#portal — Public Fediverse posts

Der Begleiter Kubus aka Companion Cube. 🥰

#SchenklRadio #Portal

Employment WordPress Theme https://visualmodo.com/theme/employment-wordpress-theme/ a complete Job Board WordPress theme that allows you to create a useful and easy to use job listings website 💼🗞️👔📰 #WordPress #Theme #Job #Board #Portal #Responsive

Janowo #Janowo #ArtisticVillage #WioskaArtystyczna #OldDoor #VintageDoor #Distressed #Weathered #Threshold #Portal #InstallationArt #ArtInNature #RuralPhotography #Nostalgia #Pixelfed #Fediverse #Photography #FineArtPhotography #ConceptualArt #RuralExploration

@photography

Daily diary on Mastodon
🔗 https://pixelfed.social/p/piotrk/994212032000196651

@ukwaterways
Once you cross the #mainroad where the #Tunnel Top pub still stands but has clearly been closed for a number of years you zig-zag to reach Tunnel Top South the lane that takes you to the southern #portal of the #tunnel. It is signed to #Dutton #drydock.

#lane #shaft #canal #boating

The spirit of metal has always been transgressive. Even though the genre can no longer be epitomized by a group of men with long hair, wearing all black, screaming about Satan and death,1, there remains an element that threatens an established order or sensibility. This is most obvious in the sound itself, which apparently turns a majority of listeners away even as it attracts weirdos like us. But while we may roll our eyes at metal of any kind being dismissed as ‘just noise’ and ‘horrible’, there are some cases where we can acknowledge that the music in question really is very inaccessible. Then we’re confronted with that same transgressiveness non-metalheads face when they listen to less-extreme metal, and enjoyment—let alone qualitative assessment—becomes complex. So it was when I was faced with Dhrupad Anutpada (ধপদ অন$ৎপ&দ): Apophatic Ragas Of Non-Origination, the debut of Indian/Canadian act Nirriti whose intense blackened noise is paired with a philosophical theme that denies the occurrence of creation. Its heresy is every bit as transcendentally horrifying as it sounds.

Nirriti are fully committed to their unorthodoxy. As members of black/noise circle Kolkata Inner Order Propaganda—along with Tetragrammacide, Necrodeity, among others—the trio demonstrate a level of nightmarishness worthy of the circle’s proclaimed “esoterrorism.” Not only is the lyrical theme bizarre yet intriguing, but the music is some of the most oppressive I’ve ever heard. For context, after finishing my first play-through of Dhrupad Anutpada, I decided to listen to Portal to “wind down.” Nirriti’s use of guitar as something from which to make a shuddering wall of sound, from which the occasional dissonant tremolo scale creeps out, is somewhat similar to Portal’s. Here, this wall feels still more monolithic due to Dodecahedron-on-steroids percussive violence that breaks away from a cacophonous blast, only to smash any hint of quiet with cymbals. Omnipresent vocal reverb, that iterates nigh on every hellish roar into a multiplicity of frightening confusion and chaos, becomes the final smothering layer in Dhrupad Anutpada’s impenetrable shroud of horror.

Up to this point, everything I’ve said about Dhrupad Anutpada could be taken positively or negatively—a quirk of how we often discuss extreme metal. This cognitive dissonance is as central to the proper experience of the album as literal harmonic dissonance. Nirriti’s take on noisy brutality approaches the hypnotic as they infuse passages with a sense of repetition through just-audible repeating scales and the aforementioned flickering echoes of vocals (“Mandukya…,”2 “In the Hallways…”). This creates a viscerally chilling sense of a tape skipping or playing backwards, or of the dizziness you feel just before you faint. It’s strange, but such passages grip the listener more powerfully than those where the reverb and blackened sensibility soften to allow the riffs breathing room (“One Foot…,” “Glissando…”), though the latter do reset the sempiternal rhythm, and inject needed jabs of urgency at their best (“One foot…,” “Golden Yolk…”). The relentless drumming, often more prominent than the guitars, serves primarily as a propeller to churn up these waters, such that it becomes a perverse relief when it settles into a battering, crashing attack (“In the Hallways…,” “Golden Yolk…,” “Vilambit Laya…”); because you can at least count the blows.

