#portal — Public Fediverse posts

Korean, Asiana Set September Starlink Service Start Schedule

Korean’s Starlink inflight internet era begins on 15 September 2026 (image via Korean Air) Korean Air and Asiana…
#EuropeSays #Korea #KR #Asiana #IFC #IFEC #inflight #in-flightconnectivity #in-flightinternet #in-flightwifi #inflightconnectivity #inflightwifi #Korean #KoreanAir #portal #Starlink
https://www.europesays.com/korea/151401/

Felizes.pt alcançou a posição mais alta no Índice de Satisfação do Portal da Queixa na categoria de Sites de Encontros, com 77 pontos em 100 possíveis, sendo distinguida como Marca do Mês.

🔗 https://tugatech.com.pt/t90790-felizes-pt-domina-categoria-de-encontros-no-portal-da-queixa-com-77-pontos

#categoria #portal 

it turns out you can transport to a planet with the same moon just by thinking about it (note: don't)

#Moon #Surreal #Planet #Portal #Alien #Ocean #Domes #Doorway #Pathway #RedGlow #Futuristic #Mystical #Dreamlike #SciFi
#Img2img #AiArt #AiArtists #AiArtCommunity #StableDiffusion

on stuff right here: https://aieris.art/featured/it-turns-out-you-can-transport-to-a-planet-with-the-same-moon-just-by-thinking-about-it-but-dont-eris-and-ai.html

no plastics, chemicals, or canvases were harmed in the creation of this artwork, but some electrons were

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The serendipity is not in the proximity between Nausea and Vomit—though that’s also interesting—but in a particular manner of revelation. There’s a part in the book where our protagonist, suddenly seized by a violent attack of his titular malaise, rushes near-blindly through the streets, and his thoughts become fragmented into repetitive near-word-association as he begins to confront the horror of things existing.1 The lyrics of Acausal Intrusion’s fourth album, Vomit Meditations, are disjointed and uncanny in precisely this sense; reading them instantly linked these two works in my mind. The music itself is no less viscerally chaotic and confrontational, as the duo step into what’s possibly the heaviest and strangest iteration of their already intense and avant-garde sound so far—one which pairs perfectly with a life-altering existential crisis.

Vomit Meditations lives up to its moniker as it sees Acausal Intrusion’s signature hyper-dissonance and unsettling contemplativeness contorted into a bizarre series of violent spewings, punctuated by uneasy moments of reflective resonance, even beauty, to which Panpsychism’s doomier shades are confined, channeled through the acoustic and ambient. The free-jazz influence is stark, and not only in the prominence of piano in the album’s stiller passages (“Vomit Meditation,” “Psychic Abolishment”). Twisted guitar lines—more Cosmic Putrefaction or Ad Nauseum than Gorguts—writhe up and down and in and out of focus above the churning miasma of impossible tempos and abyssal belches—unheard this side of Portal—their seeming stochasticism belied as they coalesce into a shape more than their sum. Spasmodic scales and sudden lead switches from which one reflexively recoils start to make sense, and the real melodicisms that arise over the runtime grow more apparent. Recurring seizures of percussion grow hypnotic as the curve of their circularity becomes clear (“Convex Hidden Echoes”), and a ringing mass of wails and riffs rises until the overlapping tones produce the illusion of symphonics (“Psychic Abolishment”). The barrier to entry remains high, but the rewards are significant.

It’s in this paradox of chaotic reasoning where Vomit Meditations develops its vice grip. With alluring psychedelic rock (“Vomit Meditation”) it beckons its subject in, and with a chilling nocturne it leads them to the final, most awful revelation of all (“Psychic Abolishment”). With barely a beat between the unironic beauty and the hellish cacophony, the latter in particular gains near-transcendence. Although the album is marked by repeated 180-degree turns in rhythm (most aggressive on “Usurping Vaporous Primal Vibrations” and “Convex Hidden Echoes”), it has an unexplainable almost groove, which actually becomes explicit at times (“Vital Transformation”), and the endless about-turns and restless rolling and crashing morph into a hideously compelling dance (“Vomit Meditation,” “Requiem Murmur”). Once again, I struggle to believe drummer and vocalist Cave Ritual’s humanity, hearing such things. Although guitars jump in and out of focus (“Usurping…,” “Psychic Abolishment”) with riffs mostly possessing a stabbing, dragging, flailing discordance as though Nythroth’s fingers were strangling the very instrument used to produce them, their purpose never fails to manifest in the organic yet unpredictable shapes they create (“Convex…,” “Requiem Murmur”). Plus, there’s a lot more melody infused into the music than an uncritical ear would like to acknowledge (“Vomit Meditation,” “Vital Transformation”).

