#obituary — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #obituary, aggregated by home.social.
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Andy Williams, Every Time I Die Guitarist and Pro Wrestler, Dead at 48
Andy Williams, a professional wrestler who was formerly the founding guitarist of metalcore band Every Time I Die,…
#NewsBeep #News #Topstories #everytimeidie #Headlines #obit #Obituary #RSX #TopStories
https://www.newsbeep.com/721638/ -
Andy Williams, Every Time I Die Guitarist and Pro Wrestler, Dead at 48
Andy Williams, a professional wrestler who was formerly the founding guitarist of metalcore band Every Time I Die,…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #EveryTimeIDie #obit #obituary #RSX
https://www.newsbeep.com/us/838793/ -
Andy Williams, Every Time I Die Guitarist and Pro Wrestler, Dead at 48
Andy Williams, a professional wrestler who was formerly the founding guitarist of metalcore band Every Time I Die,…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #EveryTimeIDie #obit #obituary #RSX
https://www.newsbeep.com/us/838793/ -
Andy Williams, Every Time I Die Guitarist and Pro Wrestler, Dead at 48
Andy Williams, a professional wrestler who was formerly the founding guitarist of metalcore band Every Time I Die,…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #EveryTimeIDie #obit #obituary #RSX
https://www.newsbeep.com/us/838793/ -
Andy Williams, Every Time I Die Guitarist and Pro Wrestler, Dead at 48
Andy Williams, a professional wrestler who was formerly the founding guitarist of metalcore band Every Time I Die,…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Entertainment #EveryTimeIDie #obit #obituary #RSX
https://www.newsbeep.com/us/838793/ -
Andy Williams, Every Time I Die Guitarist and Pro Wrestler, Dead at 48
Andy Williams, a professional wrestler who was formerly the founding guitarist of metalcore band Every Time I Die,…
#NewsBeep #News #Music #AU #Australia #Entertainment #EveryTimeIDie #obit #obituary #RSX
https://www.newsbeep.com/au/882492/ -
https://www.europesays.com/ie/675777/ Andy Williams, Every Time I Die Guitarist and Pro Wrestler, Dead at 48 #Éire #Entertainment #EveryTimeIDie #IE #Ireland #Music #obit #obituary #RSX
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Andy Williams, Every Time I Die Guitarist & Professional Wrestler, Dies at 48
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Robin Morgan Dies: Former Ms. Magazine Editor, Women’s Media Center Co-Founder With Jane Fonda & Gloria Steinem Was 85
#News #Obituaries #GloriaSteinem #JaneFonda #Obituary #RobinMorgan -
Robin Morgan Dies: Former Ms. Magazine Editor, Women’s Media Center Co-Founder With Jane Fonda & Gloria Steinem Was 85
#News #Obituaries #GloriaSteinem #JaneFonda #Obituary #RobinMorgan -
Robin Morgan Dies: Former Ms. Magazine Editor, Women’s Media Center Co-Founder With Jane Fonda & Gloria Steinem Was 85
#News #Obituaries #GloriaSteinem #JaneFonda #Obituary #RobinMorgan -
Robin Morgan Dies: Former Ms. Magazine Editor, Women’s Media Center Co-Founder With Jane Fonda & Gloria Steinem Was 85
#News #Obituaries #GloriaSteinem #JaneFonda #Obituary #RobinMorgan -
Gloria Steinem used the dinner table as a place to forge relationships and foster change — neither a cook nor an enthusiastic eater
https://www.nytimes.com/2026/09/04/dining/gloria-steinem-dinners-food.html
Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change.
#food #feminism #obituary -
Gloria Steinem used the dinner table as a place to forge relationships and foster change — neither a cook nor an enthusiastic eater
https://www.nytimes.com/2026/09/04/dining/gloria-steinem-dinners-food.html
Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change.
#food #feminism #obituary -
Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change. #food #feminism #obituary
Posted into FLIPBOARD EXCHANGE FEED 🗞️ @flipboard-exchange-feed-Econopass
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Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change. #food #feminism #obituary
Posted into FLIPBOARD EXCHANGE FEED 🗞️ @flipboard-exchange-feed-Econopass
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Neither a home cook nor an enthusiastic eater, she used the dinner table as a place to forge relationships and foster change. #food #feminism #obituary
Posted into FLIPBOARD EXCHANGE FEED 🗞️ @flipboard-exchange-feed-Econopass
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RAPPLER | Philippine & World News | Investigative Journalism | Data | Civic Engagement | Public Interest [Unofficial] @[email protected] ·Resil B. Mojares, National Artist for Literature, dies at 83
https://web.brid.gy/r/https://www.rappler.com/people/obituary/writer-resil-mojares-dies/
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Amber Eggers Dies: ‘Love After Lockup’ Star Was 41
#News #Obituaries #AmberEggers #LifeAfterLockup #Obituary -
Amber Eggers Dies: ‘Love After Lockup’ Star Was 41
#News #Obituaries #AmberEggers #LifeAfterLockup #Obituary -
Amber Eggers Dies: ‘Love After Lockup’ Star Was 41
#News #Obituaries #AmberEggers #LifeAfterLockup #Obituary -
Amber Eggers Dies: ‘Love After Lockup’ Star Was 41
#News #Obituaries #AmberEggers #LifeAfterLockup #Obituary -
Third-generation owner of San Francisco’s John’s Grill dies at 41 https://www.diningandcooking.com/restaurants/21684/ #Food #obituary #Restaurant #Restaurants #SanFrancisco
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“Being a feminist means that you see the world as whole instead of half,” she once said. “It shouldn’t need a name, and one day it won’t.”
