#mitochondrion — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #mitochondrion, aggregated by home.social.
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Time for a quick Biology quiz! 🧬 Do you know which organelle is the "powerhouse of the cell"?
It's the Mitochondrion! This vital organelle generates most of the cell's energy (ATP) to power its activities. ⚡️ Perfect for ages 12+! Keep learning with #5SecondDaily.
#Biology #Science #Education #Learning #Cells #Mitochondrion #STEM #Study #Quiz #Flashcard #5SecondDaily #12PlusYears -
#Mitochondrial proteins are synthesized with presequences that target them to the #mitochondrion, but why are some more efficient than others? This study identifies presequences which recruit Hsp90 co-chaperones & TOMM34 to confer prioritized import efficiency @PLOSBiology plos.io/4m6spBN
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#Mitochondrial proteins are synthesized with presequences that target them to the #mitochondrion, but why are some more efficient than others? This study identifies presequences which recruit Hsp90 co-chaperones & TOMM34 to confer prioritized import efficiency @PLOSBiology plos.io/4m6spBN
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Ruinous Power – EXTREME DANGER: Prototype Weaponry Review
By Kenstrosity
As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.
Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.
Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.
In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.
As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!
Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod
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Ruinous Power – EXTREME DANGER: Prototype Weaponry Review
By Kenstrosity
As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.
Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.
Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.
In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.
As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!
Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod
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Ruinous Power – EXTREME DANGER: Prototype Weaponry Review
By Kenstrosity
As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.
Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.
Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.
In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.
As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!
Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod
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Ruinous Power – EXTREME DANGER: Prototype Weaponry Review
By Kenstrosity
As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.
Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.
Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.
In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.
As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!
Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod
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Choir – Smithe Thee Smoldering Providence [Things You Might Have Missed 2024]
By Dear Hollow
Bring them tired ashes to the black waters and sing an anthem for the famine! Smithe Thee Smoldering Providence is blasphemy, a molten and silt-laden horror that saturates every negative space with noise, desolation, and punishment. It dirges and roars like the gods that you thought were benevolent and merciful – their faces lurid and nauseating when you looked upon them. Hallelujah, you will go mad. You will embrace your fate with arms outstretched and feet running until you sink. You will vomit and rejoice at the coming of ruin. You will praise your master. Choir preaches to this manic truth and gospel of filth, recalling the memory of a ritual buried deep in a book of death-bathed dark. As you are baptized in the muddy river, buried with Christ, and raised to walk in newness of life, open your eyes and look below and you’ll notice the abyss of the dead and rotting staring back.
Choir is a one-man act from Singapore consisting of musician/producer The Choir, offering extreme metal dredged in obscurity and violence. At once blending the pulverizing weight of death/doom, the raw hatred of black metal, and the cavernous echoes of death metal, crammed to the brim with misanthropic dissonance, dense atmospherics, and vicious noise, the act can be compared to the likes of Impetuous Ritual, Infernal Coil, Menace Ruine, and Primitive Man, but with an interpretation of pain all its own. While 2021’s first full-length Songs for a Tarnished World introduced this noise, its follow-up Smithe Thee Smoldering Providence hones it, Choir’s sound achieves relentless devastation and palpable purpose. And it’s a damn shame it was released so late in 2024.
Smithe Thee Smoldering Providence consists of two twenty-two-minute songs, but the tracklist breaks them into three and four movements respectively – one of the few mercies you will receive listening to Choir’s relentless onslaught. Like 2024’s boundary-pushing Ingurgitating Oblivion, Choir combines the outer limits of extreme metal. However, contrary to the elegance, technicality, and grace of Ontology of Nought, Choir molds the festering and rotten loams of lumbering weight, blackened chaos, and ruthless dissonance into a lethal clay, encased in the thick grime of murk. Emerging like many-eyed and many-limbed creatures emerging from the muddy river, movements will sear themselves into your ears from out of nowhere, such as the Mitochondrion-esque chugging riffs (“Bring Them… I,” “Bring Them… III,” “And Sing… IV”), dizzying brain-bleeds and complete disintegrations into noise and dissonance (“And Sing… III”), full-on blackened assaults buried beneath the garbling Portal-esque weight of mud (“And Sing… I”), and ambient sprawls with a rotten hum and bilious distortion trembling beneath (“Bring Them… II”). Gorgeous synth melodies are sparse and stand in stark contrast during capitalizations of crescendos (“And Sing… IV”). While nonetheless bathed in the blood of distortion, they add a distinctly human feel that somehow makes the album much more punishing by contrast while also providing a jagged light at the end of Choir’s pitch-black tunnel.
