderness in its crushing weight, a sense of freedom and catharsis in its restraint. It is this corner of the metalverse that South West England-based Vandampire inhabits. Founded in 2018 and with two EPs1 under their belt, Hope Scars not only marks Vandampire’s debut full-length, but the official debut of their second guitarist, as well. Post-metal is a saturated field, though, and it’ll take a lot for Hope Scars to stand out in the crowd.

One thing I can say for certain is that Hope Scars stands head and shoulders above Vandampire’s previous EPs. Past releases certainly contained all the elements on display here, but Hope Scars sees Vandampire mixing those sounds in elegant fashion. Where once sludge and post-metal stood apart or minimally integrated, here they are inseparable, a cohesive whole. Crushing, abrasive guitars (Joseph Siddons, Matthew Billingham) dance and thrash over basslines (Michael Edmonds) three c’s thiccc. Drummer Mark Litchfield, rather than simply keeping time, enunciates and elevates his bandmates’ performances. The result is tonally sludgy, like Kowloon Walled City, but softened by the patient, thorough sensibilities of post-metal songcraft. In keeping with this description, Billingham utilizes hardcore shouts and screams, but is smartly pushed back in the mix, so his vocals feel more like an instrument than a focal point. His delivery occasionally fails to capitalize on Hope Scars’ more emotive landscape, but it’s generally well-suited to the style. The Vandampire of Hope Scars is unmistakably the Vandampire of early EPs, but the maturity and nuance on display here is astonishing by comparison.

As noted in their promo material, Vandampire’s core weapon is The Riff™, and Siddons and Billingham wield it well. They oscillate between stone and sludge with surprising dexterity, riffs effortlessly flowing from one to the next (“Ultralow,” “A Promise”). Vaunted lead guitars soar over a dense rhythm section (“Hope Scars,” “Let Ruin End Here”), reminding me of Explosions in the Sky and the erhu played on Deadly Carnage’s Endless Blue. Those leads are my favorite thing on the album, searingly bright amidst the sludge. Siddons and Billingham, in concert with Edmonds’ teeth-rattling bass and Litchfield’s lively and energetic drums, weave a spell both heavy and heartfelt, hopeful and tragic. Like a metal Mogwai, Vandampire ties your feet to a sinking anchor but always makes sure you can see light on the surface.

Vandampire’s evolved style on Hope Scars fails to avoid the bloated and poorly paced pitfalls of the genre. Hope Scars’ two interludes break the album into three digestible parts, but ultimately prove frustrating. “In Ascension” builds beautifully in the back half, but fades out and misses the opportunity to lead into “Eaves.” I enjoyed the Americana tone of “I Will Miss Everything I Forget,” but this is also a standalone, and at three minutes each, these interludes linger entirely too long for what they are. The biggest bloatual offenders, however, are “Eaves” and “Let Ruin End Here.” The former fades out halfway through its five-minute runtime, leaving me with ambient noises and muffled conversation that suggest they just…forgot to turn off the mic. The latter begins to wind down a full three minutes before the end of its 12-minute runtime and concludes with 80 seconds of bird sounds. All told, Hope Scars could stand to lose at least ten minutes.

Vandampire’s vast improvement over previous efforts and an instrumental section that’s absolutely locked in make for good, engaging music. There’s a lot of great playlist fodder on here, but playlist fodder doesn’t make a great album. Roughly a quarter of Hope Scars is fluff, and while some of it—the interludes—could have been better utilized, at least half of it just wastes time. Vandampire has come a long way since they started in 2018, and if Hope Scars proves anything, it’s that they have the chops to go much further. I’ll just have to wait until next time to see if they get there.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripcord Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#deadlycarnage #englishmetal #explosionsinthesky #hopescars #kowloonwalledcity #mogwai

Angry Metal Guy @[email protected] · 2025-11-15 · 15:31 UTC

#25 #2025 #deadlyCarnage #englishMetal #explosionsInTheSky #hopeScars #kowloonWalledCity #mogwai #oct25 #postMetal #review #reviews #ripcordRecords #sludgeMetal #vandampire

By Spicie Forrest

Post- historically implies an evolution of or successor to a previous idea (modernism, rock, structuralism, punk, hardcore, colonialism, etc.). While a little nebulous, post-metal more or less riffs on the post-rock blueprint. It utilizes metal’s intense, abrasive instrumentation to create an emotional vulnerability that even the best power ballads fail to capture. There is a tenderness in its crushing weight, a sense of freedom and catharsis in its restraint. It is this corner of the metalverse that South West England-based Vandampire inhabits. Founded in 2018 and with two EPs1 under their belt, Hope Scars not only marks Vandampire’s debut full-length, but the official debut of their second guitarist, as well. Post-metal is a saturated field, though, and it’ll take a lot for Hope Scars to stand out in the crowd.

One thing I can say for certain is that Hope Scars stands head and shoulders above Vandampire’s previous EPs. Past releases certainly contained all the elements on display here, but Hope Scars sees Vandampire mixing those sounds in elegant fashion. Where once sludge and post-metal stood apart or minimally integrated, here they are inseparable, a cohesive whole. Crushing, abrasive guitars (Joseph Siddons, Matthew Billingham) dance and thrash over basslines (Michael Edmonds) three c’s thiccc. Drummer Mark Litchfield, rather than simply keeping time, enunciates and elevates his bandmates’ performances. The result is tonally sludgy, like Kowloon Walled City, but softened by the patient, thorough sensibilities of post-metal songcraft. In keeping with this description, Billingham utilizes hardcore shouts and screams, but is smartly pushed back in the mix, so his vocals feel more like an instrument than a focal point. His delivery occasionally fails to capitalize on Hope Scars’ more emotive landscape, but it’s generally well-suited to the style. The Vandampire of Hope Scars is unmistakably the Vandampire of early EPs, but the maturity and nuance on display here is astonishing by comparison.