https://apnews.com/article/gloria-steinem-dies-724836935f6547fda60f361c15238d14 -
Gloria Steinem, feminist icon and activist, passes away at 92
https://lucire.com/insider/20260903/gloria-steinem-feminist-icon-and-activist-passes-away-at-92/ #GloriaSteinem #obituary #feminism #activism #USA #history #SecondWaveFeminism #NYC #NY #journalism
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Every AI agrees with you. This writes your startup's obituary instead
Comments: https://news.ycombinator.com/item?id=49543617
#HackerNews #AI #Startup #Obituary #Tech #Trends #Innovation #Future
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‘All That’s Christy Knowings’ Cause Of Death Confirmed
#News #Obituaries #ChristyKnowings #Obituaryhttps://deadline.com/2026/09/christy-knowings-cause-of-death-confirmed-all-that-1237066226/
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Tim Curry’s Cause Of Death Revealed
#News #Obituaries #Obituary #Timcurryhttps://deadline.com/2026/09/tim-curry-cause-of-death-1237066028/
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Restaurant and bar ‘legend’ Bobby Lee dies, bringing final end to Mister Days https://www.diningandcooking.com/restaurants/19042/ #AroundTown #bar #BusinessClosing #clarendon #obituary #Restaurant #Restaurants
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Toyohiro Akiyama, the first Japanese citizen to go to space, has died at 84. https://www.japantimes.co.jp/news/2026/09/01/japan/toyohiro-akiyama-obituary/?utm_medium=Social&utm_source=mastodon #japan #toyohiroakiyama #nationalspacedevelopmentagencyofjapan #tokyobroadcastingsystem #nasa #obituary
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So long, Jerry Untiedt, and thanks for all the corn.
"The Untiedt farm has been the Corn Roast’s sole supplier for two decades. They plant about 25 acres, and it all has to be ripe just in time for the fair’s 12-day run. It’s harvested the same day it’s roasted; staff pick the day’s order before dawn and drive the corn about an hour to the fairgrounds."
Family, friends, fairgoers remember farmer who supplied Minnesota State Fair's Corn Roast
https://www.mprnews.org/story/2026/09/01/farmer-who-supplied-minnesota-state-fairs-corn-roast-remembered-by-family-friends -
King Harald V, Norway’s reform-minded head of state, dies at 89
A great-great-grandchild of Britain’s Queen Victoria, Harald acceded to the throne in 1991 and slowly introduced modern touches that brought a ceremonial post seen mainly as a symbol of national independence into the 21st century
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Dolly Parton
Often when I read the term “icon,” which means a person worthy of veneration, used to describe someone who has died I wonder if the accolade isn’t being overused. This is not one of those times.
Dolly Parton died on Tuesday in Nashville, surrounded by the people she loved. She was 80 years old. When the news broke, something happened that almost never happens anymore. Tributes came from everywhere. Country legends and rock stars. Faith leaders and Hollywood notables. Democrats and Republicans, all saying the same thing. In this terribly divided nation in a terribly divided world Dolly Parton passes away, and for a few days we agree on something. We agreed on Dolly, an icon to be mourned as a member of our own family.
Dolly was one-of-a-kind. That’s the exact definition of another often-misused word, “unique.” Unique cannot be qualified, a grammatical error that drives me up the wall every time I read it. The word applies, unqualified and unadorned to Dolly Parton. And that’s another thing. The proper second reference is “Parton.” Why can’t I bring myself to call her anything but “Dolly?” I never met her. But I think of her as a friend I wish I’d had.
Imagine having 11 Grammy awards, 3 Emmys, 25 no. 1 hit Billboard singles, and after you’re gone, no one is talking about that. They are just talking about how genuine and kind you were and about the impact you made on the world. How amazing.
Dolly was born in 1946 in a one-room cabin in the Smoky Mountains of East Tennessee, the fourth of twelve children. Her family was, by her own description, “dirt poor.” Her father paid the doctor with a sack of cornmeal. She grew up wearing clothes her mother stitched together. One coat, sewn from rags, became one of the most famous songs she ever wrote. Her father, Robert Lee, was one of the smartest people she ever knew, and he never learned to read or write. She carried that her whole life.
She wrote more than three thousand songs. “Jolene.” “Coat of Many Colors.” “9 to 5.” “I Will Always Love You,” which became, in Whitney Houston’s recording, the best-selling single by a solo woman in history. Seven decades on stage.She was merry about her public persona and invented a Dolly who would be famous forever. She said she modeled her look on the “town tramp.” She famously said, “It costs a lot of money to look this cheap.” Asked by a young fan how long it took to do her hair Dolly exclaimed, “How do I know? I’m not there.”