Choir has accomplished an insane feat, creating an experience that balances haunting hypnotism, primitive ritualism, and cutthroat punishment in its misanthropic blend of extreme styles. Simultaneously a thunderously colossal and lumbering beast and a hateful specter with teeth of lightning, Smithe Thee Smoldering Providence is a portrayal of divine smelt, god silt, and blasphemous murk. Molten and filthy, hypnotic and punishing, Choir is an easy triumph for year-end lists had it been released earlier.
Tracks to Check Out: “Bring Them Tired Ashes to the Black Waters,” “And Sing an Anthem for the Famine”
#2024 #AmbientBlackMetal #AmbientNoise #BlackMetal #BlackenedDeathMetal #BlackenedDoomMetal #Choir #DeathMetal #DeathDoomMetal #DissonantBlackMetal #DissonantDeathMetal #ImpetuousRitual #InfernalCoil #IngurgitatingOblivion #MenaceRuine #Mitochondrion #Portal #PrimitiveMan #SingaporeanMetal #SmitheTheeSmolderingProvidence #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM
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Choir – Smithe Thee Smoldering Providence [Things You Might Have Missed 2024]
By Dear Hollow
Bring them tired ashes to the black waters and sing an anthem for the famine! Smithe Thee Smoldering Providence is blasphemy, a molten and silt-laden horror that saturates every negative space with noise, desolation, and punishment. It dirges and roars like the gods that you thought were benevolent and merciful – their faces lurid and nauseating when you looked upon them. Hallelujah, you will go mad. You will embrace your fate with arms outstretched and feet running until you sink. You will vomit and rejoice at the coming of ruin. You will praise your master. Choir preaches to this manic truth and gospel of filth, recalling the memory of a ritual buried deep in a book of death-bathed dark. As you are baptized in the muddy river, buried with Christ, and raised to walk in newness of life, open your eyes and look below and you’ll notice the abyss of the dead and rotting staring back.
Choir is a one-man act from Singapore consisting of musician/producer The Choir, offering extreme metal dredged in obscurity and violence. At once blending the pulverizing weight of death/doom, the raw hatred of black metal, and the cavernous echoes of death metal, crammed to the brim with misanthropic dissonance, dense atmospherics, and vicious noise, the act can be compared to the likes of Impetuous Ritual, Infernal Coil, Menace Ruine, and Primitive Man, but with an interpretation of pain all its own. While 2021’s first full-length Songs for a Tarnished World introduced this noise, its follow-up Smithe Thee Smoldering Providence hones it, Choir’s sound achieves relentless devastation and palpable purpose. And it’s a damn shame it was released so late in 2024.
Smithe Thee Smoldering Providence consists of two twenty-two-minute songs, but the tracklist breaks them into three and four movements respectively – one of the few mercies you will receive listening to Choir’s relentless onslaught. Like 2024’s boundary-pushing Ingurgitating Oblivion, Choir combines the outer limits of extreme metal. However, contrary to the elegance, technicality, and grace of Ontology of Nought, Choir molds the festering and rotten loams of lumbering weight, blackened chaos, and ruthless dissonance into a lethal clay, encased in the thick grime of murk. Emerging like many-eyed and many-limbed creatures emerging from the muddy river, movements will sear themselves into your ears from out of nowhere, such as the Mitochondrion-esque chugging riffs (“Bring Them… I,” “Bring Them… III,” “And Sing… IV”), dizzying brain-bleeds and complete disintegrations into noise and dissonance (“And Sing… III”), full-on blackened assaults buried beneath the garbling Portal-esque weight of mud (“And Sing… I”), and ambient sprawls with a rotten hum and bilious distortion trembling beneath (“Bring Them… II”). Gorgeous synth melodies are sparse and stand in stark contrast during capitalizations of crescendos (“And Sing… IV”). While nonetheless bathed in the blood of distortion, they add a distinctly human feel that somehow makes the album much more punishing by contrast while also providing a jagged light at the end of Choir’s pitch-black tunnel.
Choir has accomplished an insane feat, creating an experience that balances haunting hypnotism, primitive ritualism, and cutthroat punishment in its misanthropic blend of extreme styles. Simultaneously a thunderously colossal and lumbering beast and a hateful specter with teeth of lightning, Smithe Thee Smoldering Providence is a portrayal of divine smelt, god silt, and blasphemous murk. Molten and filthy, hypnotic and punishing, Choir is an easy triumph for year-end lists had it been released earlier.
