#martyr — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #martyr, aggregated by home.social.
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https://www.europesays.com/iran/201276/ “Israeli” Drone Strikes on S Lebanon Martyr One Civilian, Injure Others #a #across #agreement #and #as #attacks #aviv #Beirut #between #civilian #continued #despite #drone #for #Framework #have #hit #implementation #Injure #Islam #Israeli #Lebanon #martyr #martyring #mediated #of #on #one #Ongoing #others #person #preparations #region #s #Series #several #southern #strikes #tel #the #Times #US #wounding
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Je ne vais pas bien (Alaa al-Qatraoui)
Illustration Je ne vais pas bien Je ne vais pas bien je marche sur les aiguilles de la fierté en faisant le tour des martyrs sujette à la fièvre des condoléances Je m'accrois davantage qu'un arbre millénaire que la mer de la séparation ! Je ne vais pas bien Et comment le pourrais-je alors que j'ai vu un père chenu une photo entre les mains s'adresser à un enfant qui lui ressemble et lui dire chaque matin : Mon chéri ! Maintenant que la photo est accrochée […]https://arbrealettres.wordpress.com/2026/07/09/je-ne-vais-pas-bien-alaa-al-qatraoui/
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Je ne vais pas bien (Alaa al-Qatraoui)
Illustration Je ne vais pas bien Je ne vais pas bien je marche sur les aiguilles de la fierté en faisant le tour des martyrs sujette à la fièvre des condoléances Je m'accrois davantage qu'un arbre millénaire que la mer de la séparation ! Je ne vais pas bien Et comment le pourrais-je alors que j'ai vu un père chenu une photo entre les mains s'adresser à un enfant qui lui ressemble et lui dire chaque matin : Mon chéri ! Maintenant que la photo est accrochée […]https://arbrealettres.wordpress.com/2026/07/09/je-ne-vais-pas-bien-alaa-al-qatraoui/
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Je ne vais pas bien (Alaa al-Qatraoui)
Illustration Je ne vais pas bien Je ne vais pas bien je marche sur les aiguilles de la fierté en faisant le tour des martyrs sujette à la fièvre des condoléances Je m'accrois davantage qu'un arbre millénaire que la mer de la séparation ! Je ne vais pas bien Et comment le pourrais-je alors que j'ai vu un père chenu une photo entre les mains s'adresser à un enfant qui lui ressemble et lui dire chaque matin : Mon chéri ! Maintenant que la photo est accrochée […]https://arbrealettres.wordpress.com/2026/07/09/je-ne-vais-pas-bien-alaa-al-qatraoui/
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Je ne vais pas bien (Alaa al-Qatraoui)
Illustration Je ne vais pas bien Je ne vais pas bien je marche sur les aiguilles de la fierté en faisant le tour des martyrs sujette à la fièvre des condoléances Je m'accrois davantage qu'un arbre millénaire que la mer de la séparation ! Je ne vais pas bien Et comment le pourrais-je alors que j'ai vu un père chenu une photo entre les mains s'adresser à un enfant qui lui ressemble et lui dire chaque matin : Mon chéri ! Maintenant que la photo est accrochée […]https://arbrealettres.wordpress.com/2026/07/09/je-ne-vais-pas-bien-alaa-al-qatraoui/
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Je ne vais pas bien (Alaa al-Qatraoui)
Illustration Je ne vais pas bien Je ne vais pas bien je marche sur les aiguilles de la fierté en faisant le tour des martyrs sujette à la fièvre des condoléances Je m'accrois davantage qu'un arbre millénaire que la mer de la séparation ! Je ne vais pas bien Et comment le pourrais-je alors que j'ai vu un père chenu une photo entre les mains s'adresser à un enfant qui lui ressemble et lui dire chaque matin : Mon chéri ! Maintenant que la photo est accrochée […]https://arbrealettres.wordpress.com/2026/07/09/je-ne-vais-pas-bien-alaa-al-qatraoui/
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https://www.europesays.com/iran/197954/ Araghchi Hails Iraq’s Hosting of Imam Khamenei Funeral Procession #Abbas #Ali #and #Araghchi #authorities #body #ceremonies #for #Foreign #funeral #government #Hails #held #his #honor #hosting #Imam #in #iranian #Iraq #Iraq’s #Islam #its #khamenei #khamenei’s #martyr #Minister #of #people #procession #reception #religious #Sayyed #solemn #thanked #the #their #Times
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IRAN HAS WON! 🇮🇷🇮🇷🇮🇷
#sofiaflorina #ソフィアフロリナ #iran #iranwar #usiranwar #iranuswar #usiranconflict #iranusconflict #stopwar #stopconflict #endwar #endconflict #war #wars #conflict #conflicts #iranwillwin #iranhaswon #ayatollah #ayatollahkhamenei #ayatollahalikhamenei #khamenei #alikhamenei #martyr #martyrs #martyred #martyrdom
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https://www.europesays.com/iran/184671/ Iraq prepares for funeral procession of Martyr Ayatollah Khamenei #Ali #and #are #ayatollah #Cities #for #funeral #holy #Iraq #iraqi #Islamic #Karbala #khamenei #leader #martyr #martyred #Najaf #of #prepares #preparing #procession #Revolution #Seyyed #the
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A quotation from Robert Ingersoll
All the martyrs in the history of the world are not sufficient to establish the correctness of an opinion. Martyrdom, as a rule, establishes the sincerity of the martyr, — never the correctness of his thought. Things are true or false in themselves. Truth cannot be affected by opinions; it cannot be changed, established, or affected by martyrdom. An error cannot be believed sincerely enough to make it a truth.
Robert Green Ingersoll (1833-1899) American lawyer, freethinker, orator
Lecture (1881-05-01) “The Great Infidels,” Booth’s Theater, New YorkMore about this quote: wist.info/ingersoll-robert-gre…
#quote #quotes #quotation #qotd #robertingersoll #robertgreeningersoll #zeal #belief #correctness #devotion #earnestness #martyr #martyrdom #opinion #reality #sacrifice #sincerity #truth
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A quotation from Robert Ingersoll
All the martyrs in the history of the world are not sufficient to establish the correctness of an opinion. Martyrdom, as a rule, establishes the sincerity of the martyr, — never the correctness of his thought. Things are true or false in themselves. Truth cannot be affected by opinions; it cannot be changed, established, or affected by martyrdom. An error cannot be believed sincerely enough to make it a truth.
Robert Green Ingersoll (1833-1899) American lawyer, freethinker, orator
Lecture (1881-05-01) “The Great Infidels,” Booth’s Theater, New YorkMore about this quote: wist.info/ingersoll-robert-gre…
#quote #quotes #quotation #qotd #robertingersoll #robertgreeningersoll #zeal #belief #correctness #devotion #earnestness #martyr #martyrdom #opinion #reality #sacrifice #sincerity #truth
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A quotation from Robert Ingersoll
All the martyrs in the history of the world are not sufficient to establish the correctness of an opinion. Martyrdom, as a rule, establishes the sincerity of the martyr, — never the correctness of his thought. Things are true or false in themselves. Truth cannot be affected by opinions; it cannot be changed, established, or affected by martyrdom. An error cannot be believed sincerely enough to make it a truth.
Robert Green Ingersoll (1833-1899) American lawyer, freethinker, orator
Lecture (1881-05-01) “The Great Infidels,” Booth’s Theater, New YorkMore about this quote: wist.info/ingersoll-robert-gre…
#quote #quotes #quotation #qotd #robertingersoll #robertgreeningersoll #zeal #belief #correctness #devotion #earnestness #martyr #martyrdom #opinion #reality #sacrifice #sincerity #truth
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A quotation from Robert Ingersoll
All the martyrs in the history of the world are not sufficient to establish the correctness of an opinion. Martyrdom, as a rule, establishes the sincerity of the martyr, — never the correctness of his thought. Things are true or false in themselves. Truth cannot be affected by opinions; it cannot be changed, established, or affected by martyrdom. An error cannot be believed sincerely enough to make it a truth.
Robert Green Ingersoll (1833-1899) American lawyer, freethinker, orator
Lecture (1881-05-01) “The Great Infidels,” Booth’s Theater, New YorkMore about this quote: wist.info/ingersoll-robert-gre…
#quote #quotes #quotation #qotd #robertingersoll #robertgreeningersoll #zeal #belief #correctness #devotion #earnestness #martyr #martyrdom #opinion #reality #sacrifice #sincerity #truth
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Bowyer Bible print 4286 Saint Peter Carravacci. Robert Bowyer (1758-1834) expanded his own copy of the Macklin Bible to 45 volumes after acquiring and inserting over 6200 different prints of Biblical events. The Bowyer Bible is now housed in Bolton Museums and Archives. For a presentation of many of these prints see https://archive.org/details/bowyer-bible
where Philip De Vere has created flip-books from Phillip Medhurst's collection of photos. #apostle #martyr #saint #SaintPeter #primate #keysofheaven #papacy -
Law and Order: Season 25, Episode 19: Accidentally Like a Martyr TV Show Trailer
#Accidentally #DavidAjala #Episode #HughDancy #Law #LawandOrder #Martyr #MauraTierney #NBC #OdelyaHalevi #Order #Peacock #ReidScott #Season #Show #TonyGoldwyn #trailer #TVShowTrailer
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Law and Order: Season 25, Episode 19: Accidentally Like a Martyr TV Show Trailer
#Accidentally #DavidAjala #Episode #HughDancy #Law #LawandOrder #Martyr #MauraTierney #NBC #OdelyaHalevi #Order #Peacock #ReidScott #Season #Show #TonyGoldwyn #trailer #TVShowTrailer
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Law and Order: Season 25, Episode 19: Accidentally Like a Martyr TV Show Trailer
#Accidentally #DavidAjala #Episode #HughDancy #Law #LawandOrder #Martyr #MauraTierney #NBC #OdelyaHalevi #Order #Peacock #ReidScott #Season #Show #TonyGoldwyn #trailer #TVShowTrailer
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Law and Order: Season 25, Episode 19: Accidentally Like a Martyr TV Show Trailer
#Accidentally #DavidAjala #Episode #HughDancy #Law #LawandOrder #Martyr #MauraTierney #NBC #OdelyaHalevi #Order #Peacock #ReidScott #Season #Show #TonyGoldwyn #trailer #TVShowTrailer
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Law and Order: Season 25, Episode 19: Accidentally Like a Martyr TV Show Trailer
#Accidentally #DavidAjala #Episode #HughDancy #Law #LawandOrder #Martyr #MauraTierney #NBC #OdelyaHalevi #Order #Peacock #ReidScott #Season #Show #TonyGoldwyn #trailer #TVShowTrailer
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"As a #Jewish #food #writer and #anthropologist of sorts, #JoanNathan had always been interested in her own family’s history. The “Julia Child of Jewish #cooking” has even #written about it in her recent #autobiography, “My Life in #Recipes.”
But many details about her father’s family, some of whom had perished in the #Holocaust, were scant.
On a recent Thursday morning, #Nathan spent two hours at the Ackman and Ziff Family #Genealogy Institute in #Manhattan, where those secrets would be uncovered as part of a new program called “Histories and Mysteries.” Nathan learned about the fate of a great-aunt, who was confined at #Theresienstadt, and her grandson, who by a circuitous, ultimately tragic path is remembered by #Catholics as a #martyr.
She discovered not only what happened to those relatives, but saw photographs of them and their homes, and read newspaper articles and letters about them."
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"As a #Jewish #food #writer and #anthropologist of sorts, #JoanNathan had always been interested in her own family’s history. The “Julia Child of Jewish #cooking” has even #written about it in her recent #autobiography, “My Life in #Recipes.”
But many details about her father’s family, some of whom had perished in the #Holocaust, were scant.
On a recent Thursday morning, #Nathan spent two hours at the Ackman and Ziff Family #Genealogy Institute in #Manhattan, where those secrets would be uncovered as part of a new program called “Histories and Mysteries.” Nathan learned about the fate of a great-aunt, who was confined at #Theresienstadt, and her grandson, who by a circuitous, ultimately tragic path is remembered by #Catholics as a #martyr.