She could have rested on those achievements and on her riches. Instead, she put as much effort into her philanthropy as she did into entertaining. She built a theme park, “Dollywood,” in the Tennessee hills that employs thousands of the people she grew up with. She became the wealthiest woman in the history of country music, and she did it while being underestimated at every turn by people who saw the wig and the rhinestones and missed the mind underneath. In 2020, she contributed $1 million to Vanderbilt University for virus research, which helped kick-start Moderna’s Covid-19 vaccine.
In 1995, thinking about her father and all the doors that stay closed to a person who can’t read, she started mailing free books to children in her home county. One book a month, from birth until age five, addressed not to the parents but to the child, so that a little kid in a cabin like the one she grew up in would get something in the mail with their own name on it. That program became the Imagination Library. It has now given away more than 300 million books across five countries.
Britain was one of those countries. The day after Dolly died the Band of the Coldstream Guards (the King’s Guard) played “9 to 5” outside Buckingham Palace in her honor. She once said, when they lay her down, she’d be thinking of the Imagination Library. And she made sure it wouldn’t end with her. Her team says she worked right up until the day she died and spent her last years building a plan to keep the books coming for decades.
Dolly turned her success and made it into a machine for lifting other people up. In her home county, she watched kids drop out of high school. She started offering every student who stayed and graduated a check for five hundred dollars. The dropout rate, in a place where it had always been stubbornly high, fell through the floor.
She never identified as a Republican or a Democrat. Only as a “hypo-crat,” she joked. She glittered with authenticity and empathy. The Democratic Socialists of America saluted her. Donald Trump said, “There has never been anyone like her, and never will,” before lowering flags to half-staff in her honor. Twice, the Trump administration offered her the Presidential Medal of Freedom, the government’s highest civilian honor. Both times, she turned it down. When President Joe Biden took office, Parton said, his administration contacted her about it, too, but she didn’t accept. “If I take it,” she explained, “I’ll be doing politics.” Anyway, Parton added, she didn’t deserve it.Her fans are young and old, working-class and wealthy. They live in tiny towns and big cities. She was deeply religious but never proselytized. She asked, “Who are we to judge?” “I don’t criticize and condemn,” Parton once said. “I love and accept.”
Her film work was natural and honest. Her co-stars praised her professionalism. The included Jane Fonda, Lily Tomlin, Burt Reynolds, Sylvester Stallone, Julia Roberts and Queen Latifah. Among the films, “9 to 5” (1980), “The Best Little Whorehouse in Texas’”(1982). “Rhinestone” (1984). “Steel Magnolias” (1989). “Joyful Noise” (2012).
“There are few finer songwriters, male or female, that have ever lived,” said the pop singer Pink in her 2022 speech inducting Parton into the Rock & Roll Hall of Fame. She called her “one of the greatest storytellers of our time, of any time.” “She crafted heartbreaking and soul-stirring stories about the lives of people often overlooked,” Pink added. Parton’s songs, she noted, make up “a narrative of painful, beautiful, poetic melodic commentary on what it’s like to be human, and what it’s like to be a woman in America.”
Play the music. Screen the films. Mark the passing of an icon.
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#countryMusic #CountyMusic #DollyParton #entertainment #Film #life #Music #Obituary #Philanthropy #writing -
In loving memory of Marc Mondhaschen that we knew as Bunny.
Just heard of his leaving us, when I was reestablishing communication with a friend after losing another friend. Friend said it was last Spring. So, another personal loss for me this week.
In his home, the largest collection of LEGO kits built up that I ever saw.
Supportive of his partner. Even to his own detriment at times.
Generous with his time with friends.
I slept over in his basement once. He made sure I was comfortable.
He played a lot of GTA.
He smoked a lot of pot at times, but also not always. Although I think this was probably copium.
Super loveable. Huggy. Warm. Calm.
I met other beautiful broken birds through him.
Went over to his place once and we had a chili cook off, three batches. I had several heads of garlic to prepare and he suggested separating the cloves and shaking them in a metal lidded container, which sort of worked to bash the skins off. It was all quite delicious.
He was very intelligent and well read, and clever and funny with word choices.
He often lived in communal living situations. Sometimes with other broken people which might be challenging to be around. Always pulled his weight AFAICT, although I never lived with him.
When I left town and a lot of the community that I met him in, I kept trying to keep in touch with Bunny despite the distance. Not always successful. He was a keeper, though.
My current and long-term partner met Bunny after I'd moved away from the shared community with Bunny, and they totally adored our sad sweet Bunny and loved spending time hanging out with him.
I hope his spirit is completely free from pain and suffering and doing whatever he wishes his spirit would do after being freed from his body and this plane. He deserved happiness. He was a light and a joy to the rest of us.
Bunny, where ever you are, know you spread the best love, and that we will love you fiercely, as long as we are able.
