#ouroceans — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #ouroceans, aggregated by home.social.
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Our Oceans Release New Single “Leave Me Be”
Photo courtesy of the band.Progressive trio Our Oceans share the video for “Leave Me Be,” the third single from their upcoming studio album Right Here, Right Now, due October 24 via Long Branch Records.
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Our Oceans Release New Single “Leave Me Be”
Photo courtesy of the band.Progressive trio Our Oceans share the video for “Leave Me Be,” the third single from their upcoming studio album Right Here, Right Now, due October 24 via Long Branch Records.
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Our Oceans Release New Single “Leave Me Be”
Photo courtesy of the band.Progressive trio Our Oceans share the video for “Leave Me Be,” the third single from their upcoming studio album Right Here, Right Now, due October 24 via Long Branch Records.
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Our Oceans Release New Single “Leave Me Be”
Photo courtesy of the band.Progressive trio Our Oceans share the video for “Leave Me Be,” the third single from their upcoming studio album Right Here, Right Now, due October 24 via Long Branch Records.
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President Barack Obama Wins His Third Emmy
#News #BarackObama #CreativeArtsEmmys #Netflix #OurOceanshttps://deadline.com/2025/09/president-barack-obama-wins-third-emmy-1236511568/
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President Barack Obama Wins His Third Emmy
#News #BarackObama #CreativeArtsEmmys #Netflix #OurOceanshttps://deadline.com/2025/09/president-barack-obama-wins-third-emmy-1236511568/
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President Barack Obama Wins His Third Emmy
#News #BarackObama #CreativeArtsEmmys #Netflix #OurOceanshttps://deadline.com/2025/09/president-barack-obama-wins-third-emmy-1236511568/
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President Barack Obama Wins His Third Emmy
#News #BarackObama #CreativeArtsEmmys #Netflix #OurOceanshttps://deadline.com/2025/09/president-barack-obama-wins-third-emmy-1236511568/
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025Show 3 footnotes
- Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
- DiGiorgio has been known to rock a 3-string bass too! ↩
- Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩
#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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The #CopernicusMarine community is invited to contribute to the 10th edition of our #OceanStateReport!
Help advance the understanding of #OurOceans through this annual publication🌊
🗓️ Submission deadline: 28 January
Learn more at 👇
https://marine.copernicus.eu/news/copernicus-ocean-state-report-10-call-contributions
---
https://nitter.privacydev.net/CMEMS_EU/status/1876909209192656906#m -
The #CopernicusMarine community is invited to contribute to the 10th edition of our #OceanStateReport!
Help advance the understanding of #OurOceans through this annual publication🌊
🗓️ Submission deadline: 28 January
Learn more at 👇
https://marine.copernicus.eu/news/copernicus-ocean-state-report-10-call-contributions
---
https://nitter.privacydev.net/CMEMS_EU/status/1876909209192656906#m -
I just watched bottlenose dolphins chase a jack and make it vomit then they ate the vomit. Nature is wild
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I just watched bottlenose dolphins chase a jack and make it vomit then they ate the vomit. Nature is wild
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I just watched bottlenose dolphins chase a jack and make it vomit then they ate the vomit. Nature is wild
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I just watched bottlenose dolphins chase a jack and make it vomit then they ate the vomit. Nature is wild
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I just watched bottlenose dolphins chase a jack and make it vomit then they ate the vomit. Nature is wild
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Watching the last episode of Netflix's Our Oceans, and all I can say is the intelligence of the Antarctic Orcas is bloody terrifying.
🐬 #Cetaceans #MarineMammals #MarineLife #Dolphins #Whales #Orca #OurOceans #Netflix #Wildlife #Nature
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Watching the last episode of Netflix's Our Oceans, and all I can say is the intelligence of the Antarctic Orcas is bloody terrifying.
🐬 #Cetaceans #MarineMammals #MarineLife #Dolphins #Whales #Orca #OurOceans #Netflix #Wildlife #Nature
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Watching the last episode of Netflix's Our Oceans, and all I can say is the intelligence of the Antarctic Orcas is bloody terrifying.
🐬 #Cetaceans #MarineMammals #MarineLife #Dolphins #Whales #Orca #OurOceans #Netflix #Wildlife #Nature
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Watching the last episode of Netflix's Our Oceans, and all I can say is the intelligence of the Antarctic Orcas is bloody terrifying.
🐬 #Cetaceans #MarineMammals #MarineLife #Dolphins #Whales #Orca #OurOceans #Netflix #Wildlife #Nature
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Watching the last episode of Netflix's Our Oceans, and all I can say is the intelligence of the Antarctic Orcas is bloody terrifying.
🐬 #Cetaceans #MarineMammals #MarineLife #Dolphins #Whales #Orca #OurOceans #Netflix #Wildlife #Nature
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Just me, making use of my mate's large screen HD TV to watch Netflix's Our Oceans.
🐋🦈 #MarineLife #Whales #OurOceans #Netflix #Wildlife #Nature
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Just me, making use of my mate's large screen HD TV to watch Netflix's Our Oceans.
