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Aucausal Intrusion – Vomit Meditations Review

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The seren…
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https://www.europesays.com/uk/1187169/ Aucausal Intrusion – Vomit Meditations Review #2026 #35 #AcausalIntrusion #AdNauseum #AmericanMetal #BlackMetal #CosmicPutrefaction #DeathMetal #DissonantDeathMetal #Entertainment #ExperimentalDeathMetal #I #music #Portal #Review #Reviews #Sep26 #TechnicalDeathMetal #UK #UnitedKingdom #VoidhangerRecords #VomitMeditations

🎉BREAKING NEWS: Spotify's 'Portal' saves writer from #AI #token apocalypse! 🎉 Apparently, mindless file reading and clone-test-file-generating aren't worth the premium token investment. Who knew? 🤖💸 But fear not, our AI heroes will now do the #grunt #work more cost-effectively, sparing us all from the impending 2028 AI coding #budget armageddon. 🙄🚀
https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90 #Spotify #Portal #Economy #HackerNews #ngated

🎉BREAKING NEWS: Spotify's 'Portal' saves writer from #AI #token apocalypse! 🎉 Apparently, mindless file reading and clone-test-file-generating aren't worth the premium token investment. Who knew? 🤖💸 But fear not, our AI heroes will now do the #grunt #work more cost-effectively, sparing us all from the impending 2028 AI coding #budget armageddon. 🙄🚀
https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90 #Spotify #Portal #Economy #HackerNews #ngated

🎉BREAKING NEWS: Spotify's 'Portal' saves writer from #AI #token apocalypse! 🎉 Apparently, mindless file reading and clone-test-file-generating aren't worth the premium token investment. Who knew? 🤖💸 But fear not, our AI heroes will now do the #grunt #work more cost-effectively, sparing us all from the impending 2028 AI coding #budget armageddon. 🙄🚀
https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90 #Spotify #Portal #Economy #HackerNews #ngated

🎉BREAKING NEWS: Spotify's 'Portal' saves writer from #AI #token apocalypse! 🎉 Apparently, mindless file reading and clone-test-file-generating aren't worth the premium token investment. Who knew? 🤖💸 But fear not, our AI heroes will now do the #grunt #work more cost-effectively, sparing us all from the impending 2028 AI coding #budget armageddon. 🙄🚀
https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90 #Spotify #Portal #Economy #HackerNews #ngated

🎉BREAKING NEWS: Spotify's 'Portal' saves writer from #AI #token apocalypse! 🎉 Apparently, mindless file reading and clone-test-file-generating aren't worth the premium token investment. Who knew? 🤖💸 But fear not, our AI heroes will now do the #grunt #work more cost-effectively, sparing us all from the impending 2028 AI coding #budget armageddon. 🙄🚀
https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90 #Spotify #Portal #Economy #HackerNews #ngated

Portal by Spotify cut my Claude Code token usage by 90%

https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90

Comments: https://news.ycombinator.com/item?id=49571465

#HackerNews #Portal #Spotify #ClaudeCode #TokenUsage #TechNews #Innovation

Portal by Spotify cut my Claude Code token usage by 90%

https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90

Comments: https://news.ycombinator.com/item?id=49571465

#HackerNews #Portal #Spotify #ClaudeCode #TokenUsage #TechNews #Innovation

Portal by Spotify cut my Claude Code token usage by 90%

https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90

Comments: https://news.ycombinator.com/item?id=49571465

#HackerNews #Portal #Spotify #ClaudeCode #TokenUsage #TechNews #Innovation

Portal by Spotify cut my Claude Code token usage by 90%

https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90

Comments: https://news.ycombinator.com/item?id=49571465

#HackerNews #Portal #Spotify #ClaudeCode #TokenUsage #TechNews #Innovation

Portal by Spotify cut my Claude Code token usage by 90%

https://engineering.atspotify.com/2026/9/portal-by-spotify-cut-my-claude-code-token-usage-by-90

