#neurosis — Public Fediverse posts

Neurosis announce additional 2026 and 2027 tour dates.

Details: https://metalinsider.net/touring/neurosis-announce-new-2026-and-2027-tour-dates

#Neurosis #AnUndyingLoveForABurningWorld #TourAlert

Neurosis announce additional 2026 and 2027 tour dates.

Details: https://metalinsider.net/touring/neurosis-announce-new-2026-and-2027-tour-dates

#Neurosis #AnUndyingLoveForABurningWorld #TourAlert

Trump's Weird Loyalty Pledge

14-day gift read

https://www.theatlantic.com/ideas/2026/09/trump-convention-speech/688583/

#trump #epstein #uspol #politics #authoritarianism #neurosis

Trump's Weird Loyalty Pledge

14-day gift read

https://www.theatlantic.com/ideas/2026/09/trump-convention-speech/688583/

#trump #epstein #uspol #politics #authoritarianism #neurosis

Trump's Weird Loyalty Pledge

14-day gift read

https://www.theatlantic.com/ideas/2026/09/trump-convention-speech/688583/

#trump #epstein #uspol #politics #authoritarianism #neurosis

Trump's Weird Loyalty Pledge

14-day gift read

https://www.theatlantic.com/ideas/2026/09/trump-convention-speech/688583/

#trump #epstein #uspol #politics #authoritarianism #neurosis

Trump's Weird Loyalty Pledge

14-day gift read

https://www.theatlantic.com/ideas/2026/09/trump-convention-speech/688583/

#trump #epstein #uspol #politics #authoritarianism #neurosis

Neurosis Set ‘Undying Love’ Fall Tour Dates

Neurosis will embark on a handful of dates this fall in support of their celebrated comeback album, An…
#NewsBeep #News #Music #AU #Australia #Entertainment #Neurosis
https://www.newsbeep.com/au/885858/

Neurosis Set ‘Undying Love’ Fall Tour Dates

Neurosis will embark on a handful of dates this fall in support of their celebrated comeback album, An…
#NewsBeep #News #Music #AU #Australia #Entertainment #Neurosis
https://www.newsbeep.com/au/885858/

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

A year ago to the day, the metal community tragically lost Brent Hinds. Three weeks from now, metalheads can observe a joyous anniversary involving Hinds: Blood Mountain turns 20. The convergence of these anniversaries must be disorienting for the remaining members of Mastodon, who recently released a tribute to their fallen brother. In the video, Brann Dailor, Bill Kelliher, and Troy Sanders narrate the rise and fall of their camaraderie with Hinds, culminating in a public dispute after his dismissal from the band. Watching old studio footage of his deceased bandmate recording Blood Mountain, however, puts Dailor in a happier mood; he claims Hinds was reaching the height of his creative powers on album three.1 I snagged a copy of Blood Mountain from Best Buy the day it dropped, and it quickly presaged for me the metal giant Mastodon could become. Only now can I appreciate the giant within the giant.

Like most Mastodon fans, I eagerly anticipated Blood Mountain. The “March of the Fire Ants” video on Headbanger’s Ball introduced me to the band, and Leviathan convinced me that these Atlantans were running perpendicular to the New Wave of American Heavy Metal (NWOAHM) they were lumped into. Signing to Reprise Records put major pressure on the band, which they mitigated by keeping Matt Bayles behind the board.2 Mastodon ended up following Leviathan with another concept album, this time with originality: a protagonist ascends the titular mountain to crown its peak with a crystal skull, facing physical, psychological, and mythical tribulations along the way.3 Upon finally hearing it, Blood Mountain struck me as a step up for the band. Kelliher’s off-kilter guitar work felt more consistent, Sanders’s bass choices felt more impactful, and Dailor’s drum-kit clinic felt more purposive. But the album also struck me as structurally similar to Leviathan. An early lyric in “The Wolf is Loose”—when a screaming Hinds likens the protagonist’s predicament to ‘the belly of the whale’—seemed to confirm this similitude.