She discovered not only what happened to those relatives, but saw photographs of them and their homes, and read newspaper articles and letters about them."
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"As a #Jewish #food #writer and #anthropologist of sorts, #JoanNathan had always been interested in her own family’s history. The “Julia Child of Jewish #cooking” has even #written about it in her recent #autobiography, “My Life in #Recipes.”
But many details about her father’s family, some of whom had perished in the #Holocaust, were scant.
On a recent Thursday morning, #Nathan spent two hours at the Ackman and Ziff Family #Genealogy Institute in #Manhattan, where those secrets would be uncovered as part of a new program called “Histories and Mysteries.” Nathan learned about the fate of a great-aunt, who was confined at #Theresienstadt, and her grandson, who by a circuitous, ultimately tragic path is remembered by #Catholics as a #martyr.
She discovered not only what happened to those relatives, but saw photographs of them and their homes, and read newspaper articles and letters about them."
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"As a #Jewish #food #writer and #anthropologist of sorts, #JoanNathan had always been interested in her own family’s history. The “Julia Child of Jewish #cooking” has even #written about it in her recent #autobiography, “My Life in #Recipes.”
But many details about her father’s family, some of whom had perished in the #Holocaust, were scant.
On a recent Thursday morning, #Nathan spent two hours at the Ackman and Ziff Family #Genealogy Institute in #Manhattan, where those secrets would be uncovered as part of a new program called “Histories and Mysteries.” Nathan learned about the fate of a great-aunt, who was confined at #Theresienstadt, and her grandson, who by a circuitous, ultimately tragic path is remembered by #Catholics as a #martyr.
She discovered not only what happened to those relatives, but saw photographs of them and their homes, and read newspaper articles and letters about them."
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"As a #Jewish #food #writer and #anthropologist of sorts, #JoanNathan had always been interested in her own family’s history. The “Julia Child of Jewish #cooking” has even #written about it in her recent #autobiography, “My Life in #Recipes.”
But many details about her father’s family, some of whom had perished in the #Holocaust, were scant.
On a recent Thursday morning, #Nathan spent two hours at the Ackman and Ziff Family #Genealogy Institute in #Manhattan, where those secrets would be uncovered as part of a new program called “Histories and Mysteries.” Nathan learned about the fate of a great-aunt, who was confined at #Theresienstadt, and her grandson, who by a circuitous, ultimately tragic path is remembered by #Catholics as a #martyr.
She discovered not only what happened to those relatives, but saw photographs of them and their homes, and read newspaper articles and letters about them."
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Who Will Be Romero Today?
Romero Rally Flyer 1990On this day we remember Archbishop Óscar Romero, murdered on March 24, 1980, while celebrating Mass. The church remembers him not simply as a tragic victim, but as a martyr whose blood was joined to the blood of the people he refused to abandon. Vatican sources still name him what so many already knew him to be in life: a “voice of the voiceless,” assassinated at the altar because he would not stop speaking for the poor.
Romero was killed soon after one of the most fearless sermons of the twentieth century. Addressing soldiers and police, he said that they were killing their own campesino brothers and sisters, and that God’s law stood above the commands of violent men: “Thou shalt not kill.” He declared that no soldier is obliged to obey an order against the law of God, and he ended with that thunderous plea: “In the name of God… cease the repression!”
That is why Romero remains dangerous. He did not speak in abstractions. He did not bless power from a safe distance. He did not soothe the conscience of empire. He named the sin directly. He named the victims directly. He named the moral responsibility of those ordered to carry out injustice. And for that, he was silenced by a bullet at the altar. Yet even in death he was not silenced, because martyrdom is a form of speech the powers of this world do not know how to answer.
Ten years later, in 1990, his name was still summoning people into the streets. The flyer for the Washington march commemorating Romero’s assassination called for an end to U.S. war in Central America, a march from the Capitol to the White House, and even nonviolent civil disobedience after the rally. It named the demands plainly: end U.S. aid to El Salvador, withdraw U.S. advisers, stop repressing the people, end the war against Nicaragua, lift the trade embargo, normalize relations. That call was real, and it was public. It survives in archival collections even now.
And I remember that day not as a line in a history book but as something lived in the body. Ten years after Romero’s assassination, I was arrested outside the White House after I and other activists built a miniature Central American village there. We were trying, in our small and vulnerable way, to make visible what policy papers and patriotic speeches tried to hide: villages, families, campesinos, the poor, the disappeared, the threatened, the dead. We were insisting that Central America was not a chessboard for Washington, but a place of human beings made in the image of God.
Read the rest of the essay at PeaceGrooves.
#AntiWar #ArchbishopRomero #assassination #ÓscarRomero #campesinos #CentralAmerica #ChristianPeacemaking #ChurchAndState #civilDisobedience #ElSalvador #ElSalvadorCivilWar #faithAndPolitics #humanRights #immigrantJustice #Immigration #Justice #LiberationTheology #Martyr #martyrdom #Mercy #Nicaragua #Nonviolence #peaceWitness #propheticWitness #Refugees #remembrance #Romero #Sermon #solidarity #USForeignPolicy #USIntervention #WhiteHouseProtest -
Who Will Be Romero Today?
Romero Rally Flyer 1990On this day we remember Archbishop Óscar Romero, murdered on March 24, 1980, while celebrating Mass. The church remembers him not simply as a tragic victim, but as a martyr whose blood was joined to the blood of the people he refused to abandon. Vatican sources still name him what so many already knew him to be in life: a “voice of the voiceless,” assassinated at the altar because he would not stop speaking for the poor.
Romero was killed soon after one of the most fearless sermons of the twentieth century. Addressing soldiers and police, he said that they were killing their own campesino brothers and sisters, and that God’s law stood above the commands of violent men: “Thou shalt not kill.” He declared that no soldier is obliged to obey an order against the law of God, and he ended with that thunderous plea: “In the name of God… cease the repression!”
That is why Romero remains dangerous. He did not speak in abstractions. He did not bless power from a safe distance. He did not soothe the conscience of empire. He named the sin directly. He named the victims directly. He named the moral responsibility of those ordered to carry out injustice. And for that, he was silenced by a bullet at the altar. Yet even in death he was not silenced, because martyrdom is a form of speech the powers of this world do not know how to answer.
Ten years later, in 1990, his name was still summoning people into the streets. The flyer for the Washington march commemorating Romero’s assassination called for an end to U.S. war in Central America, a march from the Capitol to the White House, and even nonviolent civil disobedience after the rally. It named the demands plainly: end U.S. aid to El Salvador, withdraw U.S. advisers, stop repressing the people, end the war against Nicaragua, lift the trade embargo, normalize relations. That call was real, and it was public. It survives in archival collections even now.
And I remember that day not as a line in a history book but as something lived in the body. Ten years after Romero’s assassination, I was arrested outside the White House after I and other activists built a miniature Central American village there. We were trying, in our small and vulnerable way, to make visible what policy papers and patriotic speeches tried to hide: villages, families, campesinos, the poor, the disappeared, the threatened, the dead. We were insisting that Central America was not a chessboard for Washington, but a place of human beings made in the image of God.
Read the rest of the essay at PeaceGrooves.
#AntiWar #ArchbishopRomero #assassination #ÓscarRomero #campesinos #CentralAmerica #ChristianPeacemaking #ChurchAndState #civilDisobedience #ElSalvador #ElSalvadorCivilWar #faithAndPolitics #humanRights #immigrantJustice #Immigration #Justice #LiberationTheology #Martyr #martyrdom #Mercy #Nicaragua #Nonviolence #peaceWitness #propheticWitness #Refugees #remembrance #Romero #Sermon #solidarity #USForeignPolicy #USIntervention #WhiteHouseProtest -
Religious officials declared Ayatollah Seyyed Ali Khamenei a Martyr, some of the ceremony was posted online.
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Religious officials declared Ayatollah Seyyed Ali Khamenei a Martyr, some of the ceremony was posted online.
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I will officially now and forever only refer to Charlie Kirk as "that guy they turned into a martyr" or if you're into the whole brevity thing; #WorstVessel
https://www.yahoo.com/news/articles/gov-greg-abbott-launches-plan-202301652.html
Apparently, our Hitler Youth is going to be called Club America & Kirk is Horst-Wessel. I hate this fucking timeline.
:blobcatreeeeeee: :meowTableFlip:#CurrentMood #ThisIsFascism #HorstWessel #Nazi #martyr #history
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I will officially now and forever only refer to Charlie Kirk as "that guy they turned into a martyr" or if you're into the whole brevity thing; #WorstVessel
https://www.yahoo.com/news/articles/gov-greg-abbott-launches-plan-202301652.html
Apparently, our Hitler Youth is going to be called Club America & Kirk is Horst-Wessel. I hate this fucking timeline.
:blobcatreeeeeee: :meowTableFlip:#CurrentMood #ThisIsFascism #HorstWessel #Nazi #martyr #history
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Dayton Literary Peace Prize Celebrates Winners, Honors Salman Rushdie
On Sunday, the Dayton Literary Peace Prize hosted their award ceremony honoring this year's winners, Kaveh Akbar, Sunil Amrith, and honoree Salman Rushdie.
https://publishingperspectives.com/2025/11/dayton-literary-peace-prize-celebrates-winners-honors-salman-rushdie/#BurningEarthAHistory #DaytonLiteraryPeacePrize #KavehAkbar #Martyr #NicholasARaines
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Dayton Literary Peace Prize Celebrates Winners, Honors Salman Rushdie
On Sunday, the Dayton Literary Peace Prize hosted their award ceremony honoring this year's winners, Kaveh Akbar, Sunil Amrith, and honoree Salman Rushdie.
https://publishingperspectives.com/2025/11/dayton-literary-peace-prize-celebrates-winners-honors-salman-rushdie/#BurningEarthAHistory #DaytonLiteraryPeacePrize #KavehAkbar #Martyr #NicholasARaines
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Dayton Literary Peace Prize Celebrates Winners, Honors Salman Rushdie
On Sunday, the Dayton Literary Peace Prize hosted their award ceremony honoring this year's winners, Kaveh Akbar, Sunil Amrith, and honoree Salman Rushdie.
https://publishingperspectives.com/2025/11/dayton-literary-peace-prize-celebrates-winners-honors-salman-rushdie/#BurningEarthAHistory #DaytonLiteraryPeacePrize #KavehAkbar #Martyr #NicholasARaines
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Dayton Literary Peace Prize Celebrates Winners, Honors Salman Rushdie
On Sunday, the Dayton Literary Peace Prize hosted their award ceremony honoring this year's winners, Kaveh Akbar, Sunil Amrith, and honoree Salman Rushdie.
https://publishingperspectives.com/2025/11/dayton-literary-peace-prize-celebrates-winners-honors-salman-rushdie/#BurningEarthAHistory #DaytonLiteraryPeacePrize #KavehAkbar #Martyr #NicholasARaines
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He that dies a martyr proves that he is not a knave, but by no means that he is not a fool.
Charles Caleb "C. C." Colton (1780-1832) English cleric, writer, aphorist
Lacon: Or, Many Things in Few Words, Vol. 1, § 410 (1820)More info about this quote: wist.info/colton-charles-caleb…
#quote #quotes #quotation #qotd #cccolton #cause #folly #fool #hero #knave #martyr #martyrdom #virtue
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Need =/= want
Now there may be a few individuals who have told me outright they want my #creations
If you don't stand #reciprocal care idgaf about you - honestly you can die with the rest of us who you're feeding to the death machine and my soul will laugh at your individualistic ass from hell
I don't care if I end up a #martyr
Hell I welcome it but I can't be so self involved to not stay to light the way for those who DO stand up for this planet and their fellow species of human -
Need =/= want
Now there may be a few individuals who have told me outright they want my #creations
If you don't stand #reciprocal care idgaf about you - honestly you can die with the rest of us who you're feeding to the death machine and my soul will laugh at your individualistic ass from hell
I don't care if I end up a #martyr
Hell I welcome it but I can't be so self involved to not stay to light the way for those who DO stand up for this planet and their fellow species of human -
TKP-ML TİKKO Command: Lal Salaam To Comrade Basavaraj And The 27 People’s Heroes!