Comments: https://news.ycombinator.com/item?id=49571465

#HackerNews #Portal #Spotify #ClaudeCode #TokenUsage #TechNews #Innovation

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

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

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

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

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

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Portal

#portal #bnw #lines #circle #illustration #digitalillustration #vintage #oldstyle

https://www.europesays.com/pl/663782/ Lotto Superliga | Dojlidy Białystok #bialystok #białystokonline #Biznes #bstok #dom #drobne #firm #firmy #hotele #imprezy #informacje #katalog #kina #koncert #lokale #LottoSuperliga|DojlidyBiałystokKSOrlicz1924SuchedniówWydarzeniaSportoweIRekreacyjneBiałystok #miejski #mieszkanie #motoryzacja #Nauka #ogloszenia #OnLine #online #PL #podlasie #Poland #Polish #Polska #Polski #portal #praca #repertuar #rozkład #Rozrywka #teatr #turystyka #uroda #urzędy #zakupy #zdrowie

«Portal: Alive & Kicking» es un mod que implementa Portal con el motor de Portal 2, y YA ESTÁ DISPONIBLE:

https://store.steampowered.com/app/270470/Portal_Alive__Kicking/

#Portal #Portal2

«Portal: Alive & Kicking» es un mod que implementa Portal con el motor de Portal 2, y YA ESTÁ DISPONIBLE:

https://store.steampowered.com/app/270470/Portal_Alive__Kicking/

#Portal #Portal2

«Portal: Alive & Kicking» es un mod que implementa Portal con el motor de Portal 2, y YA ESTÁ DISPONIBLE:

https://store.steampowered.com/app/270470/Portal_Alive__Kicking/

#Portal #Portal2

«Portal: Alive & Kicking» es un mod que implementa Portal con el motor de Portal 2, y YA ESTÁ DISPONIBLE:

https://store.steampowered.com/app/270470/Portal_Alive__Kicking/

#Portal #Portal2

«Portal: Alive & Kicking» es un mod que implementa Portal con el motor de Portal 2, y YA ESTÁ DISPONIBLE:

https://store.steampowered.com/app/270470/Portal_Alive__Kicking/

#Portal #Portal2

assembly stations

#art #portal #portal2

assembly stations

#art #portal #portal2 #sfm

assembly stations

#art #portal #portal2 #sfm

assembly stations

#art #portal #portal2 #sfm

assembly stations

#art #portal #portal2 #sfm

the modern magic user's beach house

#BeachHouse #Coastal #Cottage #Magic #Enchanted #Seaside #Ocean #Doorway #Archway #Ornate #Steampunk #Portal
#Img2img #AiArt #AiArtists #AiArtCommunity #StableDiffusion

on some slightly less unpredictably magical things: https://aieris.art/featured/the-modern-magic-users-beach-house-eris-and-ai.html

#FootpathFriday #Portal #Arch #FantasticFriday #WFMU

What lies beyond?
#AI can't tell you - but your feet can!

Critique requires work. This is a truth understood by the AMG reviewer, Hegel, and Labor of the Negative. An international black metal project, Labor of the Negative derives its name from Hegel’s Phenomenology of Spirit, which posits said labor as a cognitive antidote to romantic truths found via intuition. Not content to let Hegel be the only George Friedrich they cite, the band references The Triumph of Time and Disillusion, a Händel oratorio, for the title of their debut. Arriving via I, Voidhanger Records—the perfect home for Labor of the Negative’s heady brand of avant-garde black metal—the album draws philosophical inspiration from more than Hegel: Nietzsche, Kierkegaard, and especially Durkheim (as we’ll see).1 But I’ll be sticking with Hegel, letting his infamous dialectic—thesis, antithesis, synthesis—guide my analysis and evaluation of The Triumph of Time and the Disillusioned.