As noted in their promo material, Vandampire’s core weapon is The Riff™, and Siddons and Billingham wield it well. They oscillate between stone and sludge with surprising dexterity, riffs effortlessly flowing from one to the next (“Ultralow,” “A Promise”). Vaunted lead guitars soar over a dense rhythm section (“Hope Scars,” “Let Ruin End Here”), reminding me of Explosions in the Sky and the erhu played on Deadly Carnage’s Endless Blue. Those leads are my favorite thing on the album, searingly bright amidst the sludge. Siddons and Billingham, in concert with Edmonds’ teeth-rattling bass and Litchfield’s lively and energetic drums, weave a spell both heavy and heartfelt, hopeful and tragic. Like a metal Mogwai, Vandampire ties your feet to a sinking anchor but always makes sure you can see light on the surface.

Vandampire’s evolved style on Hope Scars fails to avoid the bloated and poorly paced pitfalls of the genre. Hope Scars’ two interludes break the album into three digestible parts, but ultimately prove frustrating. “In Ascension” builds beautifully in the back half, but fades out and misses the opportunity to lead into “Eaves.” I enjoyed the Americana tone of “I Will Miss Everything I Forget,” but this is also a standalone, and at three minutes each, these interludes linger entirely too long for what they are. The biggest bloatual offenders, however, are “Eaves” and “Let Ruin End Here.” The former fades out halfway through its five-minute runtime, leaving me with ambient noises and muffled conversation that suggest they just…forgot to turn off the mic. The latter begins to wind down a full three minutes before the end of its 12-minute runtime and concludes with 80 seconds of bird sounds. All told, Hope Scars could stand to lose at least ten minutes.

Vandampire’s vast improvement over previous efforts and an instrumental section that’s absolutely locked in make for good, engaging music. There’s a lot of great playlist fodder on here, but playlist fodder doesn’t make a great album. Roughly a quarter of Hope Scars is fluff, and while some of it—the interludes—could have been better utilized, at least half of it just wastes time. Vandampire has come a long way since they started in 2018, and if Hope Scars proves anything, it’s that they have the chops to go much further. I’ll just have to wait until next time to see if they get there.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripcord Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#vandampire #sludgemetal #ripcordrecords #reviews #review #postmetal

Angry Metal Guy @[email protected] · 2025-11-15 · 15:31 UTC

#25 #2025 #deadlyCarnage #englishMetal #explosionsInTheSky #hopeScars #kowloonWalledCity #mogwai #oct25 #postMetal #review #reviews #ripcordRecords #sludgeMetal #vandampire

By Spicie Forrest

Post- historically implies an evolution of or successor to a previous idea (modernism, rock, structuralism, punk, hardcore, colonialism, etc.). While a little nebulous, post-metal more or less riffs on the post-rock blueprint. It utilizes metal’s intense, abrasive instrumentation to create an emotional vulnerability that even the best power ballads fail to capture. There is a tenderness in its crushing weight, a sense of freedom and catharsis in its restraint. It is this corner of the metalverse that South West England-based Vandampire inhabits. Founded in 2018 and with two EPs1 under their belt, Hope Scars not only marks Vandampire’s debut full-length, but the official debut of their second guitarist, as well. Post-metal is a saturated field, though, and it’ll take a lot for Hope Scars to stand out in the crowd.

One thing I can say for certain is that Hope Scars stands head and shoulders above Vandampire’s previous EPs. Past releases certainly contained all the elements on display here, but Hope Scars sees Vandampire mixing those sounds in elegant fashion. Where once sludge and post-metal stood apart or minimally integrated, here they are inseparable, a cohesive whole. Crushing, abrasive guitars (Joseph Siddons, Matthew Billingham) dance and thrash over basslines (Michael Edmonds) three c’s thiccc. Drummer Mark Litchfield, rather than simply keeping time, enunciates and elevates his bandmates’ performances. The result is tonally sludgy, like Kowloon Walled City, but softened by the patient, thorough sensibilities of post-metal songcraft. In keeping with this description, Billingham utilizes hardcore shouts and screams, but is smartly pushed back in the mix, so his vocals feel more like an instrument than a focal point. His delivery occasionally fails to capitalize on Hope Scars’ more emotive landscape, but it’s generally well-suited to the style. The Vandampire of Hope Scars is unmistakably the Vandampire of early EPs, but the maturity and nuance on display here is astonishing by comparison.

As noted in their promo material, Vandampire’s core weapon is The Riff™, and Siddons and Billingham wield it well. They oscillate between stone and sludge with surprising dexterity, riffs effortlessly flowing from one to the next (“Ultralow,” “A Promise”). Vaunted lead guitars soar over a dense rhythm section (“Hope Scars,” “Let Ruin End Here”), reminding me of Explosions in the Sky and the erhu played on Deadly Carnage’s Endless Blue. Those leads are my favorite thing on the album, searingly bright amidst the sludge. Siddons and Billingham, in concert with Edmonds’ teeth-rattling bass and Litchfield’s lively and energetic drums, weave a spell both heavy and heartfelt, hopeful and tragic. Like a metal Mogwai, Vandampire ties your feet to a sinking anchor but always makes sure you can see light on the surface.

Vandampire’s evolved style on Hope Scars fails to avoid the bloated and poorly paced pitfalls of the genre. Hope Scars’ two interludes break the album into three digestible parts, but ultimately prove frustrating. “In Ascension” builds beautifully in the back half, but fades out and misses the opportunity to lead into “Eaves.” I enjoyed the Americana tone of “I Will Miss Everything I Forget,” but this is also a standalone, and at three minutes each, these interludes linger entirely too long for what they are. The biggest bloatual offenders, however, are “Eaves” and “Let Ruin End Here.” The former fades out halfway through its five-minute runtime, leaving me with ambient noises and muffled conversation that suggest they just…forgot to turn off the mic. The latter begins to wind down a full three minutes before the end of its 12-minute runtime and concludes with 80 seconds of bird sounds. All told, Hope Scars could stand to lose at least ten minutes.

