#mithras — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #mithras, aggregated by home.social.
-
Mithras und Jesus Christus: keine unendliche Geschichte: https://emmauspilger.wordpress.com/2026/07/15/mithraskult-und-christentum/
#fedikirche #jesus #christentum #mithras #religionsgeschichte #emmauspilger #religion #geistesgeschichte #geschichte
-
Mithras sanctuary in Močići challenges Roman temple model with open-air ritual landscape
Mithras worship in the Roman Empire traces back to an ancient Iranian deity, Mithra, rooted in early Persian religious tradition. In pre-Zoroastrian and later Zoroastrian contexts, Mithra appears as a figure tied to contracts, light, and cosmic order...More information: https://archaeologymag.com/2026/06/mithras-sanctuary-in-mocici/
Follow @archaeology
#archaeology #archeology #archaeologynews #mithras #mithraism #romanempire
-
Mithras sanctuary in Močići challenges Roman temple model with open-air ritual landscape
Mithras worship in the Roman Empire traces back to an ancient Iranian deity, Mithra, rooted in early Persian religious tradition. In pre-Zoroastrian and later Zoroastrian contexts, Mithra appears as a figure tied to contracts, light, and cosmic order...More information: https://archaeologymag.com/2026/06/mithras-sanctuary-in-mocici/
Follow @archaeology
#archaeology #archeology #archaeologynews #mithras #mithraism #romanempire
-
Mithras sanctuary in Močići challenges Roman temple model with open-air ritual landscape
Mithras worship in the Roman Empire traces back to an ancient Iranian deity, Mithra, rooted in early Persian religious tradition. In pre-Zoroastrian and later Zoroastrian contexts, Mithra appears as a figure tied to contracts, light, and cosmic order...More information: https://archaeologymag.com/2026/06/mithras-sanctuary-in-mocici/
Follow @archaeology
#archaeology #archeology #archaeologynews #mithras #mithraism #romanempire
-
Mithras sanctuary in Močići challenges Roman temple model with open-air ritual landscape
Mithras worship in the Roman Empire traces back to an ancient Iranian deity, Mithra, rooted in early Persian religious tradition. In pre-Zoroastrian and later Zoroastrian contexts, Mithra appears as a figure tied to contracts, light, and cosmic order...More information: https://archaeologymag.com/2026/06/mithras-sanctuary-in-mocici/
Follow @archaeology
#archaeology #archeology #archaeologynews #mithras #mithraism #romanempire
-
Mithras sanctuary in Močići challenges Roman temple model with open-air ritual landscape
Mithras worship in the Roman Empire traces back to an ancient Iranian deity, Mithra, rooted in early Persian religious tradition. In pre-Zoroastrian and later Zoroastrian contexts, Mithra appears as a figure tied to contracts, light, and cosmic order...More information: https://archaeologymag.com/2026/06/mithras-sanctuary-in-mocici/
Follow @archaeology
#archaeology #archeology #archaeologynews #mithras #mithraism #romanempire
-
I have found it an amusing strategy, when asked whether I am an #atheist, to point out that the questioner is also an atheist when considering #Zeus, #Apollo, #AmonRa, #Mithras, #Baal, #Thor, #Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one #god further.
Richard Dawkins, The God #Delusion
-
I have found it an amusing strategy, when asked whether I am an #atheist, to point out that the questioner is also an atheist when considering #Zeus, #Apollo, #AmonRa, #Mithras, #Baal, #Thor, #Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one #god further.
Richard Dawkins, The God #Delusion
-
I have found it an amusing strategy, when asked whether I am an #atheist, to point out that the questioner is also an atheist when considering #Zeus, #Apollo, #AmonRa, #Mithras, #Baal, #Thor, #Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one #god further.
Richard Dawkins, The God #Delusion
-
I have found it an amusing strategy, when asked whether I am an #atheist, to point out that the questioner is also an atheist when considering #Zeus, #Apollo, #AmonRa, #Mithras, #Baal, #Thor, #Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one #god further.