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Pierce Thiot Dies: Emmy-Nominated Creative Exec At Maximum Effort Was 40
#News #Obituaries #AppleTV #MaximumEffort #Novid #Obituary #PierreThiot #RyanReynoldshttps://deadline.com/2026/08/pierce-thiot-dead-maximum-effort-ryan-reynolds-1237062256/
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James Walsh Dies: Tony-Winning Broadway Producer Of ‘The Heidi Chronicles’ & ‘I’m Not Rappaport’ Was 89
#News #Obituaries #Broadway #JamesWalsh #JulietTaylor #Obituary -
I was never a huge Kusama fan but if you pay attention to the arts, you couldn’t help but hear about her from time to time—especially during the recent infinity room installations which were selfie heaven for the art-appreciating masses. I learned new things about her from reading this article.
Yayoi Kusama, Groundbreaking Avant-Garde Artist, Has Died at the Age of 97
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Frank Beard Dies: ZZ Top’s Founding Drummer Was 77
#News #Obituaries #FrankBeard #Novid #Obituary #ZZTophttps://deadline.com/2026/08/frank-beard-dead-zz-top-drummer-1237044530/
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Kenan Thompson Remembers ‘All That’ Co-Star Christy Knowings: “This One Hit Hard”
#News #Obituaries #AllThat #ChristyKnowings #KenanThompson #Nickelodeon #Obituaryhttps://deadline.com/2026/08/kenan-thompson-christy-knowings-1237033140/
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Christy Knowings Dies: Former Nickelodeon Star Of ‘All That’ Was 46
#News #Obituaries #AllThat #ChristyKnowings #Nickelodeon #Obituaryhttps://deadline.com/2026/08/christy-knowings-dead-1237033066/
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RIP Rachel Naomi Remen, MD
“As a medical educator, therapist, and teacher, she enabled many thousands of physicians to find individual meaning and purpose in the practice of medicine and thousands of patients to remember their power to heal.”
I read her books early in my career, and in them saw how physicians can be storytellers, and how the art of storytelling makes us better physicians. I never had the opportunity to meet her, but some of my mentors did and told me how she changed (and saved) their lives
She truly influenced our profession for the better. She was saving lives from #burnout before it was a buzzword
#medmastodon #physicians #storyteller #obituary
https://tns.commonweal.org/podcasts/celebration-of-life-rachel-naomi-remen/
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Abbe Lane Dies: Nightclub Singer, Recording Artist & Actor Was 93
#News #Obituaries #AbbeLane #Obituary -
Horrifier – Revelations of Gore Review By Steel DruhmConsidering I was hired 3000 years ago by the Almighty AMG Himself to be the “power metal guy,” I sure do end up reviewing a lot of moldy death metal. Toss Norway’s Horrifier on the rotpit next as I tackle their sophomore slab of purulence, Revelations of Gore. With cover art straight from the early 90s, Horrifier regale you with tales of body horror, serial killings, and unlawful graveyard carnal knowledge. Their core sound measures in at 79.5% Autopsy worship, with 12.3% Obituary and 8.2% early Pestilence influence. That means you get hammered with old school, cesspool-ready shitfun with a heavy emphasis on scuzz, crust, and scabs. Is it newfangled? Fuck no. Is it going to stain your carpet and leave a lasting stench? Absofuckinglutely! Let’s see what’s behind the gore.
After an appropriately creepy intro, Horrifer get medieval on your ass with “Compelled to Slaughter” as evil, ominous riffs and a skronky bass set the coroner’s table for you. It’s very much in the vein of early Autopsy and Adrian Risøy’s disgusting and disturbing vocals are a dead ringer for the legendary Chris Reifert. It’s a big intestine sandwich that leaps from d-beating to slow, doomy segments, and it sounds as infectious as an Ebola ward. You’ll want a shower after to disinfect, and that’s the sign of effective death. “Human Butchery” keeps the rancid times rolling, and I swear this one could have appeared on any of the first 4 Autopsy albums. Go ahead and deny that the piece starting at 3:50 wasn’t ripped directly from Chris Reifert’s diseased brain. You can’t. It’s entertaining without reinventing any wheels, and the band’s commitment to excess and a horrific atmosphere is to be commended. When this formula clicks, it works quite well. “Body Hoarder” is an especially fun bit of unhinged death with plenty of textures and moods splattering the walls. Parts even remind me of Leprosy-era Death.
Unfortunately, the writing is a bit inconsistent as the album grinds along, with some songs feeling less essential than others. “Rejoice, Children of the Flesh” reminds me of the loopy but lovable days of early Carnivore where they lurched between thrash and bombastic doom willy-nilly, and the tempo changes don’t always work in their favor as segments drag on too long. I do love that fat, clanging N.M.E.-styled bass though! “Morbid Lust” is aggressive and angry but feels fairly generic, and it also runs past its expiration date and meanders weirdly. “The Final Oblation” is even longer and feels more bloated and overstuffed, despite cool moments. Revelations of Gore does finish strong with longest track, “Blood for Ascension,” however. It puts a vaguely Voivodian spin on a ragged d-beat and makes everything feel jarring, unsteady, and exciting. The classic Autopsy asswax and maggot garden vibe is present, but with a strange new edge. There’s even a massive doom segment that feels like classic Saint Vitus, so that’s pure Steel bait. At 38 minutes, I hesitate to say Revelations of Gore feels longer than that, but it does drag at times. The production is masterful for a caveman death slab such as this. The guitars have force, the bass is fully unleashed and everything feels dangerous and murky as fook. Kudos!