We, as the fighters and commanders of the People’s Army TİKKO, have learned that CPI (Maoist) General Secretary Namballa Kesava Rao alias Basavaraj and 27 commanders and fighters of the People’s Liberation Guerrilla Army (PLGA) were immortalized on May 21.
For this reason, we send our condolences to all the workers, peasants and laborers of India, especially to the fighters and commanders of our sibling army PLGA. We respect the memory of the immortals and declare our eternal commitment to their struggle.
Throughout his entire life of struggle, Comrade Basavaraj worked for the liberation of the workers and peasants with a consciousness of fire and a will of steel. He dedicated his life to the freedom of the poor people living on the soil of India. He understood the revolution not only as a duty but as a way of life, and he brought the Indian revolution into existence in his own life.
He passed through the enemy circle countless times; He repeatedly carried out revolutionary attacks against the enemies of the people and against Indian reaction and was in the leading position of these attacks. Comrade Basavaraj will live forever in the struggle of the workers and peasants and the international proletariat for the People’s Democratic Revolution, Socialism and Communism.
The reactionary Indian state, with its expansionist policy and as the gendarmerie of imperialism in South Asia, is pursuing an aggressive policy against the people inside the country and against the lands of other countries in the region. The fascist Brahmanical Hindutva RSS-BJP Regime is using fascist terrorism to defend the interests of large mining companies and multinational monopolies. Under the name of operations against Maoist guerrillas, it is massacring indigenous peoples who resist large mining companies and manipulating this operations by presenting everyone they killed as guerrillas.
In today’s world, where the imperialists are preparing for a new world war, imperialist competition has gained momentum in South Asia. The struggle for dominance over new trade routes has increased regional conflicts. On one side, the struggle for hegemony between the imperialist blocs led by the US and China continues. On the other side, the regional competition between Indian expansionism and Chinese imperialism, the hegemony struggle they have entered into in South Asia and Indochina are gradually evolving the regional tension towards a war. In order to maintain its aggressive line in foreign policy, the reactionary Indian state has launched an all-out attack wave under various names, primarily against the Maoist forces waging a people’s war, but also against all progressive-revolutionary forces.
Today, the reactionary Indian state and its fascist speakers are sending a message to the Indian people by shouting victory cries upon the immortalization of Comrade Basavaraj and 27 Maoist peoples heroes. However, there is something they ignore: from the Naxalbari uprising to the present day, the workers, peasants and laborers of India have built an indestructible bridge of freedom extending from the shoulders of tens of thousands of peoples heroes under the leadership of the CPI (Maoist). This bridge is an indestructible fortress that has been mortared with the blood of martyrs. The current name of this fortress is CPI (Maoist). Therefore, just as the great communist leader Comrade Charu Mazumdar said, “Now is not the time to be sad, comrades, but to rise up like fire.”
We believe that this twist that history has brought before us today will only be an occasion to leap even further on the illuminated path of Marxism-Leninism-Maoism in the flowing struggle of the masses like a flood. The absolute victory of the People’s War will shine like a star in the skies of South Asia.
Once again, we bow respectfully to Comrade Basavaraj and the 27 Maoist people’s heroes and reaffirm our commitment to their struggle.
Long Live the CPI (Maoist)
Long Live the People’s Liberation Guerrilla Army
Martyrs of the Revolution Are Immortal
TKP-ML TİKKO Command
May 2025
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Subedar Major Pawan Kumar of Shahpur Martyred in Pakistani Shelling.
https://aliyesha.com/sub/articles/news/display/hp_subedar_major_pawan_kumar_martyred
#himachalpradesh #dharamshala #india #news #press #IndPakWar #war #IndianArmy #martyr #martyrdom
Enjoy tracker free reading with us. #privacy #privacymatters
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Education must be based on two things: ethics and prudence; ethics in order to develop your good qualities, prudence to protect you from other people’s bad ones. If you attach too great an importance to goodness, you produce credulous fools; if you’re too prudent, you produce self-serving, scheming rogues.
[L’Éducation doit porter sur deux bases, la morale et la prudence ; la morale, pour appuyer la vertu ; la prudence, pour vous défendre contre les vices d’autrui. En faisant pencher la balance du côté de la morale, vous ne faites que des dupes ou des martyrs; en la faisant pencher de l’autre côté, vous faites des calculateurs égoïstes.]Nicolas Chamfort (1741-1794) French writer, epigrammist (b. Nicolas-Sébastien Roch)
Products of Perfected Civilization [Produits de la Civilisation Perfectionée], Part 1 “Maxims and Thoughts [Maximes et Pensées],” ch. 5, ¶ 321 (1795) [tr. Parmée (2003), ¶ 205]Sourcing, notes, alternate translations: wist.info/chamfort-nicolas/897…
#quote #quotes #quotation #care #credulity #dupe #education #egotist #ethics #fool #martyr #morality #prudence #rogue #scheming #values #vice #virtue
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Stuck in the Filter: November and December 2024’s Angry Misses
By Kenstrosity
Seeing as how it’s already almost February, you must be wondering why we’re still talking about shit from 2024. Not that I have to explain myself to you, but I didn’t give my minions grueling tasks just so that I could not take the glory for their labors. That wouldn’t embody this blog’s continual aspiration of being terrible capitalists! And so, we press on, searching and rescuing worthy—but not too worthy—pledges for the barbaric, Hunger Games-esque event that is Stuck in the Filter.
BEHOLD! Gaze upon these late-year candidates with the appropriate levels of awe, ye ov little consequence!
Kenstrosity’s Wintry Wonders
Caelestra // Bastion [December 13th, 2024 – Self Release]
Beauty is in the eye of the beholder. For this sponge, I know something is beautiful when it ensnares me into otherworldly environments unlike those which mirrors terrestrial mundanity. UK post-metal one-man act Caelestra specializes in such ethereal worlds, with debut record Black Widow Nebula catching my attention under its blazing miasma of Countless Skies lushness, Astronoidal optimism, and Dreadnought-esque compositional vibrancy. Follow-up Bastion treads much the same path, but with an added emphasis on cathartic spells of intensity reminiscent of current Irreversible Mechanism (“Finisterre”), Kardashev (“Soteria”), or Devin Townsend (“The Hollow Altar”). Balancing these potentially disparate references, mastermind Frank Harper’s compositions flow with an uncanny smoothness without falling into a pit of homogeny. Bastion thereby represents a varied and textured affair built upon compelling guitar leads, unexpected riffs, multifaceted vocal techniques, and athletic percussive movements (“Finisterre,” “Lightbringer,” “The Hollow Altar”). Choosing the long form as Caelestra’s primary vehicle for this musical journey only deepens the experience, as each act offers a wide spectrum of moods, a rich tapestry of characters, and a lush layering of story to enrich any listener’s journey through Bastion (“Lightbringer,” “Eos”). Yet, the whole coheres tightly into a memorable and accessible forty-eight-minute span, easily replayable and effortlessly enjoyable. That, more than anything, makes Bastion a neat little triumph worth checking out.
Earthbound // Chronos [November 26th, 2024 – Self Release]
I have the honor of claiming this find all to my own—something that hasn’t occurred as often this past year as it has in those preceding. Bristol’s Earthbound offer a particular brand of melodic death metal that I want to love more often than I actually do, but they checked all my boxes here. Occupying a space somewhere between Amorphis, Countless Skies, and Dark Tranquillity, Earthbound’s style is simultaneously effervescent, introspective, and crushing on debut record Chronos. Boasting chunky riffs, soaring leads, classic melodeath rhythms, and buttery-smooth baritone vocals, Chronos throws blow after blow for forty-nine minutes of high-engagement material. Looking at standout tracks “A Conversation with God,” “The Architect,” “Cloudburst,” “Aperture,” and “Transmission,” Earthbound’s compelling songwriting tactics and knack for a killer hook recall underappreciated gems by modern contemporaries Rifftera and Svavelvinter. Some of their most accessible moments almost, but not quite, veer into pop-levels of accessibility, further accentuating Earthbound’s infectious energy (“Change,” “Flight,” “Transmission,” “Chasing the Wind”). This works marvelously in Earthbound’s favor, not only making Chronos a joy to listen to in its own right but also impressing me with how polished and professional the band is with only one full-length under the belt. Don’t let this one fall through the cracks!
Flaahgra // Plant Based Anatomy [November 15th, 2024 – Self Release]
WWWWOOOOOORRRRRRMMMHHHHHHOOO… wait, what? Oh, no, this is Flaahgra. But, the riffs sound like my beloved Wormhole! What’s going on? Oh, well this explains it. Sanil Kumar of Wormhole fame is responsible for Plant Based Anatomy’s guitar work. Rounded out by Tim “Toothhead” Lodge (bass), Chris Kulak (drums), and Anthony Michelli (vocals), this Baltimore quartet concoct a fast-paced, riff-burdened blunderbuss of gurgling vegan slam meatier than the fattest flank this side of Texas. It may be based around plants (and Metroid), but there are enough muscular grooves, neat lead work, and boisterous percussive rhythms here to keep even the most ravenous death fiend stuffed to the stamen (“Blood Flower,” “Toxic Green Fluid,” “Solar Recharge,” “Plant Based Anatomy”). Oversaturated with killer hooks, Plant Based Anatomy feels every bit as headbangable as this group’s pedigree indicates, but their application is delightfully straightforward, allowing Sanil’s standard-setting slams to shine brightest (“Plant Based Anatomy,” “Garden Cascade,” “Venom Weed Atrocity”). At a lean twenty-five minutes, Plant Based Anatomy rips through my system as efficiently as any grease-laden, overstuffed fast-food chimichanga, leaving just as vivid an impression in its wake. If there was ever a quick and easily digestible example of what differentiates really good slam from two-buck upchuck, Plant Based Anatomy is it. FFFLLAAAAHHHHGGGRRRAAAA!
Tyme’s Time Turners
Solar Wimp // Trails of Light [November 15th, 2024 – Self Release]
The richly dense knowledge and tastes of the commentariat here at AMG are a marvel. And despite the long hours of hard work the staff put in writing and keeping Redis at bay, not to mention the gut-wrenching task of pumping the n00b sump pit every Friday1 we continue to scour tons of promo to bring you the best and the rest of all things metal(ish). Invariably, some things trickle up from our most precious readers that deserve more attention than a few rando comments and respects. Such is the case with L.A.’s Solar Wimp. It was during my most recent stint in2 continued n00bdom that I scoped one of our commenters pimping the Wimp‘s who released, sadly to me now, their last album, Trails of Light, in November. As my ears absorbed the immediately quirky dissonance of the opener, “Entwined with Glass,” I was reminded of how blown away I was upon hearing Jute Gyte for the first time, this more due to my un-expectations than anything else. What followed was a journey I happily embarked on through fields of saxophonic freedom (“Strand and Tether”) and forests of long-form avant-garde brilliance (“Shimmer”). The black(ish) metal vocals and tech-jazz guitar histrionics of Jeremy Kerner, combined with Justin Brown’s bassinations and Mark Kimbrell’s drums, imbue so much passion into the music on Trails of Light, it has me guessing Solar Wimp may have very well saved their best for last. While I’m sure you’re ready to move on from 2024, I’d encourage you to dip back into last year’s well for a bit and give Solar Wimp’s Trails of Light a listen or five.