Vandampire’s vast improvement over previous efforts and an instrumental section that’s absolutely locked in make for good, engaging music. There’s a lot of great playlist fodder on here, but playlist fodder doesn’t make a great album. Roughly a quarter of Hope Scars is fluff, and while some of it—the interludes—could have been better utilized, at least half of it just wastes time. Vandampire has come a long way since they started in 2018, and if Hope Scars proves anything, it’s that they have the chops to go much further. I’ll just have to wait until next time to see if they get there.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Ripcord Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 31st, 2025

#deadlycarnage #englishmetal #explosionsinthesky #hopescars #kowloonwalledcity #mogwai

𝕯𝖔𝖔𝖒𝖘𝖈𝖗𝖔𝖑𝖑™ @[email protected] · 2025-09-11 · 23:54 UTC

⚡🕵️ Kowloon Walled City was a maze of stacked towers, crammed with souls, ruled by no one. A million people per square kilometer lived in shadows, crime, and chaos. Torn down in the ’90s, it now rises again… in Minecraft’s digital night. #KowloonWalledCity https://www.youtube.com/watch?v=IWZQB9zDD3Y

#kowloonwalledcity

𝕯𝖔𝖔𝖒𝖘𝖈𝖗𝖔𝖑𝖑™ @[email protected] · 2025-09-11 · 23:54 UTC

⚡🕵️ Kowloon Walled City was a maze of stacked towers, crammed with souls, ruled by no one. A million people per square kilometer lived in shadows, crime, and chaos. Torn down in the ’90s, it now rises again… in Minecraft’s digital night. #KowloonWalledCity https://www.youtube.com/watch?v=IWZQB9zDD3Y

#kowloonwalledcity

Angry Metal Guy @[email protected] · 2025-06-19 · 12:25 UTC

#25 #2025 #BritishMetal #Jun25 #KowloonWalledCity #NoiseRock #PostHardcore #Review #Reviews #RoadToMasochist #RowOfAshes #Sludge #TideIntoRuin #Unsane #WillHaven

By Owlswald

Bristol post-hardcore group, Row of Ashes, likes to make noise—and they’re good at it. Known for their untamed live energy and drawing heavily from revered acts like Unsane, Will Haven, and Kowloon Walled City, Row of Ashes crafts an unyielding and suffocating wall of sound; one that fuses post-hardcore and sludge together with the experimental, dissonant fringes of noise rock. After releasing two EPs, their raw, physical force exploded onto the scene with 2022’s Bleaching Heat, a ruthless debut that earned them a tour with Will Haven. Now standing on the brink of broader recognition, Row of Ashes is ready to unleash Tide into Ruin, their second post-hardcore punch designed to be as overpowering and instinctual as their live performances.

Row of Ashes delivers raw, suffocating intensity through guitarist Will Duffin’s low, harsh distortion, Dan Arrowsmith’s bruising rhythms and bassist/vocalist Chris Wilson’s striking shouts. The threesome excels at crafting intense crowd-movers with stomping, crushing finales like “Immortalist” and “Icon,” while also evidencing their aptitude for tension and release with ominous, somber post-hardcore interludes such as “Coda” and “Wake.” Wilson’s and Duffin’s guitar and bass seamlessly meld into a thick, impervious wall of hard-hitting riffs, often creating an oppressive, gnarly buzz that rattles in unison, driving Tide into Ruin’s grim atmosphere. Wilson’s delivery is fierce and confrontational—his versatile range jumping effortlessly between British punk (“Fracture”), Mike Patton-like shrieks (“Leveller”) and blood-curdling hardcore screams (“Icon,” “Tide”), tearing through Row of Ashes’ heavy instrumental underbelly. Despite some mixed songwriting, Row of Ashes lets loose a surprisingly immense and pulverizing sound that defies their lean lineup.

Centered around Wilson and Duffin’s deep, sludgy distortion, Row of Ashes skillfully imbues Tide into Ruin with dynamic contrast, shifting between pummeling riffs and dissonant bursts, punctuated by softer, mournful interludes. The peaks and valleys of “Immortalist” and “Tide” demonstrate this with tender, forlorn passages squeezed between mammoth, plodding breakdowns. “Leveller’s” and “Icon’s” swarming guitar lines, sprayed with shoegaze-tinged high dissonance ebb and flow effortlessly, opposing crushing heaviness with momentary breaths that fuel the album’s brooding mood. Showcasing Row of Ashes’ more experimental side, “Imber’s” quirky beginning—featuring frantic guitar rises and feedback squeals—aptly conveys its anxiety through chaos before an eventual bone-crushingly heavy close. While the payoff takes a bit too long to arrive—even though Tide into Ruin’s stronger tracks feel too brief at times—this experimental flavor helps prevent the album from becoming a repetitive sludge-fest, pushing Row of Ashes’ sound beyond Bleaching Heat’s more straightforward style.

At the same time, this more experimental side also leads Row of Ashes astray. Interlude “Lille’s” ambient serenity and French spoken word is just short enough to work after the record’s strong first half, but “Wake” fares less successfully. Its length, repetition and close to forty-five seconds of nothing but feedback thwart its attempt to build pressure—alternating between quiet, eerie arpeggiated sections and heavier, distorted parts (including “Lille’s” spoken word). This same issue reappears later with “Coda.” The track’s somber, clean guitar notes and harmonics, coupled with Arrowsmith’s delicate cymbal work, create a foreboding and somber atmosphere that would have made for a much better closer if not for three minutes of cavernous ambient noises and static, rendering that portion of the song skippable. While interludes like these can be beneficial in a live setting, their inclusion here detracts from Tide into Ruin’s strength and cohesion, leading to more frustration than anything else.

