#purgatory — Public Fediverse posts

By Bartolomé Bermejo (1440–1500), detail of a sad demon from “Descent of Christ into Limbo” and the full work,ca. 1475, oil and gilding on wood, 35.23x 27.36 inches (full work), Museu Nacional d'Art de Catalunya, Barcelona. #arthistory #art #spanishart #purgatory #limbo

I call these kinds of paintings “Christian Art You Won’t Find at Hobby Lobby.”

As the museum’s server is down, here is information from the Museo del Prado: “Bartolomé de Cárdenas, alias El Bermejo (c. 1440 – c. 1501), is one of the most fascinating painters of the fifteenth century. He was born in Córdoba, though his status as a converted Jew may well have predisposed him to an itinerant life that included stints in Valencia, Daroca and Zaragoza at least and finally Barcelona. To get round the restrictions of the guild regulations of the period, he often teamed up with much less qualified local masters. Even so, the alias with which he proudly signed some of his most innovative works shows that he was a painter with a powerful personality, probably highly aware, and confident, of his skills.

Building on his mastery of the oil painting technique practised by Flemish artists, Bermejo developed a realistic language of his own with a particular emphasis on illusionistic effects, as well as spectacular ranges of colours. His technical prowess was coupled with an astonishing ability to interpret all kinds of themes and iconographies in new ways. His urge to carry on exploring new avenues, especially in landscape and portraiture, led him to produce some of his most complex and innovative works during the last stage of his career. All this drew the attention of a select clientele ranging from high-ranking clergymen and nobles to distinguished merchants as well as his own colleagues, who often imitated his compositions.“

By Bartolomé Bermejo (1440–1500), detail of a sad demon from “Descent of Christ into Limbo” and the full work,ca. 1475, oil and gilding on wood, 35.23x 27.36 inches (full work), Museu Nacional d'Art de Catalunya, Barcelona. #arthistory #art #spanishart #purgatory #limbo

I call these kinds of paintings “Christian Art You Won’t Find at Hobby Lobby.”

As the museum’s server is down, here is information from the Museo del Prado: “Bartolomé de Cárdenas, alias El Bermejo (c. 1440 – c. 1501), is one of the most fascinating painters of the fifteenth century. He was born in Córdoba, though his status as a converted Jew may well have predisposed him to an itinerant life that included stints in Valencia, Daroca and Zaragoza at least and finally Barcelona. To get round the restrictions of the guild regulations of the period, he often teamed up with much less qualified local masters. Even so, the alias with which he proudly signed some of his most innovative works shows that he was a painter with a powerful personality, probably highly aware, and confident, of his skills.

Building on his mastery of the oil painting technique practised by Flemish artists, Bermejo developed a realistic language of his own with a particular emphasis on illusionistic effects, as well as spectacular ranges of colours. His technical prowess was coupled with an astonishing ability to interpret all kinds of themes and iconographies in new ways. His urge to carry on exploring new avenues, especially in landscape and portraiture, led him to produce some of his most complex and innovative works during the last stage of his career. All this drew the attention of a select clientele ranging from high-ranking clergymen and nobles to distinguished merchants as well as his own colleagues, who often imitated his compositions.“

By Bartolomé Bermejo (1440–1500), detail of a sad demon from “Descent of Christ into Limbo” and the full work,ca. 1475, oil and gilding on wood, 35.23x 27.36 inches (full work), Museu Nacional d'Art de Catalunya, Barcelona. #arthistory #art #spanishart #purgatory #limbo

I call these kinds of paintings “Christian Art You Won’t Find at Hobby Lobby.”

As the museum’s server is down, here is information from the Museo del Prado: “Bartolomé de Cárdenas, alias El Bermejo (c. 1440 – c. 1501), is one of the most fascinating painters of the fifteenth century. He was born in Córdoba, though his status as a converted Jew may well have predisposed him to an itinerant life that included stints in Valencia, Daroca and Zaragoza at least and finally Barcelona. To get round the restrictions of the guild regulations of the period, he often teamed up with much less qualified local masters. Even so, the alias with which he proudly signed some of his most innovative works shows that he was a painter with a powerful personality, probably highly aware, and confident, of his skills.