Thus Spoke’s Fallen Fragments
Yoth Iria // Blazing Inferno [November 8th, 2024 – Edged Circle Productions]
Yoth Iria’s sophomore Blazing Inferno arrived with little fanfare, which is a shame because they’re very good at what they do. Their brand of Hellenic black metal even charmed a 3.5 out of GardensTale with their 2021 debut As the Flame Withers. The new album very much picks up where its predecessor left off, in musical content as well as the fact that Yoth Iria clearly have a thing for giant demonic figures dwarfing human civilization. In a refreshingly to-the-point format, the group3 serve up some solid, groovy Satanic triumphalism that belies the relatively diminutive breadth of the songs that contain it. With thundering drums (“In the Tongue of Birds,” “We Call Upon the Elements”), spirited guitar leads (“But Fear Not,” “Mornings of the One Thousand Golds”), and a collection of classic growls, ominous whispers, and cleans, Yoth Iria craft engaging and very enjoyable compositions. Tracks manage to hold atmosphere and presence without detracting from the dopamine-producing tremolo twists and wails of drawn-out melody (title track, “Rites of Blood and Ice,” “Mornings…”) that draw it all together. This is black metal that makes you feel good about allying with the light-bringer. Not in any highbrow way, of course, just with great riffs, the right amount of tension and nuance, and convincingly massive compositions that steer away from the overwrought and cringe-inducing. It’s just plain good.
Botanist // VII: Beast of Arpocalyx [December 6th, 2024 – Self-Release]
Though recorded all the way back in 2016, the music of Beast of Arpocalyx has not seen the light until now. The seventh installment in the esoteric, botanical saga, VII: Beast of Arpocalyx focuses on plants with mythological animal associations. In comparison to last May’s Paleobotany, this is the solo work of founder Otrebor yet the heart of Botanist’s music has never been compromised. The distinctive tones of hammered dulcimer, make the black metal ring—literally and metaphorically—with playful mysticism when they engage in chirruping and cheerful refrains (“Wolfsbane,” “The Barnacle Tree”) and a weird eeriness when they stray into the dissonant (“The Vegetable Lamb of Tartary,” “Floral Onyx Chiroptera”). Nothing is substantially different here, but Botanist’s style is an enjoyably quirky one that I, at least, am always happy to indulge in. In many ways, this is not far removed from raw black metal, with the prominent chimes of (not always tuneful) melodicism wrapping snarls and rasps in an iridescent veil that makes the psychedelic turns from whimsical peace to urgent and barbed blastbeat aggression (“The Vegetable Lamb of Tartary,” “The Paw of Anigozanthos”) very compelling, pleasant even. Yeah, it’s kind of weird to hear chorals or synths under blackened rasps and clanging drums, while a dulcimer warbles along. But when the weirdness nonetheless succeeds in developing an atmosphere and inducing a desire to garner a similarly obsessive knowledge of flora, I can’t really complain.
Killjoy’s Atmospheric Attractions
Nishaiar // Enat Meret [December 5, 2024 – Self-Release]
2024 may technically be over, but there were a few releases in December that keep dragging my attention back to last year. First up is Nishaiar from Gondar, Ethiopia, whose sound resides at the unlikely intersection of traditional Ethiopian music, post-black metal, and Enya-style New Age. Coming off an arduous release schedule that yielded an EP and 5 full-lengths in only 4 years, Nishaiar took some extra time to recharge since Nahaxar in 2021. The results are readily apparent–Enat Meret features some of the punchiest material the band has written to date. “Yemelek” combines folk instruments, vibrant male chanting, and rending screams. An important element that elevates Enat Meret is the addition of a full-time female vocalist, whose moniker also happens to be Enat Meret. Her voice ranges from ethereal (“Idil”) to wistful (“Enat Midir”) to commanding (“Beheke”). There is some bloat—intro track “Semayawi” repeats itself for too long and “Awedal” through “Alem” leans too hard into atmosphere to be suitable for active listening. Even so, this is an album unlike any other you’re likely to hear anytime soon.
Atra Vetosus // Undying Splendour [December 20, 2024 – Immortal Frost Productions]
Next up is Atra Vetosus, who came to me by way of rec-master TomazP. Undying Splendour is a captivating work of atmospheric black metal that tempers the wanderlust of Skyforest with the melodic trem-picked fury of Mare Cognitum. It’s stuffed with triumphant, uplifting guitar melodies that contrast compellingly with mournful, anguished shouts and screams. Like a flowing stream, the graceful orchestrations smooth out any rough edges in their path, pairing exceptionally well with the rhythm section in the intro of “Forsaking Dreaded Paths.” The brawny bass lines throughout the album add satisfying oomph and the drumming is constantly engaging with lots of fleeting tempo shifts (“This Fallow Heart”) and expansive tom rolls (“Elysian Echoes”). Atra Vetosus have perfected the difficult art of long-form atmoblack—all the proper songs on Undying Splendour are between 7 and 11 minutes long and, crucially, feel purposeful without meandering. Though atmoblack is often maligned, I’ll happily get behind Atra Vetosus as one of the new standard bearers of the genre at its very best.
Skagos // Chariot Sun Blazing [December 21, 2024 – Self-Release]
They say that good things come to those who wait. Skagos makes an excellent case for this expression with Chariot Sun Blazing, an appropriate title given the tremendous glow-up that the atmospheric black metal group underwent since releasing Anarchic in 2013. While their woodsy black metal has always maintained similarities with the likes of Wolves in the Throne Room (who are also based in Olympia, Washington), this time around the music is infused with a real live string quartet and a two-horn section4. The effects of this additional instrumentation run way more than skin deep; Chariot Sun Blazing feels and flows like an actual symphony. For instance, the combination of the Wagner tuba with guitar plucking in the beginning of “Which in Turn Meet the Sea” evoke a misty morning which gradually warms up with guitar and string crescendos to thaw the leftover frost. The compositions are introspective and intimate, which is refreshing when compared with the usual grandiosity and bombast of symphonic music (metal or otherwise). While there’s nothing wrong with the raspy vocals, this is a rare instance when I would be completely okay if this were an instrumental album. This is an experience absolutely not to be missed.
Dolphin Whisperer’s Late-Blooming Bustles
Alarum // Recontinue [November 8th, 2024 – Self Release]
So many bands in the progressive and technical lanes forget to have fun. Not long, unheralded Australian prog/thrash/jazz fusion-heads Alarum, though. Truth be told, I had forgotten this band existed sometime before their 2011 release Natural Causes all up until about September of 2024 when I caught wind of this new release, Recontinue. Their oddball, heavily Cynic-inspired 2004 opus Eventuality… had stood the test of time in my archives plenty for its wild fusion antics woven into a riff-tricky, bass-poppin’ technical platform. And here, twenty years later, little has changed at Alarum’s foundation. A few things have shifted for the better, though, namely Alarum finding a more balanced resonance in production brightness and clarity, which helps highlight the flirtatious bass play of tracks like “The Visitor” and “Footprints” come to life. Additionally, this crisp and cutting mix allows the joyous neoclassical shredding escapades to carve a blazing path toward textures and alien warbles with a Holdsworth-ian charm (“Zero Nine Thirty,” “Awaken by Fire”). But, most importantly, Alarum continues to bring an ever-shuffling thrash energy similar to early Martyr works (“Imperative,” “Unheard Words,” “Into Existing”) while continuing to remember to toss in off-the-wall detours, like the funk-wah intro of “A Lifelong Question” or the bossa nova outro of “The Visitor.” Recontinue, as a late-career release from a continual dark horse from the land down under remains a consistent joy for the ears. If you’ve never heard Alarum to this point, and you’ve always wished that a jazzy, Cynic-inspired band would come around with a more metal attitude than the current trajectory of their inspirations, get Recontinue in your ears as soon as possible. And if, like me, you’ve fallen of the righteous path, know that time can correct all sorts of silly mistakes.
Gorging Shade // Inversions [November 11th, 2024 – Self Release]
With a sound that is as otherwordly and looming as it is terrestrial and bass-loaded, Gorging Shade has taken a vigorous and shaking progressive death metal form. The proficiency with which every performer weaves disparate melodic lines through echoing, ghastly samples and chaotic, witchy background chatter does not come entirely as a surprise, as the entire roster consists of the members of instrumental progressive act Canvas Solaris. Mood, atmosphere and a bellowing howl, though, separate this incarnation of Georgia’s finest. But the eerie space that Inversions inhabits too has manifested as a collective of talents on display with another offshoot from this act, the dark industrial Plague Pslams (composed of bassist Gael Pirlot and drummer Hunter Ginn, who also currently plays with Agalloch). As an experience layered between the history of sounds these tech wizards have created, Inversions lands dense and challenging. At its core, a rhythmic stomp propels each of its tracks alongside percussive riffs that echo the constant motion of Cynic, the blackened scrawl of Emperor, and the melancholy triumph of Ulcerate swells. But in a package uniquely Gorging Shade, a world emerges from each carefully constructed narrative. Sometimes energy rushes forth (“Disease of Feeling, Germed”). At others, noises creaking and crawling lay teasing grounds for careful exploration (“Ordeal of the Bitter Water,” “A Concession of Our City to Modernity”). Whatever the mode of attack, Gorging Shade delivers in a classic and meticulous wall of sound—perhaps a touch too volume-loaded on occasion—that hits first in waves of melodic intrigue, second in aftershocks of plotted and studied efforts. Its later in the year released may have kept Inversions’ treasures more hidden than I would have liked. The beauty of music, of course, is that we may sit with it as little or as long as we wish to parse its tireless arrangement.
#2024 #Agalloch #Alarum #AmericanMetal #Amorphis #Astronoid #AtmosphericBlackMetal #AtraVetosus #AustralianMetal #AvantGardeMetal #BlackMetal #BlazingInferno #Botanist #Caelestra #CanvasSolaris #ChariotSunBlazing #Chronos #CountlessSkies #Cynic #DarkTranquility #DeathMetal #Dec24 #DevinTownsend #Dreadnought #Earthbound #EdgedCircleProductions #Emperor #EnatMeret #Enya #EthiopianMetal #Flaahgra #GorgingShade #GreekMetal #Holdsworth #ImmortalFrostProductions #Inversions #IrreversibleMechanism #JuteGyte #Kardashev #MareCognitum #martyr #MelodicDeathMetal #Nishaiar #Nov24 #PlaguePsalms #PostBlackMetal #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Recontinue #Review #Reviews #Rifftera #RottingChrist #SelfRelease #Skagos #Skyforest #Slam #SolarWimp #StuckInTheFilter #Svavelvinter #TechDeath #TechnicalDeathMetal #TrailsOfLight #UKMetal #Ulcerate #UndyingSplendour #VIIBeastOfArpocalyx #WolvesInTheThroneRoom #Wormhole #YothIria
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Stuck in the Filter: November and December 2024’s Angry Misses
By Kenstrosity
Seeing as how it’s already almost February, you must be wondering why we’re still talking about shit from 2024. Not that I have to explain myself to you, but I didn’t give my minions grueling tasks just so that I could not take the glory for their labors. That wouldn’t embody this blog’s continual aspiration of being terrible capitalists! And so, we press on, searching and rescuing worthy—but not too worthy—pledges for the barbaric, Hunger Games-esque event that is Stuck in the Filter.
BEHOLD! Gaze upon these late-year candidates with the appropriate levels of awe, ye ov little consequence!
Kenstrosity’s Wintry Wonders
Caelestra // Bastion [December 13th, 2024 – Self Release]
Beauty is in the eye of the beholder. For this sponge, I know something is beautiful when it ensnares me into otherworldly environments unlike those which mirrors terrestrial mundanity. UK post-metal one-man act Caelestra specializes in such ethereal worlds, with debut record Black Widow Nebula catching my attention under its blazing miasma of Countless Skies lushness, Astronoidal optimism, and Dreadnought-esque compositional vibrancy. Follow-up Bastion treads much the same path, but with an added emphasis on cathartic spells of intensity reminiscent of current Irreversible Mechanism (“Finisterre”), Kardashev (“Soteria”), or Devin Townsend (“The Hollow Altar”). Balancing these potentially disparate references, mastermind Frank Harper’s compositions flow with an uncanny smoothness without falling into a pit of homogeny. Bastion thereby represents a varied and textured affair built upon compelling guitar leads, unexpected riffs, multifaceted vocal techniques, and athletic percussive movements (“Finisterre,” “Lightbringer,” “The Hollow Altar”). Choosing the long form as Caelestra’s primary vehicle for this musical journey only deepens the experience, as each act offers a wide spectrum of moods, a rich tapestry of characters, and a lush layering of story to enrich any listener’s journey through Bastion (“Lightbringer,” “Eos”). Yet, the whole coheres tightly into a memorable and accessible forty-eight-minute span, easily replayable and effortlessly enjoyable. That, more than anything, makes Bastion a neat little triumph worth checking out.