Dhrupad Anutpada maintains a consistent level of intensity thanks to these constant, if sometimes subtle, fluctuations. Creeping guitar ascents (“In the Hallways…,”), a rhythmic syncopation between roars and drums (“Mandukya…”), and the sudden breaks into noise (“Glissando…”) or the comparative ease of dissonant death metal (“One Foot…”) keep one hooked, straining one’s ears to catch the nuances in this chthonic chaos. Nirriti display an impressive command of their craft, turning harsh vocals into a weapon of horror, wielding guitars like percussion and percussion like punishment. It’s clearly intended to overwhelm and unsettle its audience. The problem is that it’s perhaps too successful, Dhrupad Anutpada being so exhausting that it can make one feel physically nauseated. After many listens, once the initial shock has passed, it’s easier to spot the places Nirriti reuse their tricks, and the corresponding movements lose a little potency (“In the Hallways…,” “Vilambit Laya…”).

I want to believe Dhrupad Anutpada is as profound as it presents itself. There is something to be said for an album that so powerfully confronts and terrifies its listener—it is the very essence of metal and the heart of philosophical unorthodoxy. Yet Nirriti tread a touch too far into the formless abyss to reach all but the most dedicated acolytes of the heretical metal underground. Dhrupad Anutpada may open your mind, but it’s just as likely to send you scrambling, horrified, away from the nightmare Nirriti have unleashed.

Rating: Mixed
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Websites: Bandcamp
Releases Worldwide: June 19th, 2026

#Meta is testing #subscriptionservices for its #MetaAI app and website, aiming to diversify its revenue streams beyond advertising. Despite past struggles with non-ad ventures like #Portal and #Oculus, analysts see potential in Meta’s #AIsubscriptions, predicting significant revenue growth by 2030. https://www.cnbc.com/2026/05/30/meta-struggled-selling-anything-other-than-ads-will-ai-be-different.html?eicker.news #tech #media #news

#Meta is testing #subscriptionservices for its #MetaAI app and website, aiming to diversify its revenue streams beyond advertising. Despite past struggles with non-ad ventures like #Portal and #Oculus, analysts see potential in Meta’s #AIsubscriptions, predicting significant revenue growth by 2030. https://www.cnbc.com/2026/05/30/meta-struggled-selling-anything-other-than-ads-will-ai-be-different.html?eicker.news #tech #media #news

#Meta is testing #subscriptionservices for its #MetaAI app and website, aiming to diversify its revenue streams beyond advertising. Despite past struggles with non-ad ventures like #Portal and #Oculus, analysts see potential in Meta’s #AIsubscriptions, predicting significant revenue growth by 2030. https://www.cnbc.com/2026/05/30/meta-struggled-selling-anything-other-than-ads-will-ai-be-different.html?eicker.news #tech #media #news

#Meta is testing #subscriptionservices for its #MetaAI app and website, aiming to diversify its revenue streams beyond advertising. Despite past struggles with non-ad ventures like #Portal and #Oculus, analysts see potential in Meta’s #AIsubscriptions, predicting significant revenue growth by 2030. https://www.cnbc.com/2026/05/30/meta-struggled-selling-anything-other-than-ads-will-ai-be-different.html?eicker.news #tech #media #news

Elleringhausen – Der Künstler Jürgen Suberg

Im April 1994 produziert Hans Martin Köster einen Film über Jürgen Suberg. Der Künstler erläutert dari

https://privatarchiv.rzgierskopp.de/1994/04/elleringhausen-der-kuenstler-juergen-suberg/

