#moderator — Public Fediverse posts

https://www.europesays.com/sk/65232/ Manželstvo z Vegas zachrániť nevedel. Moderátor Ruže pre nevestu je šťastný pri Veronike, ktorá ho opantala #Entertainment #KrištofKrálik #moderátor #RužaPreNevestu #SK #Slovak #Slovakia #Slovenčina #Slovensko #Zábava

https://www.europesays.com/at/147487/ Talk in Monheim: Guildo Horn rechnet mit Deutschlands ESC-Beitrag ab – RP Online #AT #Austria #Entertainment #esc #GuildoHorn #Lippert #Moderator #Modewort #Monheim #Monheimer #Music #Musik #Österreich #plaudern #Signalwort #spiel #Spielbank #Unterhaltung #verantwortlich #Wort

Two winners, one loser in tonight’s L.A. mayor’s debate

Karen Bass, Spencer Pratt and Nithya Raman each came into tonight’s mayoral debate with goals for what may…
#UnitedStates #US #USA #america #audience #bass #conversation #debate #IncumbentMayor #l.a.mayor #loser #Moderator #nithyaraman #pratt #presidenttrump #simplequestion #stage #time #Tonight #unitedstatesofamerica #USnews #USAnews
https://www.europesays.com/2971533/

FC Bayern: Mitten in München! Hier duelliert sich der PSG-Boss mit Khedira | Sport

TTS-Player überspringen↵Artikel weiterlesen …
#Muenchen #Munchen #Munich #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #München #Al-KhelaifiNasser #Bayern #Bundesliga #ChampionsLeague #DAZN #FCBayernMünchen #Fußball #Germany #KhediraSami #Kommentator #Moderator #ParisSaint-Germain #Sport #Sport-LeuchtturmMünchen #Tennis #Weltmeister
https://www.europesays.com/de/996868/

https://www.europesays.com/cz/74196/ Leoš Mareš ztrapnil manželku Moniku: Srovnání s Petrou Faltýnovou #bývalka #Entertainment #LeošMareš #manželka #moderátor #MonikaMarešová #PetraFaltýnová #Zábava #žhavéDrby

https://www.europesays.com/cz/73404/ Václav Moravec nelení! Založil firmu s nečekaným zaměřením #Entertainment #firma #moderátor #Podcast #VáclavMoravec #Zábava #žhavéDrby

ANOTHER WORLD (2007) [X] Moderator, Oddly Humes - 8th Floor (2023) [VIDEO CLIP MUSIC © GAME ONE]

#soundtrack #ANOTHERWORLD #2007 #Moderator #OddlyHumes #8thFloor #2023 #videogame #music #retrogaming #games #gaming #clip #videoclip #videoclipmusic #GAMEONE

https://www.youtube.com/watch?v=TxqcMPFm1VI

ANOTHER WORLD (2007) [X] Moderator, Oddly Humes - 8th Floor (2023) [VIDEO CLIP MUSIC © GAME ONE]

#soundtrack #ANOTHERWORLD #2007 #Moderator #OddlyHumes #8thFloor #2023 #videogame #music #retrogaming #games #gaming #clip #videoclip #videoclipmusic #GAMEONE

https://www.youtube.com/watch?v=TxqcMPFm1VI

ANOTHER WORLD (2007) [X] Moderator, Oddly Humes - 8th Floor (2023) [VIDEO CLIP MUSIC © GAME ONE]

#soundtrack #ANOTHERWORLD #2007 #Moderator #OddlyHumes #8thFloor #2023 #videogame #music #retrogaming #games #gaming #clip #videoclip #videoclipmusic #GAMEONE

https://www.youtube.com/watch?v=TxqcMPFm1VI

ANOTHER WORLD (2007) [X] Moderator, Oddly Humes - 8th Floor (2023) [VIDEO CLIP MUSIC © GAME ONE]

#soundtrack #ANOTHERWORLD #2007 #Moderator #OddlyHumes #8thFloor #2023 #videogame #music #retrogaming #games #gaming #clip #videoclip #videoclipmusic #GAMEONE

https://www.youtube.com/watch?v=TxqcMPFm1VI

ANOTHER WORLD (2007) [X] Moderator, Oddly Humes - 8th Floor (2023) [VIDEO CLIP MUSIC © GAME ONE]

#soundtrack #ANOTHERWORLD #2007 #Moderator #OddlyHumes #8thFloor #2023 #videogame #music #retrogaming #games #gaming #clip #videoclip #videoclipmusic #GAMEONE

https://www.youtube.com/watch?v=TxqcMPFm1VI

https://www.europesays.com/cz/72764/ Tomáš Matonoha před StarDance: Přiznal zásadní obavu #Dech #Entertainment #fyzička #herec #moderátor #obavy #StarDance #tanec #TomášMatonoha #Zábava #žhavéDrby

https://www.europesays.com/sk/50547/ Ruský moderátor urážal Meloniovú, nazval ju „fašistickou kreatúrou“. Taliani reagovali – Svet – Správy #GiorgiaMeloniová #meloniovú #moderátor #News #ruský #SK #Slovak #Slovenčina #Správy #Svet #urážal #VladimirSolovjov #World #WorldNews

Dlouholetá tvář České televize se vydala vlastní cestou. Bývalý moderátor nejsledovanější české politické debaty Otázky Václava Moravce má novou firmu. Václav Moravec si nedávno založil společnost Moravec Media, která má zastřešit jeho vlastní projekt a nabízí i audiovizuální mediální služby na vyžádání.