Earthbound // Chronos [November 26th, 2024 – Self Release]
I have the honor of claiming this find all to my own—something that hasn’t occurred as often this past year as it has in those preceding. Bristol’s Earthbound offer a particular brand of melodic death metal that I want to love more often than I actually do, but they checked all my boxes here. Occupying a space somewhere between Amorphis, Countless Skies, and Dark Tranquillity, Earthbound’s style is simultaneously effervescent, introspective, and crushing on debut record Chronos. Boasting chunky riffs, soaring leads, classic melodeath rhythms, and buttery-smooth baritone vocals, Chronos throws blow after blow for forty-nine minutes of high-engagement material. Looking at standout tracks “A Conversation with God,” “The Architect,” “Cloudburst,” “Aperture,” and “Transmission,” Earthbound’s compelling songwriting tactics and knack for a killer hook recall underappreciated gems by modern contemporaries Rifftera and Svavelvinter. Some of their most accessible moments almost, but not quite, veer into pop-levels of accessibility, further accentuating Earthbound’s infectious energy (“Change,” “Flight,” “Transmission,” “Chasing the Wind”). This works marvelously in Earthbound’s favor, not only making Chronos a joy to listen to in its own right but also impressing me with how polished and professional the band is with only one full-length under the belt. Don’t let this one fall through the cracks!
Flaahgra // Plant Based Anatomy [November 15th, 2024 – Self Release]
WWWWOOOOOORRRRRRMMMHHHHHHOOO… wait, what? Oh, no, this is Flaahgra. But, the riffs sound like my beloved Wormhole! What’s going on? Oh, well this explains it. Sanil Kumar of Wormhole fame is responsible for Plant Based Anatomy’s guitar work. Rounded out by Tim “Toothhead” Lodge (bass), Chris Kulak (drums), and Anthony Michelli (vocals), this Baltimore quartet concoct a fast-paced, riff-burdened blunderbuss of gurgling vegan slam meatier than the fattest flank this side of Texas. It may be based around plants (and Metroid), but there are enough muscular grooves, neat lead work, and boisterous percussive rhythms here to keep even the most ravenous death fiend stuffed to the stamen (“Blood Flower,” “Toxic Green Fluid,” “Solar Recharge,” “Plant Based Anatomy”). Oversaturated with killer hooks, Plant Based Anatomy feels every bit as headbangable as this group’s pedigree indicates, but their application is delightfully straightforward, allowing Sanil’s standard-setting slams to shine brightest (“Plant Based Anatomy,” “Garden Cascade,” “Venom Weed Atrocity”). At a lean twenty-five minutes, Plant Based Anatomy rips through my system as efficiently as any grease-laden, overstuffed fast-food chimichanga, leaving just as vivid an impression in its wake. If there was ever a quick and easily digestible example of what differentiates really good slam from two-buck upchuck, Plant Based Anatomy is it. FFFLLAAAAHHHHGGGRRRAAAA!
Tyme’s Time Turners
Solar Wimp // Trails of Light [November 15th, 2024 – Self Release]
The richly dense knowledge and tastes of the commentariat here at AMG are a marvel. And despite the long hours of hard work the staff put in writing and keeping Redis at bay, not to mention the gut-wrenching task of pumping the n00b sump pit every Friday1 we continue to scour tons of promo to bring you the best and the rest of all things metal(ish). Invariably, some things trickle up from our most precious readers that deserve more attention than a few rando comments and respects. Such is the case with L.A.’s Solar Wimp. It was during my most recent stint in2 continued n00bdom that I scoped one of our commenters pimping the Wimp‘s who released, sadly to me now, their last album, Trails of Light, in November. As my ears absorbed the immediately quirky dissonance of the opener, “Entwined with Glass,” I was reminded of how blown away I was upon hearing Jute Gyte for the first time, this more due to my un-expectations than anything else. What followed was a journey I happily embarked on through fields of saxophonic freedom (“Strand and Tether”) and forests of long-form avant-garde brilliance (“Shimmer”). The black(ish) metal vocals and tech-jazz guitar histrionics of Jeremy Kerner, combined with Justin Brown’s bassinations and Mark Kimbrell’s drums, imbue so much passion into the music on Trails of Light, it has me guessing Solar Wimp may have very well saved their best for last. While I’m sure you’re ready to move on from 2024, I’d encourage you to dip back into last year’s well for a bit and give Solar Wimp’s Trails of Light a listen or five.
Thus Spoke’s Fallen Fragments
Yoth Iria // Blazing Inferno [November 8th, 2024 – Edged Circle Productions]
Yoth Iria’s sophomore Blazing Inferno arrived with little fanfare, which is a shame because they’re very good at what they do. Their brand of Hellenic black metal even charmed a 3.5 out of GardensTale with their 2021 debut As the Flame Withers. The new album very much picks up where its predecessor left off, in musical content as well as the fact that Yoth Iria clearly have a thing for giant demonic figures dwarfing human civilization. In a refreshingly to-the-point format, the group3 serve up some solid, groovy Satanic triumphalism that belies the relatively diminutive breadth of the songs that contain it. With thundering drums (“In the Tongue of Birds,” “We Call Upon the Elements”), spirited guitar leads (“But Fear Not,” “Mornings of the One Thousand Golds”), and a collection of classic growls, ominous whispers, and cleans, Yoth Iria craft engaging and very enjoyable compositions. Tracks manage to hold atmosphere and presence without detracting from the dopamine-producing tremolo twists and wails of drawn-out melody (title track, “Rites of Blood and Ice,” “Mornings…”) that draw it all together. This is black metal that makes you feel good about allying with the light-bringer. Not in any highbrow way, of course, just with great riffs, the right amount of tension and nuance, and convincingly massive compositions that steer away from the overwrought and cringe-inducing. It’s just plain good.
Botanist // VII: Beast of Arpocalyx [December 6th, 2024 – Self-Release]
Though recorded all the way back in 2016, the music of Beast of Arpocalyx has not seen the light until now. The seventh installment in the esoteric, botanical saga, VII: Beast of Arpocalyx focuses on plants with mythological animal associations. In comparison to last May’s Paleobotany, this is the solo work of founder Otrebor yet the heart of Botanist’s music has never been compromised. The distinctive tones of hammered dulcimer, make the black metal ring—literally and metaphorically—with playful mysticism when they engage in chirruping and cheerful refrains (“Wolfsbane,” “The Barnacle Tree”) and a weird eeriness when they stray into the dissonant (“The Vegetable Lamb of Tartary,” “Floral Onyx Chiroptera”). Nothing is substantially different here, but Botanist’s style is an enjoyably quirky one that I, at least, am always happy to indulge in. In many ways, this is not far removed from raw black metal, with the prominent chimes of (not always tuneful) melodicism wrapping snarls and rasps in an iridescent veil that makes the psychedelic turns from whimsical peace to urgent and barbed blastbeat aggression (“The Vegetable Lamb of Tartary,” “The Paw of Anigozanthos”) very compelling, pleasant even. Yeah, it’s kind of weird to hear chorals or synths under blackened rasps and clanging drums, while a dulcimer warbles along. But when the weirdness nonetheless succeeds in developing an atmosphere and inducing a desire to garner a similarly obsessive knowledge of flora, I can’t really complain.
Killjoy’s Atmospheric Attractions
Nishaiar // Enat Meret [December 5, 2024 – Self-Release]
2024 may technically be over, but there were a few releases in December that keep dragging my attention back to last year. First up is Nishaiar from Gondar, Ethiopia, whose sound resides at the unlikely intersection of traditional Ethiopian music, post-black metal, and Enya-style New Age. Coming off an arduous release schedule that yielded an EP and 5 full-lengths in only 4 years, Nishaiar took some extra time to recharge since Nahaxar in 2021. The results are readily apparent–Enat Meret features some of the punchiest material the band has written to date. “Yemelek” combines folk instruments, vibrant male chanting, and rending screams. An important element that elevates Enat Meret is the addition of a full-time female vocalist, whose moniker also happens to be Enat Meret. Her voice ranges from ethereal (“Idil”) to wistful (“Enat Midir”) to commanding (“Beheke”). There is some bloat—intro track “Semayawi” repeats itself for too long and “Awedal” through “Alem” leans too hard into atmosphere to be suitable for active listening. Even so, this is an album unlike any other you’re likely to hear anytime soon.
Atra Vetosus // Undying Splendour [December 20, 2024 – Immortal Frost Productions]
Next up is Atra Vetosus, who came to me by way of rec-master TomazP. Undying Splendour is a captivating work of atmospheric black metal that tempers the wanderlust of Skyforest with the melodic trem-picked fury of Mare Cognitum. It’s stuffed with triumphant, uplifting guitar melodies that contrast compellingly with mournful, anguished shouts and screams. Like a flowing stream, the graceful orchestrations smooth out any rough edges in their path, pairing exceptionally well with the rhythm section in the intro of “Forsaking Dreaded Paths.” The brawny bass lines throughout the album add satisfying oomph and the drumming is constantly engaging with lots of fleeting tempo shifts (“This Fallow Heart”) and expansive tom rolls (“Elysian Echoes”). Atra Vetosus have perfected the difficult art of long-form atmoblack—all the proper songs on Undying Splendour are between 7 and 11 minutes long and, crucially, feel purposeful without meandering. Though atmoblack is often maligned, I’ll happily get behind Atra Vetosus as one of the new standard bearers of the genre at its very best.
Skagos // Chariot Sun Blazing [December 21, 2024 – Self-Release]
They say that good things come to those who wait. Skagos makes an excellent case for this expression with Chariot Sun Blazing, an appropriate title given the tremendous glow-up that the atmospheric black metal group underwent since releasing Anarchic in 2013. While their woodsy black metal has always maintained similarities with the likes of Wolves in the Throne Room (who are also based in Olympia, Washington), this time around the music is infused with a real live string quartet and a two-horn section4. The effects of this additional instrumentation run way more than skin deep; Chariot Sun Blazing feels and flows like an actual symphony. For instance, the combination of the Wagner tuba with guitar plucking in the beginning of “Which in Turn Meet the Sea” evoke a misty morning which gradually warms up with guitar and string crescendos to thaw the leftover frost. The compositions are introspective and intimate, which is refreshing when compared with the usual grandiosity and bombast of symphonic music (metal or otherwise). While there’s nothing wrong with the raspy vocals, this is a rare instance when I would be completely okay if this were an instrumental album. This is an experience absolutely not to be missed.
Dolphin Whisperer’s Late-Blooming Bustles
Alarum // Recontinue [November 8th, 2024 – Self Release]
So many bands in the progressive and technical lanes forget to have fun. Not long, unheralded Australian prog/thrash/jazz fusion-heads Alarum, though. Truth be told, I had forgotten this band existed sometime before their 2011 release Natural Causes all up until about September of 2024 when I caught wind of this new release, Recontinue. Their oddball, heavily Cynic-inspired 2004 opus Eventuality… had stood the test of time in my archives plenty for its wild fusion antics woven into a riff-tricky, bass-poppin’ technical platform. And here, twenty years later, little has changed at Alarum’s foundation. A few things have shifted for the better, though, namely Alarum finding a more balanced resonance in production brightness and clarity, which helps highlight the flirtatious bass play of tracks like “The Visitor” and “Footprints” come to life. Additionally, this crisp and cutting mix allows the joyous neoclassical shredding escapades to carve a blazing path toward textures and alien warbles with a Holdsworth-ian charm (“Zero Nine Thirty,” “Awaken by Fire”). But, most importantly, Alarum continues to bring an ever-shuffling thrash energy similar to early Martyr works (“Imperative,” “Unheard Words,” “Into Existing”) while continuing to remember to toss in off-the-wall detours, like the funk-wah intro of “A Lifelong Question” or the bossa nova outro of “The Visitor.” Recontinue, as a late-career release from a continual dark horse from the land down under remains a consistent joy for the ears. If you’ve never heard Alarum to this point, and you’ve always wished that a jazzy, Cynic-inspired band would come around with a more metal attitude than the current trajectory of their inspirations, get Recontinue in your ears as soon as possible. And if, like me, you’ve fallen of the righteous path, know that time can correct all sorts of silly mistakes.