Richard Dawkins, The God #Delusion
-
I have found it an amusing strategy, when asked whether I am an #atheist, to point out that the questioner is also an atheist when considering #Zeus, #Apollo, #AmonRa, #Mithras, #Baal, #Thor, #Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one #god further.
Richard Dawkins, The God #Delusion
-
Archaeologists Discover Oldest Mithras Temple in Bavaria
📰 Original title: Ancient sanctuary tied to 'most mysterious' cult uncovered in rare find beneath historic city
🤖 IA: It's clickbait ⚠️
👥 Usuarios: It's clickbait ⚠️View full AI summary: https://killbait.com/en/archaeologists-discover-oldest-mithras-temple-in-bavaria/?redirpost=b05dbba6-087c-4756-8016-90ea8b6fdb33
-
German archaeologists find a mysterious men-only Mithras cult site.
During recent excavations in Regensburg’s old town, German archaeologists uncovered an ancient buried temple where Roman legionaries once worshipped the sun god Mithras.
#Archaeology #Mithras #Religion #RomanEmpire #Germany #History
-
German archaeologists find a mysterious men-only Mithras cult site.
During recent excavations in Regensburg’s old town, German archaeologists uncovered an ancient buried temple where Roman legionaries once worshipped the sun god Mithras.
#Archaeology #Mithras #Religion #RomanEmpire #Germany #History
-
German archaeologists find a mysterious men-only Mithras cult site.
During recent excavations in Regensburg’s old town, German archaeologists uncovered an ancient buried temple where Roman legionaries once worshipped the sun god Mithras.
#Archaeology #Mithras #Religion #RomanEmpire #Germany #History
-
German archaeologists find a mysterious men-only Mithras cult site.
During recent excavations in Regensburg’s old town, German archaeologists uncovered an ancient buried temple where Roman legionaries once worshipped the sun god Mithras.
#Archaeology #Mithras #Religion #RomanEmpire #Germany #History
-
German archaeologists find a mysterious men-only Mithras cult site.
During recent excavations in Regensburg’s old town, German archaeologists uncovered an ancient buried temple where Roman legionaries once worshipped the sun god Mithras.
#Archaeology #Mithras #Religion #RomanEmpire #Germany #History
-
Facts about some religions...
#Christianity is based on #Mithras and #Dionysus cults. And some branches of modern #Witchcraft are based on Christianity (#Gardnerian). Just leaving that out there...
-
Facts about some religions...
#Christianity is based on #Mithras and #Dionysus cults. And some branches of modern #Witchcraft are based on Christianity (#Gardnerian). Just leaving that out there...
-
Facts about some religions...
#Christianity is based on #Mithras and #Dionysus cults. And some branches of modern #Witchcraft are based on Christianity (#Gardnerian). Just leaving that out there...
-
Facts about some religions...
#Christianity is based on #Mithras and #Dionysus cults. And some branches of modern #Witchcraft are based on Christianity (#Gardnerian). Just leaving that out there...
-
Facts about some religions...
#Christianity is based on #Mithras and #Dionysus cults. And some branches of modern #Witchcraft are based on Christianity (#Gardnerian). Just leaving that out there...
-
Nische bei der Mithrasgrotte am Halberg
-
Nische bei der Mithrasgrotte am Halberg
-
Nische bei der Mithrasgrotte am Halberg
-
Heute war ich mal unterwegs - und im Museum, genauer gesagt, dem Archäologischen Museum Frankfurt/M.,. Und ich habe mir auch gleich Lesefutter mitgebracht...
#archäologie #archaeology #museumkarmelitergasse #roman #römisch #mithras #minerva #nida #frankfurt #heddernheim #romanempire #museum
-
Heute war ich mal unterwegs - und im Museum, genauer gesagt, dem Archäologischen Museum Frankfurt/M.,. Und ich habe mir auch gleich Lesefutter mitgebracht...