🐋🦈 #MarineLife #Whales #OurOceans #Netflix #Wildlife #Nature
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Just me, making use of my mate's large screen HD TV to watch Netflix's Our Oceans.
🐋🦈 #MarineLife #Whales #OurOceans #Netflix #Wildlife #Nature
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Just me, making use of my mate's large screen HD TV to watch Netflix's Our Oceans.
🐋🦈 #MarineLife #Whales #OurOceans #Netflix #Wildlife #Nature
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Just me, making use of my mate's large screen HD TV to watch Netflix's Our Oceans.
🐋🦈 #MarineLife #Whales #OurOceans #Netflix #Wildlife #Nature
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The wildlife cinematography and photography in Our Oceans is so stunning that I’m watching everything I can to see how they shot it
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The wildlife cinematography and photography in Our Oceans is so stunning that I’m watching everything I can to see how they shot it
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The wildlife cinematography and photography in Our Oceans is so stunning that I’m watching everything I can to see how they shot it
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The wildlife cinematography and photography in Our Oceans is so stunning that I’m watching everything I can to see how they shot it
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The wildlife cinematography and photography in Our Oceans is so stunning that I’m watching everything I can to see how they shot it
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Our Oceans – Weeping Lead
https://www.metgitarenenzo.nl/2024/11/our-oceans-weeping-lead/
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The Netflix documentary Our Oceans opens with the most riveting marine mammal drama I’ve ever seen
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The Netflix documentary Our Oceans opens with the most riveting marine mammal drama I’ve ever seen
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The Netflix documentary Our Oceans opens with the most riveting marine mammal drama I’ve ever seen
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The Netflix documentary Our Oceans opens with the most riveting marine mammal drama I’ve ever seen
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The Netflix documentary Our Oceans opens with the most riveting marine mammal drama I’ve ever seen
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#OurOceans #BarackObama #Netflix
Now Streaming:
"Dive into Our Oceans, a thrilling five-episode series, narrated by Barack Obama, that invites you to join Emmy winning wildlife filmmaker James Honeyborne on an awe-inspiring adventure."Our Oceans | Barack Obama | Official Trailer | Netflix - YouTube
https://youtu.be/Q79wgkLGeM4?si=m7hpLaZkBdcVhX7Y -
#OurOceans #BarackObama #Netflix
Now Streaming:
"Dive into Our Oceans, a thrilling five-episode series, narrated by Barack Obama, that invites you to join Emmy winning wildlife filmmaker James Honeyborne on an awe-inspiring adventure."Our Oceans | Barack Obama | Official Trailer | Netflix - YouTube
https://youtu.be/Q79wgkLGeM4?si=m7hpLaZkBdcVhX7Y -
#OurOceans #BarackObama #Netflix
Now Streaming:
"Dive into Our Oceans, a thrilling five-episode series, narrated by Barack Obama, that invites you to join Emmy winning wildlife filmmaker James Honeyborne on an awe-inspiring adventure."Our Oceans | Barack Obama | Official Trailer | Netflix - YouTube
https://youtu.be/Q79wgkLGeM4?si=m7hpLaZkBdcVhX7Y -
#OurOceans #BarackObama #Netflix
Now Streaming:
"Dive into Our Oceans, a thrilling five-episode series, narrated by Barack Obama, that invites you to join Emmy winning wildlife filmmaker James Honeyborne on an awe-inspiring adventure."Our Oceans | Barack Obama | Official Trailer | Netflix - YouTube
https://youtu.be/Q79wgkLGeM4?si=m7hpLaZkBdcVhX7Y -
RT by @EU_ENV: Plastic pollution is harming #OurOceans & seabirds🌊🕊️
Each year, 8 million tonnes of plastic end up in the sea, causing seabirds to get tangled up or eat harmful trash🚯#LIFEProject @LifeSeabilSpain aims to cut plastic pollution!
[2024-09-04 07:35 UTC]
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RT by @EU_ENV: Plastic pollution is harming #OurOceans & seabirds🌊🕊️
Each year, 8 million tonnes of plastic end up in the sea, causing seabirds to get tangled up or eat harmful trash🚯#LIFEProject @LifeSeabilSpain aims to cut plastic pollution!
[2024-09-04 07:35 UTC]
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RT by @EU_ENV: Plastic pollution is harming #OurOceans & seabirds🌊🕊️
Each year, 8 million tonnes of plastic end up in the sea, causing seabirds to get tangled up or eat harmful trash🚯#LIFEProject @LifeSeabilSpain aims to cut plastic pollution!
