#periphery — Public Fediverse posts

Periphery, a famous and efficient tool to check dead code, moves from open source model to commercial model 😭

https://periphery.pro/

#Periphery #iOS #Swift #iOSdev #opensource

Periphery, a famous and efficient tool to check dead code, moves from open source model to commercial model 😭

https://periphery.pro/

#Periphery #iOS #Swift #iOSdev #opensource

Spätestens, wenn #Apple im Herbst tatsächlich ein #iPhone Fold präsentiert, dürfte so ziemlich alles auf dem #Technik-Markt faltbar werden. #Logitech möchte bei diesem Trend direkt mitmischen und hat heute die Logitech #MobiFold vorgestellt, seine erste faltbare #Maus für mobiles Arbeiten. Das 79,99 Euro teure #Gadget ist unter anderem mit #Windows, #Mac und auch dem #iPad kompatibel.

Alle Infos: https://www.appgefahren.de/?p=400676

#appgefahren #AppleBlog #mouse #LogitechMobiFold #periphery #Peripherie

Spätestens, wenn #Apple im Herbst tatsächlich ein #iPhone Fold präsentiert, dürfte so ziemlich alles auf dem #Technik-Markt faltbar werden. #Logitech möchte bei diesem Trend direkt mitmischen und hat heute die Logitech #MobiFold vorgestellt, seine erste faltbare #Maus für mobiles Arbeiten. Das 79,99 Euro teure #Gadget ist unter anderem mit #Windows, #Mac und auch dem #iPad kompatibel.

Alle Infos: https://www.appgefahren.de/?p=400676

#appgefahren #AppleBlog #mouse #LogitechMobiFold #periphery #Peripherie

Periphery have announced the A Pale White Dot North American fall 2026 tour in support of their recently released album.

Details: https://metalinsider.net/touring/periphery-announce-a-pale-white-dot-fall-2026-north-american-tour

#Periphery #APaleWhiteDot #NeObliviscaris #Greyhaven #ProgressiveMetal #MetalTour #MetalNews

Over a decade removed from the djent boom of the early 2010s, stylistic flagbearers Periphery have settled into a comfortable routine, periodically regrouping from side projects and business ventures to release a new record every few years. Cracks in that formula began to show on 2023’s Periphery V: Djent Is Not a Genre, where the compositions started to feel both formulaic and scattershot. Their new release, A Pale White Dot, is their first non-numbered album since the two-part Juggernaut (2015). It seems intended as a departure from their established release pattern and a chance to reconnect with a more instinctive, creatively driven approach written from a “top-down” perspective shaped by themes of isolation and loneliness. Periphery remains one of my favorite bands (even if I find myself stuffed into the occasional AMG locker for this opinion), and I’m always excited by the prospect of their technically minded, melodic, and smartly written take on progressive metalcore. By centering this record around a more focused concept and shedding some of the expectations attached to their numbered releases, can this league of extraordinary “djentlemen” deliver another satisfying dose of syncopated brilliance?

As Juggernaut did for Periphery I and II, A Pale White Dot streamlines the maximalist hyper-technicality of Periphery III–V in service of its concept, even if that comes at the expense of what once made the band so compelling. Periphery helped define the 2010s metalcore formula of “djent riff + soaring clean chorus + breakdown,” a blueprint that would eventually shape modern heavyweights like Sleep Token and Spiritbox. Their music could pivot seamlessly between dizzying guitar acrobatics and polished melodic hooks without sacrificing momentum, turning even the most familiar structures into sprawling narrative journeys. A Pale White Dot is the first record where this strength fades into the background, with a diminished presence of the “pure-riffery” and progressive elements the band is known for. With a few exceptions (the psychotic opening riff of “Malevolent” or the bombastic bridge of “Everyone Dies Alone”), a set of shorter songs is largely held together by straightforward chugs and massive vocal-forward choruses. Periphery still sounds like themselves, but the overall shape of these songs is far closer to run-of-the-mill “Octanecore” than ever before. For the first time in their career, it feels like Periphery is merely iterating on popular sounds, rather than pushing them forward.