Adrian Risøy and Sander Halvorsen do a very respectable job pummeling and abrading with nasty, corrosive riffs and horror movie harmonies. They hurt when they must, and torture when they like, and there’s a creepy, unsettling vibe that flashes through the material. Erik Krokan’s bass is large, in charge, and right in your face. It thumps, twangs, and bangs all over the place and adds a delicious layer of low-end extremity. Risøy is a great death croaker and brings a repulsive and inhuman stink to the coffin orgy. He’s the kind of vocalist this style of death needs, and boy does he go all in. Last but certainly not least, Andreas Langås lays the lumber hard and mean, shifting from bedragled doom trots to d-beat gallops and straight-up blastbeatery.
Horrifier live in death metal’s infamous past and evince no sign of evolutionary tendencies. Revelations of Gore could have dropped in 1990 and been a genre touchstone. Since it drops in 2026 instead, it’s entirely olde but still well worth a trip down its greasy gutslide into the body fluids. I think Horriffier could do big things in the future. Until then, play this loudly as you carve a rare and bloody roast over a public toilet. Bon Appétit!
Rating: 3.0/5.0
#2026 #30 #Aug26 #Autopsy #DeathMetal #Horrifier #NorwegianMetal #Obituary #PersonalRecords #Pestilence #RevelationsOfGore #Review #Reviews
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: horrifiermetal.bandcamp.com | facebook.com/profile.php | instagram.com/horrifier_official
Releases Worldwide: August 7th, 2026 -
Horrifier – Revelations of Gore Review By Steel DruhmConsidering I was hired 3000 years ago by the Almighty AMG Himself to be the “power metal guy,” I sure do end up reviewing a lot of moldy death metal. Toss Norway’s Horrifier on the rotpit next as I tackle their sophomore slab of purulence, Revelations of Gore. With cover art straight from the early 90s, Horrifier regale you with tales of body horror, serial killings, and unlawful graveyard carnal knowledge. Their core sound measures in at 79.5% Autopsy worship, with 12.3% Obituary and 8.2% early Pestilence influence. That means you get hammered with old school, cesspool-ready shitfun with a heavy emphasis on scuzz, crust, and scabs. Is it newfangled? Fuck no. Is it going to stain your carpet and leave a lasting stench? Absofuckinglutely! Let’s see what’s behind the gore.
After an appropriately creepy intro, Horrifer get medieval on your ass with “Compelled to Slaughter” as evil, ominous riffs and a skronky bass set the coroner’s table for you. It’s very much in the vein of early Autopsy and Adrian Risøy’s disgusting and disturbing vocals are a dead ringer for the legendary Chris Reifert. It’s a big intestine sandwich that leaps from d-beating to slow, doomy segments, and it sounds as infectious as an Ebola ward. You’ll want a shower after to disinfect, and that’s the sign of effective death. “Human Butchery” keeps the rancid times rolling, and I swear this one could have appeared on any of the first 4 Autopsy albums. Go ahead and deny that the piece starting at 3:50 wasn’t ripped directly from Chris Reifert’s diseased brain. You can’t. It’s entertaining without reinventing any wheels, and the band’s commitment to excess and a horrific atmosphere is to be commended. When this formula clicks, it works quite well. “Body Hoarder” is an especially fun bit of unhinged death with plenty of textures and moods splattering the walls. Parts even remind me of Leprosy-era Death.
Unfortunately, the writing is a bit inconsistent as the album grinds along, with some songs feeling less essential than others. “Rejoice, Children of the Flesh” reminds me of the loopy but lovable days of early Carnivore where they lurched between thrash and bombastic doom willy-nilly, and the tempo changes don’t always work in their favor as segments drag on too long. I do love that fat, clanging N.M.E.-styled bass though! “Morbid Lust” is aggressive and angry but feels fairly generic, and it also runs past its expiration date and meanders weirdly. “The Final Oblation” is even longer and feels more bloated and overstuffed, despite cool moments. Revelations of Gore does finish strong with longest track, “Blood for Ascension,” however. It puts a vaguely Voivodian spin on a ragged d-beat and makes everything feel jarring, unsteady, and exciting. The classic Autopsy asswax and maggot garden vibe is present, but with a strange new edge. There’s even a massive doom segment that feels like classic Saint Vitus, so that’s pure Steel bait. At 38 minutes, I hesitate to say Revelations of Gore feels longer than that, but it does drag at times. The production is masterful for a caveman death slab such as this. The guitars have force, the bass is fully unleashed and everything feels dangerous and murky as fook. Kudos!