Building on his mastery of the oil painting technique practised by Flemish artists, Bermejo developed a realistic language of his own with a particular emphasis on illusionistic effects, as well as spectacular ranges of colours. His technical prowess was coupled with an astonishing ability to interpret all kinds of themes and iconographies in new ways. His urge to carry on exploring new avenues, especially in landscape and portraiture, led him to produce some of his most complex and innovative works during the last stage of his career. All this drew the attention of a select clientele ranging from high-ranking clergymen and nobles to distinguished merchants as well as his own colleagues, who often imitated his compositions.“

By Bartolomé Bermejo (1440–1500), detail of a sad demon from “Descent of Christ into Limbo” and the full work,ca. 1475, oil and gilding on wood, 35.23x 27.36 inches (full work), Museu Nacional d'Art de Catalunya, Barcelona. #arthistory #art #spanishart #purgatory #limbo

I call these kinds of paintings “Christian Art You Won’t Find at Hobby Lobby.”

As the museum’s server is down, here is information from the Museo del Prado: “Bartolomé de Cárdenas, alias El Bermejo (c. 1440 – c. 1501), is one of the most fascinating painters of the fifteenth century. He was born in Córdoba, though his status as a converted Jew may well have predisposed him to an itinerant life that included stints in Valencia, Daroca and Zaragoza at least and finally Barcelona. To get round the restrictions of the guild regulations of the period, he often teamed up with much less qualified local masters. Even so, the alias with which he proudly signed some of his most innovative works shows that he was a painter with a powerful personality, probably highly aware, and confident, of his skills.

Building on his mastery of the oil painting technique practised by Flemish artists, Bermejo developed a realistic language of his own with a particular emphasis on illusionistic effects, as well as spectacular ranges of colours. His technical prowess was coupled with an astonishing ability to interpret all kinds of themes and iconographies in new ways. His urge to carry on exploring new avenues, especially in landscape and portraiture, led him to produce some of his most complex and innovative works during the last stage of his career. All this drew the attention of a select clientele ranging from high-ranking clergymen and nobles to distinguished merchants as well as his own colleagues, who often imitated his compositions.“

By Bartolomé Bermejo (1440–1500), detail of a sad demon from “Descent of Christ into Limbo” and the full work,ca. 1475, oil and gilding on wood, 35.23x 27.36 inches (full work), Museu Nacional d'Art de Catalunya, Barcelona. #arthistory #art #spanishart #purgatory #limbo

I call these kinds of paintings “Christian Art You Won’t Find at Hobby Lobby.”

As the museum’s server is down, here is information from the Museo del Prado: “Bartolomé de Cárdenas, alias El Bermejo (c. 1440 – c. 1501), is one of the most fascinating painters of the fifteenth century. He was born in Córdoba, though his status as a converted Jew may well have predisposed him to an itinerant life that included stints in Valencia, Daroca and Zaragoza at least and finally Barcelona. To get round the restrictions of the guild regulations of the period, he often teamed up with much less qualified local masters. Even so, the alias with which he proudly signed some of his most innovative works shows that he was a painter with a powerful personality, probably highly aware, and confident, of his skills.

Building on his mastery of the oil painting technique practised by Flemish artists, Bermejo developed a realistic language of his own with a particular emphasis on illusionistic effects, as well as spectacular ranges of colours. His technical prowess was coupled with an astonishing ability to interpret all kinds of themes and iconographies in new ways. His urge to carry on exploring new avenues, especially in landscape and portraiture, led him to produce some of his most complex and innovative works during the last stage of his career. All this drew the attention of a select clientele ranging from high-ranking clergymen and nobles to distinguished merchants as well as his own colleagues, who often imitated his compositions.“

Quote of the day, 10 August: St. Teresa of Avila

Four or five months before this monastery of St. Joseph’s in Malagón was founded, I was speaking with a distinguished young gentleman [Don Bernardino de Mendoza, brother of the bishop of Avila], who told me that if I wanted to establish a monastery in Valladolid he would most willingly give me a house he owned with a large and good garden containing a vineyard.