I’d describe the songcraft on A Pale White Dot as frustratingly competent. Periphery clearly knows what they’re doing every step of the way, and the band still finds ways to inject personality and variety into familiar formulas, even as their material sounds increasingly more generic. As always, the musicianship is absurdly sharp across the board, and once you acclimate to his squeaky pop cleans, vocalist Spencer Sotelo proves to be an essential ingredient in this polyrhythmic pie. His delivery feels more powerful than ever, shifting effortlessly between varied harsh vocals and emphatic arena-ready hooks. “Mr. God” and “Subhuman” land as earth-shaking djentcore bruisers, but beyond this, each track demonstrates a surprising diversity of moods. Subdued, vocal-driven tracks erupt into blackened tremolo passages (“Obsession”) or ludicrous mid-song breakdowns (“Carry On”), while songs like “Talk” and “Heaven on High” recapture the band’s classic sense of breakneck momentum, swerving between entertaining djent, crushing breakdowns, and massive refrains. Despite these turns, the whole package feels decidedly safe. The different song sections arrive with predictable timing, and certain chorus chord progressions/melodies begin to feel so familiar that some climactic moments lose their impact, especially when a weaker hook like “Unlocking” fails to justify the buildup.

Whereas my favorite moments on past Periphery records tend to come from huge, cathartic climaxes, some of the strongest passages on A Pale White Dot instead lean into understated nuance. “Blackwall” follows in the footsteps of “Silhouette” from Periphery V as a synth-pop-leaning earworm, but its most compelling moment is an expansive IDM-influenced middle section where synth washes and digital percussion fully take over. The titular closing track is another quiet highlight, built around a delicate acoustic guitar melody wrapped in subtle electronic atmosphere. There are other standout sections, like the wisteria-tinged progression of “Neon Valley’s” chorus or the emotional guitar solo of “Everyone Dies Alone.” These highs serve as memorable moments that anchor repeat listens, even if no single track quite reaches the heights of the band’s very best work.

A Pale White Dot is an album that’s easy to admire on a craftsmanship level, but hard for me to connect with. Periphery remain highly accomplished musicians and effective songwriters. As a fan of their style, there are still plenty of moments and tracks to enjoy throughout. At the same time, this record marks a noticeable streamlining of their sound, trading much of their trademark progressiveness and technical intricacy for more straightforward material that sits closer to contemporary metalcore than much of their earlier work. It’s far from bad, but I’d be hard-pressed to pick it over any other Periphery album.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream to end all streams
Label: 3Dot Recordings
Websites: periphery.net | facebook.com/PeripheryBand
Releases Worldwide: May 15th, 2026

Over a decade removed from the djent boom of the early 2010s, stylistic flagbearers Periphery have settled into a comfortable routine, periodically regrouping from side projects and business ventures to release a new record every few years. Cracks in that formula began to show on 2023’s Periphery V: Djent Is Not a Genre, where the compositions started to feel both formulaic and scattershot. Their new release, A Pale White Dot, is their first non-numbered album since the two-part Juggernaut (2015). It seems intended as a departure from their established release pattern and a chance to reconnect with a more instinctive, creatively driven approach written from a “top-down” perspective shaped by themes of isolation and loneliness. Periphery remains one of my favorite bands (even if I find myself stuffed into the occasional AMG locker for this opinion), and I’m always excited by the prospect of their technically minded, melodic, and smartly written take on progressive metalcore. By centering this record around a more focused concept and shedding some of the expectations attached to their numbered releases, can this league of extraordinary “djentlemen” deliver another satisfying dose of syncopated brilliance?