Adrian Risøy and Sander Halvorsen do a very respectable job pummeling and abrading with nasty, corrosive riffs and horror movie harmonies. They hurt when they must, and torture when they like, and there’s a creepy, unsettling vibe that flashes through the material. Erik Krokan’s bass is large, in charge, and right in your face. It thumps, twangs, and bangs all over the place and adds a delicious layer of low-end extremity. Risøy is a great death croaker and brings a repulsive and inhuman stink to the coffin orgy. He’s the kind of vocalist this style of death needs, and boy does he go all in. Last but certainly not least, Andreas Langås lays the lumber hard and mean, shifting from bedragled doom trots to d-beat gallops and straight-up blastbeatery.
Horrifier live in death metal’s infamous past and evince no sign of evolutionary tendencies. Revelations of Gore could have dropped in 1990 and been a genre touchstone. Since it drops in 2026 instead, it’s entirely olde but still well worth a trip down its greasy gutslide into the body fluids. I think Horriffier could do big things in the future. Until then, play this loudly as you carve a rare and bloody roast over a public toilet. Bon Appétit!
Rating: 3.0/5.0
#2026 #30 #Aug26 #Autopsy #DeathMetal #Horrifier #NorwegianMetal #Obituary #PersonalRecords #Pestilence #RevelationsOfGore #Review #Reviews
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: horrifiermetal.bandcamp.com | facebook.com/profile.php | instagram.com/horrifier_official
Releases Worldwide: August 7th, 2026 -
Horrifier – Revelations of Gore Review By Steel DruhmConsidering I was hired 3000 years ago by the Almighty AMG Himself to be the “power metal guy,” I sure do end up reviewing a lot of moldy death metal. Toss Norway’s Horrifier on the rotpit next as I tackle their sophomore slab of purulence, Revelations of Gore. With cover art straight from the early 90s, Horrifier regale you with tales of body horror, serial killings, and unlawful graveyard carnal knowledge. Their core sound measures in at 79.5% Autopsy worship, with 12.3% Obituary and 8.2% early Pestilence influence. That means you get hammered with old school, cesspool-ready shitfun with a heavy emphasis on scuzz, crust, and scabs. Is it newfangled? Fuck no. Is it going to stain your carpet and leave a lasting stench? Absofuckinglutely! Let’s see what’s behind the gore.
After an appropriately creepy intro, Horrifer get medieval on your ass with “Compelled to Slaughter” as evil, ominous riffs and a skronky bass set the coroner’s table for you. It’s very much in the vein of early Autopsy and Adrian Risøy’s disgusting and disturbing vocals are a dead ringer for the legendary Chris Reifert. It’s a big intestine sandwich that leaps from d-beating to slow, doomy segments, and it sounds as infectious as an Ebola ward. You’ll want a shower after to disinfect, and that’s the sign of effective death. “Human Butchery” keeps the rancid times rolling, and I swear this one could have appeared on any of the first 4 Autopsy albums. Go ahead and deny that the piece starting at 3:50 wasn’t ripped directly from Chris Reifert’s diseased brain. You can’t. It’s entertaining without reinventing any wheels, and the band’s commitment to excess and a horrific atmosphere is to be commended. When this formula clicks, it works quite well. “Body Hoarder” is an especially fun bit of unhinged death with plenty of textures and moods splattering the walls. Parts even remind me of Leprosy-era Death.
Unfortunately, the writing is a bit inconsistent as the album grinds along, with some songs feeling less essential than others. “Rejoice, Children of the Flesh” reminds me of the loopy but lovable days of early Carnivore where they lurched between thrash and bombastic doom willy-nilly, and the tempo changes don’t always work in their favor as segments drag on too long. I do love that fat, clanging N.M.E.-styled bass though! “Morbid Lust” is aggressive and angry but feels fairly generic, and it also runs past its expiration date and meanders weirdly. “The Final Oblation” is even longer and feels more bloated and overstuffed, despite cool moments. Revelations of Gore does finish strong with longest track, “Blood for Ascension,” however. It puts a vaguely Voivodian spin on a ragged d-beat and makes everything feel jarring, unsteady, and exciting. The classic Autopsy asswax and maggot garden vibe is present, but with a strange new edge. There’s even a massive doom segment that feels like classic Saint Vitus, so that’s pure Steel bait. At 38 minutes, I hesitate to say Revelations of Gore feels longer than that, but it does drag at times. The production is masterful for a caveman death slab such as this. The guitars have force, the bass is fully unleashed and everything feels dangerous and murky as fook. Kudos!
Adrian Risøy and Sander Halvorsen do a very respectable job pummeling and abrading with nasty, corrosive riffs and horror movie harmonies. They hurt when they must, and torture when they like, and there’s a creepy, unsettling vibe that flashes through the material. Erik Krokan’s bass is large, in charge, and right in your face. It thumps, twangs, and bangs all over the place and adds a delicious layer of low-end extremity. Risøy is a great death croaker and brings a repulsive and inhuman stink to the coffin orgy. He’s the kind of vocalist this style of death needs, and boy does he go all in. Last but certainly not least, Andreas Langås lays the lumber hard and mean, shifting from bedragled doom trots to d-beat gallops and straight-up blastbeatery.
