#mitochondrion — Public Fediverse posts

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

The #mitochondrion represents a #biological singularity, a discrete #evolutionary event that fundamentally partitioned life on #Earth into two distinct energetic stratums: the #prokaryotic and the #eukaryotic. While colloquially reduced to the moniker of "cellular powerhouse," the mitochondrion is, in functional reality, a highly integrated endosymbiont that serves as the master regulator of eukaryotic physiology
#WhatIs #Biology #Biochemistry #MolecularBiology #sflorg
https://www.sflorg.com/2025/11/wi11222501.html

The #mitochondrion represents a #biological singularity, a discrete #evolutionary event that fundamentally partitioned life on #Earth into two distinct energetic stratums: the #prokaryotic and the #eukaryotic. While colloquially reduced to the moniker of "cellular powerhouse," the mitochondrion is, in functional reality, a highly integrated endosymbiont that serves as the master regulator of eukaryotic physiology
#WhatIs #Biology #Biochemistry #MolecularBiology #sflorg
https://www.sflorg.com/2025/11/wi11222501.html

#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

#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

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

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

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

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

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

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

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

For @DXMacGuffin's #ProgTuesday:

#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous

https://song.link/i/1772918458

#ProgressiveDeathMetal

FFO #CosmicPutrefaction #Mitochondrion #VileRites

For @DXMacGuffin's #ProgTuesday:

#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous

https://song.link/i/1772918458

#ProgressiveDeathMetal

FFO #CosmicPutrefaction #Mitochondrion #VileRites

For @DXMacGuffin's #ProgTuesday:

#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous

https://song.link/i/1772918458

#ProgressiveDeathMetal

FFO #CosmicPutrefaction #Mitochondrion #VileRites

For @DXMacGuffin's #ProgTuesday:

#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous

https://song.link/i/1772918458

#ProgressiveDeathMetal

FFO #CosmicPutrefaction #Mitochondrion #VileRites

For @DXMacGuffin's #ProgTuesday:

#Bedsore: A Colossus, an Elephant, a Winged Horse, the Dragon Rendezvous

https://song.link/i/1772918458

#ProgressiveDeathMetal

FFO #CosmicPutrefaction #Mitochondrion #VileRites

Mitochondrion – Vitriseptome Review

By Dear Hollow

Vancouver’s Mitochondrion has a knack for violence. The quartet has always hinted that its signature relentless breed of dissonant black/death war metal is a façade for a much darker reality, contrary to the lurid barbarousness of its counterparts. Longwinded compositions of unhinged brutality suddenly align into chuggy riffs and experimental prowess at the guidance of its triple-vocal attack from hell, making cohorts with just as much of the likes of Teitanblood and Adversarial as Ulcerate and Portal.1 Deceptively straightforward, incessantly pulverizing, and neck deep in otherworldly ambitions, it’s non-Euclidean punishment from men who are alchemists at heart. Mitochondrion returns.

Otherworldly ambition has largely separated Mitochondrion from its counterparts since its 2003 inception. Vitriseptome is the lineup of their classic albums, 2008’s Archaeaeon and 2011’s Parasignosis, with bassist Sebastian Montesi of Auroch and Atemporal the only new addition in 2012. It has been thirteen long years since Mitochondrion’s formidable Parasignosis, only an EP (Antinumerology) and a split with Auroch (In Cronian Hour) to fill the absence. What 2024’s Vitriseptome does is ambitious to compensate, a ninety-three-minute affair described as a trilogy in two phases, separated by a flurry of ambient interludes – often the only respite from the intensity. With classical alchemy in mind, Mitochondrion concocts this mixture: the two phases or halves representing “Dissolution” and “Coagulation,” the trilogy denoting the three classical alchemical elements salt, sulfur, and mercury, and its quarter movements coined “Separation,” “Confusion,” “Initiation,” and “Return.” Each portion consists of a distinct sound palette while adhering to its emphasis on non-Euclidean and claustrophobic punishment rooted in sinister blackened death, cavernous OSDM, and bellicose war metal while venturing into the realms of dark ambient and noise. While its length is challenging and ambition alienating, it is worth a trek through Mitochondrion’s darkness where the smoke curls up and the crooked galaxies hang.