As Juggernaut did for Periphery I and II, A Pale White Dot streamlines the maximalist hyper-technicality of Periphery III–V in service of its concept, even if that comes at the expense of what once made the band so compelling. Periphery helped define the 2010s metalcore formula of “djent riff + soaring clean chorus + breakdown,” a blueprint that would eventually shape modern heavyweights like Sleep Token and Spiritbox. Their music could pivot seamlessly between dizzying guitar acrobatics and polished melodic hooks without sacrificing momentum, turning even the most familiar structures into sprawling narrative journeys. A Pale White Dot is the first record where this strength fades into the background, with a diminished presence of the “pure-riffery” and progressive elements the band is known for. With a few exceptions (the psychotic opening riff of “Malevolent” or the bombastic bridge of “Everyone Dies Alone”), a set of shorter songs is largely held together by straightforward chugs and massive vocal-forward choruses. Periphery still sounds like themselves, but the overall shape of these songs is far closer to run-of-the-mill “Octanecore” than ever before. For the first time in their career, it feels like Periphery is merely iterating on popular sounds, rather than pushing them forward.

I’d describe the songcraft on A Pale White Dot as frustratingly competent. Periphery clearly knows what they’re doing every step of the way, and the band still finds ways to inject personality and variety into familiar formulas, even as their material sounds increasingly more generic. As always, the musicianship is absurdly sharp across the board, and once you acclimate to his squeaky pop cleans, vocalist Spencer Sotelo proves to be an essential ingredient in this polyrhythmic pie. His delivery feels more powerful than ever, shifting effortlessly between varied harsh vocals and emphatic arena-ready hooks. “Mr. God” and “Subhuman” land as earth-shaking djentcore bruisers, but beyond this, each track demonstrates a surprising diversity of moods. Subdued, vocal-driven tracks erupt into blackened tremolo passages (“Obsession”) or ludicrous mid-song breakdowns (“Carry On”), while songs like “Talk” and “Heaven on High” recapture the band’s classic sense of breakneck momentum, swerving between entertaining djent, crushing breakdowns, and massive refrains. Despite these turns, the whole package feels decidedly safe. The different song sections arrive with predictable timing, and certain chorus chord progressions/melodies begin to feel so familiar that some climactic moments lose their impact, especially when a weaker hook like “Unlocking” fails to justify the buildup.

Whereas my favorite moments on past Periphery records tend to come from huge, cathartic climaxes, some of the strongest passages on A Pale White Dot instead lean into understated nuance. “Blackwall” follows in the footsteps of “Silhouette” from Periphery V as a synth-pop-leaning earworm, but its most compelling moment is an expansive IDM-influenced middle section where synth washes and digital percussion fully take over. The titular closing track is another quiet highlight, built around a delicate acoustic guitar melody wrapped in subtle electronic atmosphere. There are other standout sections, like the wisteria-tinged progression of “Neon Valley’s” chorus or the emotional guitar solo of “Everyone Dies Alone.” These highs serve as memorable moments that anchor repeat listens, even if no single track quite reaches the heights of the band’s very best work.

A Pale White Dot is an album that’s easy to admire on a craftsmanship level, but hard for me to connect with. Periphery remain highly accomplished musicians and effective songwriters. As a fan of their style, there are still plenty of moments and tracks to enjoy throughout. At the same time, this record marks a noticeable streamlining of their sound, trading much of their trademark progressiveness and technical intricacy for more straightforward material that sits closer to contemporary metalcore than much of their earlier work. It’s far from bad, but I’d be hard-pressed to pick it over any other Periphery album.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream to end all streams
Label: 3Dot Recordings
Websites: periphery.net | facebook.com/PeripheryBand
Releases Worldwide: May 15th, 2026

https://www.wacoca.com/media/656792/ PERIPHERY、本日5/15リリースのニュー・アルバム『A Pale White Dot』より「Heaven On High」MV公開！ #music #PERIPHERY #ペリフェリー #音楽