Horrifier live in death metal’s infamous past and evince no sign of evolutionary tendencies. Revelations of Gore could have dropped in 1990 and been a genre touchstone. Since it drops in 2026 instead, it’s entirely olde but still well worth a trip down its greasy gutslide into the body fluids. I think Horriffier could do big things in the future. Until then, play this loudly as you carve a rare and bloody roast over a public toilet. Bon Appétit!
Rating: 3.0/5.0
#2026 #30 #Aug26 #Autopsy #DeathMetal #Horrifier #NorwegianMetal #Obituary #PersonalRecords #Pestilence #RevelationsOfGore #Review #Reviews
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: horrifiermetal.bandcamp.com | facebook.com/profile.php | instagram.com/horrifier_official
Releases Worldwide: August 7th, 2026 -
Horrifier – Revelations of Gore Review By Steel DruhmConsidering I was hired 3000 years ago by the Almighty AMG Himself to be the “power metal guy,” I sure do end up reviewing a lot of moldy death metal. Toss Norway’s Horrifier on the rotpit next as I tackle their sophomore slab of purulence, Revelations of Gore. With cover art straight from the early 90s, Horrifier regale you with tales of body horror, serial killings, and unlawful graveyard carnal knowledge. Their core sound measures in at 79.5% Autopsy worship, with 12.3% Obituary and 8.2% early Pestilence influence. That means you get hammered with old school, cesspool-ready shitfun with a heavy emphasis on scuzz, crust, and scabs. Is it newfangled? Fuck no. Is it going to stain your carpet and leave a lasting stench? Absofuckinglutely! Let’s see what’s behind the gore.
After an appropriately creepy intro, Horrifer get medieval on your ass with “Compelled to Slaughter” as evil, ominous riffs and a skronky bass set the coroner’s table for you. It’s very much in the vein of early Autopsy and Adrian Risøy’s disgusting and disturbing vocals are a dead ringer for the legendary Chris Reifert. It’s a big intestine sandwich that leaps from d-beating to slow, doomy segments, and it sounds as infectious as an Ebola ward. You’ll want a shower after to disinfect, and that’s the sign of effective death. “Human Butchery” keeps the rancid times rolling, and I swear this one could have appeared on any of the first 4 Autopsy albums. Go ahead and deny that the piece starting at 3:50 wasn’t ripped directly from Chris Reifert’s diseased brain. You can’t. It’s entertaining without reinventing any wheels, and the band’s commitment to excess and a horrific atmosphere is to be commended. When this formula clicks, it works quite well. “Body Hoarder” is an especially fun bit of unhinged death with plenty of textures and moods splattering the walls. Parts even remind me of Leprosy-era Death.
Unfortunately, the writing is a bit inconsistent as the album grinds along, with some songs feeling less essential than others. “Rejoice, Children of the Flesh” reminds me of the loopy but lovable days of early Carnivore where they lurched between thrash and bombastic doom willy-nilly, and the tempo changes don’t always work in their favor as segments drag on too long. I do love that fat, clanging N.M.E.-styled bass though! “Morbid Lust” is aggressive and angry but feels fairly generic, and it also runs past its expiration date and meanders weirdly. “The Final Oblation” is even longer and feels more bloated and overstuffed, despite cool moments. Revelations of Gore does finish strong with longest track, “Blood for Ascension,” however. It puts a vaguely Voivodian spin on a ragged d-beat and makes everything feel jarring, unsteady, and exciting. The classic Autopsy asswax and maggot garden vibe is present, but with a strange new edge. There’s even a massive doom segment that feels like classic Saint Vitus, so that’s pure Steel bait. At 38 minutes, I hesitate to say Revelations of Gore feels longer than that, but it does drag at times. The production is masterful for a caveman death slab such as this. The guitars have force, the bass is fully unleashed and everything feels dangerous and murky as fook. Kudos!
Adrian Risøy and Sander Halvorsen do a very respectable job pummeling and abrading with nasty, corrosive riffs and horror movie harmonies. They hurt when they must, and torture when they like, and there’s a creepy, unsettling vibe that flashes through the material. Erik Krokan’s bass is large, in charge, and right in your face. It thumps, twangs, and bangs all over the place and adds a delicious layer of low-end extremity. Risøy is a great death croaker and brings a repulsive and inhuman stink to the coffin orgy. He’s the kind of vocalist this style of death needs, and boy does he go all in. Last but certainly not least, Andreas Langås lays the lumber hard and mean, shifting from bedragled doom trots to d-beat gallops and straight-up blastbeatery.
Horrifier live in death metal’s infamous past and evince no sign of evolutionary tendencies. Revelations of Gore could have dropped in 1990 and been a genre touchstone. Since it drops in 2026 instead, it’s entirely olde but still well worth a trip down its greasy gutslide into the body fluids. I think Horriffier could do big things in the future. Until then, play this loudly as you carve a rare and bloody roast over a public toilet. Bon Appétit!