Each division encapsulates a certain mood or focus. Opening five-track suite “Separation” would feel right at home in an Adversarial album, gashing the ears with relentless blasting, unhinged tremolo, wailing solos, and putrid roars amid shifting sands of jarring tempo shifts, aligning like rotten stars in pulsing staccato climaxes (“Increatum Vox,” “Oblithemesis”). The seven tracks of “Initiation” balance its muscular character with a thick shroud of grime-crusted noise (“The Cruxitome,” “Ignis Caecus”), punishing concrete riffage emerging like colossal fists (“Argentum Mortifixion,” “The Protanthrofuge”). Contrary to these blasting behemoths of excess, latter halves “Confusion” and “Return” are far more restrained,2 comparatively meditative explorations that encapsulate the respective war metal attack and noisy approach (“Vacuuole,” “Viabyssm”), while expanding into filthy oceans of emptiness with Ulcerate-esque dissonance and haunting solos (“Flail, Faexregem!,” “Antitonement”) – a darker place to land that serves as a reminder as to who holds the key on this intense journey. The mix is dense and nearly impenetrable, a key contrast to the likewise ambitious organic treks of Ingurgitating Oblivion or Orgone.

As disparate as the styles are within Vitriseptome’s various divisions, they never stray from Mitochondrion’s signature breed. The punishment is still all-encompassing and incessantly pulverizing, but balance is the priority. Its moments of relative stillness there is a tension to the looming attack (“Viabyssm,” “The Protanthrofuge”), and there are moments of tense placidity in the more warfaring partitions (“The Erythapside,” “Ignis Caecus”). Dynamically, the band utilizes its interludes and its underlying approach extremely effectively, with smooth transitions (“Oblithemesis” to “[]” to “Vitriseptome;” “Ignis Caecus” to “[antimonphoresis]” to “Vacuuole”) guiding the proceeds from experimental and unhinged former to patient and contemplative latter. As such, nary a second feels wasted on Vitriseptome despite its interlude-heavy tracklist and demanding runtime. Its two-then-three-then-four thematic divisions don’t feel confused or convoluted, because the density of the music and intricate construction lend purpose and distinction. Vitriseptome offers undeniable proof that Mitochondrion remains atop the death metal echelon, in spite of its thirteen-year quiet.

Vitriseptome is challenging, but it’s a challenge well worth undertaking. A puzzle unlocked, its secrets are revealed with every listen – a harrowing and putrid collection of knowledge. The dynamics therein tell a story of alchemical rage and occult obsession, fueled by madness and horror. Undeniably a test of patience, its first impression of unhinged insanity slowly gives way to intensely calculated brutishness, bolstered by its atmospheric prowess and bared teeth of noise. Mitochondrion hasn’t missed a beat after thirteen years: Vitriseptome succeeds as a reminder of their formidable greatness and sets the tone for the act’s pulverizing future.

Rating: 4.0/5.0
DR: 53 | Format Reviewed: 320 kb/s mp3
Label: Profound Lore Records
Websites: mitochondrion.bandcamp.com | facebook.com/mitochondrion137
Releases Worldwide: November 1st, 2024

#2024 #40 #Adversarial #AtmosphericDeathMetal #Auroch #BlackenedDeathMetal #CanadianMetal #DarkAmbient #DeathMetal #DissonantDeathMetal #Egregore #IngurgitatingOblivion #Mitochondrion #Noise #Nov24 #Orgone #Portal #ProfoundLoreRecords #Review #Reviews #Teitanblood #Ulcerate #Vitriseptome #WarMetal

Mitochondrion – Vitriseptome Review

By Dear Hollow

Vancouver’s Mitochondrion has a knack for violence. The quartet has always hinted that its signature relentless breed of dissonant black/death war metal is a façade for a much darker reality, contrary to the lurid barbarousness of its counterparts. Longwinded compositions of unhinged brutality suddenly align into chuggy riffs and experimental prowess at the guidance of its triple-vocal attack from hell, making cohorts with just as much of the likes of Teitanblood and Adversarial as Ulcerate and Portal.1 Deceptively straightforward, incessantly pulverizing, and neck deep in otherworldly ambitions, it’s non-Euclidean punishment from men who are alchemists at heart. Mitochondrion returns.