#archäologie #archaeology #museumkarmelitergasse #roman #römisch #mithras #minerva #nida #frankfurt #heddernheim #romanempire #museum
-
Heute war ich mal unterwegs - und im Museum, genauer gesagt, dem Archäologischen Museum Frankfurt/M.,. Und ich habe mir auch gleich Lesefutter mitgebracht...
#archäologie #archaeology #museumkarmelitergasse #roman #römisch #mithras #minerva #nida #frankfurt #heddernheim #romanempire #museum
-
Heute war ich mal unterwegs - und im Museum, genauer gesagt, dem Archäologischen Museum Frankfurt/M.,. Und ich habe mir auch gleich Lesefutter mitgebracht...
#archäologie #archaeology #museumkarmelitergasse #roman #römisch #mithras #minerva #nida #frankfurt #heddernheim #romanempire #museum
-
So what will you be in for when you log on for Writing the Occult: Belief TOMORROW, Saturday 6 September? A whole bunch of fascinating discussions about belief and speculative fiction, including this one ⬇️
#ancientrome #romanbelief #mithras #mithraic #history #writing #writers
-
So what will you be in for when you log on for Writing the Occult: Belief TOMORROW, Saturday 6 September? A whole bunch of fascinating discussions about belief and speculative fiction, including this one ⬇️
#ancientrome #romanbelief #mithras #mithraic #history #writing #writers
-
So what will you be in for when you log on for Writing the Occult: Belief TOMORROW, Saturday 6 September? A whole bunch of fascinating discussions about belief and speculative fiction, including this one ⬇️
#ancientrome #romanbelief #mithras #mithraic #history #writing #writers
-
So what will you be in for when you log on for Writing the Occult: Belief TOMORROW, Saturday 6 September? A whole bunch of fascinating discussions about belief and speculative fiction, including this one ⬇️
#ancientrome #romanbelief #mithras #mithraic #history #writing #writers
-
Azure Emote – Cryptic Aura Review
By Owlswald
Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.
Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.
Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.
While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.
Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.
Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile
-
Azure Emote – Cryptic Aura Review
By Owlswald
Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.
Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.
Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.
While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.
Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.
Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile
-
Azure Emote – Cryptic Aura Review
By Owlswald
Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.
Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.
Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.
While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.
Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.
Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile
-
Azure Emote – Cryptic Aura Review
By Owlswald
Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.
Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.
Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.
While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.
Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.
Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile
-
Azure Emote – Cryptic Aura Review
By Owlswald
Azure Emote is the project of two very busy musicians, vocalist Mike Hrubovcak (ex-Monstrosity, ex-Vile) and guitarist Ryan Moll (Hypoxia, Total Fucking Destruction). In between their work with many acclaimed death metal acts, the duo reconvenes every five years or so to craft a new Azure Emote record.1 What began in 2010 with Chronicles of an Aging Mammal as an experimental think tank for their genre-defying ideas has steadily evolved into their own eclectic brand of avant-garde death metal. Cryptic Aura marks the group’s fourth full-length and their third featuring the same all-star lineup: drumming powerhouse Mike Heller (Abigail Williams, ex-Fear Factory), legendary bassist Kelly Conlon (ex-Death), and violinist extraordinaire Pete Johansen (ex-Sirenia). Anna Murphy (ex-Eluveitie) also joins this renowned lineup, contributing her enchanting clean vocals.2 While long gaps between releases and an overabundance of ideas have historically hindered Azure Emote, Cryptic Aura strives to defy this pattern, arriving with a clear ambition to be both darker and heavier than anything they’ve released before.