Though the songwriting occasionally detracts from an otherwise solid effort, Tide into Ruin still contains some of Row of Ashes’ most potent material to date. And its relentless intensity—fueled by crushing riffs, fierce vocals, and raw energy—is amplified by a lively, organic mix that conveys the band’s vision. Row of Ashes’ affinity for crafting dynamic, atmospheric post-hardcore is sure to appeal to a wide range of fans, and the stage is set for them to realize their considerable potential. With continued refinement, Row of Ashes is poised to fully break through—building on their momentum and paving the way for a future brimming with possibility.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: rowofashes.bandcamp.com | facebook.com/RowofAshesband | instagram.com/rowofashesband
Releases Worldwide: June 13th, 2025

#britishmetal #jun25 #kowloonwalledcity #noiserock #posthardcore #review

Angry Metal Guy @[email protected] · 2025-06-19 · 12:25 UTC

#25 #2025 #BritishMetal #Jun25 #KowloonWalledCity #NoiseRock #PostHardcore #Review #Reviews #RoadToMasochist #RowOfAshes #Sludge #TideIntoRuin #Unsane #WillHaven

By Owlswald

Bristol post-hardcore group, Row of Ashes, likes to make noise—and they’re good at it. Known for their untamed live energy and drawing heavily from revered acts like Unsane, Will Haven, and Kowloon Walled City, Row of Ashes crafts an unyielding and suffocating wall of sound; one that fuses post-hardcore and sludge together with the experimental, dissonant fringes of noise rock. After releasing two EPs, their raw, physical force exploded onto the scene with 2022’s Bleaching Heat, a ruthless debut that earned them a tour with Will Haven. Now standing on the brink of broader recognition, Row of Ashes is ready to unleash Tide into Ruin, their second post-hardcore punch designed to be as overpowering and instinctual as their live performances.

Row of Ashes delivers raw, suffocating intensity through guitarist Will Duffin’s low, harsh distortion, Dan Arrowsmith’s bruising rhythms and bassist/vocalist Chris Wilson’s striking shouts. The threesome excels at crafting intense crowd-movers with stomping, crushing finales like “Immortalist” and “Icon,” while also evidencing their aptitude for tension and release with ominous, somber post-hardcore interludes such as “Coda” and “Wake.” Wilson’s and Duffin’s guitar and bass seamlessly meld into a thick, impervious wall of hard-hitting riffs, often creating an oppressive, gnarly buzz that rattles in unison, driving Tide into Ruin’s grim atmosphere. Wilson’s delivery is fierce and confrontational—his versatile range jumping effortlessly between British punk (“Fracture”), Mike Patton-like shrieks (“Leveller”) and blood-curdling hardcore screams (“Icon,” “Tide”), tearing through Row of Ashes’ heavy instrumental underbelly. Despite some mixed songwriting, Row of Ashes lets loose a surprisingly immense and pulverizing sound that defies their lean lineup.

Centered around Wilson and Duffin’s deep, sludgy distortion, Row of Ashes skillfully imbues Tide into Ruin with dynamic contrast, shifting between pummeling riffs and dissonant bursts, punctuated by softer, mournful interludes. The peaks and valleys of “Immortalist” and “Tide” demonstrate this with tender, forlorn passages squeezed between mammoth, plodding breakdowns. “Leveller’s” and “Icon’s” swarming guitar lines, sprayed with shoegaze-tinged high dissonance ebb and flow effortlessly, opposing crushing heaviness with momentary breaths that fuel the album’s brooding mood. Showcasing Row of Ashes’ more experimental side, “Imber’s” quirky beginning—featuring frantic guitar rises and feedback squeals—aptly conveys its anxiety through chaos before an eventual bone-crushingly heavy close. While the payoff takes a bit too long to arrive—even though Tide into Ruin’s stronger tracks feel too brief at times—this experimental flavor helps prevent the album from becoming a repetitive sludge-fest, pushing Row of Ashes’ sound beyond Bleaching Heat’s more straightforward style.

At the same time, this more experimental side also leads Row of Ashes astray. Interlude “Lille’s” ambient serenity and French spoken word is just short enough to work after the record’s strong first half, but “Wake” fares less successfully. Its length, repetition and close to forty-five seconds of nothing but feedback thwart its attempt to build pressure—alternating between quiet, eerie arpeggiated sections and heavier, distorted parts (including “Lille’s” spoken word). This same issue reappears later with “Coda.” The track’s somber, clean guitar notes and harmonics, coupled with Arrowsmith’s delicate cymbal work, create a foreboding and somber atmosphere that would have made for a much better closer if not for three minutes of cavernous ambient noises and static, rendering that portion of the song skippable. While interludes like these can be beneficial in a live setting, their inclusion here detracts from Tide into Ruin’s strength and cohesion, leading to more frustration than anything else.

Though the songwriting occasionally detracts from an otherwise solid effort, Tide into Ruin still contains some of Row of Ashes’ most potent material to date. And its relentless intensity—fueled by crushing riffs, fierce vocals, and raw energy—is amplified by a lively, organic mix that conveys the band’s vision. Row of Ashes’ affinity for crafting dynamic, atmospheric post-hardcore is sure to appeal to a wide range of fans, and the stage is set for them to realize their considerable potential. With continued refinement, Row of Ashes is poised to fully break through—building on their momentum and paving the way for a future brimming with possibility.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: rowofashes.bandcamp.com | facebook.com/RowofAshesband | instagram.com/rowofashesband
Releases Worldwide: June 13th, 2025

#britishmetal #jun25 #kowloonwalledcity #noiserock #posthardcore #review

Angry Metal Guy @[email protected] · 2025-06-19 · 12:25 UTC

#25 #2025 #BritishMetal #Jun25 #KowloonWalledCity #NoiseRock #PostHardcore #Review #Reviews #RoadToMasochist #RowOfAshes #Sludge #TideIntoRuin #Unsane #WillHaven

By Owlswald

Bristol post-hardcore group, Row of Ashes, likes to make noise—and they’re good at it. Known for their untamed live energy and drawing heavily from revered acts like Unsane, Will Haven, and Kowloon Walled City, Row of Ashes crafts an unyielding and suffocating wall of sound; one that fuses post-hardcore and sludge together with the experimental, dissonant fringes of noise rock. After releasing two EPs, their raw, physical force exploded onto the scene with 2022’s Bleaching Heat, a ruthless debut that earned them a tour with Will Haven. Now standing on the brink of broader recognition, Row of Ashes is ready to unleash Tide into Ruin, their second post-hardcore punch designed to be as overpowering and instinctual as their live performances.