It was obvious, however, that Blood Mountain’s vocals separated it from previous outings. A making-of documentary shows Hinds exhausted by the lengthier recording process yet energized by the unique blending of his voice with Sanders’s.4 If “The Wolf is Loose” and “Crystal Skull” loosely mimic Leviathan’s raucous opening, Mastodon distinguish Blood Mountain’s one-two punch through Hinds’s voice, shifting between scathing snarls, creepy whispers, and soulful croons. On melodic centerpiece “Colony of Birchmen,” Hinds warbles eerie verses and belts a powerful post-chorus with posthumously poignant lyrics (‘Gone away / My heart’s gone away / Taking everything’). And “This Mortal Soil,” the prog-rock curveball, contains one of Hinds’s most moving choruses. The NWOAHM left me callous to the harsh/clean vocals formula, and Hinds himself jokes that Mastodon sold out with their singsongy major label premiere. Despite my NWOAHM skepticism, Blood Mountain didn’t strike me as vocally formulaic. Hinds’s voice in particular gave Mastodon a weirdo quality that had the band riding its own wave.

Hinds is primarily a guitarist, though, and Blood Mountain contains some of his most expressive playing. He does, of course, lay down tasty solos (“Crystal Skull,” “Colony of Birchmen”). But for my money, Blood Mountain soars when Hinds adds melodic color to kinetic jams with Kelliher, Sanders, and Dailor. The frenetic bridge in “Capillarian Crest” comes to mind, as does freak-out instrumental “Bladecatcher.” Closer “Pendulous Skin” shows Hinds at his most singular on Blood Mountain, guitar-wise. He cites Led Zeppelin as an influence, and it’s hard not to hear the song’s roving acoustic chords as Stairwavian, its solo as Pagean. With “Pendulous Skin,” it’s almost as if the rest of Mastodon handed off Blood Mountain to Hinds, confident he could craft a classic conclusion.5

Blood Mountain stands as a transition between the sludgsterpiece of Leviathan and the more palatable Mastodon to come. Calling it simply a ‘transition album,’ however, would be unjust. Standing tall on its own, Blood Mountain showed me something familiar yet new in 2006—in hindsight, Hinds was responsible for much of this invigorating novelty. Indeed, the album’s classic- and prog-rock flashes excited me for the band’s future. Speaking of the future, Mastodon will be releasing Marrow Deep, their first album without Hinds, a week from now. Today is the day to mourn the loss of a metal giant, and August 28th will be the day to see what Mastodon can create without this giant. September 12th, however, will be the day to celebrate Hinds’s giant contributions: to one of Mastodon’s finest albums and to metaldom more broadly.

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Neurosis:
🎵 We Are Torn Wide Open + Mirror Deep

#Neurosis

https://open.spotify.com/track/2S4z7AJjdTFmXuDGwWK09f

🎶 show playlist 👇
https://open.spotify.com/playlist/1uZ3GLf6lDtDqJSQrY0lMU

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Neurosis:
🎵 We Are Torn Wide Open + Mirror Deep

#Neurosis

https://open.spotify.com/track/2S4z7AJjdTFmXuDGwWK09f

🎶 show playlist 👇
https://open.spotify.com/playlist/1uZ3GLf6lDtDqJSQrY0lMU

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Neurosis:
🎵 We Are Torn Wide Open + Mirror Deep

#Neurosis

https://open.spotify.com/track/2S4z7AJjdTFmXuDGwWK09f

🎶 show playlist 👇
https://open.spotify.com/playlist/1uZ3GLf6lDtDqJSQrY0lMU

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Neurosis:
🎵 We Are Torn Wide Open + Mirror Deep

#Neurosis

https://open.spotify.com/track/2S4z7AJjdTFmXuDGwWK09f

🎶 show playlist 👇
https://open.spotify.com/playlist/1uZ3GLf6lDtDqJSQrY0lMU

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy

Neurosis:
🎵 We Are Torn Wide Open + Mirror Deep

#Neurosis

https://open.spotify.com/track/2S4z7AJjdTFmXuDGwWK09f

🎶 show playlist 👇
https://open.spotify.com/playlist/1uZ3GLf6lDtDqJSQrY0lMU

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

In his quest to write some unique doom metal, Jamie Kobić dug deep into his own Bosnian heritage to draw on the traditional folk music called Sevdah. This musical tradition, with its slower tempo and melancholic tone, fits in perfectly with doom. Often, songs contain lyrical content about love and longing. My own research into Sevdah, including watching performances on YouTube, suggests it’s a more vocal-centric style. However, it allows for a mix of instruments, and Kobić cites Sevdah’s “expressive chord progressions” as one of his desires to incorporate the style into his compositions. Having only a 2024 split with his other band, Gavran, to its credit, Kobić releases The Forever Silent as the debut album for his new vision for doom, Svjetlost. Does the mix of Sevdah with the heavy reverb of stoner doom succeed?

