#l7 — Public Fediverse posts

Joey Ramone and L7 outside CBGB in 1990

Photo by Andrea Matthews Kusten

#punk #punks #punkrock #womenofpunk #punklegends #L7 #joeyramone #cbgb #punkrockhistory

Aadam Jacobs recorded thousands of concerts on tape throughout the 1980s, 1990s, and 2000s. These recordings have now been made publicly available on Archive.org.

Check: https://archive.org/details/aadamjacobs

#AgentOrange #BabesInToyland #Chixdiggit #TheCure #ElVez #RokyErickson #TavFalco #Fugazi #TheGetUpKids #TheGories #GroovieGhoulies #JacuzziBoys #L7 #TheManges #Minutemen #Nirvana #PereUbu #TheReplacements #Servotron #ShonenKnife #SonicYouth #TheSplashFour #TeenIdols #YouthOfToday #Punk #IndieRock #Tapes

Released 34 years ago today
Bricks Are Heavy, the third studio album by L7, featuring the single Pretend We’re Dead

L7 - Pretend We're Dead - Live Letterman 1992

#punk #punks #punkrock #grunge #L7 #bricksareheavy #womenofpunk #punkrockhistory #otd

34 years ago today
L7 released their third studio album, Bricks Are Heavy, April 14, 1992

It features the singles "Pretend We’re Dead," "Everglade," and "Monster."

#punk #punks #punkrock #grunge #L7 #bricksareheavy #womenofpunk #punkrockhistory #otd

L7 - Pretend We're Dead

https://quokk.au/c/musicvideos/p/832008/l7-pretend-we-re-dead

Happy Birthday to Donita Sparks, American singer, guitarist, songwriter and co-founder of the punkrock / grunge band L7, born April 8, 1963, Chicago, Illinois

Photo by Mick Hutson

#punk #punks #punkrock #womenofpunk #donitasparks #l7 #history #punkrockhistory #otd

34 years ago today – a legendary night in D.C.

Fugazi, L7, and Bikini Kill at the Sanctuary Theater, Washington D.C., April 4, 1992

Three amazing bands for 5 bucks! 🤩

📸 Glen E. Friedman

#punkrock #hardcorepunk #fugazi #l7 #bikinikill #history #punkrockhistory #otd

36 years ago today
Girl power at the Bowery ⚡🔥 L7 at CBGB, March 25, 1990.

Photo by Chris Boarts Larson

#punk #punks #punkrock #womenofpunk #L7 #cbgb #history #punkrockhistory

36 years ago
Jennifer Finch of L7 performing in Basel, Switzerland, March 1990.

Photo by Bruno Casonato

#punk #punks #punkrock #womenofpunk #L7 #grunge #jenniferfinch #history #punkrockhistory

L7 - Fast And Frightening - 2016
#Music #AlbumSuggestions #NowPlaying #NowListening
#L7 #FastAndFrightening

#MusicWomenWednesday #L7 #punkmetal #feminism #americansociety

https://l7band.bandcamp.com/track/american-society-remastered

🇺🇦 #NowPlaying on #BBC6Music's #6MusicsIndieForever

L7:
🎵 Pretend We're Dead

#L7

https://garrisdj.bandcamp.com/track/l7-pretend-were-dead-garris-beat-mix

https://open.spotify.com/track/3z5ggGtcs4t8pizW521gW9

Почему SASE не заменяет NGFW: взгляд инженера по ИБ

Привет, Хабр! Сейчас вокруг SASE в индустрии идут активные обсуждения, и может показаться, будто все традиционные решения безопасности вот-вот отправятся на свалку истории. На этом фоне всё чаще звучат вопросы о роли NGFW в современной архитектуре. Меня зовут Дмитрий Квашнин, я ведущий инженер-эксперт в компании Innostage. И в этой статье я хотел бы поделиться собственным взглядом на этот счёт. SASE и NGFW не конкуренты. Это скорее эволюционные ступени одной большой архитектуры. NGFW никуда не уходит. Он просто передает часть своих полномочий, превращаясь в ключевой элемент гибридной модели Zero Trust для защиты самого ценного. А SASE в это время решает задачи новой эпохи, где все распределено: удаленные сотрудники, филиалы и облачные сервисы.