Otherworldly ambition has largely separated Mitochondrion from its counterparts since its 2003 inception. Vitriseptome is the lineup of their classic albums, 2008’s Archaeaeon and 2011’s Parasignosis, with bassist Sebastian Montesi of Auroch and Atemporal the only new addition in 2012. It has been thirteen long years since Mitochondrion’s formidable Parasignosis, only an EP (Antinumerology) and a split with Auroch (In Cronian Hour) to fill the absence. What 2024’s Vitriseptome does is ambitious to compensate, a ninety-three-minute affair described as a trilogy in two phases, separated by a flurry of ambient interludes – often the only respite from the intensity. With classical alchemy in mind, Mitochondrion concocts this mixture: the two phases or halves representing “Dissolution” and “Coagulation,” the trilogy denoting the three classical alchemical elements salt, sulfur, and mercury, and its quarter movements coined “Separation,” “Confusion,” “Initiation,” and “Return.” Each portion consists of a distinct sound palette while adhering to its emphasis on non-Euclidean and claustrophobic punishment rooted in sinister blackened death, cavernous OSDM, and bellicose war metal while venturing into the realms of dark ambient and noise. While its length is challenging and ambition alienating, it is worth a trek through Mitochondrion’s darkness where the smoke curls up and the crooked galaxies hang.

Each division encapsulates a certain mood or focus. Opening five-track suite “Separation” would feel right at home in an Adversarial album, gashing the ears with relentless blasting, unhinged tremolo, wailing solos, and putrid roars amid shifting sands of jarring tempo shifts, aligning like rotten stars in pulsing staccato climaxes (“Increatum Vox,” “Oblithemesis”). The seven tracks of “Initiation” balance its muscular character with a thick shroud of grime-crusted noise (“The Cruxitome,” “Ignis Caecus”), punishing concrete riffage emerging like colossal fists (“Argentum Mortifixion,” “The Protanthrofuge”). Contrary to these blasting behemoths of excess, latter halves “Confusion” and “Return” are far more restrained,2 comparatively meditative explorations that encapsulate the respective war metal attack and noisy approach (“Vacuuole,” “Viabyssm”), while expanding into filthy oceans of emptiness with Ulcerate-esque dissonance and haunting solos (“Flail, Faexregem!,” “Antitonement”) – a darker place to land that serves as a reminder as to who holds the key on this intense journey. The mix is dense and nearly impenetrable, a key contrast to the likewise ambitious organic treks of Ingurgitating Oblivion or Orgone.

As disparate as the styles are within Vitriseptome’s various divisions, they never stray from Mitochondrion’s signature breed. The punishment is still all-encompassing and incessantly pulverizing, but balance is the priority. Its moments of relative stillness there is a tension to the looming attack (“Viabyssm,” “The Protanthrofuge”), and there are moments of tense placidity in the more warfaring partitions (“The Erythapside,” “Ignis Caecus”). Dynamically, the band utilizes its interludes and its underlying approach extremely effectively, with smooth transitions (“Oblithemesis” to “[]” to “Vitriseptome;” “Ignis Caecus” to “[antimonphoresis]” to “Vacuuole”) guiding the proceeds from experimental and unhinged former to patient and contemplative latter. As such, nary a second feels wasted on Vitriseptome despite its interlude-heavy tracklist and demanding runtime. Its two-then-three-then-four thematic divisions don’t feel confused or convoluted, because the density of the music and intricate construction lend purpose and distinction. Vitriseptome offers undeniable proof that Mitochondrion remains atop the death metal echelon, in spite of its thirteen-year quiet.