Row of Ashes delivers raw, suffocating intensity through guitarist Will Duffin’s low, harsh distortion, Dan Arrowsmith’s bruising rhythms and bassist/vocalist Chris Wilson’s striking shouts. The threesome excels at crafting intense crowd-movers with stomping, crushing finales like “Immortalist” and “Icon,” while also evidencing their aptitude for tension and release with ominous, somber post-hardcore interludes such as “Coda” and “Wake.” Wilson’s and Duffin’s guitar and bass seamlessly meld into a thick, impervious wall of hard-hitting riffs, often creating an oppressive, gnarly buzz that rattles in unison, driving Tide into Ruin’s grim atmosphere. Wilson’s delivery is fierce and confrontational—his versatile range jumping effortlessly between British punk (“Fracture”), Mike Patton-like shrieks (“Leveller”) and blood-curdling hardcore screams (“Icon,” “Tide”), tearing through Row of Ashes’ heavy instrumental underbelly. Despite some mixed songwriting, Row of Ashes lets loose a surprisingly immense and pulverizing sound that defies their lean lineup.

Centered around Wilson and Duffin’s deep, sludgy distortion, Row of Ashes skillfully imbues Tide into Ruin with dynamic contrast, shifting between pummeling riffs and dissonant bursts, punctuated by softer, mournful interludes. The peaks and valleys of “Immortalist” and “Tide” demonstrate this with tender, forlorn passages squeezed between mammoth, plodding breakdowns. “Leveller’s” and “Icon’s” swarming guitar lines, sprayed with shoegaze-tinged high dissonance ebb and flow effortlessly, opposing crushing heaviness with momentary breaths that fuel the album’s brooding mood. Showcasing Row of Ashes’ more experimental side, “Imber’s” quirky beginning—featuring frantic guitar rises and feedback squeals—aptly conveys its anxiety through chaos before an eventual bone-crushingly heavy close. While the payoff takes a bit too long to arrive—even though Tide into Ruin’s stronger tracks feel too brief at times—this experimental flavor helps prevent the album from becoming a repetitive sludge-fest, pushing Row of Ashes’ sound beyond Bleaching Heat’s more straightforward style.

At the same time, this more experimental side also leads Row of Ashes astray. Interlude “Lille’s” ambient serenity and French spoken word is just short enough to work after the record’s strong first half, but “Wake” fares less successfully. Its length, repetition and close to forty-five seconds of nothing but feedback thwart its attempt to build pressure—alternating between quiet, eerie arpeggiated sections and heavier, distorted parts (including “Lille’s” spoken word). This same issue reappears later with “Coda.” The track’s somber, clean guitar notes and harmonics, coupled with Arrowsmith’s delicate cymbal work, create a foreboding and somber atmosphere that would have made for a much better closer if not for three minutes of cavernous ambient noises and static, rendering that portion of the song skippable. While interludes like these can be beneficial in a live setting, their inclusion here detracts from Tide into Ruin’s strength and cohesion, leading to more frustration than anything else.

Though the songwriting occasionally detracts from an otherwise solid effort, Tide into Ruin still contains some of Row of Ashes’ most potent material to date. And its relentless intensity—fueled by crushing riffs, fierce vocals, and raw energy—is amplified by a lively, organic mix that conveys the band’s vision. Row of Ashes’ affinity for crafting dynamic, atmospheric post-hardcore is sure to appeal to a wide range of fans, and the stage is set for them to realize their considerable potential. With continued refinement, Row of Ashes is poised to fully break through—building on their momentum and paving the way for a future brimming with possibility.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: rowofashes.bandcamp.com | facebook.com/RowofAshesband | instagram.com/rowofashesband
Releases Worldwide: June 13th, 2025

#willhaven #unsane #tideintoruin #sludge #rowofashes #roadtomasochist

Angry Metal Guy @[email protected] · 2025-06-19 · 12:25 UTC

#25 #2025 #BritishMetal #Jun25 #KowloonWalledCity #NoiseRock #PostHardcore #Review #Reviews #RoadToMasochist #RowOfAshes #Sludge #TideIntoRuin #Unsane #WillHaven

By Owlswald

Bristol post-hardcore group, Row of Ashes, likes to make noise—and they’re good at it. Known for their untamed live energy and drawing heavily from revered acts like Unsane, Will Haven, and Kowloon Walled City, Row of Ashes crafts an unyielding and suffocating wall of sound; one that fuses post-hardcore and sludge together with the experimental, dissonant fringes of noise rock. After releasing two EPs, their raw, physical force exploded onto the scene with 2022’s Bleaching Heat, a ruthless debut that earned them a tour with Will Haven. Now standing on the brink of broader recognition, Row of Ashes is ready to unleash Tide into Ruin, their second post-hardcore punch designed to be as overpowering and instinctual as their live performances.

Row of Ashes delivers raw, suffocating intensity through guitarist Will Duffin’s low, harsh distortion, Dan Arrowsmith’s bruising rhythms and bassist/vocalist Chris Wilson’s striking shouts. The threesome excels at crafting intense crowd-movers with stomping, crushing finales like “Immortalist” and “Icon,” while also evidencing their aptitude for tension and release with ominous, somber post-hardcore interludes such as “Coda” and “Wake.” Wilson’s and Duffin’s guitar and bass seamlessly meld into a thick, impervious wall of hard-hitting riffs, often creating an oppressive, gnarly buzz that rattles in unison, driving Tide into Ruin’s grim atmosphere. Wilson’s delivery is fierce and confrontational—his versatile range jumping effortlessly between British punk (“Fracture”), Mike Patton-like shrieks (“Leveller”) and blood-curdling hardcore screams (“Icon,” “Tide”), tearing through Row of Ashes’ heavy instrumental underbelly. Despite some mixed songwriting, Row of Ashes lets loose a surprisingly immense and pulverizing sound that defies their lean lineup.