Rating: 3.0/5.0
#2026 #30 #Aug26 #Autopsy #DeathMetal #Horrifier #NorwegianMetal #Obituary #PersonalRecords #Pestilence #RevelationsOfGore #Review #Reviews
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: horrifiermetal.bandcamp.com | facebook.com/profile.php | instagram.com/horrifier_official
Releases Worldwide: August 7th, 2026 -
Horrifier – Revelations of Gore Review By Steel DruhmConsidering I was hired 3000 years ago by the Almighty AMG Himself to be the “power metal guy,” I sure do end up reviewing a lot of moldy death metal. Toss Norway’s Horrifier on the rotpit next as I tackle their sophomore slab of purulence, Revelations of Gore. With cover art straight from the early 90s, Horrifier regale you with tales of body horror, serial killings, and unlawful graveyard carnal knowledge. Their core sound measures in at 79.5% Autopsy worship, with 12.3% Obituary and 8.2% early Pestilence influence. That means you get hammered with old school, cesspool-ready shitfun with a heavy emphasis on scuzz, crust, and scabs. Is it newfangled? Fuck no. Is it going to stain your carpet and leave a lasting stench? Absofuckinglutely! Let’s see what’s behind the gore.
After an appropriately creepy intro, Horrifer get medieval on your ass with “Compelled to Slaughter” as evil, ominous riffs and a skronky bass set the coroner’s table for you. It’s very much in the vein of early Autopsy and Adrian Risøy’s disgusting and disturbing vocals are a dead ringer for the legendary Chris Reifert. It’s a big intestine sandwich that leaps from d-beating to slow, doomy segments, and it sounds as infectious as an Ebola ward. You’ll want a shower after to disinfect, and that’s the sign of effective death. “Human Butchery” keeps the rancid times rolling, and I swear this one could have appeared on any of the first 4 Autopsy albums. Go ahead and deny that the piece starting at 3:50 wasn’t ripped directly from Chris Reifert’s diseased brain. You can’t. It’s entertaining without reinventing any wheels, and the band’s commitment to excess and a horrific atmosphere is to be commended. When this formula clicks, it works quite well. “Body Hoarder” is an especially fun bit of unhinged death with plenty of textures and moods splattering the walls. Parts even remind me of Leprosy-era Death.
Unfortunately, the writing is a bit inconsistent as the album grinds along, with some songs feeling less essential than others. “Rejoice, Children of the Flesh” reminds me of the loopy but lovable days of early Carnivore where they lurched between thrash and bombastic doom willy-nilly, and the tempo changes don’t always work in their favor as segments drag on too long. I do love that fat, clanging N.M.E.-styled bass though! “Morbid Lust” is aggressive and angry but feels fairly generic, and it also runs past its expiration date and meanders weirdly. “The Final Oblation” is even longer and feels more bloated and overstuffed, despite cool moments. Revelations of Gore does finish strong with longest track, “Blood for Ascension,” however. It puts a vaguely Voivodian spin on a ragged d-beat and makes everything feel jarring, unsteady, and exciting. The classic Autopsy asswax and maggot garden vibe is present, but with a strange new edge. There’s even a massive doom segment that feels like classic Saint Vitus, so that’s pure Steel bait. At 38 minutes, I hesitate to say Revelations of Gore feels longer than that, but it does drag at times. The production is masterful for a caveman death slab such as this. The guitars have force, the bass is fully unleashed and everything feels dangerous and murky as fook. Kudos!
Adrian Risøy and Sander Halvorsen do a very respectable job pummeling and abrading with nasty, corrosive riffs and horror movie harmonies. They hurt when they must, and torture when they like, and there’s a creepy, unsettling vibe that flashes through the material. Erik Krokan’s bass is large, in charge, and right in your face. It thumps, twangs, and bangs all over the place and adds a delicious layer of low-end extremity. Risøy is a great death croaker and brings a repulsive and inhuman stink to the coffin orgy. He’s the kind of vocalist this style of death needs, and boy does he go all in. Last but certainly not least, Andreas Langås lays the lumber hard and mean, shifting from bedragled doom trots to d-beat gallops and straight-up blastbeatery.
Horrifier live in death metal’s infamous past and evince no sign of evolutionary tendencies. Revelations of Gore could have dropped in 1990 and been a genre touchstone. Since it drops in 2026 instead, it’s entirely olde but still well worth a trip down its greasy gutslide into the body fluids. I think Horriffier could do big things in the future. Until then, play this loudly as you carve a rare and bloody roast over a public toilet. Bon Appétit!
Rating: 3.0/5.0
#2026 #30 #Aug26 #Autopsy #DeathMetal #Horrifier #NorwegianMetal #Obituary #PersonalRecords #Pestilence #RevelationsOfGore #Review #Reviews
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: horrifiermetal.bandcamp.com | facebook.com/profile.php | instagram.com/horrifier_official
Releases Worldwide: August 7th, 2026 -
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