He wanted to give away the property immediately; it was very valuable. I accepted his offer, although I wasn’t too decided on making a foundation there, since the place was about a quarter of a league outside the city [about 2/3 of a mile or 1 km]. Since he offered it so willingly, I did not want to refuse his good deed or hinder his devotion.

Two months later, more or less, he was struck by a sudden illness that took away his speech, and he could not confess well, although he made many signs to ask the Lord’s pardon. He died shortly afterward, very far from where I was.

The Lord told me that the young man’s salvation had been in great jeopardy but that he had received mercy for the service he had rendered to the Blessed Mother in giving that house to be a monastery of her order; however, that he would not leave purgatory until the first Mass was said there.

I was so conscious of the grievous afflictions of this soul that I set aside a foundation in Toledo and hastened as much as I could to found a house in Valladolid.

I was in prayer one day in Medina when the Lord told me to hurry because that soul was suffering very much. Although I didn’t have the means available, I set to work and entered Valladolid on the feast of St. Lawrence [10 August 1568].

When I saw the house, I was dismayed; I knew that it would be a foolish mistake for nuns to stay there. Nonetheless, I said nothing to my companions so as not to discourage them. Although weak, I had some faith that the Lord would provide a remedy.

The license [to establish the monastery] could not be gotten before Sunday. But permission was granted to say Mass where the church would be, and thus it was said for us.

I had forgotten that what was told to me about that soul would then be accomplished. When the priest came with the Blessed Sacrament to the place where we were to receive Communion, the gentleman I mentioned appeared beside him, his face joyful and resplendent. With hands folded, he thanked me for what I had done so that he could leave purgatory and go to heaven.

It is important to know that our Lord is pleased with any service rendered to His Mother, and great is His mercy. May He be blessed and praised for everything. For He repays our lowly deeds with eternal life and glory, and He makes them great while they are in fact of little value.

Saint Teresa of Avila

The Foundations, chap. 10 (excerpts)

Note: Don Bernardino’s estate, Rio de Olmos, stood outside Valladolid near the river Pisuerga. Its unhealthy and impractical location made it unsuitable for a monastery dependent upon alms. Father Julián de Avila, who celebrated the first Mass, later recalled: “…when I gave the Blessed Sacrament to the Mother, I saw her in a great rapture.” Rubens later depicted the scene.

Teresa of Avila, St 1985, The Collected Works of St. Teresa of Avila, Kavanaugh, K & Rodriguez, O (trans.), ICS Publications, Washington DC.

Featured image: A nun receives communion from the hands of then Auxiliary Bishop Luis Javier Argüello García in the Carmel of Valladolid for the Solemnity of St. Teresa, 15 October 2016. The Flickr account of the Archdiocese of Valladolid contains an entire album of photos from the celebration. Image credit: Ángel Cantero for Iglesia en Valladolid / Flickr (Some rights reserved)

There's a #purgatory, there's #hell, and there's the for you timeline on #TikTok

There's a #purgatory, there's #hell, and there's the for you timeline on #TikTok

There's a #purgatory, there's #hell, and there's the for you timeline on #TikTok

There's a #purgatory, there's #hell, and there's the for you timeline on #TikTok

There's a #purgatory, there's #hell, and there's the for you timeline on #TikTok

Zabaniyah

The Zabaniyah are the “Wardens of Hell,” who torture the sinners or carry off the souls of the wicked. They’re identified with the “19 angels of Hell,” & “Angels of punishment,” & Guardians of Hell,” & “Angels of Hell.”

According to the Quran & the ahadith, the Zabaniyah are 19 in number. Maalik is their leader. Maalik is an angel in Hell/Purgatory who guarded the hellfire & assisted by the other angel guards of the Zabaniyah. As angels, despite their unsightly looks & actions, are ultimately subordinate to God. Their actions are considered just because of this.

