#nile — Public Fediverse posts

https://www.europesays.com/africa/328347/ The Wild Side Of The Nile: Uganda’s Best-Kept Safari Secret. #conservation #KuluOra #MurchisonFallsNationalPark #Nile #safari #Uganda #wildlife

Egypt Is Building a New Nile

https://www.theb1m.com/video/egypt-is-building-a-new-nile

Comments: https://news.ycombinator.com/item?id=48779274

#HackerNews #Egypt #Nile #NewProject #Infrastructure #Development

Egypt Is Building a New Nile

https://www.theb1m.com/video/egypt-is-building-a-new-nile

Comments: https://news.ycombinator.com/item?id=48779274

#HackerNews #Egypt #Nile #NewProject #Infrastructure #Development

Egypt Is Building a New Nile

https://www.theb1m.com/video/egypt-is-building-a-new-nile

Comments: https://news.ycombinator.com/item?id=48779274

#HackerNews #Egypt #Nile #NewProject #Infrastructure #Development

Egypt Is Building a New Nile

https://www.theb1m.com/video/egypt-is-building-a-new-nile

Comments: https://news.ycombinator.com/item?id=48779274

#HackerNews #Egypt #Nile #NewProject #Infrastructure #Development

Egypt Is Building a New Nile

https://www.theb1m.com/video/egypt-is-building-a-new-nile

Comments: https://news.ycombinator.com/item?id=48779274

#HackerNews #Egypt #Nile #NewProject #Infrastructure #Development

https://www.europesays.com/es/637843/ Nuevos vídeos en directo de METALLICA. NILE preparando nuevo disco. Escucha el nuevo trabajo de TODOMAL #Entertainment #Entretenimiento #ES #España #Metallica #Music #Música #NILE #Spain #TODOMAL

https://www.europesays.com/africa/301956/ Painting Egypt in Colour: Bridget Riley’s Egyptian Palette #AgathaChristie #Art&Design #Aswan #BridgetRiley #BritishArtists #BritishColonial #Culture&Lifestyle #Egypt #Featured #JacksonPollock #johns #landscape #Luxor #Nile #OpticalArt #painting #pointillism #ResponsiveEyes #seurat #Temple

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

True Crime has had its moment in the mainstream, with more than a fair share of content having been generated, particularly in the first half of this decade. But rather than bingeing on Ryan Murphy’s questionable Monster series,1 I instead suggest you take Monument of Misanthropy’s discography for a spin. Washington State Charm is the Austrians’ third successive LP tackling the exploits of a notorious serial killer—this time, Ted Bundy—and it’s bags more fun and significantly less disrespectful than your average makeup-and-true-crime YouTube video2 or Netflix dramatization. It’s also a showcase for some pretty great tech-death. As has become their trademark, Monument of Misanthropy evolve once again, tweaking their style to fit their despicable protagonist whilst remaining satisfyingly heavy. Are they still getting away with the gimmick, or is it time to hang up the hacksaw?

One thing’s clear at least: Washington State Charm is entertaining, and it interestingly suits its subject matter. Pivoting away slightly from the grind and brutality of Vile Postmortem Irrumatio and towards melody, hookiness, and groove, the album taps into a different form of Monument of Misanthropy’s signature snappiness. With guest appearances from Johnny Ciardullo (Angelmaker), Mendel bij de Leij (ex-Aborted), Gabe Mangold (Enterprise Earth), Hal Microutsicos (Engulf), and Jean-Jacques Moréac (Misanthrope), the record is scattered with riff-centric deathcore influence. For the most part, this really works. Intentional or not, there’s a parallel between this catchier, more accessible sound and Bundy’s status as one of the most well-known serial killers in modern history, who was also infamously “charming,” “handsome,” and otherwise palatable to society. If the previous album sounded, as I said at the time, “like Cattle Decapitation had a baby with Aborted,” then Washington State Charm is that baby growing into a teenager and experimenting, funnily enough, resembling their parent Aborted quite markedly, but with a bit of Cytotoxin by way of Dying Fetus thrown in for good measure.

Washington State Charm’s key strength is how Monument of Misanthropy twisted each aspect of their sound to make the whole infectiously catchy and memorable. Melody floods in with effervescent lead arpeggios (“Neath Tacoma Asphalt,” “A Hunger Unstilled,” “Colorado Murder”). Speed is used smartly in tandem with punchy syncopation (title track), and is met with a fairer dose of slower, circular swing (“The 1974 PNW Spree,” “The Hacksaw Blade”). The band’s mastery of rhythm to emphasize their punchlines (“The 1974…,” “Colorado Murder”), amp up the energy (“Neath Tacoma Asphalt,” “Colorado Murder”), and create an irresistible groove (“Suwannee Hog Shed”) has markedly improved.3 Together, this makes for highlights like the twin-guitar soloing on “Neath Tacoma Asphalt,” the drop-tuned uptempo groove on “Colorado Murder,” the call-and-response snarls and beats on “Chi Omega Blood Rage,” and the wonderful seesawing slide on “Strapped to the Throne.” There’s no way you’re listening to this without a savage grin plastered on your face.