In mei leggen alle vogels een ei, en verscheidene bands leggen een album. Onder andere Sevendust, idle threat, Periphery, Shinedown en Devin Townsend hebben deze maand nieuwe muziek. Check snel ons volledige overzicht! https://www.nine32.nl/album-releases-2026/

#Sevendust #IdleThreat #Periphery #Shinedown #DevinTownsend #Rock #Metal #NewMusic

Absoluter All-Timer einfach

https://youtu.be/INaHipVhL_o

#periphery #progmetal #djent

#NowPlaying #ERRA

OMG! 😱 I wasn’t aware about the #newRelease coming from ERRA. In my opinion ERRA is one of the few bands, which form #modernmetal or #djenty metal. These are besides ERRA: #Periphery #InventAnimate #Polaris maybe even #Currents
But ERRA has a special place in my heart and one of the few bands, which evolved, still remain true to their core and original sound/style.

I just started to listen the album. But I have a good feeling 🤘🏻
https://album.link/i/1867613901

Que pedazo de banda es #Periphery. Y que clickbait son Los primeros tres temas.
Alpha
https://song.link/y/xad4Ost8GEM
Omega
https://song.link/y/SMUQH47zcYA
All new materials
https://song.link/y/nyNcM4PCiZc
New groove (instrumental)
https://song.link/y/loPinGgEaU0
Icarus lives
https://song.link/y/iMuJ_wu38hA

🆕 Foi publicado mais um número da Aniki: Revista Portuguesa da Imagem em Movimento, o primeiro de 2026. Inclui o dossier temático "Espaços “Periféricos” Contemporâneos da Imagem em Movimento", editado por Filipa Rosário, André Francisco e Fran Rebelatto.

🔓 https://aim.org.pt/ojs/index.php/revista/issue/view/35

#Histodons #OpenAccess #MovingImage #AcessoAberto #ImagemEmMovimento #Periferias #Periphery #CriticalGeography #UrbanSociology #CulturalStudies #CulturalHistory #Geografia #SociologiaUrbana #EstudosCulturais

🆕 Foi publicado mais um número da Aniki: Revista Portuguesa da Imagem em Movimento, o primeiro de 2026. Inclui o dossier temático "Espaços “Periféricos” Contemporâneos da Imagem em Movimento", editado por Filipa Rosário, André Francisco e Fran Rebelatto.

🔓 https://aim.org.pt/ojs/index.php/revista/issue/view/35

#Histodons #OpenAccess #MovingImage #AcessoAberto #ImagemEmMovimento #Periferias #Periphery #CriticalGeography #UrbanSociology #CulturalStudies #CulturalHistory #Geografia #SociologiaUrbana #EstudosCulturais

Great announcements recently

#TesseracT #EinarSolberg #CradleofFilth #Threshold #Periphery #DerWegEinerFreiheit #Perturbator #ThyCatafalque #ChelseaGrin #Katatonia

https://youtu.be/Ppg8kpG-lio?si=54JVpXuM632LSFvB

La meva #CançóDelDia per al dilluns 17 de novembre és aquesta dels #Periphery #WashingtonDC #Djent #ProgMetal #Metalcore 🕴🏿!

https://youtu.be/Ppg8kpG-lio?si=54JVpXuM632LSFvB

La meva #CançóDelDia per al dilluns 17 de novembre és aquesta dels #Periphery #WashingtonDC #Djent #ProgMetal #Metalcore 🕴🏿!

Esprit D’Air – Aeons Review

By Baguette of Bodom

Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?

Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).

Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.

The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.

Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.

Rating: Good!
DR: 5 | Format Reviewed: FLAC
Label: Starstorm Records (self-run)
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 7th, 2025

#2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan

Esprit D’Air – Aeons Review

By Baguette of Bodom

Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?

Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).

Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.

The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.

Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.