Opener “Above the Mountains” lays down the foundation with thick stoner riffs and a near-funeral pace, giving the impression this will be an epic á la Sleep’s Dopesmoker. Yet Svjetlost aren’t just stoner doom, also incorporating Neurosis-style flourishes including arpeggios and feedback to layer on the atmosphere. On rare occasions, Kobić jumps into the higher-energy stoner riffs of High on Fire (“Between the Peaks”), but for the most part this is a slow, mellow record. The stoner riffs don’t really sound all that distinct from those of your typical stoner metal outfits, but there’s a satisfaction in the contrast between the louder, reverb-laden portions and the gentler sections. “The Golden Lilies” illustrates this, with some melancholic melodies strummed softly for a few minutes before Svjetlost breaks into the fuzzier, heavier side in a satisfying transition.

Kobić’s mellow approach to the vocals often means they play second fiddle to the instruments, and often he’s so quiet that he’s barely distinguishable from background noises. His gentle voice fits the style well, and he hits melancholic notes that seem in line with the Sevdah tradition. His melodic lilt serves as the emotional core, especially during passages on “The Golden Lilies” and “Between the Peaks.” Other times his voice rises barely above a whisper, and others yet he takes on a hypnotic chanting cadence. “Between the Peaks” is the only time he swaps out the cleans for something harsher, the agonized shouts of someone who can no longer contain his sorrows. Kobić’s voice is distinctive, yet it’s hardly dominant. Lengthy passages go by without hearing him, and when we do, he’s often reluctant to cede ground to his instruments, instead becoming one with the music.

Svjetlost sometimes feels adrift without any sense of direction. Sure, the switches in direction, tone, and tempo help alleviate the song lengths—each ranging from 13 to 16 minutes—yet the problem is that passages ramble on far longer than necessary without much variation in riffs or progressions. Kobić does demonstrate the ability to write compelling passages of music. “Above the Mountain” starts off strong, while “The Golden Lilies” contains moments of poignancy, and “Between the Peaks” mixes things up with its energetic and fun start. Yet as good as some of these individual passages are, the problem is that the length of each song demands more compelling material in the moments between, and The Forever Silent doesn’t always deliver, often lingering on repetitive passages that feel like they last, well, forever. Even worse, Svjetlost includes occasional moments of a high-pitched, whiny screech of feedback to snap your wandering attention back to the music—only to make you want to turn it off.

While the mix of Sevdah and stoner doom isn’t bad by any stretch, it’s also not particularly distinctive. Perhaps you can hear it in the vocals or maybe in those oft-repeated chord progressions, but for those unaware of this influence, The Forever Silent doesn’t sound all that different from your usual sludge/stoner doom outfit. Yet there’s no denying Svjetlost effectively weave a gentle melancholy into the music, heard in Kobić’s plaintive singing, in the arpeggios and the soft tempo. There’s a pleasure to be had in spending time with The Forever Silent for those who enjoy mellower stoner doom. Spending 55 minutes with this behemoth may be a tougher sell for anyone else.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Shadow of Sorrow Records
Websites: Bandcamp | Facebook
Releases Worldwide: July 24th 2026

And here's a recording of the full #Neurosis set at Fire in the Mountains https://www.youtube.com/watch?v=92VW_YhgdHY

And here's a recording of the full #Neurosis set at Fire in the Mountains https://www.youtube.com/watch?v=92VW_YhgdHY

And here's a recording of the full #Neurosis set at Fire in the Mountains https://www.youtube.com/watch?v=92VW_YhgdHY

And here's a recording of the full #Neurosis set at Fire in the Mountains https://www.youtube.com/watch?v=92VW_YhgdHY

And here's a recording of the full #Neurosis set at Fire in the Mountains https://www.youtube.com/watch?v=92VW_YhgdHY

Grand, #neurosis
https://youtu.be/jJm3cjkXeZI?list=RDjJm3cjkXeZI&t=461

Grand, #neurosis
https://youtu.be/jJm3cjkXeZI?list=RDjJm3cjkXeZI&t=461

Grand, #neurosis
https://youtu.be/jJm3cjkXeZI?list=RDjJm3cjkXeZI&t=461

Grand, #neurosis
https://youtu.be/jJm3cjkXeZI?list=RDjJm3cjkXeZI&t=461

#neurosis
#postmetal
#MMRコラム

暴力性と静寂、民族音楽と電子音、映像演出までも融合し、ヘヴィミュージックの表現領域を根本から拡張したNeurosisの軌跡をたどる

続きはこちらから🔽
monumental-movement.jp/column-neuro...