Tracks to Check Out: “Bring Them Tired Ashes to the Black Waters,” “And Sing an Anthem for the Famine”
#2024 #AmbientBlackMetal #AmbientNoise #BlackMetal #BlackenedDeathMetal #BlackenedDoomMetal #Choir #DeathMetal #DeathDoomMetal #DissonantBlackMetal #DissonantDeathMetal #ImpetuousRitual #InfernalCoil #IngurgitatingOblivion #MenaceRuine #Mitochondrion #Portal #PrimitiveMan #SingaporeanMetal #SmitheTheeSmolderingProvidence #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM
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Choir – Smithe Thee Smoldering Providence [Things You Might Have Missed 2024]
By Dear Hollow
Bring them tired ashes to the black waters and sing an anthem for the famine! Smithe Thee Smoldering Providence is blasphemy, a molten and silt-laden horror that saturates every negative space with noise, desolation, and punishment. It dirges and roars like the gods that you thought were benevolent and merciful – their faces lurid and nauseating when you looked upon them. Hallelujah, you will go mad. You will embrace your fate with arms outstretched and feet running until you sink. You will vomit and rejoice at the coming of ruin. You will praise your master. Choir preaches to this manic truth and gospel of filth, recalling the memory of a ritual buried deep in a book of death-bathed dark. As you are baptized in the muddy river, buried with Christ, and raised to walk in newness of life, open your eyes and look below and you’ll notice the abyss of the dead and rotting staring back.
Choir is a one-man act from Singapore consisting of musician/producer The Choir, offering extreme metal dredged in obscurity and violence. At once blending the pulverizing weight of death/doom, the raw hatred of black metal, and the cavernous echoes of death metal, crammed to the brim with misanthropic dissonance, dense atmospherics, and vicious noise, the act can be compared to the likes of Impetuous Ritual, Infernal Coil, Menace Ruine, and Primitive Man, but with an interpretation of pain all its own. While 2021’s first full-length Songs for a Tarnished World introduced this noise, its follow-up Smithe Thee Smoldering Providence hones it, Choir’s sound achieves relentless devastation and palpable purpose. And it’s a damn shame it was released so late in 2024.
Smithe Thee Smoldering Providence consists of two twenty-two-minute songs, but the tracklist breaks them into three and four movements respectively – one of the few mercies you will receive listening to Choir’s relentless onslaught. Like 2024’s boundary-pushing Ingurgitating Oblivion, Choir combines the outer limits of extreme metal. However, contrary to the elegance, technicality, and grace of Ontology of Nought, Choir molds the festering and rotten loams of lumbering weight, blackened chaos, and ruthless dissonance into a lethal clay, encased in the thick grime of murk. Emerging like many-eyed and many-limbed creatures emerging from the muddy river, movements will sear themselves into your ears from out of nowhere, such as the Mitochondrion-esque chugging riffs (“Bring Them… I,” “Bring Them… III,” “And Sing… IV”), dizzying brain-bleeds and complete disintegrations into noise and dissonance (“And Sing… III”), full-on blackened assaults buried beneath the garbling Portal-esque weight of mud (“And Sing… I”), and ambient sprawls with a rotten hum and bilious distortion trembling beneath (“Bring Them… II”). Gorgeous synth melodies are sparse and stand in stark contrast during capitalizations of crescendos (“And Sing… IV”). While nonetheless bathed in the blood of distortion, they add a distinctly human feel that somehow makes the album much more punishing by contrast while also providing a jagged light at the end of Choir’s pitch-black tunnel.
Choir has accomplished an insane feat, creating an experience that balances haunting hypnotism, primitive ritualism, and cutthroat punishment in its misanthropic blend of extreme styles. Simultaneously a thunderously colossal and lumbering beast and a hateful specter with teeth of lightning, Smithe Thee Smoldering Providence is a portrayal of divine smelt, god silt, and blasphemous murk. Molten and filthy, hypnotic and punishing, Choir is an easy triumph for year-end lists had it been released earlier.
Tracks to Check Out: “Bring Them Tired Ashes to the Black Waters,” “And Sing an Anthem for the Famine”
#2024 #AmbientBlackMetal #AmbientNoise #BlackMetal #BlackenedDeathMetal #BlackenedDoomMetal #Choir #DeathMetal #DeathDoomMetal #DissonantBlackMetal #DissonantDeathMetal #ImpetuousRitual #InfernalCoil #IngurgitatingOblivion #MenaceRuine #Mitochondrion #Portal #PrimitiveMan #SingaporeanMetal #SmitheTheeSmolderingProvidence #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM
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For @DXMacGuffin's #ProgTuesday:
#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous
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For @DXMacGuffin's #ProgTuesday:
#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous
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For @DXMacGuffin's #ProgTuesday:
#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous
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For @DXMacGuffin's #ProgTuesday:
#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous
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For @DXMacGuffin's #ProgTuesday:
#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous
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Oferta Pack especial antiinflamatorio #BlackFriday!!💪🚫🎈
✅Ejercicio🚴🏋️
✅Restricción energética🙊
✅Suplementación potencial💊#Estrés #mitocondrial #inflamación #metabolismo #exercise #dieta #mitocondria #Mitochondrion #ROS #Melatonina #Resveratrol
https://doi.org/10.1155/2022/8803404