But first, some context. Boasting members from Portugal, the UK, Norway, and Egypt, Labor of the Negative cross-reference genre luminaries in assembling their own bizarre bricolage. Claiming roots in the avant-garde black metal of Virus, Arcturus, and Dødheimsgard, guitarist S. and drummer T.Z. lay a foundation of trem riffs and blast beasts, phaser-drenched disso-melodies and double-bass-fueled tom-work. Thankfully, bassist J.H. doesn’t get lost in the mix, especially in making pulsating shifts from menacing to jazzy gears. In these softer sections, brass instrumentation (presumably from guest musician S.L.) takes the spotlight, giving this otherwise chaotic album a counterbalancing sultriness.2 The artsiness of The Triumph of Time and the Disillusioned, however, primarily stems from the deranged vocals of M., who screams, howls, shouts, grunts, and coughs. M.’s performance, wielding the human voice as an abrasively multifaceted instrument, reminds me of how A Forest of Stars and Portal similarly embrace alienating vocals. Not as alienating as one might expect is the production, feeling legibly claustrophobic during the black metal maelstroms and organically spacious during the jazzy reprieves. The guitars do get a little buried at times, and snare pops occasionally prickle the ear. Nevertheless, The Triumph of Time and the Disillusioned succeeds at sounding like sculpted estrangement.

Turning now to my Hegelian thesis means turning to The Triumph of Time and the Disillusioned as a whole. Holistically, the album provides a mostly enjoyable experience, considering its subgenre. At 7 tracks in 34 minutes, Labor of the Negative smartly chose to make their debut a concise burst of avant-garde black metal. Six successive “Epoché”s structure The Triumph of Time, each being of similar, digestible lengths (4–6 minutes). An instrumental interlude (“151 – The Eternal Present and the Endless Dream”) breaks up the procession of epochs with feedbacky noise and variegated drumming. The album consistently ebbs and flows between scathing black metal and soothing jazz breaks that open (“Epoché II”), close (“Epoché IV”), and bridge (“Epoché III”) the madness. While this interplay keeps the album sonically dynamic, it also becomes a bit formulaic.

This holistic predictability leads us to my antithesis. When pressed upon, none of the individual tracks on The Triumph of Time and the Disillusioned stand out. Pre-release single “Epoché III” comes closest, with its eerie guitar shimmers and adventurous key changes. But ultimately, the album feels less like a sequencing of memorable songs and more like a collection of cool moments: the squealing brass solo in opener “Epoché I” comes to mind, as does the concluding drumroll of “Epoché VI.” One might think that diving into The Triumph of Time’s concept can clarify how the parts contribute to the whole. Alas, my exploration of the lyrics created more confusion. According to my research, “Epoché IV” twice cites Durkheim to convey crises of belonging and aimlessness. How this relates to a succession of epochs, or a fourth epoch in particular, I am unsure.3

Synthesizing the good album experience and the disappointing songwriting, The Triumph of Time and the Disillusioned ultimately landed for me as a mixed affair. While I never truly disliked any time I spent with Labor of the Negative’s debut, I also never found myself desiring to further unpack this album that, seemingly, invites unpacking. Fans of avant-garde black metal, however, should give The Triumph of Time a go. M.’s maniacal vocals strike me as a worthy intervention into the genre, as does T.Z.’s dexterous drumming. With more ears, perhaps the fruit of this international collective’s labor might positively reveal itself.

Rating: 2.5/5.0
DR: 10 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp
Releases Worldwide: August 7th, 2026

Jonathan Coulton and Felicia Day - Still Alive, at PAX 2008

https://www.youtube.com/watch?v=gAyqlX9toWk

#JonathanCoulton #FeliciaDay #StillAlive #Music #Portal

@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

ufo coming through!

#Ufo #FlyingSaucer #Alien #Extraterrestrial #SciFi #Desert #Sand #Tree #Driftwood #Seashell #Shell #Portal #Doorway #Surreal #Whimsical #Dreamscape #Img2img #AiArt #AiArtists #AiArtCommunity #StableDiffusion

on earth stuff: https://aieris.art/featured/ufo-coming-through-eris-and-ai.html

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

Backrooms director Kane Parsons wants to direct a Portal movie

https://web.brid.gy/r/https://nichegamer.com/backrooms-director-kane-parsons-wants-to-direct-a-portal-movie/

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

what if Wheatley were a dog?

what if Wheatley were a dog?

what if Wheatley were a dog?