https://habr.com/ru/companies/innostage/articles/990012/

#NGFW #межсетевой_экран #SASE #Zero_Trust #информационная_безопасность #сетевая_безопасность #архитектура_безопасности #ЦОД #L7 #ZTNA

Почему SASE не заменяет NGFW: взгляд инженера по ИБ

Привет, Хабр! Сейчас вокруг SASE в индустрии идут активные обсуждения, и может показаться, будто все традиционные решения безопасности вот-вот отправятся на свалку истории. На этом фоне всё чаще звучат вопросы о роли NGFW в современной архитектуре. Меня зовут Дмитрий Квашнин, я ведущий инженер-эксперт в компании Innostage. И в этой статье я хотел бы поделиться собственным взглядом на этот счёт. SASE и NGFW не конкуренты. Это скорее эволюционные ступени одной большой архитектуры. NGFW никуда не уходит. Он просто передает часть своих полномочий, превращаясь в ключевой элемент гибридной модели Zero Trust для защиты самого ценного. А SASE в это время решает задачи новой эпохи, где все распределено: удаленные сотрудники, филиалы и облачные сервисы.

https://habr.com/ru/companies/innostage/articles/990012/

#NGFW #межсетевой_экран #SASE #Zero_Trust #информационная_безопасность #сетевая_безопасность #архитектура_безопасности #ЦОД #L7 #ZTNA

Почему SASE не заменяет NGFW: взгляд инженера по ИБ

Привет, Хабр! Сейчас вокруг SASE в индустрии идут активные обсуждения, и может показаться, будто все традиционные решения безопасности вот-вот отправятся на свалку истории. На этом фоне всё чаще звучат вопросы о роли NGFW в современной архитектуре. Меня зовут Дмитрий Квашнин, я ведущий инженер-эксперт в компании Innostage. И в этой статье я хотел бы поделиться собственным взглядом на этот счёт. SASE и NGFW не конкуренты. Это скорее эволюционные ступени одной большой архитектуры. NGFW никуда не уходит. Он просто передает часть своих полномочий, превращаясь в ключевой элемент гибридной модели Zero Trust для защиты самого ценного. А SASE в это время решает задачи новой эпохи, где все распределено: удаленные сотрудники, филиалы и облачные сервисы.

https://habr.com/ru/companies/innostage/articles/990012/

#NGFW #межсетевой_экран #SASE #Zero_Trust #информационная_безопасность #сетевая_безопасность #архитектура_безопасности #ЦОД #L7 #ZTNA

Почему SASE не заменяет NGFW: взгляд инженера по ИБ

Привет, Хабр! Сейчас вокруг SASE в индустрии идут активные обсуждения, и может показаться, будто все традиционные решения безопасности вот-вот отправятся на свалку истории. На этом фоне всё чаще звучат вопросы о роли NGFW в современной архитектуре. Меня зовут Дмитрий Квашнин, я ведущий инженер-эксперт в компании Innostage. И в этой статье я хотел бы поделиться собственным взглядом на этот счёт. SASE и NGFW не конкуренты. Это скорее эволюционные ступени одной большой архитектуры. NGFW никуда не уходит. Он просто передает часть своих полномочий, превращаясь в ключевой элемент гибридной модели Zero Trust для защиты самого ценного. А SASE в это время решает задачи новой эпохи, где все распределено: удаленные сотрудники, филиалы и облачные сервисы.

https://habr.com/ru/companies/innostage/articles/990012/

#NGFW #межсетевой_экран #SASE #Zero_Trust #информационная_безопасность #сетевая_безопасность #архитектура_безопасности #ЦОД #L7 #ZTNA

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026

L7 маршрутизация Squid+IPTables и WireGuard, или как завернуть трафик в тоннель на основе имени домена

Многие интернет-ресурсы имеют большой пул ip-адресов, более того, этот пул может меняться. Делать nslookup для каждого интересующего сервиса и заворачивать все выдаваемые подсети — неудобно и неэлегантно. На помощь может прийти прокси‑сервер squid, настроенный прозрачно с функцией ssl_bump.

https://habr.com/ru/articles/983838/

#squid #iptables #wireguard #l7

35 years ago
Women of punk rock, so much energy in one place. 💯

L7 and Lunachicks, CBGB New York City, November 1990.