【コラム】 Neurosis──ポストメタルという概念を生み...

#SaturDoom
#Neurosis #FallingUnknown

https://relapsealumni.bandcamp.com/track/falling-unknown

#SaturDoom
#Neurosis #FallingUnknown

https://relapsealumni.bandcamp.com/track/falling-unknown

#SaturDoom
#Neurosis #FallingUnknown

https://relapsealumni.bandcamp.com/track/falling-unknown

#SaturDoom
#Neurosis #FallingUnknown

https://relapsealumni.bandcamp.com/track/falling-unknown

#SaturDoom
#Neurosis #FallingUnknown

https://relapsealumni.bandcamp.com/track/falling-unknown

Music on physical media I bought this year

1. Alice in Chains − Alice in Chains (1995) 12": thank God they finally repressed this
2. Ennio Morricone − Il clan dei siciliani (1969) double CD with some previously unreleased material
3. Diamanda Galás − Saint of the Pit (1986) 12"
4. Elysian Fields − Queen of the Meadow 12": first time on wax, completely missed it when it was released late last year, happy to have found a copy since then
5. #Candiria − Beyond Reasonable Doubt (1997) 12": still looking for a copy of Surrealistic Madness though
6. #Neurosis − Enemy of the Sun (1993) 12"
7. Candiria − 300% Density (2001) 12"
8. #Gâtechien − Live la Nef 2006 (2006) CD: been looking for that one for a couple of years
9. Neurosis − An Undying Love for a Burning World (2026) 12": best Neurosis record since A Sun That Never Sets
10. Yazz Ahmed − Shinrin-Yoku (2026) 12"

Pic made with #recordclub

#AliceInChains #AIC #EnnioMorricone #DiamandaGalás #ElysianFields #YazzAhmed #vinyl #records

Music on physical media I bought this year

1. Alice in Chains − Alice in Chains (1995) 12": thank God they finally repressed this
2. Ennio Morricone − Il clan dei siciliani (1969) double CD with some previously unreleased material
3. Diamanda Galás − Saint of the Pit (1986) 12"
4. Elysian Fields − Queen of the Meadow 12": first time on wax, completely missed it when it was released late last year, happy to have found a copy since then
5. #Candiria − Beyond Reasonable Doubt (1997) 12": still looking for a copy of Surrealistic Madness though
6. #Neurosis − Enemy of the Sun (1993) 12"
7. Candiria − 300% Density (2001) 12"
8. #Gâtechien − Live la Nef 2006 (2006) CD: been looking for that one for a couple of years
9. Neurosis − An Undying Love for a Burning World (2026) 12": best Neurosis record since A Sun That Never Sets
10. Yazz Ahmed − Shinrin-Yoku (2026) 12"

Pic made with #recordclub

#AliceInChains #AIC #EnnioMorricone #DiamandaGalás #ElysianFields #YazzAhmed #vinyl #records

Music on physical media I bought this year

1. Alice in Chains − Alice in Chains (1995) 12": thank God they finally repressed this
2. Ennio Morricone − Il clan dei siciliani (1969) double CD with some previously unreleased material
3. Diamanda Galás − Saint of the Pit (1986) 12"
4. Elysian Fields − Queen of the Meadow 12": first time on wax, completely missed it when it was released late last year, happy to have found a copy since then
5. #Candiria − Beyond Reasonable Doubt (1997) 12": still looking for a copy of Surrealistic Madness though
6. #Neurosis − Enemy of the Sun (1993) 12"
7. Candiria − 300% Density (2001) 12"
8. #Gâtechien − Live la Nef 2006 (2006) CD: been looking for that one for a couple of years
9. Neurosis − An Undying Love for a Burning World (2026) 12": best Neurosis record since A Sun That Never Sets
10. Yazz Ahmed − Shinrin-Yoku (2026) 12"

Pic made with #recordclub

#AliceInChains #AIC #EnnioMorricone #DiamandaGalás #ElysianFields #YazzAhmed #vinyl #records

Very nice to see #Neurosis at #3!
"Social Picks: #Discogs Community’s Favorite Albums of 2026, So Far" https://www.discogs.com/digs/collecting/social-picks-discogs-communitys-favorite-albums-of-2026-so-far/

Very nice to see #Neurosis at #3!
"Social Picks: #Discogs Community’s Favorite Albums of 2026, So Far" https://www.discogs.com/digs/collecting/social-picks-discogs-communitys-favorite-albums-of-2026-so-far/

#DNALounge #ArchiveDotOrg
#Neurosis #Live #BeyondThePale #2002

Neurosis starts around the 5:00:00 mark

https://archive.org/details/DNALOUNGE-2002-11-15

Neurosis: An Undying Love for a Burning World

Le monde est rempli de classiques indispensables que je ne connais pas: aujourd’hui, Neurosis, qui sort un nouvel album: An Undying Love For A Burning World.