Rating: Good!
DR: 5 | Format Reviewed: FLAC
Label: Starstorm Records (self-run)
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 7th, 2025

#2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan

Watch our Conference Round Table "Other Europes. Past, Present, Future" with Giuliana Laschi (Univ. Bologna), Wolfgang Schmale @univienna Gianna Zocco (Leibniz-Zentrum für Literatur- und Kulturforschung Berlin) & Catherine Horel (CNRS).

20 November, 5:30 PM (CET), GHIP

#Livestream : https://www.dhi-paris.fr/de/termindetails/online-und-vor-ort-other-europes.html

#subaltern #periphery #marginalization #Europe #democracy

Watch our Conference Round Table "Other Europes. Past, Present, Future" with Giuliana Laschi (Univ. Bologna), Wolfgang Schmale @univienna Gianna Zocco (Leibniz-Zentrum für Literatur- und Kulturforschung Berlin) & Catherine Horel (CNRS).

20 November, 5:30 PM (CET), GHIP

#Livestream : https://www.dhi-paris.fr/de/termindetails/online-und-vor-ort-other-europes.html

#subaltern #periphery #marginalization #Europe #democracy

The last one is a giant calculator with lines and lines of blinking LEDs.

#Periphery: Scarlet

https://song.link/t/357511452

This opens to TesseracT, Meshuggah, and Veil of Maya.

A look at the reality of organizations shows that the quality of corporate organizing has been stagnating for decades. All the trendy tools and glitzy slogans will be charades as long as responsibility for day-to-day business isn’t systematically shifted to teams on the #periphery. Great leadership will remain elusive until organizations are consistently #decentralized.

A look at the reality of organizations shows that the quality of corporate organizing has been stagnating for decades. All the trendy tools and glitzy slogans will be charades as long as responsibility for day-to-day business isn’t systematically shifted to teams on the #periphery. Great leadership will remain elusive until organizations are consistently #decentralized.

Ophelion – The Jaunt Review

By Angry Metal Guy

Written By: Nameless_n00b_604 In the canon of life-ruining short stories, somewhere amidst Ellison’s “I Have No Mouth and Must Scream” and Jackson’s “The Lottery,” you’ll find Stephen King’s “The Jaunt.” In summary: Family sets out to teleport to Mars on The Jaunt, Dad tells kids that taking The Jaunt while unanesthetized makes you go crazy, Boy takes the Jaunt unanesthetized, Boy experiences time “longer than you think!”, Boy goes crazy and attempts disposing of own eyes by way of own fingers. It’s a story so metal, it begs for musical adaptation. UK-based progressive metallers Ophelion have accepted the challenge in their five-track self-released debut. Undeniably bold, are they up to adapting such a stark, deceptively simple tale?

The Jaunt progs hard. Opeth’s shadow looms large, particularly heavy on “Voice of Thought” through haunting key melodies, breathy crooning, and crushing growls by Marcello Vieira (Braveride) and Gabriel Riccio, respectively. Guitarist/bassist/co-songwriter Shaun Eggleston and drummer Travis Orbin (Darkest Hour, ex-Periphery) groove over odd, shifting time signatures while co-songwriter Steven Eggleston’s synthesizers primarily lay down chord beds (“Transference”) and create atmosphere (“Emergence”). The mix is loud and busy, but the musicianship is on par with the luminaries of prog metal, dishing out water-tight grooves (“Artefact,” “Voice of Thought”), masterful soloing, and longform compositions that weave through bridge after copious bridge. As such, if you’re allergic to any of the developments in progressive metal from the past thirty years, The Jaunt is liable to give you a rash, as Ophelion strikes them all.1