Imagine a collision of Dimmu Borgir, Ne Obliviscaris, and Mithras and you’ll be in the ballpark of describing Azure Emote’s sound. Hrubovcak’s symphonic keyboards and Shagrath-esque blackened growls top Moll’s driving riffs, Conlon’s dexterous bass and Heller’s remarkable drumming to create occult-infused songs rich with dark atmosphere and dramatic flair. Heller’s performance on Cryptic Aura is mind-blowing. His blazing tom rolls (“Aeons Adrift”), tight rhythms (“Disease of the Soul”), and creative backbeats (“Return to the Unknown”) are consistently jaw-dropping, at times even overpowering the album’s bright DR 9 master. Johansen’s violin steps into a main role, often assuming a folky, crestfallen tone across the album’s ten tracks.3 Enhancing Johansen’s violin are Murphy’s backing vocals, her majestic croons (“Bleed with the Moon”) and ethereal melodies (“Feast of Leeches,” “Aeons Adrift”) driving haunting transitions. She is a welcome addition, offering bouts of serenity and a fresh touch to Azure Emote’s relentless instrumental virtuosity.
Azure Emote’s technical elements frequently coalesce to create powerful, well-structured material, despite their inherent complexity. Still incorporating a wide array of musical styles and ideas into a progressive death metal mélange, Cryptic Aura feels more calculated than past efforts. “Disease of the Soul” is a prime example, standing out as one of the album’s strongest tracks. It demonstrates the group’s unified musical vision, maintaining control amidst torrents of virtuosic chaos. Likewise, “Feast of Leeches” showcases this synergy—Murphy’s soothing pitches, Johansen’s violin, and Hrubovcak’s synth arrangements artfully balancing its thrashy riffs, relentless blast beats and Moll and Conlon’s adventurous soloing. Johansen’s violin plays a crucial role in grounding Cryptic Aura’s songs and providing a consistent thematic thread. Far from being buried in the mix, Johansen often takes the lead, offering melodic death-folk elements and a variety of engaging leads and solos that share the spotlight with Moll. From trilling melodies (“Aeons Adrift,” “Insomnia Nervosa”) to chilling atmospheric passages with delay (“Defiance Infernus”) to a somber homestead feel (“Bleed with the Moon”), Johansen’s versatility adds a distinctive layer to Azure Emote’s multifaceted soundscape.
While Cryptic Aura features impressive technicality and several strong tracks, its prevailing density occasionally hampers it, thereby leading to listener fatigue. Heller’s performance, while spectacular, is overwhelming at times—particularly on “Defiance Infernus,” “Into Abysmal Oblivion,” and “Aeons Adrift”—due to his blistering speed and the drum-forward mix. Furthermore, the powerful beginnings of “Provoking the Obscene” and “Aeons Adrift” ultimately dissolve into exhausting complexity during their chaotic conclusions. “Bleed with the Moon,” meanwhile, offers a repetitive, cascading instrumental barrage that offers little reprieve from its intensity. Murphy’s performance serves Cryptic Aura well, however, helping to counterbalance the overwhelming instrumentation. Her choral passages shine—notably the Gladiator-like ambient transition in “Bleed the Moon”—and her dramatic and warm tone commands attention on “Return to the Unknown” and “Provoking the Obscene.” Unfortunately, she is largely confined to backup duties—a disappointing and missed opportunity.
Though not without its flaws, Cryptic Aura remains a good album. A consistent lineup has allowed Azure Emote to streamline their creativity, presenting their impressive virtuosity with a newfound focus. With Cryptic Aura, the group has found solid footing, marking a positive evolution and resulting in my favorite record from them to date. Such progress ignites my excitement for the future. My only hope is that their next iteration arrives much sooner.