Zabaniyah is the name for a group of angels. The angels of punishment are those angels who said, “Will you (God) place there in one who will cause corruption & shed blood?” questioning the creation of Adam.

A tradition from At-Tabhkirah, a book authored by Al-Qurtubi, recorded that 1 of Zabaniyah was named Daqa’il, who accompanied the Angel of Death whenever he took the souls of a sinner. A Zabaniyah angel called Susa’il shows Muhammad the punishments of sinners in hell. However, the 1 which Muhammad met during Mi’raj & shown Muhammad about hell was Maalik himself, the leader of Zabaniyah.

The Zabaniya are 19 in number. The number 19 is only meant for the archangels, or leaders of the angels of hell. Another classical exegesis addendum is that their number is 19,000. Modern Saudi mufti Abd al-Aziz Ibn Baz has mentioned some 4.9 billion angels who keep hell, where each 70,000 holds a bridle from 70,000 while restraining Jahannam. A mufti is an Islamic legal scholar who interprets religious law to issue authoritative rulings.

The 19 angels refer to the leaders of those angels, including Maalik. While the insurmountable numbers were referring to the hell angels, which were led by those 19 Zabaniyah.

Several features of the Zabaniyah describe their physicality:

• Face
  • Several Habiths as recorded that Muhammad has met Maalik, the Zabaniyah, in 1 occasion described that he had a sickeningly ugly face. The true face of Zabaniyah angels is so repulsive beyond comprehension, to the point that any living human could die by the shock of only looking at their face. Aside from those, the Isra’ &Mi’raj tradition, Muhammad also notes the gruesome appearance of Maalik in his dream. The eyes of Zabaiyah were like lightning & their mouths were like spurs of chicken. Their hair is so long that it’s dragged under their feet. They’ve “repulsive faces, eyes like flashing lightning, teeth white like cows’ horns, lips hanging down to their feet, & rotten breath.
• Size
  • The Zabaniyah are the largest type of angel. Their shoulders are described as having a distance of 500 years. The angels that protected Muhammad from Abu Jahl’s aggression near the Ka’ba were 12 zabaniyah as tall as the sky. 1 of the Zabaniyah has its chest as wide as 1 of the gates of Jahannam. Jahannam is the place of punishment for evildoers in Hell.
• Tools
  • Zabaniyah angels carrying tools such as an iron beater or Mirzabba with 2 prongs, & whip(s) made of fire. The Zabaniyah angels used these tools to punish the sinners vigorously. The Zabaniyah will drive the sinners into Hell with “iron hooks.” Also, they carry hot chains for torturing inmates.
• Strength
  • The Zabaniyah are the most powerful among angels. The Zabaniyah angels were created by Allah to perform any tasks commanded upon them to torture the inmates of Hell. Allah has granted Zabaniyah the ability to manage a torture for sinners that no one can emulate. Gripping strength that was so severe, which no creature could match. After the Judgment Day, 1 of Zabaniyah was described as being able to drag entire sinners who are judged to enter Hell while carrying a mountain on his shoulder. He’ll use the said mountain to crush the sinners, after all of them have entered Hell. During Judgment Day, the Zabaniyah angels will lift & drag out Jahannam from its place to the surface of the plain, and the inmates of Hell will be in blind & deaf condition. The Zabaniyah angels possessed an ability where those deaf inmates could somehow hear the voices of Zabaniyah, who tortured them.
• Fingers
  • The Zabaniyah angels possessed fingers with the number of the sinners that’ll be thrown into Hell after the Judgment Day. The fingers of Maalik are so hot to the point that if 1 of his fingers touched the sky, that finger would cause the sky to melt. Zabaniyah was created 1,000 years before Hell was created. While their physical strength grows every day, to the point that each of Zabaniyah’s fingers could squeeze a human from the head to the ankles.
• Wings
  • The Zabaniyah had wings. The Zabaniyah showed up before Abu Jahl (he was the main opponent of the Prophet Muhammad), as Muhammad prayed in/at the Kaaba. 1 of the Zabaniyah scares Abu Jahl when he tries to trample on Muhammad’s neck with his foot. When asked about his retreat, Abu answered that he suddenly saw a winged, terrifying monster in a trench filled with flames, between him & Muhammad. This incident were/was believed by Muslims to be the Asbab al-Nuzul (Revelation) of the Quran chapter al-Alaq 96:18. Allah made the Zabaniyah angels’ hearts hard because they have 0 mercy towards the inmates.