Tón: : mírně negativní
#česko #gdelt #moderátor #českáTelevize #poslaneckáSněm...

https://www.blesk.cz/clanek/zpravy-politika/837818/co-dela-vaclav-moravec-po-konci-v-ct-ma-zbrusu-novou-firmu.html

Dlouholetá tvář České televize se vydala vlastní cestou. Bývalý moderátor nejsledovanější české politické debaty Otázky Václava Moravce má novou firmu. Václav Moravec si nedávno založil společnost Moravec Media, která má zastřešit jeho vlastní projekt a nabízí i audiovizuální mediální služby na vyžádání.

Tón: : mírně negativní
#česko #gdelt #moderátor #českáTelevize #poslaneckáSněm...

https://www.blesk.cz/clanek/zpravy-politika/837818/co-dela-vaclav-moravec-po-konci-v-ct-ma-zbrusu-novou-firmu.html

https://www.europesays.com/sk/49224/ Nečakané priznanie Jána Tribulu, ktoré mnohých prekvapí: Po 30 rokoch v Markíze prezradil jednu vec #Celebrities #Celebrity #Entertainment #FamousPeople #moderátor #Práca #SK #SlávneOsobnosti #Slovak #Slovakia #Slovenčina #Slovensko #televízia #TvMarkíza #Zábava

https://www.europesays.com/cz/60217/ Mareš už totálně rezignoval? Je úplně jedno, co se bude dít #Dovolená #Dubaj #Entertainment #Evropa2 #LeošMareš #moderátor #MonikaMarešová #narozeniny #Prázdniny #válka #Zábava #žhavéDrby

https://www.europesays.com/cz/56908/ Něrgešová budí strach: Otevřená zpověď Brzobohatého #českoHledáSuperstar #Entertainment #LaďkaNěrgešová #moderátor #OndřejBrzobohatý #přátelství #Zábava #žhavéDrby

https://www.europesays.com/at/97194/ Die besten Sprüche von Walter Speller aus Kluse #AT #Austria #Entertainment #Fernsehsendung #Moderator #Österreich #RTL #Serien #Series #Showmaster #Unterhaltung

Black metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.

If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.

He Left The Temple by Foghazer

Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.

There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.

There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026

Black metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.

If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.

He Left The Temple by Foghazer

Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.

There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.

There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026

Black metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.

If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.

He Left The Temple by Foghazer

Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.

There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.

There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026

Black metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.

If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.

He Left The Temple by Foghazer

Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.

There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.

There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026

Black metal’s wide-ranging milieu encompasses many sub-genres—1st wave, 2nd wave, raw, symphonic, atmospheric, post—the list goes on. One niche of the black metalsphere, with neither a large sample size nor a large following, is black metal smashed hip-hop. Sure, some artists come to mind: Ghostemane, for one; then there’s what Zeal & Ardor is doing, as well as Déhà’s project NADDDIR, which melds flashes of black metal with trap beats and cloud rap.1 Tossing his spliff in the ashtray as it were is the mysterious Berliner, Foghazer, with his Hypnotic Dirge debut, He Left the Temple, an album comprised of nine, singularly titled tracks that cumulatively read “‘He’ ‘Left’ ‘The’ ‘Temple’ ‘And’ ‘Fog’ ‘Followed’ ‘Him’ ‘Out,”‘ and described by the artist as “low-visibility sound: slow beats, distorted memory and fog as both space and emotion.” Will Foghazer open the floodgates to a new sub-sub-sub-genre, or be just another basement-dwelling one-man band exiting his parents’ lowest-level ‘temple’ in a haze of pot smoke and lo-fi tuneage in search of munchies.

If Moderator2 and Portishead got down and “black metal” dirty with Burzum in some hole in the wall no-tell motel, the offspring of that union would sound like Foghazer. Eschewing nearly all vocals, He Left the Temple employs trip-hoppy drum beats with occasional blasts and jazz fills, moody-smooth bass lines, and eerily plucked or Filosofem-level reverb-drenched guitars to armor the majority of its aural palette.3 Toss in some scratchy, Portishead-style turntablism, operatic female soprano warblings, Master Boot Record-type bleepity-bloops (“He,” “Followed”) amidst other random sounds, and you’ve got the gist of what’s happening here. He Left the Temple strikes a decent cinematic chord, evoking a lo-res film noir experience that, at least in my mind’s movie, follows Foghazer and his gang of corpse-painted black metal beatniks as they roam the harsh streets of an “every-city” looking for trouble.