Rating: Good
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Testimony Records
Websites: azureemote.bandcamp.com/music | facebook.com/azureemote
Releases Worldwide: July 25th, 2025#2025 #30 #AbagailWilliams #AmericanMetal #AvantGarde #AzureEmote #CrypticAura #Death #DeathMetal #DimmuBorgir #Eluveitie #FearFactory #Hypoxia #Jul25 #Mithras #Monstrosity #NeObliviscaris #ProgressiveDeath #Review #Reviews #Sirenia #TestimonyRecords #TotalFuckingDestruction #Vile
-
The text for the published journal paper about the temple to Mithras at Inveresk is available free to read thanks to the author on Edinburgh University's Research Explorer website at https://www.research.ed.ac.uk/en/publications/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
The text for the published journal paper about the temple to Mithras at Inveresk is available free to read thanks to the author on Edinburgh University's Research Explorer website at https://www.research.ed.ac.uk/en/publications/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
The text for the published journal paper about the temple to Mithras at Inveresk is available free to read thanks to the author on Edinburgh University's Research Explorer website at https://www.research.ed.ac.uk/en/publications/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
The text for the published journal paper about the temple to Mithras at Inveresk is available free to read thanks to the author on Edinburgh University's Research Explorer website at https://www.research.ed.ac.uk/en/publications/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
The text for the published journal paper about the temple to Mithras at Inveresk is available free to read thanks to the author on Edinburgh University's Research Explorer website at https://www.research.ed.ac.uk/en/publications/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
Watching a recorded Treadwells bookshop talk about the Mithras cult in London. And remembering the fairly recent find of an altar to Mithras at Inveresk in Scotland. Many pics viewable in free to read supplementary material for the paywall-locked journal article. https://www.cambridge.org/core/journals/britannia/article/abs/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian/544B6233F7F06415EE049C60A827C3C0#supplementary-materials #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
Watching a recorded Treadwells bookshop talk about the Mithras cult in London. And remembering the fairly recent find of an altar to Mithras at Inveresk in Scotland. Many pics viewable in free to read supplementary material for the paywall-locked journal article. https://www.cambridge.org/core/journals/britannia/article/abs/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian/544B6233F7F06415EE049C60A827C3C0#supplementary-materials #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
Watching a recorded Treadwells bookshop talk about the Mithras cult in London. And remembering the fairly recent find of an altar to Mithras at Inveresk in Scotland. Many pics viewable in free to read supplementary material for the paywall-locked journal article. https://www.cambridge.org/core/journals/britannia/article/abs/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian/544B6233F7F06415EE049C60A827C3C0#supplementary-materials #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
Watching a recorded Treadwells bookshop talk about the Mithras cult in London. And remembering the fairly recent find of an altar to Mithras at Inveresk in Scotland. Many pics viewable in free to read supplementary material for the paywall-locked journal article. https://www.cambridge.org/core/journals/britannia/article/abs/mithras-in-scotland-a-mithraeum-at-inveresk-east-lothian/544B6233F7F06415EE049C60A827C3C0#supplementary-materials #Mithras #RomanBritain #AncientRome #Scotland #EastLothian #Inveresk #Archaeology
-
#Roman #Mithras in the snow. #Fellbach
🏺 #archaeology -
#Roman #Mithras in the snow. #Fellbach
🏺 #archaeology -
I'm curious if there is some sort of sane reason why the Roman Temple of Mithras has it's alter decorated with a cow, two tangerines, and a small log?! 🤔 #HadriansWall #Hiking #Temple #Mithras
-
I'm curious if there is some sort of sane reason why the Roman Temple of Mithras has it's alter decorated with a cow, two tangerines, and a small log?! 🤔 #HadriansWall #Hiking #Temple #Mithras
-
Gigan – Anomalous Abstractigate Infinitessimus [Things You Might Have Missed 2024]
By Maddog
Back in the early 2010s, Gigan wooed me with their lovably absurd album titles, like 2013’s Multi-Dimensional Fractal-Sorcery and Super Science. Luckily, Gigan had the musical chops to back it up. Their distinctive blend of brutal death metal, skronky technicality, and alien atmospheres made me a cult megafan. Anomalous Abstractigate Infinitessimus interrupts a seven-year silence, and the only staffers thrilled about its arrival were myself and Alekhines Gun. In retrospect, this is understandable; AAI is a weird album by a weird band, and it’s unlikely to win over anyone who isn’t already so inclined. While Gigan’s newest is a lot to chew on, it offers a great glimpse into why I’ve stood gaping for over a decade.