#Bildhauer #Chorraum #Elleringhausen #Film #Haan #Hochsauerlandkreis #JuergenSuberg #Kathedrale #KathedraleStSebastianMagdeburg #Kirche #KircheStChrysanthusUndDariaHaan #Kreishaus #Kuenstler #Kunst #Magdeburg #Maler #Meschede #Olsberg #Portal #Suberg #Video #Westportal #AtelierSuberg

Manchmal muss ich echt schmunzeln:
Da wird gegen ein #illegales #Portal geklagt, was ja richtig ist, nur ist das völlig erfolglos. Die #Provider sperren den #DNS Eintrag auf ihren Servern und das wars. Die Seite ist weiterhin da. Wer allerdings #opendns & co nutzt als dns #Server in seinem #Router bekommt von der Sperre nichts mit. Wenn man was ändern will muss man die Betreiber ausfindig machen und die Server abschalten.
#DFB #dazn #paytv #stream #livetv
https://www.spiegel.de/netzwelt/livetv-sx-dazn-und-fussballliga-gelingt-schlag-gegen-pay-tv-piraten-a-9cbd79e4-06ec-4ff7-973f-af64ee4ecc73

Friendly reminder!

#portal #poster #ai #paradoxes

Anyone who’s brushed against James Joyce’s modernist classic Ulysses has almost certainly encountered the phrase “remorse of conscience” before. A pivotal theme of the novel, remorse of conscience refers to more than mere guilt over a perceived ethical failure but the misery inflicted by it, its weight and torment. In the days leading up to receiving Remorse of Conscience, the independent debut from New Hampshire’s genre-blending Agenbite Misery, a record informed by Ulysses and “steeped in grief, alienation and the search for meaning in modern life,” I was experiencing that eponymous turmoil myself. Why?1 Because Agenbite Misery, along with bassist Cam Netland and drummer/primary vocalist Adam Richards, is the creative baby of guitarist/synth guy Sam Graff, AMG’s very own Samguineous Maximus. Promising as fair and impartial a review as I could muster to both my colleague and my merciless taskmasters, one terrifying question bit at me relentlessly between accepting the task and receiving the promo: “What if it sucks?”2

Among the myriad sub-genres influencing Remorse of Conscience, Agenbite Misery’s bread and butter is a complementary fusion of sludge and black metal. Songs like “Bellwether and Swine” and “Mnesterophonia” swing between second-wave blackened intensity and a washing of Acid Bath grime, while “Telemachean Echoes” wrecks house through hardcore-flexing sludge brutality and “Circe” bestows an atmospheric dreariness similar to Hexrot. This works: Agenbite Misery’s sludge influence adds weight to their blackened riffing while their black metal influence helps keep their sludge from plodding too long. Elsewhere, Agenbite Misery throw their weight around in “Cascara Sagrada” with Portalesque disso-death depravity, engage in melancholic electronic atmospherics on “The Twice-Charred Paths of Musing Disciples” and get downright danceable Crippling Alcoholism-style on the post-rock, synth-heavy “Whatness of Allhorse,” which sounds like something Blade would kill a roomful of vampires to. Remorse of Conscience rarely sits still, and with Agenbite Misery’s expert songwriting everything they try comes together cohesively.

Remorse of Conscience by Agenbite Misery

Balance is the key to Agenbite Misery and Remorse of Conscience’s success. Every song is crafted with superb dynamism, whether it be in “Circe”‘s shifting speeds, “Mnesterophonia”‘s oscillating sense of airiness and crushing oppression or “Whatness of Allhorse”‘s gradual escalation of heaviness. Vocally, Agenbite Misery mix it up between the three bandmates with shrieks, roars, squeals (“Bellwether and Swine”), barks (“Telemachean Echoes”) and (competently performed!) spoken-word passages (“A Charitable View of Temporary Sanity,” “Whatness of Allhorse”), suiting whatever mood the songs demand. The pinnacle of Remorse of Conscience’s balancing act is “A Charitable View of Temporary Sanity,” which across its over-thirteen-minute runtime swings from thoughtful, quiet bass arpeggios against sparse guitar notes to titanic doom riffs, from funeral dirge tempos to double-time death marches. Sometimes quietly disturbing, sometimes manically depressive, variety in style and approach keeps Remorse of Conscience from ever being boring.