Vomit Meditations also largely improves on areas where previous records fell short. It flows with remarkable ease considering its freeform style and considerable 50-minute runtime and grows more compelling as it progresses. The second half’s superiority is arguably down to paying off what is better than the first in pacing, intrigue, and memorability, though arguably this is dependent on the first half having set up the themes it pays off. The production, continuing to be rich and dynamic for death metal but with the vocals and drums relatively forward, works better than it has previously. I’d recommend listening on a pair of good headphones that will enable you to catch the myriad horrors occurring within the soundscape. Nonetheless, the mix, as well as the relentless complexity and improvisational feel, will persist in alienating many listeners. Though Acausal Intrusion distinguish themselves from the ultra-extreme-for-extremity’s sake crowd by demonstrating that they can turn apparent randomness into a form of reason, they could perhaps tone it down just a tad.

Vomit Meditations is Acausal Intrusion’s best album. Some will interpret this as damning with faint praise an album in a discography otherwise too ugly and over the top to be good. I mean it quite differently. Vomit Meditations is violently, masochistically enjoyable and multifaceted and arresting, and it gets better on each spin. It requires a certain receptiveness—what experimental extreme metal doesn’t—and Acausal Intrusion will maintain a modest following, but its mania feels so deliciously meaningful I don’t even want to try escaping it.

Rating: Very Good2
DR: 8 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp | Facebook
Releases Worldwide: September 4th, 2026

Movie TV Tech Geeks #GamingNews #HalfLife #Portal #Gaming 'Half-Life 3' and 'Portal' Officially Get Huge Updates Following Valve Breach http://dlvr.it/TVG5yp

What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.

Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.

Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.

And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.

What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026

What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.

Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.

Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.

And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.

What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026

What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.

Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.

Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.

And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.

What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026

What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.

Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.

Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.

And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.

What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026

What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.

Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.

Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.

And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.

What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.

Rating: 2.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Sentient Ruin Laboratories
Website: Official Album Bandcamp
Releases Worldwide: July 31st, 2026

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 enables adb on deprecated Portal devices

https://fb.watch/HxPu0fSyeH/

#HackerNews #Meta #adb #Portal #deprecated #devices #technology #updates

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

locked portal i lost the key for

#StainedGlassStyle #Portal #Fantasy #Colorful #Vibrant #Decorative #Symmetry #Reflection #Wood #Rustic #Texture
#Img2img #AiArt #AiArtists #AiArtCommunity #StableDiffusion

on things on this side: https://aieris.art/featured/locked-portal-i-lost-the-key-for-eris-and-ai.html

[nma] Walled Prism Portals
- awesome gift I got from @ZebraFeatherAH when he was trying new techniques in art! Thanks 😁🌈  #spaceRARt #scalieart #furryart #artforme #dragon #rainbow #portal

#geniatip : Nutze die #metasuche von genealogy.net des @blog .

Bei mir hat es gedauert, bis ich die Mächtigkeit dieses #Tool​s erkannt habe. Mit einer #Suche über alle #ofb, dazu #gedbas #grabsteinProjekt #verlustlisten #passagierlisten #sterbebilder #auswanderer #zufallsfunde - alles was das #genealogie - Herz begehrt. Sicherlich eine interessante #Alternative zu #Ahnenforschung​s-#Portal​en wie #familysearch #myheritage #ancestry #findmypast #findagrave & Co.

#Genealogy #FamilyHistory

Friendly reminder!

#portal #poster #ai #paradoxes

Game Two daddelt mal wieder auf YouTube:
#GameTwo #RocketBeans #RBTV #RocketBeansTv

GAMING-MUSIK mit Gänsehaut-Garantie!

/WERBUNG
Vielen Dank an XPERION powered by MediaMarktSaturn f

https://www.youtube.com/watch?v=moIJkZ77DSE
#gaming #review #preview #reviews #musik #soundtrack #song #bestersong #bestemusik #bestersoundtrack #mario #zelda #reddeadredemption #portal #portal2 #masseffect #metal #colin #nils #etienne #gregor #esther #john #markus #kuro #jasper #budi

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

Elleringhausen – Der Künstler Jürgen Suberg
Im April 1994 pr
https://privatarchiv.rzgierskopp.de/1994/04/elleringhausen-der-kuenstler-juergen-suberg/
---
#AtelierSuberg #Elleringhausen #Filme #GebudeInElleringhausen #GebudeInMeschede #KsterHansMartin #Kreishaus #Kunst #Meschede #Religion #StadtMeschede #StadtOlsberg #SubergJrgen #Bildhauer #Chorraum #Haan #Kathedrale #KathedraleStSebastianMagdeburg #Kirche #KircheStChrysantusUndDariaHaan #Magdeburg #Maler #nl2504 #Portal #Westportal

#tympanum - #sculptures above #portal St #Catharina #church in #Eindhoven - #timpaan -#beeldhouwwerk boven #portaal Catharinakerk in Eindhoven. #religie #religion #geschiedenis #history #fotografie #photography #zoner photo studio #acdsee photo studio ultimate click4 all info:
https://flic.kr/p/rFettu

 
The DC Drum Circle

Every #Sunday 40+ year #tradition in #Meridian #Hill #MalcolmX #Park. The #drum #circle is an effective #portal to other #dimensions. Serious #TimeTravel #research should include a #DrumCircle.