#Neurosis #postMetal #USA

https://wp.me/ppneF-bSW

1/4
#MaryHartmanMaryHartman!

https://www.youtube.com/watch?v=bhlZdP1uKyc

There’s a sea of tributes now for #LouiseLasser, but still little footage of the show which network TV sought to hide.

Why? The show is a parody of 1960’s/70’s style #neurosis, most of all, consumerism. That's why commercial-driven #Television networks were... 'wary'.

Starting in the kitchen, battling wax buildup, into a deeply funny/absurd soap opera. Here are 4 clips.

#consumerism #television #TV #nostalgia #advertising #commercialism

1/4
#MaryHartmanMaryHartman!

https://www.youtube.com/watch?v=bhlZdP1uKyc

There’s a sea of tributes now for #LouiseLasser, but still little footage of the show which network TV sought to hide.

Why? The show is a parody of 1960’s/70’s style #neurosis, most of all, consumerism. That's why commercial-driven #Television networks were... 'wary'.

Starting in the kitchen, battling wax buildup, into a deeply funny/absurd soap opera. Here are 4 clips.

#consumerism #television #TV #nostalgia #advertising #commercialism

Rest in Peace, Louise Lasser
🙏 🕯️

https://variety.com/2026/tv/news/louise-lasser-dead-mary-hartman-mary-hartman-1236803596/

"Mary Hartman! Mary Hartman!!"

Not as well known as her one-time husband, Woody Allen, but for me, she was right up there in the pantheon of the #neurotic essence.

Her brief television series - one of my very favorites ever, along with "Brain Dead" - had me 'addicted' and enthralled by her performance.

#RIP #LouiseLasser #passings #obit #NormanLear #television #classicTV #neurosis #WoodyAllen #MaryHartmanMaryHartman

/1 of 2

OK so you know, the music I’ve been making the last couple of years is definitely #drone based, and in at least that sense I consider it in part a form of #ambient (or even #darkAmbient if you must), as well as in that it’s meant to have certain meditative and immersive qualities

at the same time, I want to emphasize that while it’s experimental, electronic, and minimalistic, I also intend it to be heavy, ritualistic stuff. I track and mix at maximum volume, and my records are meant to be heard that way. I am inspired by artists like #gybe, #sunn_O))), #Neurosis, #MONO, @sigurRos, #Godflesh (Incl #Jesu) and fuckin #Swans. I work with digital software as my primary musical instrument, because it’s what I know best and have ready access to. As part of my workflow/process, some of the sounds are bounced down to analog cassette tape on a 1990s vintage four-track machine, and then back into the laptop/DAW. One way I sometimes try to put it, is I’d like my music to be judged as if it were, say, the electronic ambient #doom solo project of a former black metal drummer – except I skipped the part where I was a drummer in a black metal band. (I did play bass and keyboards in a couple of punk bands long ago.) You’re supposed to feel the bass in your sternum, you dig?

As much as I’d love a chance to get to work in a pro studio, or maybe just to have more hardware equipment at home and I do consider my music a meaningful and serious artistic endeavor, I’m not a pro musician but a suburban computer toucher of a certain age, with a mortgage and kids to get through college, so that’s not in the cards. And I *like* seeing how much of a throbbing racket I can stir up with a DAW and a couple of basic MIDI controllers, which I think turns out to be a lot. Today’s technology makes incredible things possible working entirely in the box. it becomes a trust the process/work within the limitations/constraints thing; something something about surrendering ego to the sound.

Anyway, the point is, I don’t expect the things I make to be everyone’s cup of #noise, and this one is a couple of years old already now (ugh) – but at the risk of sounding braggy I’m pretty proud of it, and I would like for my #fedimusic friends to hear it. And once again, I strongly encourage everyone to PLAY IT LOUD!! 🤘🖤🤘

https://dub.yager-madden.com/blood-paradise.html