Centered around Wilson and Duffin’s deep, sludgy distortion, Row of Ashes skillfully imbues Tide into Ruin with dynamic contrast, shifting between pummeling riffs and dissonant bursts, punctuated by softer, mournful interludes. The peaks and valleys of “Immortalist” and “Tide” demonstrate this with tender, forlorn passages squeezed between mammoth, plodding breakdowns. “Leveller’s” and “Icon’s” swarming guitar lines, sprayed with shoegaze-tinged high dissonance ebb and flow effortlessly, opposing crushing heaviness with momentary breaths that fuel the album’s brooding mood. Showcasing Row of Ashes’ more experimental side, “Imber’s” quirky beginning—featuring frantic guitar rises and feedback squeals—aptly conveys its anxiety through chaos before an eventual bone-crushingly heavy close. While the payoff takes a bit too long to arrive—even though Tide into Ruin’s stronger tracks feel too brief at times—this experimental flavor helps prevent the album from becoming a repetitive sludge-fest, pushing Row of Ashes’ sound beyond Bleaching Heat’s more straightforward style.

At the same time, this more experimental side also leads Row of Ashes astray. Interlude “Lille’s” ambient serenity and French spoken word is just short enough to work after the record’s strong first half, but “Wake” fares less successfully. Its length, repetition and close to forty-five seconds of nothing but feedback thwart its attempt to build pressure—alternating between quiet, eerie arpeggiated sections and heavier, distorted parts (including “Lille’s” spoken word). This same issue reappears later with “Coda.” The track’s somber, clean guitar notes and harmonics, coupled with Arrowsmith’s delicate cymbal work, create a foreboding and somber atmosphere that would have made for a much better closer if not for three minutes of cavernous ambient noises and static, rendering that portion of the song skippable. While interludes like these can be beneficial in a live setting, their inclusion here detracts from Tide into Ruin’s strength and cohesion, leading to more frustration than anything else.

Though the songwriting occasionally detracts from an otherwise solid effort, Tide into Ruin still contains some of Row of Ashes’ most potent material to date. And its relentless intensity—fueled by crushing riffs, fierce vocals, and raw energy—is amplified by a lively, organic mix that conveys the band’s vision. Row of Ashes’ affinity for crafting dynamic, atmospheric post-hardcore is sure to appeal to a wide range of fans, and the stage is set for them to realize their considerable potential. With continued refinement, Row of Ashes is poised to fully break through—building on their momentum and paving the way for a future brimming with possibility.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: rowofashes.bandcamp.com | facebook.com/RowofAshesband | instagram.com/rowofashesband
Releases Worldwide: June 13th, 2025

#britishmetal #jun25 #kowloonwalledcity #noiserock #posthardcore #review

AwattoAnalog @[email protected] · 2024-08-15 · 01:58 UTC

Watching "Twilight of the Warriors: Walled In" tonight.

It was previously known as "Kowloon Walled City" and features some great scenes of Kowloon.

This movie is also completely over the top.

#Ottawa #YOW #Movies #Film #Cinema #TwilightoftheWarriorsWalledIn #KowloonWalledCity #HongKong #HNG #香港

#ottawa #yow #movies #film #cinema #twilightofthewarriorswalledin

AwattoAnalog @[email protected] · 2024-08-15 · 01:58 UTC

Watching "Twilight of the Warriors: Walled In" tonight.

It was previously known as "Kowloon Walled City" and features some great scenes of Kowloon.

This movie is also completely over the top.

#Ottawa #YOW #Movies #Film #Cinema #TwilightoftheWarriorsWalledIn #KowloonWalledCity #HongKong #HNG #香港

#ottawa #yow #movies #film #cinema #twilightofthewarriorswalledin

AwattoAnalog @[email protected] · 2024-08-15 · 01:58 UTC

Watching "Twilight of the Warriors: Walled In" tonight.

It was previously known as "Kowloon Walled City" and features some great scenes of Kowloon.

This movie is also completely over the top.

#Ottawa #YOW #Movies #Film #Cinema #TwilightoftheWarriorsWalledIn #KowloonWalledCity #HongKong #HNG #香港

#ottawa #yow #movies #film #cinema #twilightofthewarriorswalledin

AwattoAnalog @[email protected] · 2024-08-15 · 01:58 UTC

Watching "Twilight of the Warriors: Walled In" tonight.

It was previously known as "Kowloon Walled City" and features some great scenes of Kowloon.

This movie is also completely over the top.

#Ottawa #YOW #Movies #Film #Cinema #TwilightoftheWarriorsWalledIn #KowloonWalledCity #HongKong #HNG #香港

#香港 #hng #hongkong #kowloonwalledcity #twilightofthewarriorswalledin #cinema

AwattoAnalog @[email protected] · 2024-08-15 · 01:58 UTC

Watching "Twilight of the Warriors: Walled In" tonight.

It was previously known as "Kowloon Walled City" and features some great scenes of Kowloon.

This movie is also completely over the top.

#Ottawa #YOW #Movies #Film #Cinema #TwilightoftheWarriorsWalledIn #KowloonWalledCity #HongKong #HNG #香港

#ottawa #yow #movies #film #cinema #twilightofthewarriorswalledin

Juni :flag_nonbinary: :3 @[email protected] · 2024-07-10 · 17:38 UTC

Few things make me as mad as knowing that on the site where the #KowloonWalledCity used to be, is now a McDonalds.