If Mithras is Morbid Angel in space, then Gigan is Wormed in space. Eric Hersemann’s guitars lay the foundation, playing Defeated Sanity riffs at an Archspire pace. However, in its melodies, its composition, and its production, the album is foremost an atmospheric journey, not a riff-fest. Hersemann’s guitar and bass lines sound otherworldly through their dissonance and sudden transformations (“Erratic Pulsitivity and Horror”). Eschewing simple song structures, Gigan’s uneasy odysseys take several focused listens to make any sense. Straying from the genre’s typical clinical production, AAI opts for a reverb-laden wall of noise that resembles a muddled Mithras. This remains my biggest gripe, as the album’s cloudy guitar sound untooths its impressive melodies. Conversely, AAI’s highlight might be its drumming. Nathan Cotton’s world-class performance excels in its raw technicality, its frenzied evolution, and its cockpit role in the album’s ebb and flow. But most of all, it wows through its raw humanity. On highlights like “Trans-Dimensional Crossing of the Alta-Tenuis,” the attention to detail in Cotton’s performance shines through every beat and can only be described as beautiful. While that word isn’t common in brutal death metal reviews, it’s a testament to Gigan’s singular sound.
Anomalous Abstractigate Infinitessimus is a wild journey. Gigan steamrolls the listener with brutal riffs, appealing to idiots like me without devolving into idiocy themselves (“Square Wave Subversion”). On the other end, Gigan’s skronky adventures are grand slams. The latter half of “Trans-Dimensional Crossing…” blends light-speed brutality with Morse Code guitars that remain the album’s highlight, while “Emerging Sects of Dagonic Acolytes” captivates me with The Velvet Underground-style chaos. Armed with bulletproof melodies in their right hand and chaos in their left, Gigan’s compositions feel like Lovecraftian narratives. Most strikingly, the shrieking melodies and distorted drum-led chorus of “The Strange Harvest of the Baganoids” evoke visceral terror for the plight of those poor Baganoids.1 Gigan fares less well when they sacrifice riffs for amorphous meanderings, especially on longer tracks (“Emerging Sects…”). But when AAI wields riffcraft and atmosphere in unison, it stands unmatched. For instance, the closer “Ominous Silhouettes…” wows with what sounds like a Deeds of Flesh riff being played by a depressed Martian, leading into dual-guitar screeches à la Pyrrhon. Engrossing and ever-evolving, Anomalous Abstractigate Infinitessimus immerses the listener in its saga.
While snippets of Gigan bear the signatures of other bands, no one else has ever made music like this. Although its bloat and its muddy sound hold it back, Gigan’s comeback is a rewarding specimen of their unconventional brand of brutal death metal. Dissonant, brutal, grimy, and alien, Anomalous Abstractigate Infinitessimus is tough to digest even for the Gigan-initiated. Ears shall be split, brows shall be furrowed, and poseurs shall be (strangely) harvested. Few will survive. But those that do will have quite a story to tell.
Tracks to Check Out: “Trans-Dimensional Crossing of the Alta-Tenuis,” “The Strange Harvest of the Baganoids”
#2024 #AmericanMetal #AnomalousAbstractigateInfinitessimus #AtmosphericDeathMetal #BrutalDeathMetal #DeathMetal #DeedsOfFlesh #DefeatedSanity #DissonantDeathMetal #Gigan #Mithras #Pyrrhon #TechnicalBrutalDeathMetal #TechnicalDeathMetal #TheVelvetUnderground #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #Wormed
-
Tyrannic – Tyrannic Desolation Review
By Mark Z.
No matter how far today’s bands push the envelope, no matter how weird or experimental or innovative modern music becomes, there will always be bands who look around and simply say: “Fuck that, give me Celtic Frost.” Australia’s Tyrannic is one such band. The trio’s founding member, vocalist, and drummer “R.,” has readily admitted that Tom G. Warrior’s brainchild is their biggest influence, though the band’s music isn’t just another carbon copy of Morbid Tales. For the past decade, the group seems to have steadily been gaining attention in the underground due not just to their consistent “cemetery photoshoot” album art, but also their strange combination of black and doom metal. The band seemed to really start turning heads with their second album, 2021’s Mortuus Decadence, which I enjoyed for its sinister atmosphere and epic climaxes. With third album Tyrannic Desolation, the group has largely opted to stick to the same burial grounds as before, but are they able to continue unearthing interesting material?