It’s the album’s structure that lets down what might otherwise be a knock-out success. Humming with adrenaline from the literal high note of “Neath Tacoma Asphalt”‘s final riff, the inexplicably instrumental “A Hunger Unstilled” hits a little strangely. It’s a great piece in isolation, with a churning progression of melody and pace that calls to mind some hybrid of Aborted and Hath. But it’s most charitably taken as an extended intro to “The 1974…—which instantly kicks things back into murderous gear—and that feels wasteful. Monument of Misanthropy again add interview samples as miniature tracks, but their placement is similarly wonky, clustered around the start and end. It’s also hard not to compare them unfavorably to the drama-enhancing atmospheric examples on VPI. One could argue—not without justification—that these quirks are an intended reflection of their subject’s “career”: long periods without arrest, and an escape and ensuing murder spree once he was finally caught the first time. That would be fair, though it wouldn’t totally iron out flaws in the album’s flow. Less understandable, though less egregious, is the recurrence of a classic death metal cover at the close—Nile’s “Eye of Ra.” It’s a decent cover, but I don’t fully see its relevance.4

Washington State Charm achieves what it sets out to do: narrate the grisly story of a serial killer through slick, crushing death metal. It even goes one further, improving on the production—non-sample tracks averaging a DR of 5.5. Naysayers might bemoan the perceived slide towards accessibility, but really, the sheer gleeful energy of Washington State Charm is a testament to Monument of Misanthropy’s ever-increasing mastery of their craft.

Rating: Very Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Listenable Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 26th, 2026

https://www.europesays.com/africa/299258/ A New Boutique Nile Cruise Lets Travelers Sail Egypt Aboard a Luxury Dahabiya #AlMouradDahabiya #AncientTemples #CruiseExperience #CruiseShips #Egypt #Nile #PersonalizedExperience #TimelessLandscapes

A New Boutique Nile Cruise Lets Travelers Sail Egypt Aboard a Luxury Dahabiya https://www.byteseu.com/2134809/ #AlMouradDahabiya #AncientTemples #CruiseExperience #CruiseShips #Egypt #Nile #PersonalizedExperience #TimelessLandscapes

Crossing Continents by Heather J. Sharkey, 2026 uses the lens of global microhistory to explore how the Nile Valley intersected with the wider world over the 19th and 20th centuries.

Instead of focusing on sweeping macro-narratives, massive armies, or treaties, the book reconstructs the highly mobile lives of six unique individuals (and even objects/animals) to trace how ideas, cultures, and people collided across borders.

#books
#nonfiction
#history
#Egypt
#Nile
#MicroHistory

Crossing Continents by Heather J. Sharkey, 2026 uses the lens of global microhistory to explore how the Nile Valley intersected with the wider world over the 19th and 20th centuries.

Instead of focusing on sweeping macro-narratives, massive armies, or treaties, the book reconstructs the highly mobile lives of six unique individuals (and even objects/animals) to trace how ideas, cultures, and people collided across borders.

#books
#nonfiction
#history
#Egypt
#Nile
#MicroHistory

Crossing Continents by Heather J. Sharkey, 2026 uses the lens of global microhistory to explore how the Nile Valley intersected with the wider world over the 19th and 20th centuries.

Instead of focusing on sweeping macro-narratives, massive armies, or treaties, the book reconstructs the highly mobile lives of six unique individuals (and even objects/animals) to trace how ideas, cultures, and people collided across borders.

#books
#nonfiction
#history
#Egypt
#Nile
#MicroHistory

Crossing Continents by Heather J. Sharkey, 2026 uses the lens of global microhistory to explore how the Nile Valley intersected with the wider world over the 19th and 20th centuries.

Instead of focusing on sweeping macro-narratives, massive armies, or treaties, the book reconstructs the highly mobile lives of six unique individuals (and even objects/animals) to trace how ideas, cultures, and people collided across borders.

#books
#nonfiction
#history
#Egypt
#Nile
#MicroHistory

Crossing Continents by Heather J. Sharkey, 2026 uses the lens of global microhistory to explore how the Nile Valley intersected with the wider world over the 19th and 20th centuries.

Instead of focusing on sweeping macro-narratives, massive armies, or treaties, the book reconstructs the highly mobile lives of six unique individuals (and even objects/animals) to trace how ideas, cultures, and people collided across borders.