[2024-09-04 07:35 UTC]
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RT by @CopernicusEU: #ICYMI
Our #CopernicusMarine Service has recently launched the #Ocean #Climate Portal🌡️
🔎 It is a user-friendly interface providing access to a range of ocean indicators, which allow to quantify the impact of #ClimateChange on #OurOceans🌊
More at 🔗https://marine.copernicus.eu/news/copernicus-marine-service-launches-ocean-climate-portal
[2024-02-21 10:45 UTC]
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RT by @CopernicusEU: #ICYMI
Our #CopernicusMarine Service has recently launched the #Ocean #Climate Portal🌡️
🔎 It is a user-friendly interface providing access to a range of ocean indicators, which allow to quantify the impact of #ClimateChange on #OurOceans🌊
More at 🔗https://marine.copernicus.eu/news/copernicus-marine-service-launches-ocean-climate-portal
[2024-02-21 10:45 UTC]
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RT by @CopernicusEU: #ICYMI
Our #CopernicusMarine Service has recently launched the #Ocean #Climate Portal🌡️
🔎 It is a user-friendly interface providing access to a range of ocean indicators, which allow to quantify the impact of #ClimateChange on #OurOceans🌊
More at 🔗https://marine.copernicus.eu/news/copernicus-marine-service-launches-ocean-climate-portal
[2024-02-21 10:45 UTC]
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RT by @EU_MARE: 🎧 New Podcast Alert! ✨
In the new episode of the Let's Talk about #EUSpace” podcast, @audrey_hasson from @GEOBluePlanet discusses how #Copernicus plays a key role in tracking the scourge of microplastics in #OurOceans
🎙️https://audiovisual.ec.europa.eu/en/audio/S-008890🐦🔗: https://nitter.cz/CopernicusEU/status/1737452445263929792#m
[2023-12-20 12:38 UTC]
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RT by @EU_MARE: 🎧 New Podcast Alert! ✨
In the new episode of the Let's Talk about #EUSpace” podcast, @audrey_hasson from @GEOBluePlanet discusses how #Copernicus plays a key role in tracking the scourge of microplastics in #OurOceans
🎙️https://audiovisual.ec.europa.eu/en/audio/S-008890🐦🔗: https://nitter.cz/CopernicusEU/status/1737452445263929792#m
[2023-12-20 12:38 UTC]
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RT by @CopernicusEU: #WeekendRead
#DYK that an estimated 26 million tonnes of plastic end up in the ocean every year🌊?
Read more about #EUSpace 🛰️🇪🇺 solutions proposed by the winners of the #CASSINI Maritime Prize to detect and monitor plastics in #OurOceans
🐦🔗: https://nitter.cz/defis_eu/status/1731230497659912526#m
[2023-12-03 08:34 UTC]
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RT by @CopernicusEU: #WeekendRead
#DYK that an estimated 26 million tonnes of plastic end up in the ocean every year🌊?
Read more about #EUSpace 🛰️🇪🇺 solutions proposed by the winners of the #CASSINI Maritime Prize to detect and monitor plastics in #OurOceans
🐦🔗: https://nitter.cz/defis_eu/status/1731230497659912526#m
[2023-12-03 08:34 UTC]
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RT by @CopernicusEU: #WeekendRead
#DYK that an estimated 26 million tonnes of plastic end up in the ocean every year🌊?
Read more about #EUSpace 🛰️🇪🇺 solutions proposed by the winners of the #CASSINI Maritime Prize to detect and monitor plastics in #OurOceans
🐦🔗: https://nitter.cz/defis_eu/status/1731230497659912526#m
[2023-12-03 08:34 UTC]
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RT Copernicus Marine
5/5 #OceanWarming♨️ is a critical issue that requires global efforts to protect #MarineEcosystems and #OurOceans🌊
Our #CopernicusMarine Services provides key #OpenData on sea surface temperature🌡️, helping researchers & policymakers understand the impacts of ocean warming https://t.co/Znm5zbOlc8🐦🔗: https://n.respublicae.eu/CMEMS_EU/status/1679881791719583745
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RT Copernicus Marine
5/5 #OceanWarming♨️ is a critical issue that requires global efforts to protect #MarineEcosystems and #OurOceans🌊
Our #CopernicusMarine Services provides key #OpenData on sea surface temperature🌡️, helping researchers & policymakers understand the impacts of ocean warming https://t.co/Znm5zbOlc8🐦🔗: https://n.respublicae.eu/CMEMS_EU/status/1679881791719583745
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RT Copernicus Marine
5/5 #OceanWarming♨️ is a critical issue that requires global efforts to protect #MarineEcosystems and #OurOceans🌊
Our #CopernicusMarine Services provides key #OpenData on sea surface temperature🌡️, helping researchers & policymakers understand the impacts of ocean warming https://t.co/Znm5zbOlc8🐦🔗: https://n.respublicae.eu/CMEMS_EU/status/1679881791719583745
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RT Copernicus Marine
#CopernicusMarine💡#WednesdayWisdom
#Ocean deoxygenation, a decline in sea water oxygen levels, affects #MarineLife🐟 & food security
Since the 1960s, global ocean oxygen levels have ⬇️ by2⃣%
Our #CopernicusMarine Service monitors this to help safeguard #OurOceans🌊 https://t.co/t17kCeRbyF🐦🔗: https://n.respublicae.eu/CMEMS_EU/status/1676528147221606401