Gorging Shade // Inversions [November 11th, 2024 – Self Release]
With a sound that is as otherwordly and looming as it is terrestrial and bass-loaded, Gorging Shade has taken a vigorous and shaking progressive death metal form. The proficiency with which every performer weaves disparate melodic lines through echoing, ghastly samples and chaotic, witchy background chatter does not come entirely as a surprise, as the entire roster consists of the members of instrumental progressive act Canvas Solaris. Mood, atmosphere and a bellowing howl, though, separate this incarnation of Georgia’s finest. But the eerie space that Inversions inhabits too has manifested as a collective of talents on display with another offshoot from this act, the dark industrial Plague Pslams (composed of bassist Gael Pirlot and drummer Hunter Ginn, who also currently plays with Agalloch). As an experience layered between the history of sounds these tech wizards have created, Inversions lands dense and challenging. At its core, a rhythmic stomp propels each of its tracks alongside percussive riffs that echo the constant motion of Cynic, the blackened scrawl of Emperor, and the melancholy triumph of Ulcerate swells. But in a package uniquely Gorging Shade, a world emerges from each carefully constructed narrative. Sometimes energy rushes forth (“Disease of Feeling, Germed”). At others, noises creaking and crawling lay teasing grounds for careful exploration (“Ordeal of the Bitter Water,” “A Concession of Our City to Modernity”). Whatever the mode of attack, Gorging Shade delivers in a classic and meticulous wall of sound—perhaps a touch too volume-loaded on occasion—that hits first in waves of melodic intrigue, second in aftershocks of plotted and studied efforts. Its later in the year released may have kept Inversions’ treasures more hidden than I would have liked. The beauty of music, of course, is that we may sit with it as little or as long as we wish to parse its tireless arrangement.
#2024 #Agalloch #Alarum #AmericanMetal #Amorphis #Astronoid #AtmosphericBlackMetal #AtraVetosus #AustralianMetal #AvantGardeMetal #BlackMetal #BlazingInferno #Botanist #Caelestra #CanvasSolaris #ChariotSunBlazing #Chronos #CountlessSkies #Cynic #DarkTranquility #DeathMetal #Dec24 #DevinTownsend #Dreadnought #Earthbound #EdgedCircleProductions #Emperor #EnatMeret #Enya #EthiopianMetal #Flaahgra #GorgingShade #GreekMetal #Holdsworth #ImmortalFrostProductions #Inversions #IrreversibleMechanism #JuteGyte #Kardashev #MareCognitum #martyr #MelodicDeathMetal #Nishaiar #Nov24 #PlaguePsalms #PostBlackMetal #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Recontinue #Review #Reviews #Rifftera #RottingChrist #SelfRelease #Skagos #Skyforest #Slam #SolarWimp #StuckInTheFilter #Svavelvinter #TechDeath #TechnicalDeathMetal #TrailsOfLight #UKMetal #Ulcerate #UndyingSplendour #VIIBeastOfArpocalyx #WolvesInTheThroneRoom #Wormhole #YothIria
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Stuck in the Filter: November and December 2024’s Angry Misses
By Kenstrosity
Seeing as how it’s already almost February, you must be wondering why we’re still talking about shit from 2024. Not that I have to explain myself to you, but I didn’t give my minions grueling tasks just so that I could not take the glory for their labors. That wouldn’t embody this blog’s continual aspiration of being terrible capitalists! And so, we press on, searching and rescuing worthy—but not too worthy—pledges for the barbaric, Hunger Games-esque event that is Stuck in the Filter.
BEHOLD! Gaze upon these late-year candidates with the appropriate levels of awe, ye ov little consequence!
Kenstrosity’s Wintry Wonders
Caelestra // Bastion [December 13th, 2024 – Self Release]
Beauty is in the eye of the beholder. For this sponge, I know something is beautiful when it ensnares me into otherworldly environments unlike those which mirrors terrestrial mundanity. UK post-metal one-man act Caelestra specializes in such ethereal worlds, with debut record Black Widow Nebula catching my attention under its blazing miasma of Countless Skies lushness, Astronoidal optimism, and Dreadnought-esque compositional vibrancy. Follow-up Bastion treads much the same path, but with an added emphasis on cathartic spells of intensity reminiscent of current Irreversible Mechanism (“Finisterre”), Kardashev (“Soteria”), or Devin Townsend (“The Hollow Altar”). Balancing these potentially disparate references, mastermind Frank Harper’s compositions flow with an uncanny smoothness without falling into a pit of homogeny. Bastion thereby represents a varied and textured affair built upon compelling guitar leads, unexpected riffs, multifaceted vocal techniques, and athletic percussive movements (“Finisterre,” “Lightbringer,” “The Hollow Altar”). Choosing the long form as Caelestra’s primary vehicle for this musical journey only deepens the experience, as each act offers a wide spectrum of moods, a rich tapestry of characters, and a lush layering of story to enrich any listener’s journey through Bastion (“Lightbringer,” “Eos”). Yet, the whole coheres tightly into a memorable and accessible forty-eight-minute span, easily replayable and effortlessly enjoyable. That, more than anything, makes Bastion a neat little triumph worth checking out.
Earthbound // Chronos [November 26th, 2024 – Self Release]
I have the honor of claiming this find all to my own—something that hasn’t occurred as often this past year as it has in those preceding. Bristol’s Earthbound offer a particular brand of melodic death metal that I want to love more often than I actually do, but they checked all my boxes here. Occupying a space somewhere between Amorphis, Countless Skies, and Dark Tranquillity, Earthbound’s style is simultaneously effervescent, introspective, and crushing on debut record Chronos. Boasting chunky riffs, soaring leads, classic melodeath rhythms, and buttery-smooth baritone vocals, Chronos throws blow after blow for forty-nine minutes of high-engagement material. Looking at standout tracks “A Conversation with God,” “The Architect,” “Cloudburst,” “Aperture,” and “Transmission,” Earthbound’s compelling songwriting tactics and knack for a killer hook recall underappreciated gems by modern contemporaries Rifftera and Svavelvinter. Some of their most accessible moments almost, but not quite, veer into pop-levels of accessibility, further accentuating Earthbound’s infectious energy (“Change,” “Flight,” “Transmission,” “Chasing the Wind”). This works marvelously in Earthbound’s favor, not only making Chronos a joy to listen to in its own right but also impressing me with how polished and professional the band is with only one full-length under the belt. Don’t let this one fall through the cracks!
Flaahgra // Plant Based Anatomy [November 15th, 2024 – Self Release]
WWWWOOOOOORRRRRRMMMHHHHHHOOO… wait, what? Oh, no, this is Flaahgra. But, the riffs sound like my beloved Wormhole! What’s going on? Oh, well this explains it. Sanil Kumar of Wormhole fame is responsible for Plant Based Anatomy’s guitar work. Rounded out by Tim “Toothhead” Lodge (bass), Chris Kulak (drums), and Anthony Michelli (vocals), this Baltimore quartet concoct a fast-paced, riff-burdened blunderbuss of gurgling vegan slam meatier than the fattest flank this side of Texas. It may be based around plants (and Metroid), but there are enough muscular grooves, neat lead work, and boisterous percussive rhythms here to keep even the most ravenous death fiend stuffed to the stamen (“Blood Flower,” “Toxic Green Fluid,” “Solar Recharge,” “Plant Based Anatomy”). Oversaturated with killer hooks, Plant Based Anatomy feels every bit as headbangable as this group’s pedigree indicates, but their application is delightfully straightforward, allowing Sanil’s standard-setting slams to shine brightest (“Plant Based Anatomy,” “Garden Cascade,” “Venom Weed Atrocity”). At a lean twenty-five minutes, Plant Based Anatomy rips through my system as efficiently as any grease-laden, overstuffed fast-food chimichanga, leaving just as vivid an impression in its wake. If there was ever a quick and easily digestible example of what differentiates really good slam from two-buck upchuck, Plant Based Anatomy is it. FFFLLAAAAHHHHGGGRRRAAAA!
Tyme’s Time Turners
Solar Wimp // Trails of Light [November 15th, 2024 – Self Release]
The richly dense knowledge and tastes of the commentariat here at AMG are a marvel. And despite the long hours of hard work the staff put in writing and keeping Redis at bay, not to mention the gut-wrenching task of pumping the n00b sump pit every Friday1 we continue to scour tons of promo to bring you the best and the rest of all things metal(ish). Invariably, some things trickle up from our most precious readers that deserve more attention than a few rando comments and respects. Such is the case with L.A.’s Solar Wimp. It was during my most recent stint in2 continued n00bdom that I scoped one of our commenters pimping the Wimp‘s who released, sadly to me now, their last album, Trails of Light, in November. As my ears absorbed the immediately quirky dissonance of the opener, “Entwined with Glass,” I was reminded of how blown away I was upon hearing Jute Gyte for the first time, this more due to my un-expectations than anything else. What followed was a journey I happily embarked on through fields of saxophonic freedom (“Strand and Tether”) and forests of long-form avant-garde brilliance (“Shimmer”). The black(ish) metal vocals and tech-jazz guitar histrionics of Jeremy Kerner, combined with Justin Brown’s bassinations and Mark Kimbrell’s drums, imbue so much passion into the music on Trails of Light, it has me guessing Solar Wimp may have very well saved their best for last. While I’m sure you’re ready to move on from 2024, I’d encourage you to dip back into last year’s well for a bit and give Solar Wimp’s Trails of Light a listen or five.
Thus Spoke’s Fallen Fragments
Yoth Iria // Blazing Inferno [November 8th, 2024 – Edged Circle Productions]
Yoth Iria’s sophomore Blazing Inferno arrived with little fanfare, which is a shame because they’re very good at what they do. Their brand of Hellenic black metal even charmed a 3.5 out of GardensTale with their 2021 debut As the Flame Withers. The new album very much picks up where its predecessor left off, in musical content as well as the fact that Yoth Iria clearly have a thing for giant demonic figures dwarfing human civilization. In a refreshingly to-the-point format, the group3 serve up some solid, groovy Satanic triumphalism that belies the relatively diminutive breadth of the songs that contain it. With thundering drums (“In the Tongue of Birds,” “We Call Upon the Elements”), spirited guitar leads (“But Fear Not,” “Mornings of the One Thousand Golds”), and a collection of classic growls, ominous whispers, and cleans, Yoth Iria craft engaging and very enjoyable compositions. Tracks manage to hold atmosphere and presence without detracting from the dopamine-producing tremolo twists and wails of drawn-out melody (title track, “Rites of Blood and Ice,” “Mornings…”) that draw it all together. This is black metal that makes you feel good about allying with the light-bringer. Not in any highbrow way, of course, just with great riffs, the right amount of tension and nuance, and convincingly massive compositions that steer away from the overwrought and cringe-inducing. It’s just plain good.