#books
#nonfiction
#history
#Egypt
#Nile
#MicroHistory

#NILE #GRUPPO #MUSICALE aepiot.com?lang=it&q=NI... #EPISODI DI #DETECTIVE #CONAN #TRENTUNESIMA #STAGIONE semantic-search.headlines-world.com/advanced-sea... headlines-world.com

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#NILE #GRUPPO #MUSICALE aepiot.com?lang=it&q=NI... #EPISODI DI #DETECTIVE #CONAN #TRENTUNESIMA #STAGIONE semantic-search.headlines-world.com/advanced-sea... headlines-world.com

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https://www.europesays.com/africa/279760/ Egypt’s lost underwater city reveals gold jewellery, silver treasures, and a forgotten temple after 2,000 years | World News #amun #Egypt #EgyptbeforeAlexandria #EuropeanInstituteForUnderwaterArchaeology #FranckGoddio #Nile

People along the Nile River, Egypt, ~1900?

People along the Nile River, Egypt, ~1900?

People along the Nile River, Egypt, ~1900?

https://piefed.social/c/historyphotos/p/2123205/people-along-the-nile-river-egypt-1900

People along the Nile River, Egypt, ~1900?

People along the Nile River, Egypt, ~1900?

Desecresy – The Secret of Death Review

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only…
#NewsBeep #News #Music #2026 #BlutAusNord #BoltThrower #DeathMetal #Desecresy #Entertainment #FinnishMetal #InternalBleeding #JungleRot #Mar26 #Mortician #nile #Opeth #Putrevore #review #Reviews #Rippikoulu #TheSecretofDeath #UK #UnitedKingdom #XtreemMusic
https://www.newsbeep.com/uk/614634/

https://www.europesays.com/uk/996660/ Desecresy – The Secret of Death Review #2026 #BlutAusNord #BoltThrower #DeathMetal #Desecresy #Entertainment #FinnishMetal #InternalBleeding #JungleRot #Mar26 #Mortician #music #Nile #Opeth #Putrevore #Review #Reviews #Rippikoulu #TheSecretOfDeath #UK #UnitedKingdom #XtreemMusic

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

https://www.europesays.com/africa/254866/ Two Nile crocodiles ‘kept like pets’ confiscated from Springs home #crocodiles #EndangeredSpeciesUnit #gauteng #iol #JohannesburgWildlifeVeterinaryHospital #NationalEnvironmentalManagementBiodiversityAct #Nile #pets #Police #raid #SouthAfrica #SplashPool #Springs #SpringsMagistrate'sCourt #SpringsSpca #TshwaneK9 #VereenigingStockTheft

Ceremony along the Nile, Egypt, 3rd millennium BCE (Giorgio Albertini)

https://piefed.social/c/historyart/p/2093029/ceremony-along-the-nile-egypt-3rd-millennium-bce-giorgio-albertini

Ceremony along the Nile, Egypt, 3rd millennium BCE (Giorgio Albertini)

https://piefed.social/c/historyart/p/2093029/ceremony-along-the-nile-egypt-3rd-millennium-bce-giorgio-albertini

Ceremony along the Nile, Egypt, 3rd millennium BCE (Giorgio Albertini)

https://piefed.social/c/historyart/p/2093029/ceremony-along-the-nile-egypt-3rd-millennium-bce-giorgio-albertini

Ceremony along the Nile, Egypt, 3rd millennium BCE (Giorgio Albertini)

https://piefed.social/c/historyart/p/2093029/ceremony-along-the-nile-egypt-3rd-millennium-bce-giorgio-albertini

Ceremony along the Nile, Egypt, 3rd millennium BCE (Giorgio Albertini)

https://piefed.social/c/historyart/p/2093029/ceremony-along-the-nile-egypt-3rd-millennium-bce-giorgio-albertini

#TIBERIA #PAUMOTENSIS aepiot.com?q=TIBERIA%20... EL #GRAN #ESPECTACULO #THE #NILE aepiot.ro?q=EL%20GRAN%... aéPiot - MultiSearch Tag Explorer: allgraph.ro

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#NIKKI #GIL advanced-search.allgraph.ro/advanced-sea... 2026 #BLUE #NILE #CAMPAIGN headlines-world.com/advanced-sea... Semantic BACKLINKS: The Bridge between Humans and AI. Do you like AÉPIOT ( #aePiot ) semantics? Donate to the aéPiot semantic platform: www.paypal.com/donate?busin...