Photo by Andrea Kusten

#punk #punks #punkrock #L7 #lunachicks #cbgb #historyofpunk #punkrockhistory

Happy Birthday to Demetra 'Dee' Plakas also know as
'The Goddess of Thunder', drummer for the punk rock band L7, born on this day in 1960, Chicago, Illinois

#punk #punks #punkrock #womenofpunk #deeplakas #L7 #history #punkrockhistory #otd

And for no apparent reason, it just popped into my mental jukeboxes didn't it? 🤘😎

#L7 #rockmusic

https://www.youtube.com/watch?v=toCCu9fYsuk

Leaves are #falling down, #ThursdayFiveList has come to town.

If I Should Fall From Grace With God -#ThePogues
https://youtu.be/mn18kl29F6w

I Hope That I Don't Fall In Love With You -#TomWaits
https://youtu.be/UhZyLn0oVCs

You Fall -#AimeeMann
https://youtu.be/zwxTgtWcChU

Fall Down -#ThrowingMuses
https://youtu.be/CPd2uXST8AY

The Ideal Crash -#dEUS
https://youtu.be/QaAvShKyRj8

'Till the Wheels fall off -#L7
https://youtu.be/ItGNKWPXzrI

'Till the Wheels fall off -#BobWayne
https://youtu.be/QD4zdwapKrY

🇺🇦 #NowPlaying on #KEXP's #MorningShow

L7:
🎵 Pretend We’re Dead

#L7

https://djeclectico.bandcamp.com/track/l7-pretend-we-re-dead-edit-dj-ecl-ctico

https://open.spotify.com/track/3z5ggGtcs4t8pizW521gW9

🇺🇦 #NowPlaying on #KEXP's #AfternoonShow

L7:
🎵 Wargasm

#L7

https://elmesias.bandcamp.com/track/wargasm-l7-cover

https://open.spotify.com/track/7b1snQi3wWfUPmRrPvK0ny

Happy Birthday to Jennifer Finch, American musician, photographer and the primary bass player of the punk rock /grunge band L7, born August 5, 1966, Los Angeles

Photo by Gie Knaeps

#punk #punkrock #womenofpunk #jenniferfinch #l7 #history #punkrockhistory #otd

Dziś urodziny Jennifer Finch – basistki znanej z zespołu L7, który odcisnął piętno na scenie grunge'owej i punkowej. Finch to nie tylko muzyka, ale też fotografie dokumentujące kontrkulturę lat 80. i 90. (fot. Wikipedia) #JenniferFinch #L7 #punk #grunge

🇺🇦 #NowPlaying on #BBC6Music's #LaurenLaverne

L7:
🎵 Pretend We're Dead

#L7

https://garrisdj.bandcamp.com/track/l7-pretend-were-dead-garris-beat-mix

https://open.spotify.com/track/3z5ggGtcs4t8pizW521gW9

🇺🇦 #NowPlaying on #KEXP's #MorningShow

L7:
🎵 Pretend We’re Dead

#L7

https://djeclectico.bandcamp.com/track/l7-pretend-we-re-dead-edit-dj-ecl-ctico

https://open.spotify.com/track/5HifpcbEtIsk61rS1VTPsB

#Achtung #Störung #Mannheim Aufgrund eines Polizeieinsatzes in der Mannheimer Innenstadt werden die rnv-Linien #L1, #L2, #L3, #L4, #L4A, #L5, #L5A, #L6, #L6A und #L7 großflächig umgeleitet. Der Stadtbahnbetrieb zwischen Mannheim und Ludwigshafen ist eingestellt.

#Achtung #Störung #MA Aufgrund eines Verkehrsunfalls ist die Strecke der #L2 und #L7 zwischen den (H) Universitätsklinikum und Feudenheim bzw. Vogelstang in beiden Richtungen gesperrt. Ein Ersatzverkehr mit Taxis und Bussen ist eingerichtet.