2.5-min #movie by DCV - #Digital #Creative #Visionaries - DCViz.com - on Vimeo.com.

🔗 https://Vimeo.com/292773457 2018 Oct 01
🔗 https://Wikipedia.org/wiki/Drum_circle

#We #Are #TimeTravellers #people #music #dance #jam #DC #DMV #documentary #video #Kronodon

Day 25 is how the story ends with a message. (Glad that's Everything)
https://youtube.com/shorts/YI_0h8S1BVQ?feature=shared
#christmas #adventcalender #youtube #valve #portal #portal2

Day 24 as we saw in the Holiday Vault:
https://youtube.com/shorts/4dHr_mD_iF0?feature=shared
#christmas #christmaseve #adventcalender #portal #portal2 #valve #youtube

I have successfully entered the portal. Upon emerging in an alternate dimension, I encountered this. Once I have mastered the language I will seek out help for our civilisation.
#WritingPrompt #Scifi #ScienceFiction #Portal #napkin #nandos #language #weird

Klinikatlas - Schnelle Orientierung für Patienten im Krankenhaus-Dschungel

Gesundheitsminister Lauterbach (SPD) hat den Klinikatlas vorgestellt. Patienten sollen so vergleichen können, welches die beste Klinik für ihre Behandlung ist.#Klinikatlas #KRANKENHAUS #Vergleich #Portal #KarlLauterbach #Bundesgesundheitsminister
Neuer Klinikaltlas für schnelle Patienten-Orientierung startet

Today in BoneQuest History for February 27th 2013 "THE TRAP DOOR IS IMPORTANT (LONG VERSION)" https://bonequest.com/5158 #bonequest :deuce: #deuce_solo #explosive_decompression #portal #sfw #stray_dot #suicide_girls #violent_disapproval

"Waiting at night"
#eternity #waiting #waitingforyou #waitingatnight #sunset #aftersunset #aftersunsetsky #twilight #night #nightsky #nightphotography #liminal #transition #gates #door #entry #entryway #portal #entrance #entrancehall #thedaisies #theburren #countyclare #nikon #nikonphotography #nikond3500 #nikonnofilter #eerie

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)

#usa #canada #italy #uk #belgium #ecuador #education #ransomware #vicesociety #líder #teachers #community #campus #databreach #financial #vehículos #services #students #electronics #antennen #employees #diritto #konzepte #tuition #payments #digital #leistungen #shops #kundenservice #products #automatie #web #chemie #elektrische #online #microelectronics #actividades #smart #threats #grades #inteligente #portal #insights #balances #college #siniestros #telekommunikation #elektronica #systems #electrónico #virtual #competitivo #careers #mobilfunk #retails #semiconductors #technologies #brevetti #analysis #digital #mercado #telefonische #fysica #autotechnieken #courses #karriere #sanitair #market #robotics #direktvertrieb #innovative #coberturas #webapi #equipayment #business #póliza #cyberaanval #mercati #mobile #consultas #produkte #competitive #autoconectado #property #application #consumers #laws #firms #facturación #serviceleistungen #productos #patents #seguros #electrónica #riesgos #fiduciaros #automation #wiskunde #tecnología #industriële #piattaforma #asistencias #admissions #soluzioni #belgique #italie #informatique

#Unterscheidung von #Wissensmaschine und #Verabredungsmaschine;

#Gespräch mit #Christoph am 13.03.2022
#Portal für #Element​e #Mitfahrgelegenheit, #Couchsurfing, etc.
#Leute finden für #spezifisch​e #Zweck​e; Vgl. #Schwarz​es #Brett #Bremen: https://schwarzesbrett.bremen.de/

#Hinweis auf #Wissensmaschine #Memex, Vannevar #Bush, 1945: As We May Think;

#SchwarzesBrett; #Glocal

Jill Walker #Rettberg - #Blogging, #Digital #Media and #Society #Series; S. 48ff.

Die #erwartet​e #Zukunft des #Reisen​s und die #Zukunft der #Arbeit: #Stellenabbau

#Portal​e und #Kettenhotellerie seien #angeschlagen. Ist das #Reentry von #Rationalisierung.

#Ahgz, #Pandemie-#Folgen, #Tausend​e #Stelle​n werden #abgebaut; 08.08.2020, S.1