Remorse of Conscience remains compelling through its entirety because of Agenbite Misery’s greatest balancing act: blending immediacy within slow-burn constructions. Despite the thematic density derived from its source material, Remorse of Conscience opens with a simple rager in “Telemachean Echoes” and loads “Whatness of Allhorse” and “Circe” with hooky synth and guitar leads respectively, affording the album casual listening appeal. Then there are Agenbite Misery’s epics in “A Charitable View of Temporary Sanity” and “Mnesterophonia,” which eschew conventional song structure for slow, Isis-like post-metal waves and sludgy, noise-rock menace, easy to become lost in as a listener. Both modes keep the pacing of Remorse of Conscience fresh, and the mix of short songs (“Telemachean Echoes,” “The Twice-Charred Paths of Musing Disciples”) with longform ones further dispels any threat of monotony creeping in. Both song-wise and album-wide, Remorse of Conscience is not only a rich, thoughtful exploration of guilt and turmoil but a really, really fun record, too.

“What if it sucks?” What if, indeed. Having spent so much time with this record, my old concern of winding up disliking Remorse of Conscience was replaced with the new anxiety over whether I’d gas up Agenbite Misery and Sam too much and come off as committing inter-AMG favoritism. To combat that fear: “Whatness of Allhorse” and “Mnesterophonia” get a bit long in the tooth,3 “Bellwether and Swine” ends a bit anticlimactically and the drum kicks and snares could be much punchier overall. But this is water under the bridge for a great album defined by adventurous songcraft and deep atmospheres. Even if you’ve never read a word of Joyce’s Ulysses, Agenbite Misery and Remorse of Conscience is worth the effort. It’s a lot easier to finish than Ulysses, at the very least.

Rating: Great4
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Independent
Websites: agenbitemisery.com | agenbitemisery.bandcamp.com | ampwall.com/a/agenbitemisery
Releases Worldwide: February 6th, 2026

In dungeon deep, where shadows creep
And midnight's chill doth softly creep,
Upon a shelf of dust and gloom,
A volume waits in silent doom.

From whence it stirs, with creak and groan,
Its pages part, as if alone;
No hand unseen, no mortal breath,
Unleash the maw—teeth sharp as death!

It snarls and gapes, a yawning pit,
Where lamplight fades, and horrors flit;
The chamber swirls in vortex wild,
Down, down it draws the scene beguiled.

Into its throat, the world is reeled,
A faraway of dragons whelled—
Where spooks arise on All Hallows' Eve,
And phantoms dance 'midst autumn's grieve.

Oh, woe betide the curious soul
Who lingers near that cursed scroll!
For once entwined in its dread art,
No light returns to break the heart.

#Halloween, #Spooky, #FantasyArt, #Dragon, #Ghosts, #JackOLanterns, #FullMoon, #DarkFantasy, #HorrorArt, #Animation, #DigitalPainting, #Creepy, #MythicalCreatures, #Magic, #BookMonster, #Library, #AncientBooks, #Portal, #Otherworld, #Scary, #Gothic, #art, #ai, #aiart, #aichallenge, #aicommunity

"Casa vacía"

#abandoned #abandonedplaces #lonelyplanet #strollingaround #barrio #fotos #fotografie #photooftheday #photography #depaseo #gurranabraher #cork #corkcity #wall #bricklane #brickwall #gate #portal #entrada #urban #urbanphotography #street #overgrown #calle #ciudad

Waddup! It's time for Episode 81 of that Podcast Wot We Do!