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🇪🇬🚝🌆 Commercial service has begun on the East of #Nile #Monorail in Greater #Cairo, marking Africa’s first monorail system. Delivered by Alstom with Orascom Construction and #Arab Contractors, the 56-kilometre line has 22 stations, 16 now operational, linking East Cairo to the New Administrative Capital. The driverless Innovia system using CBTC GoA4 signalling has capacity of up to 45,000 passengers per hour per direction, easing congestion and improving connectivity across key districts. Journey times between El Moshir Tantawi and Justice City stations are reduced from around 1 hour 20 minutes by road to about 40 minutes. The project is also the first in Africa to feature platform screen doors. Vehicles were manufactured in Derby, #UK, with testing and commissioning led locally, with around 98% #Egyptian workforce involvement, supporting Egypt’s Vision 2030 and long-term #sustainable #urban #mobility goals.
https://www.alstom.com/press-releases-news/2026/5/new-era-smart-and-sustainable-mobility-egypt-commercial-service-begins-east-nile-monorail-transforming-urban-connectivity-across-greater-cairo

🇪🇬🚝🌆 Commercial service has begun on the East of #Nile #Monorail in Greater #Cairo, marking Africa’s first monorail system. Delivered by Alstom with Orascom Construction and #Arab Contractors, the 56-kilometre line has 22 stations, 16 now operational, linking East Cairo to the New Administrative Capital. The driverless Innovia system using CBTC GoA4 signalling has capacity of up to 45,000 passengers per hour per direction, easing congestion and improving connectivity across key districts. Journey times between El Moshir Tantawi and Justice City stations are reduced from around 1 hour 20 minutes by road to about 40 minutes. The project is also the first in Africa to feature platform screen doors. Vehicles were manufactured in Derby, #UK, with testing and commissioning led locally, with around 98% #Egyptian workforce involvement, supporting Egypt’s Vision 2030 and long-term #sustainable #urban #mobility goals.
https://www.alstom.com/press-releases-news/2026/5/new-era-smart-and-sustainable-mobility-egypt-commercial-service-begins-east-nile-monorail-transforming-urban-connectivity-across-greater-cairo

🇪🇬🚝🌆 Commercial service has begun on the East of #Nile #Monorail in Greater #Cairo, marking Africa’s first monorail system. Delivered by Alstom with Orascom Construction and #Arab Contractors, the 56-kilometre line has 22 stations, 16 now operational, linking East Cairo to the New Administrative Capital. The driverless Innovia system using CBTC GoA4 signalling has capacity of up to 45,000 passengers per hour per direction, easing congestion and improving connectivity across key districts. Journey times between El Moshir Tantawi and Justice City stations are reduced from around 1 hour 20 minutes by road to about 40 minutes. The project is also the first in Africa to feature platform screen doors. Vehicles were manufactured in Derby, #UK, with testing and commissioning led locally, with around 98% #Egyptian workforce involvement, supporting Egypt’s Vision 2030 and long-term #sustainable #urban #mobility goals.
https://www.alstom.com/press-releases-news/2026/5/new-era-smart-and-sustainable-mobility-egypt-commercial-service-begins-east-nile-monorail-transforming-urban-connectivity-across-greater-cairo

🇪🇬🚝🌆 Commercial service has begun on the East of #Nile #Monorail in Greater #Cairo, marking Africa’s first monorail system. Delivered by Alstom with Orascom Construction and #Arab Contractors, the 56-kilometre line has 22 stations, 16 now operational, linking East Cairo to the New Administrative Capital. The driverless Innovia system using CBTC GoA4 signalling has capacity of up to 45,000 passengers per hour per direction, easing congestion and improving connectivity across key districts. Journey times between El Moshir Tantawi and Justice City stations are reduced from around 1 hour 20 minutes by road to about 40 minutes. The project is also the first in Africa to feature platform screen doors. Vehicles were manufactured in Derby, #UK, with testing and commissioning led locally, with around 98% #Egyptian workforce involvement, supporting Egypt’s Vision 2030 and long-term #sustainable #urban #mobility goals.
https://www.alstom.com/press-releases-news/2026/5/new-era-smart-and-sustainable-mobility-egypt-commercial-service-begins-east-nile-monorail-transforming-urban-connectivity-across-greater-cairo

🇪🇬🚝🌆 Commercial service has begun on the East of #Nile #Monorail in Greater #Cairo, marking Africa’s first monorail system. Delivered by Alstom with Orascom Construction and #Arab Contractors, the 56-kilometre line has 22 stations, 16 now operational, linking East Cairo to the New Administrative Capital. The driverless Innovia system using CBTC GoA4 signalling has capacity of up to 45,000 passengers per hour per direction, easing congestion and improving connectivity across key districts. Journey times between El Moshir Tantawi and Justice City stations are reduced from around 1 hour 20 minutes by road to about 40 minutes. The project is also the first in Africa to feature platform screen doors. Vehicles were manufactured in Derby, #UK, with testing and commissioning led locally, with around 98% #Egyptian workforce involvement, supporting Egypt’s Vision 2030 and long-term #sustainable #urban #mobility goals.
https://www.alstom.com/press-releases-news/2026/5/new-era-smart-and-sustainable-mobility-egypt-commercial-service-begins-east-nile-monorail-transforming-urban-connectivity-across-greater-cairo