Yes and no. At first listen, Tyrannic Desolation sounds like the lo-fi extreme metal of Throneum with a bit of Tyrannic’s own special sauce mixed in. Many of these eight songs fill a decent amount of their runtimes with tight, creaky guitar lines that are propelled by clattering, off-kilter drums and vocals that run the gamut from rancid rasps to fervent war shouts to anguished hollers. Perhaps most interesting, however, are the deep operatic vocals that wail just out of the foreground during the doomier segments. The album’s opening duo, “Prophetic Eyes of Glass” and the title track, both slow down after their faster first halves to deliver such operatic singing between eerie, immense, and twisting guitar lines that sound like Candlemass gone black metal.
The approach works well enough at first, but by the time “Impaled before Your Mirror of Fate” hits halfway through the record’s runtime, the “fast first half and doomy second half” songwriting formula begins to lose its footing. Fortunately, the album’s second half adds diversity via ideas that are doomier, gloomier, and weirder. “Dance on Graves Chained to the Labyrinth” is perhaps the most interesting track here,1 as the song creates a strange and ominous mood with its squealing, Mithras-style soloing and bold decision to have the entire band play with no drumming for almost all of the track’s five-and-a-half minute runtime. Later songs like “Incubus Incarnate” and the closer, “Morbid Sanctum,” really drive home the doom, with both songs featuring deathly and morose guitar lines that would sound perfectly fitting at a funeral.
Tyrannic Desolation contains compelling moments, but I can’t say the record as a whole blows me away. While I appreciate how naturally Tyrannic transitions between styles, the album seems content to merely twist and contort itself rather than offer any true hooks or standout riffs. Thus, even while things change in ways that should be compelling, the overall experience ends up just feeling inconsequential. Songs like “Only Death Can Speak My Name” and “Stillbirth in Still Life” are perhaps the least interesting of the bunch, with the former featuring odd, sour notes and the latter being little more than a long, anguished death crawl that doesn’t offer enough to stand out from its brethren. Fortunately, the dry and raw production is a good fit for what the band is going for, with the unpolished guitars and in-your-face sound somehow working together to create a surprisingly strong atmosphere. The drum performance also keeps everything fluid while possessing a natural, unassuming quality that I find endearing.
Tyrannic has a cool vibe, and I always appreciate bands that use a retro sound and aesthetic without regurgitating things we’ve heard a million times before. In this way, the band reminds me of what modern Darkthrone is doing, and Tyrannic’s ultimate level of quality here is about as mixed as Fenriz and company’s albums have been for the last two decades. For those interested in the odder and more foreboding edges of extreme metal, Tyrannic Desolation offers forty-eight minutes that might be worth your while. For me? While I can appreciate the band’s interesting style and ghastly atmosphere, I can’t say for certain I’ll be joining them on their next jaunt through the cemetery.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s CBR MP3
Label: Iron Bonehead Productions
Website: tyrannic.bandcamp.com
Releases Worldwide: November 22nd, 2024#25 #2024 #AustralianMetal #BlackMetal #Candlemass #CelticFrost #Darkthrone #DoomMetal #IronBoneheadProductions #Mithras #Nov24 #Review #Reviews #Throneum #Tyrannic #TyrannicDesolation
-
Some sort of Mithraean #cat god in the Musée d'Aquitaine. I can’t quite make out the caption, can anyone help? Photo by Jo hoya105, who visited recently and contributed more photos to our page here: https://www.megalithic.co.uk/article.php?sid=6334476
#MuseumMonday #roman #Mithras -
Some sort of Mithraean #cat god in the Musée d'Aquitaine. I can’t quite make out the caption, can anyone help? Photo by Jo hoya105, who visited recently and contributed more photos to our page here: https://www.megalithic.co.uk/article.php?sid=6334476
#MuseumMonday #roman #Mithras