Vitriseptome is challenging, but it’s a challenge well worth undertaking. A puzzle unlocked, its secrets are revealed with every listen – a harrowing and putrid collection of knowledge. The dynamics therein tell a story of alchemical rage and occult obsession, fueled by madness and horror. Undeniably a test of patience, its first impression of unhinged insanity slowly gives way to intensely calculated brutishness, bolstered by its atmospheric prowess and bared teeth of noise. Mitochondrion hasn’t missed a beat after thirteen years: Vitriseptome succeeds as a reminder of their formidable greatness and sets the tone for the act’s pulverizing future.

Rating: 4.0/5.0
DR: 53 | Format Reviewed: 320 kb/s mp3
Label: Profound Lore Records
Websites: mitochondrion.bandcamp.com | facebook.com/mitochondrion137
Releases Worldwide: November 1st, 2024

#2024 #40 #Adversarial #AtmosphericDeathMetal #Auroch #BlackenedDeathMetal #CanadianMetal #DarkAmbient #DeathMetal #DissonantDeathMetal #Egregore #IngurgitatingOblivion #Mitochondrion #Noise #Nov24 #Orgone #Portal #ProfoundLoreRecords #Review #Reviews #Teitanblood #Ulcerate #Vitriseptome #WarMetal

Mitochondrion – Vitriseptome Review

By Dear Hollow

Vancouver’s Mitochondrion has a knack for violence. The quartet has always hinted that its signature relentless breed of dissonant black/death war metal is a façade for a much darker reality, contrary to the lurid barbarousness of its counterparts. Longwinded compositions of unhinged brutality suddenly align into chuggy riffs and experimental prowess at the guidance of its triple-vocal attack from hell, making cohorts with just as much of the likes of Teitanblood and Adversarial as Ulcerate and Portal.1 Deceptively straightforward, incessantly pulverizing, and neck deep in otherworldly ambitions, it’s non-Euclidean punishment from men who are alchemists at heart. Mitochondrion returns.

Otherworldly ambition has largely separated Mitochondrion from its counterparts since its 2003 inception. Vitriseptome is the lineup of their classic albums, 2008’s Archaeaeon and 2011’s Parasignosis, with bassist Sebastian Montesi of Auroch and Atemporal the only new addition in 2012. It has been thirteen long years since Mitochondrion’s formidable Parasignosis, only an EP (Antinumerology) and a split with Auroch (In Cronian Hour) to fill the absence. What 2024’s Vitriseptome does is ambitious to compensate, a ninety-three-minute affair described as a trilogy in two phases, separated by a flurry of ambient interludes – often the only respite from the intensity. With classical alchemy in mind, Mitochondrion concocts this mixture: the two phases or halves representing “Dissolution” and “Coagulation,” the trilogy denoting the three classical alchemical elements salt, sulfur, and mercury, and its quarter movements coined “Separation,” “Confusion,” “Initiation,” and “Return.” Each portion consists of a distinct sound palette while adhering to its emphasis on non-Euclidean and claustrophobic punishment rooted in sinister blackened death, cavernous OSDM, and bellicose war metal while venturing into the realms of dark ambient and noise. While its length is challenging and ambition alienating, it is worth a trek through Mitochondrion’s darkness where the smoke curls up and the crooked galaxies hang.

Each division encapsulates a certain mood or focus. Opening five-track suite “Separation” would feel right at home in an Adversarial album, gashing the ears with relentless blasting, unhinged tremolo, wailing solos, and putrid roars amid shifting sands of jarring tempo shifts, aligning like rotten stars in pulsing staccato climaxes (“Increatum Vox,” “Oblithemesis”). The seven tracks of “Initiation” balance its muscular character with a thick shroud of grime-crusted noise (“The Cruxitome,” “Ignis Caecus”), punishing concrete riffage emerging like colossal fists (“Argentum Mortifixion,” “The Protanthrofuge”). Contrary to these blasting behemoths of excess, latter halves “Confusion” and “Return” are far more restrained,2 comparatively meditative explorations that encapsulate the respective war metal attack and noisy approach (“Vacuuole,” “Viabyssm”), while expanding into filthy oceans of emptiness with Ulcerate-esque dissonance and haunting solos (“Flail, Faexregem!,” “Antitonement”) – a darker place to land that serves as a reminder as to who holds the key on this intense journey. The mix is dense and nearly impenetrable, a key contrast to the likewise ambitious organic treks of Ingurgitating Oblivion or Orgone.