But Ophelion has the vision to appeal to more than prog nerds. Chugs are ubiquitous across The Jaunt, but varied rhythms keep things groovy rather than monotonous alongside embellishment-rich riffage (“Transference” at 1:10, “Exodus” at 5:07). Fretboard warrior Shaun Eggleston weaves Petrucciesque solos on “Exodus” but also conjures thrash nastiness on “Artefact” (3:37), sounding like Megadeth trying southern rock. Vieira sports a reedy high register and the Euro-power proclivity to over-enunciate and under-pronounce, but his gravitas is undeniably infectious. Riccio’s growls ooze spit-and-vinegar, with instrumentation turning chromatic and dissonant with his appearances (“Voice of Thought,” “Artefact”). A lot happens on The Jaunt; sometimes too much, too rapidly. With so many brief movements throughout, Ophelion is the antimatter of atmoblack metal—doing too much for not long enough—and the music often doesn’t repeat enough to nestle into the listener’s brain.2 Regardless, Ophelion’s diverse virtuosity should please most metalheads.

What’s most impressive, however, is how everything coalesces into storytelling. Departing from King, Ophelion enters The Jaunt through an unnamed traveler (“Transference”), with Vieira portraying him enduring bodyless consciousness (“Voice of Thought”) before watching his thoughts manifest into civilizations “Praying to the skies to a god who wants to die”3 (“Artefact”), creating the Jaunt themselves. Riccio plays the voice of the titular Jaunt, callously enlightening him that “As you watch your body / Enter the machine / All happens once again / The universe exists recursively” (“Exodus”). Like King’s prose, the lyricism—if somewhat on-the-nose—is concisely vivid.

Songwriting sells the lyrics through film score-level symbiosis between music and narrative. The solos in “Artefact” become progressively unhinged, reflecting the traveler’s increasing anguish. The spacey “Emergence” conveys the emptiness between losing control (“Voice of Thought”) and becoming omniscient (“Artefact”). Finally, concluding “Exodus”—depicting the traveler’s release from the Jaunt and subsequent self-blinding—sees a quiet, eerie key change as Ophelion rebuilds momentum to crescendo into a final solo before leaving a lone acoustic guitar, recalling the acoustic “Transference” intro, evoking the cursed recursive universe.4 Ophelion didn’t just use King’s story as a backdrop; the narrative is essential in enjoying The Jaunt as art.

Ophelion’s The Jaunt brushes the hem of greatness. With a more settled approach to songwriting—letting hooks sink in—Ophelion could be lethal. Though sometimes too frenetic, The Jaunt nevertheless abounds with excellent ideas, musicianship, and narrative, an easy pick for any prog fan and/or enemy of the “less is more” philosophy.5 Give The Jaunt a try. Just don’t hold your breath.

Rating: Very Good
DR: 8 | Review Format: 320 kb/s mp3
Label: Self-Released
Website: ophelionmusic.bandcamp.com
Releases Worldwide: June 23rd, 2025

#2025 #35 #Braveride #BritishMetal #DarkestHour #Jun25 #Megadeth #Opeth #Ophelion #Periphery #ProgressiveMetal #Review #Reviews #SelfRelase #TheJaunt

Ophelion – The Jaunt Review

By Angry Metal Guy

Written By: Nameless_n00b_604 In the canon of life-ruining short stories, somewhere amidst Ellison’s “I Have No Mouth and Must Scream” and Jackson’s “The Lottery,” you’ll find Stephen King’s “The Jaunt.” In summary: Family sets out to teleport to Mars on The Jaunt, Dad tells kids that taking The Jaunt while unanesthetized makes you go crazy, Boy takes the Jaunt unanesthetized, Boy experiences time “longer than you think!”, Boy goes crazy and attempts disposing of own eyes by way of own fingers. It’s a story so metal, it begs for musical adaptation. UK-based progressive metallers Ophelion have accepted the challenge in their five-track self-released debut. Undeniably bold, are they up to adapting such a stark, deceptively simple tale?