In this episode, @deKay, @asktoby, Kendrick and @choobs eventually get round to talking about video games, including some that Kendrick has almost certainly made up. Those, news on the new #Fallout TV show, #SimontheSorcerer, #Kien for the #GBA, #ApexLegends hacking, and The Haunting of #Stardew Valley.

Plus! #likeadragon #xenoblade #portal #metroexodus #unicornoverlord #edf #remnant2 and more!

https://ugvm.org.uk/podcast/81-please-be-good-please-be-good-please-be-good/

... please move forward ...

#backrooms #noclip #liminal #liminalspace #strangecore #dereality #falsereality #dreams #liminalanxiety #horror #hallway #unsettling #glitchcore #forgottencore #yellow #lovecraftian #portal #lost #alone #contamination #aihorrorartwork #photoshop

Hecatoncheir – Nightmare Utopia Review

By Dear Hollow

On the advent of the release of Nightmare Utopia, Hecatoncheir posted a series of poetry and stories attached to each of the forthcoming songs on social media. The journey begins by following a dark silhouette, each installment describes surreal and dreamlike landscapes, strange characters, and objects—with monolithic importance attached in the strange way that dreams do. In the latter tracks, ever-vigilant eyes watch from the stars and assume a more horrific face as they emerge from the darkness as the cruel pelagic and empyrean deities and monsters among Lovecraft’s multitudes. Hecatoncheir’s uniquely dreamlike take on chthonic horror, balanced by its ambitions in liminal spaces, set one hell of a precedent for the music contained herein.

Slovakian trio Hecatoncheir, named after a trio of hundred-armed, fifty-headed allies of the Olympians in Hesiod’s Theogony, blurs the borderlands between its influences—making this quite the feat for an act with limited experience in the scene.1 Throughout Nightmare Utopia’s thirty-two-minute runtime, you will hear the familiar wail of dissonant stylings, the cold saturation of black metal, the brutality of death metal, the megaton weight of sludge, and the patience of doom—influences of Our Place of Worship is Silence, Portal, Thantifaxath, and Mass Worship all have a hand in laying waste to this hellish landscape. Hecatoncheir weaponizes riffs and atmosphere that not only conjure a journey through the uncanny valley but wield enough firepower to overthrow the Titans with the fists of chthonic gods in the act’s debut.

Humbly self-described as a “mid-tempo juggernaut,” the dichotomy of punishing density and menacing atmosphere is what makes Hecatoncheir stand out. Each track assumes an identity of its own, with a common thread of crystalline dissonance coursing through its jagged movements. Fiery tremolo gives way to thick riffs seamlessly, while monolithic doom sludge gives way to skull-crushing riffs, overlaid by simple yet effective plucking and dissonant leads. You would be forgiven in thinking that opener “Dreamless” introduces the next Thantifaxath album with its blastbeat and tremolo-guided trek, because after the brief ambient track “Nightmare Utopia (I. The Falsebound Kingdom),” the formidable and monolithic “Nightmare Utopia (II. Him in the Gulf)” hits with a Mass Worship-like sludgy intensity, portraying Lovecraft’s idiot god Azathoth with a deserving hugeness. “Sefirot of Understanding” capitalizes upon the Our Place of Worship is Silence influence in its thick and sticky chugs, balanced by dissonant passages and a blackened edge.

While the common thread courses through the sludge, black, and death metal passages throughout the first half of Nightmare Utopia as it maintains remarkable balance, it reaches its apex with its three closers, “The Crowning Horror,” “Madness of the Stars,” and “The Watcher, the Witness,” dragging the previous relatively safe compositions to an unforeseen depth. “The Crowning Horror” offers a central Portal-esque crawling riff atop vicious blastbeats with a nearly thrashy blaze tossed in, combined with an unforgettable melodic interlay that adds a needed jolt in context to the mid-tempo pummeling of “Sefirot of Understanding.” “Madness of the Stars” then proceeds to walk the path of Hierophant and Nightmarer with the thickest and most pummeling riffs of the album and a thickly distorted blackened closing, before “The Watcher, the Witness” revisits the uncompromising sludge of “Him in the Gulf” with a minimalist spin, focusing on its plucking and sprawling sludge, nearly-drone chords atop contemplative blastbeats.