Understanding load balancing is key to modern network architecture. Explore the differences between Layer 4 and Layer 7 load balancing to see how each approach enhances performance, reliability, and scalability in distinct ways. #NetworkArchitecture #LoadBalancing #TechInsights #ITInfrastructure #L4 #L7 #Networking #TechTrends
https://www.relianoid.com/resources/knowledge-base/misc/layer-4-vs-7-load-balancing/

https://mancavgeek.co.uk/2024/05/26/photo-of-the-day-26th-may-2024/

#a300 #AhhhDeHaviland #airbus #airshow #avgeek #aviation #avro #b707 #boeing #BritishAerospace #C30 #Cierva #cointrin #crossair #DeHaviland #DH82 #egcc #egcd #egll #embraer #ERJ145 #geneva #gva #heathrow #L7 #lfpo #lhr #loganair #london #lsgg #man #manchester #orly #ory #paris #photography #planespotting #raf #rj85 #romavia #Rota #RoyalAirForce #TigerMoth #tunisair #vulcan #woodford

https://mancavgeek.co.uk/2024/05/26/photo-of-the-day-26th-may-2024/

#a300 #AhhhDeHaviland #airbus #airshow #avgeek #aviation #avro #b707 #boeing #BritishAerospace #C30 #Cierva #cointrin #crossair #DeHaviland #DH82 #egcc #egcd #egll #embraer #ERJ145 #geneva #gva #heathrow #L7 #lfpo #lhr #loganair #london #lsgg #man #manchester #orly #ory #paris #photography #planespotting #raf #rj85 #romavia #Rota #RoyalAirForce #TigerMoth #tunisair #vulcan #woodford

https://mancavgeek.co.uk/2024/05/26/photo-of-the-day-26th-may-2024/

#a300 #AhhhDeHaviland #airbus #airshow #avgeek #aviation #avro #b707 #boeing #BritishAerospace #C30 #Cierva #cointrin #crossair #DeHaviland #DH82 #egcc #egcd #egll #embraer #ERJ145 #geneva #gva #heathrow #L7 #lfpo #lhr #loganair #london #lsgg #man #manchester #orly #ory #paris #photography #planespotting #raf #rj85 #romavia #Rota #RoyalAirForce #TigerMoth #tunisair #vulcan #woodford

#Achtung #Störung #LU Aufgrund einer Störung kann die Haltestelle LU Rathaus bis auf Weiteres von den rnv-Bahnlinien #L4 #L4A #L6 #L6A und #L7 nicht bedient werden.

"De acordo com a companhia, o atraso na implantação da nova estratégia se deve a uma falha no sistema de energia ocorrida às 3h50 de quarta-feira na subestação de Braz Cubas, em Mogi das Cruzes." || Na verdade, a subestação já estava incapacitada antes, mas a Cia. aproveitou intervenções na Estação Brás, ligadas à #L12-Safira, para flertar com outro paradigma operacional na #L11-Coral, o qual se mostrou insatisfatório. Parece um sintoma do desmonte e sucateamento promovidos pelo atual governador #bolsonarista, #Tarcísio de Freitas, que tem fingido que não visto a incompetência da #ViaMobilidade nas linhas #L8 e #L9 e insistido em concessões lesivas, como a recém-celebrada concessão da #L7-Rubi ao grupo Comporte, junto com um projeto tacanho de #trem regional. || https://noticiasdemogi.com.br/falha-no-sistema-de-energia-atrasa-termino-da-baldeacao-em-suzano-segundo-cptm/

É urgente a mobilização de pessoas progressistas de #Jundiaí e região. O projeto do TIC, mesmo c/ financiamento do governo #Lula, é lesivo. Além da tarifa futura estar calculada em R$ 60 (!), o #trem não será competitivo na escala regional devido ao traçado centenário e praticamente inviabilizará melhorar a #L7, pois esgotará o pouco de espaço que sobrou na faixa de domínio. É uma #privataria absurda, mas pouco parece incomodar. Esquerda, sai do volante, vem pegar trem! https://diariodotransporte.com.br/2024/02/02/conselho-estadual-do-meio-ambiente-altera-local-de-audiencia-publica-do-trem-intercidades-em-jundiai-sp/