The Jaunt progs hard. Opeth’s shadow looms large, particularly heavy on “Voice of Thought” through haunting key melodies, breathy crooning, and crushing growls by Marcello Vieira (Braveride) and Gabriel Riccio, respectively. Guitarist/bassist/co-songwriter Shaun Eggleston and drummer Travis Orbin (Darkest Hour, ex-Periphery) groove over odd, shifting time signatures while co-songwriter Steven Eggleston’s synthesizers primarily lay down chord beds (“Transference”) and create atmosphere (“Emergence”). The mix is loud and busy, but the musicianship is on par with the luminaries of prog metal, dishing out water-tight grooves (“Artefact,” “Voice of Thought”), masterful soloing, and longform compositions that weave through bridge after copious bridge. As such, if you’re allergic to any of the developments in progressive metal from the past thirty years, The Jaunt is liable to give you a rash, as Ophelion strikes them all.1

But Ophelion has the vision to appeal to more than prog nerds. Chugs are ubiquitous across The Jaunt, but varied rhythms keep things groovy rather than monotonous alongside embellishment-rich riffage (“Transference” at 1:10, “Exodus” at 5:07). Fretboard warrior Shaun Eggleston weaves Petrucciesque solos on “Exodus” but also conjures thrash nastiness on “Artefact” (3:37), sounding like Megadeth trying southern rock. Vieira sports a reedy high register and the Euro-power proclivity to over-enunciate and under-pronounce, but his gravitas is undeniably infectious. Riccio’s growls ooze spit-and-vinegar, with instrumentation turning chromatic and dissonant with his appearances (“Voice of Thought,” “Artefact”). A lot happens on The Jaunt; sometimes too much, too rapidly. With so many brief movements throughout, Ophelion is the antimatter of atmoblack metal—doing too much for not long enough—and the music often doesn’t repeat enough to nestle into the listener’s brain.2 Regardless, Ophelion’s diverse virtuosity should please most metalheads.

What’s most impressive, however, is how everything coalesces into storytelling. Departing from King, Ophelion enters The Jaunt through an unnamed traveler (“Transference”), with Vieira portraying him enduring bodyless consciousness (“Voice of Thought”) before watching his thoughts manifest into civilizations “Praying to the skies to a god who wants to die”3 (“Artefact”), creating the Jaunt themselves. Riccio plays the voice of the titular Jaunt, callously enlightening him that “As you watch your body / Enter the machine / All happens once again / The universe exists recursively” (“Exodus”). Like King’s prose, the lyricism—if somewhat on-the-nose—is concisely vivid.

Songwriting sells the lyrics through film score-level symbiosis between music and narrative. The solos in “Artefact” become progressively unhinged, reflecting the traveler’s increasing anguish. The spacey “Emergence” conveys the emptiness between losing control (“Voice of Thought”) and becoming omniscient (“Artefact”). Finally, concluding “Exodus”—depicting the traveler’s release from the Jaunt and subsequent self-blinding—sees a quiet, eerie key change as Ophelion rebuilds momentum to crescendo into a final solo before leaving a lone acoustic guitar, recalling the acoustic “Transference” intro, evoking the cursed recursive universe.4 Ophelion didn’t just use King’s story as a backdrop; the narrative is essential in enjoying The Jaunt as art.

Ophelion’s The Jaunt brushes the hem of greatness. With a more settled approach to songwriting—letting hooks sink in—Ophelion could be lethal. Though sometimes too frenetic, The Jaunt nevertheless abounds with excellent ideas, musicianship, and narrative, an easy pick for any prog fan and/or enemy of the “less is more” philosophy.5 Give The Jaunt a try. Just don’t hold your breath.

Rating: Very Good
DR: 8 | Review Format: 320 kb/s mp3
Label: Self-Released
Website: ophelionmusic.bandcamp.com
Releases Worldwide: June 23rd, 2025

#2025 #35 #Braveride #BritishMetal #DarkestHour #Jun25 #Megadeth #Opeth #Ophelion #Periphery #ProgressiveMetal #Review #Reviews #SelfRelase #TheJaunt