Botanist // VII: Beast of Arpocalyx [December 6th, 2024 – Self-Release]
Though recorded all the way back in 2016, the music of Beast of Arpocalyx has not seen the light until now. The seventh installment in the esoteric, botanical saga, VII: Beast of Arpocalyx focuses on plants with mythological animal associations. In comparison to last May’s Paleobotany, this is the solo work of founder Otrebor yet the heart of Botanist’s music has never been compromised. The distinctive tones of hammered dulcimer, make the black metal ring—literally and metaphorically—with playful mysticism when they engage in chirruping and cheerful refrains (“Wolfsbane,” “The Barnacle Tree”) and a weird eeriness when they stray into the dissonant (“The Vegetable Lamb of Tartary,” “Floral Onyx Chiroptera”). Nothing is substantially different here, but Botanist’s style is an enjoyably quirky one that I, at least, am always happy to indulge in. In many ways, this is not far removed from raw black metal, with the prominent chimes of (not always tuneful) melodicism wrapping snarls and rasps in an iridescent veil that makes the psychedelic turns from whimsical peace to urgent and barbed blastbeat aggression (“The Vegetable Lamb of Tartary,” “The Paw of Anigozanthos”) very compelling, pleasant even. Yeah, it’s kind of weird to hear chorals or synths under blackened rasps and clanging drums, while a dulcimer warbles along. But when the weirdness nonetheless succeeds in developing an atmosphere and inducing a desire to garner a similarly obsessive knowledge of flora, I can’t really complain.
Killjoy’s Atmospheric Attractions
Nishaiar // Enat Meret [December 5, 2024 – Self-Release]
2024 may technically be over, but there were a few releases in December that keep dragging my attention back to last year. First up is Nishaiar from Gondar, Ethiopia, whose sound resides at the unlikely intersection of traditional Ethiopian music, post-black metal, and Enya-style New Age. Coming off an arduous release schedule that yielded an EP and 5 full-lengths in only 4 years, Nishaiar took some extra time to recharge since Nahaxar in 2021. The results are readily apparent–Enat Meret features some of the punchiest material the band has written to date. “Yemelek” combines folk instruments, vibrant male chanting, and rending screams. An important element that elevates Enat Meret is the addition of a full-time female vocalist, whose moniker also happens to be Enat Meret. Her voice ranges from ethereal (“Idil”) to wistful (“Enat Midir”) to commanding (“Beheke”). There is some bloat—intro track “Semayawi” repeats itself for too long and “Awedal” through “Alem” leans too hard into atmosphere to be suitable for active listening. Even so, this is an album unlike any other you’re likely to hear anytime soon.
Atra Vetosus // Undying Splendour [December 20, 2024 – Immortal Frost Productions]
Next up is Atra Vetosus, who came to me by way of rec-master TomazP. Undying Splendour is a captivating work of atmospheric black metal that tempers the wanderlust of Skyforest with the melodic trem-picked fury of Mare Cognitum. It’s stuffed with triumphant, uplifting guitar melodies that contrast compellingly with mournful, anguished shouts and screams. Like a flowing stream, the graceful orchestrations smooth out any rough edges in their path, pairing exceptionally well with the rhythm section in the intro of “Forsaking Dreaded Paths.” The brawny bass lines throughout the album add satisfying oomph and the drumming is constantly engaging with lots of fleeting tempo shifts (“This Fallow Heart”) and expansive tom rolls (“Elysian Echoes”). Atra Vetosus have perfected the difficult art of long-form atmoblack—all the proper songs on Undying Splendour are between 7 and 11 minutes long and, crucially, feel purposeful without meandering. Though atmoblack is often maligned, I’ll happily get behind Atra Vetosus as one of the new standard bearers of the genre at its very best.
Skagos // Chariot Sun Blazing [December 21, 2024 – Self-Release]
They say that good things come to those who wait. Skagos makes an excellent case for this expression with Chariot Sun Blazing, an appropriate title given the tremendous glow-up that the atmospheric black metal group underwent since releasing Anarchic in 2013. While their woodsy black metal has always maintained similarities with the likes of Wolves in the Throne Room (who are also based in Olympia, Washington), this time around the music is infused with a real live string quartet and a two-horn section4. The effects of this additional instrumentation run way more than skin deep; Chariot Sun Blazing feels and flows like an actual symphony. For instance, the combination of the Wagner tuba with guitar plucking in the beginning of “Which in Turn Meet the Sea” evoke a misty morning which gradually warms up with guitar and string crescendos to thaw the leftover frost. The compositions are introspective and intimate, which is refreshing when compared with the usual grandiosity and bombast of symphonic music (metal or otherwise). While there’s nothing wrong with the raspy vocals, this is a rare instance when I would be completely okay if this were an instrumental album. This is an experience absolutely not to be missed.
Dolphin Whisperer’s Late-Blooming Bustles
Alarum // Recontinue [November 8th, 2024 – Self Release]
So many bands in the progressive and technical lanes forget to have fun. Not long, unheralded Australian prog/thrash/jazz fusion-heads Alarum, though. Truth be told, I had forgotten this band existed sometime before their 2011 release Natural Causes all up until about September of 2024 when I caught wind of this new release, Recontinue. Their oddball, heavily Cynic-inspired 2004 opus Eventuality… had stood the test of time in my archives plenty for its wild fusion antics woven into a riff-tricky, bass-poppin’ technical platform. And here, twenty years later, little has changed at Alarum’s foundation. A few things have shifted for the better, though, namely Alarum finding a more balanced resonance in production brightness and clarity, which helps highlight the flirtatious bass play of tracks like “The Visitor” and “Footprints” come to life. Additionally, this crisp and cutting mix allows the joyous neoclassical shredding escapades to carve a blazing path toward textures and alien warbles with a Holdsworth-ian charm (“Zero Nine Thirty,” “Awaken by Fire”). But, most importantly, Alarum continues to bring an ever-shuffling thrash energy similar to early Martyr works (“Imperative,” “Unheard Words,” “Into Existing”) while continuing to remember to toss in off-the-wall detours, like the funk-wah intro of “A Lifelong Question” or the bossa nova outro of “The Visitor.” Recontinue, as a late-career release from a continual dark horse from the land down under remains a consistent joy for the ears. If you’ve never heard Alarum to this point, and you’ve always wished that a jazzy, Cynic-inspired band would come around with a more metal attitude than the current trajectory of their inspirations, get Recontinue in your ears as soon as possible. And if, like me, you’ve fallen of the righteous path, know that time can correct all sorts of silly mistakes.
Gorging Shade // Inversions [November 11th, 2024 – Self Release]
With a sound that is as otherwordly and looming as it is terrestrial and bass-loaded, Gorging Shade has taken a vigorous and shaking progressive death metal form. The proficiency with which every performer weaves disparate melodic lines through echoing, ghastly samples and chaotic, witchy background chatter does not come entirely as a surprise, as the entire roster consists of the members of instrumental progressive act Canvas Solaris. Mood, atmosphere and a bellowing howl, though, separate this incarnation of Georgia’s finest. But the eerie space that Inversions inhabits too has manifested as a collective of talents on display with another offshoot from this act, the dark industrial Plague Pslams (composed of bassist Gael Pirlot and drummer Hunter Ginn, who also currently plays with Agalloch). As an experience layered between the history of sounds these tech wizards have created, Inversions lands dense and challenging. At its core, a rhythmic stomp propels each of its tracks alongside percussive riffs that echo the constant motion of Cynic, the blackened scrawl of Emperor, and the melancholy triumph of Ulcerate swells. But in a package uniquely Gorging Shade, a world emerges from each carefully constructed narrative. Sometimes energy rushes forth (“Disease of Feeling, Germed”). At others, noises creaking and crawling lay teasing grounds for careful exploration (“Ordeal of the Bitter Water,” “A Concession of Our City to Modernity”). Whatever the mode of attack, Gorging Shade delivers in a classic and meticulous wall of sound—perhaps a touch too volume-loaded on occasion—that hits first in waves of melodic intrigue, second in aftershocks of plotted and studied efforts. Its later in the year released may have kept Inversions’ treasures more hidden than I would have liked. The beauty of music, of course, is that we may sit with it as little or as long as we wish to parse its tireless arrangement.
#2024 #Agalloch #Alarum #AmericanMetal #Amorphis #Astronoid #AtmosphericBlackMetal #AtraVetosus #AustralianMetal #AvantGardeMetal #BlackMetal #BlazingInferno #Botanist #Caelestra #CanvasSolaris #ChariotSunBlazing #Chronos #CountlessSkies #Cynic #DarkTranquility #DeathMetal #Dec24 #DevinTownsend #Dreadnought #Earthbound #EdgedCircleProductions #Emperor #EnatMeret #Enya #EthiopianMetal #Flaahgra #GorgingShade #GreekMetal #Holdsworth #ImmortalFrostProductions #Inversions #IrreversibleMechanism #JuteGyte #Kardashev #MareCognitum #martyr #MelodicDeathMetal #Nishaiar #Nov24 #PlaguePsalms #PostBlackMetal #PostMetal #ProgressiveDeathMetal #ProgressiveMetal #Recontinue #Review #Reviews #Rifftera #RottingChrist #SelfRelease #Skagos #Skyforest #Slam #SolarWimp #StuckInTheFilter #Svavelvinter #TechDeath #TechnicalDeathMetal #TrailsOfLight #UKMetal #Ulcerate #UndyingSplendour #VIIBeastOfArpocalyx #WolvesInTheThroneRoom #Wormhole #YothIria
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For 22,000 #Vietnamese & some #Cambodians, #CônSơn Island was literally the last stop on a journey that began with their arrest & incarceration on the mainland. Their crime? Resisting #ForeignInvaders du jour & fighting for their country’s independence & unification. In addition to execution, causes of death included disease & torture.
The French built the Côn Đảo prison complex in 1861 to hold #PoliticalPrisoners and handed it over to the South Vietnamese government in 1954. It was a political Alcatraz on steroids, with #inhumane living conditions, barbaric torture methods, no escape and, for many, no survival. The US & its client state collaborators honed this hell on Earth to #dystopian perfection.
Sáu was sent to 3 jails before being shipped to Côn Sơn Prison, because the French didn’t have the courage to carry out her death sentence on the mainland at a time when it was against #ColonialLaw to execute woman. She was the only female prisoner held by the French on Côn Sơn.
Like other Vietnamese who died for the cause of independence, Sáu, a national heroine who is celebrated in theater & song, was elevated to the status of ancestral spirit. Every Vietnamese city & town has a street named after her, as are many schools. She embodies the spirit of millions of Vietnamese throughout history, including soldiers of the First & Second Indochina War, who sacrificed everything, their youth, their health, their love, their personal happiness, & their lives, so that Vietnam could become a unified, sovereign nation.
“The lekima flower in full bloom, we are reminded of a heroine who died for future generations. The young lady so full of vitality fought against our enemies with firm spirit & even death could not force her to yield”. The song echoes in the mind of everybody who visits Hàng Dương cemetary in Côn Đảo district, Bà Rịa-Vũng Tàu province. Vo Thi Sau, the #heroine mentioned in the song, was #executed by the #French #colonialists at the foot of Chua mountain in the early morning of January 23, 1952. 60 years later, her immortal patriotism & sacrifice still shine in the heart of every Vietnamese person, particularly those who live on #ConDao island, once called “hell on the earth”. (Ref: VOVWorld)
The 20-hectare Hàng Dương cemetery holds the graves of more than 20,000 martyrs, including #revolutionary #martyr Lê Hồng Phong, patriot Nguyễn An Ninh & #hero Cao Văn Ngọc. Visitors are moved to see grave after grave, some named, some unnamed, stretching over the hill. Vo Thi Sau’s grave, set in gravel & soil shoveled by her fellow prisoners, lies in section B.
Sister Sau was already a legend when the ship carrying her docked at Con Dao island in 1952. At the execution, she refused to be blindfolded, wanting to admire the motherland’s landscape & sing until her last breath. Many families on Con Dao island have set up altars to worship sister Sau, whose legend has become eternal in Vietnamese hearts.