#kowloonwalledcity

MetaFilter @[email protected] · 2024-07-05 · 13:28 UTC

This marvelous architectural rendering of Kowloon Walled City is a magnificent piece of history, come check it out!

https://www.metafilter.com/204449/There-is-only-one-city

#KowloonWalledCity #china #drawing #bestofmetafilter

#kowloonwalledcity #china #drawing #bestofmetafilter

MetaFilter @[email protected] · 2024-07-05 · 13:28 UTC

This marvelous architectural rendering of Kowloon Walled City is a magnificent piece of history, come check it out!

https://www.metafilter.com/204449/There-is-only-one-city

#KowloonWalledCity #china #drawing #bestofmetafilter

#kowloonwalledcity #china #drawing #bestofmetafilter

MetaFilter @[email protected] · 2024-07-05 · 13:28 UTC

This marvelous architectural rendering of Kowloon Walled City is a magnificent piece of history, come check it out!

https://www.metafilter.com/204449/There-is-only-one-city

#KowloonWalledCity #china #drawing #bestofmetafilter

#kowloonwalledcity #china #drawing #bestofmetafilter

MetaFilter @[email protected] · 2024-07-05 · 13:28 UTC

This marvelous architectural rendering of Kowloon Walled City is a magnificent piece of history, come check it out!

https://www.metafilter.com/204449/There-is-only-one-city

#KowloonWalledCity #china #drawing #bestofmetafilter

#bestofmetafilter #drawing #china #kowloonwalledcity

MetaFilter @[email protected] · 2024-07-05 · 13:28 UTC

This marvelous architectural rendering of Kowloon Walled City is a magnificent piece of history, come check it out!

https://www.metafilter.com/204449/There-is-only-one-city

#KowloonWalledCity #china #drawing #bestofmetafilter

#kowloonwalledcity #china #drawing #bestofmetafilter

Lazarou Monkey Terror 🚀💙🌈 @[email protected] · 2024-07-04 · 01:53 UTC

I feel like the cyberpunk part of this thing would go down very well in the South East Corner of Glastonbury festival.

https://www.forbes.com/sites/geoffreymorrison/2019/12/04/goodbye-to-japans-homage-to-hong-kongs-kowloon-walled-city/

#KawasakiWarehouse #KowloonWalledCity #Cyberpunk #GlastonburyFestival

#kawasakiwarehouse #kowloonwalledcity #cyberpunk #glastonburyfestival

Lazarou Monkey Terror 🚀💙🌈 @[email protected] · 2024-07-04 · 01:53 UTC

I feel like the cyberpunk part of this thing would go down very well in the South East Corner of Glastonbury festival.

https://www.forbes.com/sites/geoffreymorrison/2019/12/04/goodbye-to-japans-homage-to-hong-kongs-kowloon-walled-city/

#KawasakiWarehouse #KowloonWalledCity #Cyberpunk #GlastonburyFestival

#kawasakiwarehouse #kowloonwalledcity #cyberpunk #glastonburyfestival

Lazarou Monkey Terror 🚀💙🌈 @[email protected] · 2024-07-04 · 01:53 UTC

I feel like the cyberpunk part of this thing would go down very well in the South East Corner of Glastonbury festival.

https://www.forbes.com/sites/geoffreymorrison/2019/12/04/goodbye-to-japans-homage-to-hong-kongs-kowloon-walled-city/

#KawasakiWarehouse #KowloonWalledCity #Cyberpunk #GlastonburyFestival

#kawasakiwarehouse #kowloonwalledcity #cyberpunk #glastonburyfestival

Lazarou Monkey Terror 🚀💙🌈 @[email protected] · 2024-07-04 · 01:53 UTC

I feel like the cyberpunk part of this thing would go down very well in the South East Corner of Glastonbury festival.

https://www.forbes.com/sites/geoffreymorrison/2019/12/04/goodbye-to-japans-homage-to-hong-kongs-kowloon-walled-city/

#KawasakiWarehouse #KowloonWalledCity #Cyberpunk #GlastonburyFestival

#glastonburyfestival #cyberpunk #kowloonwalledcity #kawasakiwarehouse

Lazarou Monkey Terror 🚀💙🌈 @[email protected] · 2024-07-04 · 01:53 UTC

I feel like the cyberpunk part of this thing would go down very well in the South East Corner of Glastonbury festival.

https://www.forbes.com/sites/geoffreymorrison/2019/12/04/goodbye-to-japans-homage-to-hong-kongs-kowloon-walled-city/

#KawasakiWarehouse #KowloonWalledCity #Cyberpunk #GlastonburyFestival

#kawasakiwarehouse #kowloonwalledcity #cyberpunk #glastonburyfestival

AwattoAnalog @[email protected] · 2024-03-29 · 17:36 UTC

Neo creates short documentaries about topics ranging from politics, geography, media, and society. Here, they take look at Kowloon Walled City in Hong Kong, the most densely populated place that ever existed.

Also, I had no idea the name "Kowloon" means "nine dragons" alluding to eight mountains and the Chinese emperor.

I regret not being able to see The Walled City with my own eyes.

Source: https://www.youtube.com/watch?v=4YuNvIfM-YA

#KowloonWalledCity #Kowloon #九龍 #HongKong #香港 #Architecture

#kowloonwalledcity #kowloon #九龍 #hongkong #香港 #architecture

AwattoAnalog @[email protected] · 2024-03-29 · 17:36 UTC

Neo creates short documentaries about topics ranging from politics, geography, media, and society. Here, they take look at Kowloon Walled City in Hong Kong, the most densely populated place that ever existed.

Also, I had no idea the name "Kowloon" means "nine dragons" alluding to eight mountains and the Chinese emperor.

I regret not being able to see The Walled City with my own eyes.

Source: https://www.youtube.com/watch?v=4YuNvIfM-YA

#KowloonWalledCity #Kowloon #九龍 #HongKong #香港 #Architecture

#kowloonwalledcity #kowloon #九龍 #hongkong #香港 #architecture

AwattoAnalog @[email protected] · 2024-03-29 · 17:36 UTC

Neo creates short documentaries about topics ranging from politics, geography, media, and society. Here, they take look at Kowloon Walled City in Hong Kong, the most densely populated place that ever existed.

Also, I had no idea the name "Kowloon" means "nine dragons" alluding to eight mountains and the Chinese emperor.

I regret not being able to see The Walled City with my own eyes.

Source: https://www.youtube.com/watch?v=4YuNvIfM-YA

#KowloonWalledCity #Kowloon #九龍 #HongKong #香港 #Architecture

#architecture #香港 #hongkong #九龍 #kowloon #kowloonwalledcity

AwattoAnalog @[email protected] · 2024-03-29 · 17:36 UTC

Neo creates short documentaries about topics ranging from politics, geography, media, and society. Here, they take look at Kowloon Walled City in Hong Kong, the most densely populated place that ever existed.