As disparate as the styles are within Vitriseptome’s various divisions, they never stray from Mitochondrion’s signature breed. The punishment is still all-encompassing and incessantly pulverizing, but balance is the priority. Its moments of relative stillness there is a tension to the looming attack (“Viabyssm,” “The Protanthrofuge”), and there are moments of tense placidity in the more warfaring partitions (“The Erythapside,” “Ignis Caecus”). Dynamically, the band utilizes its interludes and its underlying approach extremely effectively, with smooth transitions (“Oblithemesis” to “[]” to “Vitriseptome;” “Ignis Caecus” to “[antimonphoresis]” to “Vacuuole”) guiding the proceeds from experimental and unhinged former to patient and contemplative latter. As such, nary a second feels wasted on Vitriseptome despite its interlude-heavy tracklist and demanding runtime. Its two-then-three-then-four thematic divisions don’t feel confused or convoluted, because the density of the music and intricate construction lend purpose and distinction. Vitriseptome offers undeniable proof that Mitochondrion remains atop the death metal echelon, in spite of its thirteen-year quiet.

Vitriseptome is challenging, but it’s a challenge well worth undertaking. A puzzle unlocked, its secrets are revealed with every listen – a harrowing and putrid collection of knowledge. The dynamics therein tell a story of alchemical rage and occult obsession, fueled by madness and horror. Undeniably a test of patience, its first impression of unhinged insanity slowly gives way to intensely calculated brutishness, bolstered by its atmospheric prowess and bared teeth of noise. Mitochondrion hasn’t missed a beat after thirteen years: Vitriseptome succeeds as a reminder of their formidable greatness and sets the tone for the act’s pulverizing future.

Rating: 4.0/5.0
DR: 53 | Format Reviewed: 320 kb/s mp3
Label: Profound Lore Records
Websites: mitochondrion.bandcamp.com | facebook.com/mitochondrion137
Releases Worldwide: November 1st, 2024

#2024 #40 #Adversarial #AtmosphericDeathMetal #Auroch #BlackenedDeathMetal #CanadianMetal #DarkAmbient #DeathMetal #DissonantDeathMetal #Egregore #IngurgitatingOblivion #Mitochondrion #Noise #Nov24 #Orgone #Portal #ProfoundLoreRecords #Review #Reviews #Teitanblood #Ulcerate #Vitriseptome #WarMetal

How #Trypanosomes keep their mitochondrial genome https://fems-microbiology.org/femsmicroblog-how-trypanosomes-keep-their-mitochondrial-genome/

Mitochondrial #genome maintenance—the #kinetoplast story: Simona Amodeo et al. https://academic.oup.com/femsre/advance-article/doi/10.1093/femsre/fuac047/6855247

The parasite #Trypanosoma brucei lives and replicates in insect vectors like the fly. During the mating process, both its #nucleus and #mitochondrion replicate and exchange their genetic information, while the mitochondrial mechanism is still incompletely understood.

How #Trypanosomes keep their mitochondrial genome https://fems-microbiology.org/femsmicroblog-how-trypanosomes-keep-their-mitochondrial-genome/

Mitochondrial #genome maintenance—the #kinetoplast story: Simona Amodeo et al. https://academic.oup.com/femsre/advance-article/doi/10.1093/femsre/fuac047/6855247

The parasite #Trypanosoma brucei lives and replicates in insect vectors like the fly. During the mating process, both its #nucleus and #mitochondrion replicate and exchange their genetic information, while the mitochondrial mechanism is still incompletely understood.

Final version of our paper on the effects of mitochondria-targeted compounds on mitochondrial inner membrane proteins and function has been published. Free access link here https://authors.elsevier.com/a/1g8Gf5aTPd5DQF #xp #science #mitochondrion #mitochondria #biochemistry

Final version of our paper on the effects of mitochondria-targeted compounds on mitochondrial inner membrane proteins and function has been published. Free access link here https://authors.elsevier.com/a/1g8Gf5aTPd5DQF #xp #science #mitochondrion #mitochondria #biochemistry

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