[💥 NOVO 💥] "O TIC para Campinas nega o que a CPTM tem feito desde que assumiu linhas. Não importa se a empresa não entendeu seu papel; não importa se vamos chamar seus serviços de metrô, trem metropolitano ou até de disco voador; o que importa é que existe um tecido e um padrão de serviço, que se retroalimentam". 🏷️ Etiquetas: #tic #tremintercidades #tremregional #cptm #trem #campinas #rmc #jundiaí #rmj #l7 #ppp #privatização. 🔗 Link: https://www.commu.site/blog/2023/10/08/quando_seremos_ouvidos/

A descrição da novíssima Região Metropolitana de #Jundiaí, contida em reportagem do Jundiaí Agora, exalta uma conectividade e dinamismo fortemente baseados no automóvel e, portanto, insustentáveis. Para além do papel patético da #CPTM, que poderia atender muito melhor a região, desperdiçando janelas de oportunidade no passado, há a ameaça de privatização da #L7 com um #trem regional ruim. O novo bilhete único intermunicipal será mais um sistema isolado e pouco integrado. https://jundiagora.com.br/bilhete/

#L7 #PunkRock #PunkRock #documentary
Don't watch if vulgar words offend you.

https://youtu.be/7w3TkV0GRkA

#RiotGrrls #MusicFromMyYouth #FeministPunk #AntiSexism #AntiMisogny #PunkRockGirls #RudeGrrls #FuckThePatriarchy #WomensMonth #Feminist

@kierkegaank #L7 at #UCLA in 1991!
#LiveConcert #PunkRock #PunkRockGirls #RiotGrrls #MusicFromMyYouth #FeministPunk #AntiSexism #RudeGrrls #WomansMonth #Music #WomensEmpowerment #AntiMisogny
https://youtu.be/xpn10NZzz_8

#V'ger #NELL #SCMODS #MasterControlProgram #ROK #WOPRJoshua #Huxley600 #OSGOOD #SAL-9000 #Skynet #Edgar #MaxHeadroom #A7 #X-CALBR8 #GBLX1000 #Lola #Max #G.O.R.N. #Angela #Lucy #SpiritualSwitchboard #Zed #L7 #Charon #Central #LucyGibson #Gibson #Project2501 #Father #Euclid #TheMatrix #PAT #Wittgenstein #S.E.T.H. #Lucille #Dr.Know #Synapse #RedQueen #Vox #I.N.T.E.L.L.I.G.E.N.C.E. #VIKI #PAL #E.D.I. #DeepThought #Icarus #J.A.R.V.I.S. #R.I.P.L.E.Y #ARIIA #AUTO #GERTY3000 #B.R.A.I.N. #ODIN #Mr.JamesBing #Samantha #Christopher #TARSCASE #Genisys #F.R.I.D.A.Y. #Ava #Tau #MillenniumFalconNavigationComputer(L3-37), #Legion #E.D.I.T.H. #DeepThought #Earth #EarthMark2, #Eddie #Marvin #ANGEL1ANGEL2SolariaDCustodianSentinelEarthvoice #Hab #AlarmClockRefrigeratorTelevision #ExecutiveDreamer #TheMainframe #Alpha #System #Gemini #TheMachine #OldManInTheCave #Batcomputer #Agnes #WOTAN #ERIC #TheGeneral #TheUltimateComputer #BIGRAT #ARDVARC #ComputexGB #REMAK #S.I.D.  #StarTrek #Ship'sComputer #OmicronDeltaamusementparkplanet #Landru #EminiarVendikar #TheGuardianofForever #Nomad #Vaal #TheDoomsdayMachine #M-4 #M-5 #Beta5 #TheController #TheOracle #TheKalandancomputer #MemoryAlpha #TheAtavachron #V'Ger #BOSS #TIM #Magnus #MuLambda165 #Computer #IRAC