Also, I had no idea the name "Kowloon" means "nine dragons" alluding to eight mountains and the Chinese emperor.

I regret not being able to see The Walled City with my own eyes.

Source: https://www.youtube.com/watch?v=4YuNvIfM-YA

#KowloonWalledCity #Kowloon #九龍 #HongKong #香港 #Architecture

#kowloonwalledcity #kowloon #九龍 #hongkong #香港 #architecture

tojikomori @[email protected] · 2024-03-22 · 03:06 UTC

Just read the first volume of Kowloon Generic Romance and more people need to know about this series. Artwork’s amazing, the story has some big hooks, and if you’re here on the Fediverse there’s a good chance you too once stayed up all night reading about Kowloon Walled City.
https://yenpress.com/titles/9781975345785-kowloon-generic-romance-vol-1
#KowloonGenericRomance #KowloonWalledCity

#kowloongenericromance #kowloonwalledcity

Igor Olestra @[email protected] · 2023-10-13 · 22:45 UTC

Very cool program, very cool band. Thank you, Alabama Public Broadcasting. #subcarrier #pbs #kowloonwalledcity #indierock
https://www.pbs.org/video/kowloon-walled-city-b19xpt/

#subcarrier #pbs #kowloonwalledcity #indierock

Igor Olestra @[email protected] · 2023-10-13 · 22:45 UTC

Very cool program, very cool band. Thank you, Alabama Public Broadcasting. #subcarrier #pbs #kowloonwalledcity #indierock
https://www.pbs.org/video/kowloon-walled-city-b19xpt/

#indierock #kowloonwalledcity #pbs #subcarrier

Igor Olestra @[email protected] · 2023-10-13 · 22:45 UTC

Very cool program, very cool band. Thank you, Alabama Public Broadcasting. #subcarrier #pbs #kowloonwalledcity #indierock
https://www.pbs.org/video/kowloon-walled-city-b19xpt/

#indierock #subcarrier #pbs #kowloonwalledcity

Dave Fischer @[email protected] · 2023-09-27 · 02:03 UTC

Great commentary on #KowloonWalledCity

#kowloonwalledcity

Dave Fischer @[email protected] · 2023-09-27 · 02:03 UTC

Great commentary on #KowloonWalledCity

#kowloonwalledcity

Dave Fischer @davefischer · 2023-09-27 · 02:03 UTC

Great commentary on #KowloonWalledCity

#kowloonwalledcity

Dave Fischer @[email protected] · 2023-09-27 · 02:03 UTC

Great commentary on #KowloonWalledCity

#kowloonwalledcity

Dave Fischer @[email protected] · 2023-09-27 · 02:03 UTC

Great commentary on #KowloonWalledCity

#kowloonwalledcity

MarcelGomes @[email protected] · 2023-09-25 · 15:42 UTC

Kowloon Walled City

#kowloonwalledcity #kowloon #hongkong

MarcelGomes @[email protected] · 2023-09-25 · 15:42 UTC

Kowloon Walled City

#kowloonwalledcity #kowloon #hongkong

MarcelGomes @[email protected] · 2023-09-25 · 15:42 UTC

Kowloon Walled City

#kowloonwalledcity #kowloon #hongkong

MarcelGomes @[email protected] · 2023-09-25 · 15:42 UTC

Kowloon Walled City

https://www.tiziano.caviglia.name/2023/09/01/la-famigerata-citta-piu-densamente-popolata-della-terra/12780/

#hongkong #kowloon #kowloonwalledcity

Tiziano Caviglia @[email protected] · 2023-09-01 · 16:48 UTC

La famigerata città più densamente popolata della Terra
#KowloonWalledCity #HongKong

#kowloonwalledcity #hongkong

Tiziano Caviglia @[email protected] · 2023-09-01 · 16:48 UTC

La famigerata città più densamente popolata della Terra
#KowloonWalledCity #HongKong

https://www.tiziano.caviglia.name/2023/09/01/la-famigerata-citta-piu-densamente-popolata-della-terra/12780/

#kowloonwalledcity #hongkong

Tiziano Caviglia @[email protected] · 2023-09-01 · 16:48 UTC

La famigerata città più densamente popolata della Terra
#KowloonWalledCity #HongKong

https://www.tiziano.caviglia.name/2023/09/01/la-famigerata-citta-piu-densamente-popolata-della-terra/12780/

#hongkong #kowloonwalledcity

deltatux :mapleleaf: @[email protected] · 2023-07-27 · 17:51 UTC

The Kowloon Walled City was a crazy legal loophole & at its peak, the world's most densely populated place. This #documentary from #Neo did an amazing work bringing this place to life.

#documentary #neo #kowloon #kowloonwalledcity #hongkong #hkg

deltatux :mapleleaf: @[email protected] · 2023-07-27 · 17:51 UTC

The Kowloon Walled City was a crazy legal loophole & at its peak, the world's most densely populated place. This #documentary from #Neo did an amazing work bringing this place to life.

#documentary #neo #kowloon #kowloonwalledcity #hongkong #hkg

deltatux :mapleleaf: @[email protected] · 2023-07-27 · 17:51 UTC

The Kowloon Walled City was a crazy legal loophole & at its peak, the world's most densely populated place. This #documentary from #Neo did an amazing work bringing this place to life.

#documentary #neo #kowloon #kowloonwalledcity #hongkong #hkg

deltatux :mapleleaf: @[email protected] · 2023-07-27 · 17:51 UTC

The Kowloon Walled City was a crazy legal loophole & at its peak, the world's most densely populated place. This #documentary from #Neo did an amazing work bringing this place to life.

#hkg #hongkong #kowloonwalledcity #kowloon #neo #documentary

deltatux :mapleleaf: @[email protected] · 2023-07-27 · 17:51 UTC

The Kowloon Walled City was a crazy legal loophole & at its peak, the world's most densely populated place. This #documentary from #Neo did an amazing work bringing this place to life.