“I am everything. The light and the darkness, the left hand and the right hand, the sun and the flesh, the beginning and the end. The creator and the destroyer.” I am reminded of these final words in Hecatoncheir’s poetic commentary on closer “The Watcher, the Witness.” Nightmare Utopia certainly dwells in far darker places than much of the metalverse, but it’s much more than that. The themes of forbidden knowledge, horror, and violence are balanced by the trio’s emphasis on liminality, emptiness, and patience. While listeners may see influence disparity as a lack of commitment, the sudden out-of-the-blue closing passages of the three closers jarring, or the unwavering growls monotone, Hecatoncheir’s ambition and the seamless blend of black, death, sludge, and doom balances atmosphere and punishment as deftly as a debut can get. As you find yourself in the fog, follow the faint silhouette of the man, slightly darker than his surroundings—he’ll guide you home.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Total Dissonance Worship
Websites: facebook.com/hecatoncheir.sk | hecatoncheir-sk.bandcamp.com
Releases worldwide: February 29th, 2024

#2024 #40 #AleaIactaEst #BlackMetal #BlackenedDeathMetal #BlackenedSludgeMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #DoomMetal #Feb24 #Hecatoncheir #Hierophant #MassWorship #NightmareUtopia #Nightmarer #OldTomb #OurPlaceOfWorshipIsSilence #Portal #Review #Reviews #SlovakMetal #SludgeMetal #Thantifaxath #TotalDissonanceWorship

Hecatoncheir – Nightmare Utopia Review

By Dear Hollow

On the advent of the release of Nightmare Utopia, Hecatoncheir posted a series of poetry and stories attached to each of the forthcoming songs on social media. The journey begins by following a dark silhouette, each installment describes surreal and dreamlike landscapes, strange characters, and objects—with monolithic importance attached in the strange way that dreams do. In the latter tracks, ever-vigilant eyes watch from the stars and assume a more horrific face as they emerge from the darkness as the cruel pelagic and empyrean deities and monsters among Lovecraft’s multitudes. Hecatoncheir’s uniquely dreamlike take on chthonic horror, balanced by its ambitions in liminal spaces, set one hell of a precedent for the music contained herein.

Slovakian trio Hecatoncheir, named after a trio of hundred-armed, fifty-headed allies of the Olympians in Hesiod’s Theogony, blurs the borderlands between its influences—making this quite the feat for an act with limited experience in the scene.1 Throughout Nightmare Utopia’s thirty-two-minute runtime, you will hear the familiar wail of dissonant stylings, the cold saturation of black metal, the brutality of death metal, the megaton weight of sludge, and the patience of doom—influences of Our Place of Worship is Silence, Portal, Thantifaxath, and Mass Worship all have a hand in laying waste to this hellish landscape. Hecatoncheir weaponizes riffs and atmosphere that not only conjure a journey through the uncanny valley but wield enough firepower to overthrow the Titans with the fists of chthonic gods in the act’s debut.

Humbly self-described as a “mid-tempo juggernaut,” the dichotomy of punishing density and menacing atmosphere is what makes Hecatoncheir stand out. Each track assumes an identity of its own, with a common thread of crystalline dissonance coursing through its jagged movements. Fiery tremolo gives way to thick riffs seamlessly, while monolithic doom sludge gives way to skull-crushing riffs, overlaid by simple yet effective plucking and dissonant leads. You would be forgiven in thinking that opener “Dreamless” introduces the next Thantifaxath album with its blastbeat and tremolo-guided trek, because after the brief ambient track “Nightmare Utopia (I. The Falsebound Kingdom),” the formidable and monolithic “Nightmare Utopia (II. Him in the Gulf)” hits with a Mass Worship-like sludgy intensity, portraying Lovecraft’s idiot god Azathoth with a deserving hugeness. “Sefirot of Understanding” capitalizes upon the Our Place of Worship is Silence influence in its thick and sticky chugs, balanced by dissonant passages and a blackened edge.