#AsianMastodon #Vietnam #VietnameseRevolutionaries #ColonialResistance #Communist #VietnameseHistory #AsianHistory #SouthEastAsia #Viet #Geopolitics #USWarOnVietnam #LongLiveVietnam #VietnameseSovereignty #LearnHistory #TootSEA #USfundedTorture #WomenOfTheResistance #USTerrorism
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For 22,000 #Vietnamese & some #Cambodians, #CônSơn Island was literally the last stop on a journey that began with their arrest & incarceration on the mainland. Their crime? Resisting #ForeignInvaders du jour & fighting for their country’s independence & unification. In addition to execution, causes of death included disease & torture.
The French built the Côn Đảo prison complex in 1861 to hold #PoliticalPrisoners and handed it over to the South Vietnamese government in 1954. It was a political Alcatraz on steroids, with #inhumane living conditions, barbaric torture methods, no escape and, for many, no survival. The US & its client state collaborators honed this hell on Earth to #dystopian perfection.
Sáu was sent to 3 jails before being shipped to Côn Sơn Prison, because the French didn’t have the courage to carry out her death sentence on the mainland at a time when it was against #ColonialLaw to execute woman. She was the only female prisoner held by the French on Côn Sơn.
Like other Vietnamese who died for the cause of independence, Sáu, a national heroine who is celebrated in theater & song, was elevated to the status of ancestral spirit. Every Vietnamese city & town has a street named after her, as are many schools. She embodies the spirit of millions of Vietnamese throughout history, including soldiers of the First & Second Indochina War, who sacrificed everything, their youth, their health, their love, their personal happiness, & their lives, so that Vietnam could become a unified, sovereign nation.
“The lekima flower in full bloom, we are reminded of a heroine who died for future generations. The young lady so full of vitality fought against our enemies with firm spirit & even death could not force her to yield”. The song echoes in the mind of everybody who visits Hàng Dương cemetary in Côn Đảo district, Bà Rịa-Vũng Tàu province. Vo Thi Sau, the #heroine mentioned in the song, was #executed by the #French #colonialists at the foot of Chua mountain in the early morning of January 23, 1952. 60 years later, her immortal patriotism & sacrifice still shine in the heart of every Vietnamese person, particularly those who live on #ConDao island, once called “hell on the earth”. (Ref: VOVWorld)
The 20-hectare Hàng Dương cemetery holds the graves of more than 20,000 martyrs, including #revolutionary #martyr Lê Hồng Phong, patriot Nguyễn An Ninh & #hero Cao Văn Ngọc. Visitors are moved to see grave after grave, some named, some unnamed, stretching over the hill. Vo Thi Sau’s grave, set in gravel & soil shoveled by her fellow prisoners, lies in section B.
Sister Sau was already a legend when the ship carrying her docked at Con Dao island in 1952. At the execution, she refused to be blindfolded, wanting to admire the motherland’s landscape & sing until her last breath. Many families on Con Dao island have set up altars to worship sister Sau, whose legend has become eternal in Vietnamese hearts.
#AsianMastodon #Vietnam #VietnameseRevolutionaries #ColonialResistance #Communist #VietnameseHistory #AsianHistory #SouthEastAsia #Viet #Geopolitics #USWarOnVietnam #LongLiveVietnam #VietnameseSovereignty #LearnHistory #TootSEA #USfundedTorture #WomenOfTheResistance #USTerrorism
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For 22,000 #Vietnamese & some #Cambodians, #CônSơn Island was literally the last stop on a journey that began with their arrest & incarceration on the mainland. Their crime? Resisting #ForeignInvaders du jour & fighting for their country’s independence & unification. In addition to execution, causes of death included disease & torture.
The French built the Côn Đảo prison complex in 1861 to hold #PoliticalPrisoners and handed it over to the South Vietnamese government in 1954. It was a political Alcatraz on steroids, with #inhumane living conditions, barbaric torture methods, no escape and, for many, no survival. The US & its client state collaborators honed this hell on Earth to #dystopian perfection.
Sáu was sent to 3 jails before being shipped to Côn Sơn Prison, because the French didn’t have the courage to carry out her death sentence on the mainland at a time when it was against #ColonialLaw to execute woman. She was the only female prisoner held by the French on Côn Sơn.
Like other Vietnamese who died for the cause of independence, Sáu, a national heroine who is celebrated in theater & song, was elevated to the status of ancestral spirit. Every Vietnamese city & town has a street named after her, as are many schools. She embodies the spirit of millions of Vietnamese throughout history, including soldiers of the First & Second Indochina War, who sacrificed everything, their youth, their health, their love, their personal happiness, & their lives, so that Vietnam could become a unified, sovereign nation.
“The lekima flower in full bloom, we are reminded of a heroine who died for future generations. The young lady so full of vitality fought against our enemies with firm spirit & even death could not force her to yield”. The song echoes in the mind of everybody who visits Hàng Dương cemetary in Côn Đảo district, Bà Rịa-Vũng Tàu province. Vo Thi Sau, the #heroine mentioned in the song, was #executed by the #French #colonialists at the foot of Chua mountain in the early morning of January 23, 1952. 60 years later, her immortal patriotism & sacrifice still shine in the heart of every Vietnamese person, particularly those who live on #ConDao island, once called “hell on the earth”. (Ref: VOVWorld)
The 20-hectare Hàng Dương cemetery holds the graves of more than 20,000 martyrs, including #revolutionary #martyr Lê Hồng Phong, patriot Nguyễn An Ninh & #hero Cao Văn Ngọc. Visitors are moved to see grave after grave, some named, some unnamed, stretching over the hill. Vo Thi Sau’s grave, set in gravel & soil shoveled by her fellow prisoners, lies in section B.
Sister Sau was already a legend when the ship carrying her docked at Con Dao island in 1952. At the execution, she refused to be blindfolded, wanting to admire the motherland’s landscape & sing until her last breath. Many families on Con Dao island have set up altars to worship sister Sau, whose legend has become eternal in Vietnamese hearts.
#AsianMastodon #Vietnam #VietnameseRevolutionaries #ColonialResistance #Communist #VietnameseHistory #AsianHistory #SouthEastAsia #Viet #Geopolitics #USWarOnVietnam #LongLiveVietnam #VietnameseSovereignty #LearnHistory #TootSEA #USfundedTorture #WomenOfTheResistance #USTerrorism
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For 22,000 #Vietnamese & some #Cambodians, #CônSơn Island was literally the last stop on a journey that began with their arrest & incarceration on the mainland. Their crime? Resisting #ForeignInvaders du jour & fighting for their country’s independence & unification. In addition to execution, causes of death included disease & torture.
The French built the Côn Đảo prison complex in 1861 to hold #PoliticalPrisoners and handed it over to the South Vietnamese government in 1954. It was a political Alcatraz on steroids, with #inhumane living conditions, barbaric torture methods, no escape and, for many, no survival. The US & its client state collaborators honed this hell on Earth to #dystopian perfection.
Sáu was sent to 3 jails before being shipped to Côn Sơn Prison, because the French didn’t have the courage to carry out her death sentence on the mainland at a time when it was against #ColonialLaw to execute woman. She was the only female prisoner held by the French on Côn Sơn.
Like other Vietnamese who died for the cause of independence, Sáu, a national heroine who is celebrated in theater & song, was elevated to the status of ancestral spirit. Every Vietnamese city & town has a street named after her, as are many schools. She embodies the spirit of millions of Vietnamese throughout history, including soldiers of the First & Second Indochina War, who sacrificed everything, their youth, their health, their love, their personal happiness, & their lives, so that Vietnam could become a unified, sovereign nation.
“The lekima flower in full bloom, we are reminded of a heroine who died for future generations. The young lady so full of vitality fought against our enemies with firm spirit & even death could not force her to yield”. The song echoes in the mind of everybody who visits Hàng Dương cemetary in Côn Đảo district, Bà Rịa-Vũng Tàu province. Vo Thi Sau, the #heroine mentioned in the song, was #executed by the #French #colonialists at the foot of Chua mountain in the early morning of January 23, 1952. 60 years later, her immortal patriotism & sacrifice still shine in the heart of every Vietnamese person, particularly those who live on #ConDao island, once called “hell on the earth”. (Ref: VOVWorld)
The 20-hectare Hàng Dương cemetery holds the graves of more than 20,000 martyrs, including #revolutionary #martyr Lê Hồng Phong, patriot Nguyễn An Ninh & #hero Cao Văn Ngọc. Visitors are moved to see grave after grave, some named, some unnamed, stretching over the hill. Vo Thi Sau’s grave, set in gravel & soil shoveled by her fellow prisoners, lies in section B.
Sister Sau was already a legend when the ship carrying her docked at Con Dao island in 1952. At the execution, she refused to be blindfolded, wanting to admire the motherland’s landscape & sing until her last breath. Many families on Con Dao island have set up altars to worship sister Sau, whose legend has become eternal in Vietnamese hearts.
#AsianMastodon #Vietnam #VietnameseRevolutionaries #ColonialResistance #Communist #VietnameseHistory #AsianHistory #SouthEastAsia #Viet #Geopolitics #USWarOnVietnam #LongLiveVietnam #VietnameseSovereignty #LearnHistory #TootSEA #USfundedTorture #WomenOfTheResistance #USTerrorism
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For 22,000 #Vietnamese & some #Cambodians, #CônSơn Island was literally the last stop on a journey that began with their arrest & incarceration on the mainland. Their crime? Resisting #ForeignInvaders du jour & fighting for their country’s independence & unification. In addition to execution, causes of death included disease & torture.
The French built the Côn Đảo prison complex in 1861 to hold #PoliticalPrisoners and handed it over to the South Vietnamese government in 1954. It was a political Alcatraz on steroids, with #inhumane living conditions, barbaric torture methods, no escape and, for many, no survival. The US & its client state collaborators honed this hell on Earth to #dystopian perfection.
Sáu was sent to 3 jails before being shipped to Côn Sơn Prison, because the French didn’t have the courage to carry out her death sentence on the mainland at a time when it was against #ColonialLaw to execute woman. She was the only female prisoner held by the French on Côn Sơn.
Like other Vietnamese who died for the cause of independence, Sáu, a national heroine who is celebrated in theater & song, was elevated to the status of ancestral spirit. Every Vietnamese city & town has a street named after her, as are many schools. She embodies the spirit of millions of Vietnamese throughout history, including soldiers of the First & Second Indochina War, who sacrificed everything, their youth, their health, their love, their personal happiness, & their lives, so that Vietnam could become a unified, sovereign nation.
“The lekima flower in full bloom, we are reminded of a heroine who died for future generations. The young lady so full of vitality fought against our enemies with firm spirit & even death could not force her to yield”. The song echoes in the mind of everybody who visits Hàng Dương cemetary in Côn Đảo district, Bà Rịa-Vũng Tàu province. Vo Thi Sau, the #heroine mentioned in the song, was #executed by the #French #colonialists at the foot of Chua mountain in the early morning of January 23, 1952. 60 years later, her immortal patriotism & sacrifice still shine in the heart of every Vietnamese person, particularly those who live on #ConDao island, once called “hell on the earth”. (Ref: VOVWorld)
The 20-hectare Hàng Dương cemetery holds the graves of more than 20,000 martyrs, including #revolutionary #martyr Lê Hồng Phong, patriot Nguyễn An Ninh & #hero Cao Văn Ngọc. Visitors are moved to see grave after grave, some named, some unnamed, stretching over the hill. Vo Thi Sau’s grave, set in gravel & soil shoveled by her fellow prisoners, lies in section B.
Sister Sau was already a legend when the ship carrying her docked at Con Dao island in 1952. At the execution, she refused to be blindfolded, wanting to admire the motherland’s landscape & sing until her last breath. Many families on Con Dao island have set up altars to worship sister Sau, whose legend has become eternal in Vietnamese hearts.
#AsianMastodon #Vietnam #VietnameseRevolutionaries #ColonialResistance #Communist #VietnameseHistory #AsianHistory #SouthEastAsia #Viet #Geopolitics #USWarOnVietnam #LongLiveVietnam #VietnameseSovereignty #LearnHistory #TootSEA #USfundedTorture #WomenOfTheResistance #USTerrorism