He Left The Temple by Foghazer

Laid-back and gloomy, Foghazer does a good job of setting a mood; He Left the Temple would serve equally well as a lounge-lizard soundtrack looping endlessly in an edgy, urban underground cigar-and-whiskey bar as it would a score for some Werner Herzog black metal remake of the movie Kids. “Left” has a slow, eerie build that transitions from creepy, singular guitar plucks to a double-bass rolling foundation that supports some nice, melodic riff patterns. “Fog” is another standout; its trippy bass line and trap beats trade punches with passages of doomy tremolos and double bass rolls, and had me thinking, ‘this is what Darkthrone might sound like if they took a stab at this kind of thing.’ There were many moments where I found myself slipping comfortably into the groove that Foghazer was laying down, my rollin’-through-Oslo-in-my-tricked-out-hearse head bob in full effect. Unfortunately, not all of the fog in the temple envelops completely.

There is a dark thread of similitude running through nearly all of He Left the Temple that impacted my overall experience. Foghazer rinses and repeats his compositional formula such that, if you were to cycle through the first five seconds of every track from “He” to “Fog,” each begins in much the same way, which cumulatively has a hypnotizing effect that takes you out of what’s happening more than it draws you in. I kept checking the track number every so often to see if I’d mistakenly played the same song over again. The other demerit I must levy against He Left the Temple occurs when Foghazer leans heaviest into his black metal. “Temple” is the most glaring example of this as it begins pensively, with some brooding bass tones and spindly guitar plucks before settling into its trip-hop beat section, which gets rudely interrupted at the 1:25 mark by an obnoxious blast beat that continuously pulses under those creepy guitars. This track also contains Foghazer’s only vocals, which, for us, is a blessing in disguise since I find his particular brand of shriek rather grating.

There’s some cool stuff going on in He Left the Temple, but this is nothing that’s going to put Foghazer on the map. I appreciate the groove and mood he’s able to create at times, but as a mostly instrumental album, the lack of any additional engaging dynamics left me wanting more from Foghazer. As it stands, He Left the Temple makes for some entertaining background music, but not much more.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 192kbps mp3
Label: Hypnotic Dirge Records
Websites: Bandcamp | Instagram
Releases Worldwide: March 27th, 2026

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Tón: : mírně negativní
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Tón: : mírně negativní
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#Generationen von #Kindern und #Eltern kennen ihn als #Mann mit #Latzhose und #Nickelbrille: #Peter #Lustig. Am 23. Februar 2016 stirbt der #langjährige "#Löwenzahn"-#Moderator.

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#Generationen von #Kindern und #Eltern kennen ihn als #Mann mit #Latzhose und #Nickelbrille: #Peter #Lustig. Am 23. Februar 2016 stirbt der #langjährige "#Löwenzahn"-#Moderator.

Fast 25 Jahre lang gibt er für die junge Zielgruppe den #Tüftler-#Eremiten in #Latzhose... Doch Peter Lustig ist nicht nur #Kinderfernsehpionier. Er ist auch #Flüchtlingskind, #BhagwanAnhänger und #Patient. 1984 wird bei ihm #Lungenkrebs diagnostiziert.
https://www1.wdr.de/radio/wdr5/sendungen/zeitzeichen/zeitzeichen-peter-lustig-104.html..

#Zeitzeichen

#Generationen von #Kindern und #Eltern kennen ihn als #Mann mit #Latzhose und #Nickelbrille: #Peter #Lustig. Am 23. Februar 2016 stirbt der #langjährige "#Löwenzahn"-#Moderator.

Fast 25 Jahre lang gibt er für die junge Zielgruppe den #Tüftler-#Eremiten in #Latzhose... Doch Peter Lustig ist nicht nur #Kinderfernsehpionier. Er ist auch #Flüchtlingskind, #BhagwanAnhänger und #Patient. 1984 wird bei ihm #Lungenkrebs diagnostiziert.
https://www1.wdr.de/radio/wdr5/sendungen/zeitzeichen/zeitzeichen-peter-lustig-104.html..

#Zeitzeichen

1/3 Auch wenn ich mich jetzt unbeliebt mache, aber diese "Überraschung" - Reaktion 😳😳😳aus verschiedenen "leitenden" Positionen macht mich fast so betroffen, wie der Vorfall des getöteten #Bahnmitarbeiter selbst.
Wenn ich lese, "wir haben das nicht kommen sehen", kann ich jedem empfehlen, die #diskussionskultur sind den letzten Jahren noch mal zu beobachten. Wenn nichts dagegen getan wird, muss ich mich nicht wundern. Ich bin in meiner Freizeit #Moderator innem Forum und wir achten seit Jahren..