While the common thread courses through the sludge, black, and death metal passages throughout the first half of Nightmare Utopia as it maintains remarkable balance, it reaches its apex with its three closers, “The Crowning Horror,” “Madness of the Stars,” and “The Watcher, the Witness,” dragging the previous relatively safe compositions to an unforeseen depth. “The Crowning Horror” offers a central Portal-esque crawling riff atop vicious blastbeats with a nearly thrashy blaze tossed in, combined with an unforgettable melodic interlay that adds a needed jolt in context to the mid-tempo pummeling of “Sefirot of Understanding.” “Madness of the Stars” then proceeds to walk the path of Hierophant and Nightmarer with the thickest and most pummeling riffs of the album and a thickly distorted blackened closing, before “The Watcher, the Witness” revisits the uncompromising sludge of “Him in the Gulf” with a minimalist spin, focusing on its plucking and sprawling sludge, nearly-drone chords atop contemplative blastbeats.

“I am everything. The light and the darkness, the left hand and the right hand, the sun and the flesh, the beginning and the end. The creator and the destroyer.” I am reminded of these final words in Hecatoncheir’s poetic commentary on closer “The Watcher, the Witness.” Nightmare Utopia certainly dwells in far darker places than much of the metalverse, but it’s much more than that. The themes of forbidden knowledge, horror, and violence are balanced by the trio’s emphasis on liminality, emptiness, and patience. While listeners may see influence disparity as a lack of commitment, the sudden out-of-the-blue closing passages of the three closers jarring, or the unwavering growls monotone, Hecatoncheir’s ambition and the seamless blend of black, death, sludge, and doom balances atmosphere and punishment as deftly as a debut can get. As you find yourself in the fog, follow the faint silhouette of the man, slightly darker than his surroundings—he’ll guide you home.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Total Dissonance Worship
Websites: facebook.com/hecatoncheir.sk | hecatoncheir-sk.bandcamp.com
Releases worldwide: February 29th, 2024

#2024 #40 #AleaIactaEst #BlackMetal #BlackenedDeathMetal #BlackenedSludgeMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #DoomMetal #Feb24 #Hecatoncheir #Hierophant #MassWorship #NightmareUtopia #Nightmarer #OldTomb #OurPlaceOfWorshipIsSilence #Portal #Review #Reviews #SlovakMetal #SludgeMetal #Thantifaxath #TotalDissonanceWorship

... the hallway ...

#backrooms #noclip #liminal #liminalspace #strangecore #dereality #falsereality #dreams #liminalanxiety #horror #hallway #unsettling #glitchcore #forgottencore #yellow #lovecraftian #portal #lost #alone #contamination #aihorrorartwork #photoshop

Arch of Constantine and Colosseum at night in Rome, Italy.
https://artur-bogacki.pixels.com/featured/arch-of-constantine-and-colosseum-by-night-in-rome-artur-bogacki.html
#Rome #Italy #ArchofConstantine #Constantine #Colosseum #ancient #Roman #portal #triumphalarch #history #architecture #night #art #fineart #wallart #print #photography #mastoart #BuyIntoArt #AYearForArt #arch

ViceSociety revendique des attaques informatiques à l'encontre de:

• 🇺🇸 Bristol Community College (bristolcc.edu)

• 🇦🇹 EGR (egr.at)

• 🇪🇨 Seguros Equinoccial (segurosequinoccial.com)

• 🇬🇧 NPTC Group of Colleges (nptcgroup.as.uk)

• 🇧🇪 Scheppersinstituut Wetteren (scheppers-wetteren.be)

• 🇨🇦 TechInsights (techinsights.com)

• 🇮🇹 Società Italiana Brevetti S.p.A. (sib.it)

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