The Zabaniyah also imposes punishments on people who commit Riba (usury) by pelting their mouths with rocks while forcing them to swim in a river of blood. The situation of people who commit usury in Barzakh (a realm of the afterlife) before the Judgment Day.

According to the Quran, the Zabaniya are the angels of death who conduct the souls of sinners & question them in the grave. Nazi’at & Nasitat & Munkar &Nakir, they help Azra’il (Azrael), who’s the canonical Angel of Death in Islam. Nazi’at is commissioned to take the lives of unbelievers forcefully, while Nashitat takes believers gently.

They appear as black shadows to the dying person, pull their souls out of their bodies, & drag them to hell. It’s been recorded that after the Angel of Death has separated the soul of the sinner from their body, an Zabaniyah angel named Daqa’il will restrain the soul with a giant wrap which made from rough hairs & parading the soul to the sky. This is before throwing the soul towards another Zabaniyah angel(s), who react by taking the soul into the Sijjin, a rock-shaped prison of the sinners below the Barzakh.

The Zabaniyah’s role during the Judgment is that they’re tasked with gathering & suppressing all sinners, Muslims & non-Muslims alike. Whoever wants to be saved from torture AFTER Judgment Day should recite the basmala (This is an Islamic phrase that means: “In the name of God, the Most Gracious, the Most Merciful.”) frequently during their life. As the basmala consists of 19 letters in accordance of the number of Zabaniyah.

1 of their duties after Judgment Day is to push those who mocked Islam into Hell. They’re also described as leading the army of angels.

In some Isra’ & Mi’raj traditions:

The Zabaniyat landscape of the 1st layer of Hell & the fiery seas within. As Maalik was created by God inside Hell. So they would have no desire to leave & feel comfortable in it. They’re standing tall above Saqar, a place in Hell. They’re also described as leading the army of angels. Al-Muddaththir 69:30 is interpreted about how the group of Zabaniyah threw the sinners into Jahannam.

They have the task of Zabaniyah driving sinners to enter Hell. In some Isra’ & MI’raj traditions the Zabaniyat landscape of the 1st layer of Hell & fiery seas within. As Maalik explains to Muhammad that the Zabaniya were created by God inside hell so they’ve no desire to leave this place & fell comfortable in it. The Zabaniyah are standing tall above Saqar, a place in Hell.

Each Zabaniyah restrained the sinners who were fated to be thrown in Hell are shackling each sinner’s arms to their neck before dragging them down. The Zabaniyah perform their job by using both of their hands & feet in torturing sinners in Hell. The Zabaniyah will drag the face of those they torture.

The Zabaniyah will shackle the inmates, cursing them, pouring boiled water on top of their head. While at the same time, force-feeding them with the fruits of Zaqqum tree. In Islam, the Zaqqum tree is a cursed tree that’s rooted in the center of Jahannum. It’s 1st mentioned in the Quran, 3x by name, as a tree that produces fruits that’s fed to the inhabitants of Hell to burn their stomachs, before they’re also fed boiling liquids.

In an interpretation of Quran chapter Al-Haqqa verse 32 gave their explanation that the chains in the verse were meant to be the chains used by Zabiyah angels to shackle the inmates in Hell. The Zabaniyah will shove the hot chains to the inmates rectums until it emerges from their mouth.

As for Muslim sinners which has committed huge sins & never repented during their life, the Zabaniyah tasked to shackle them more leniently than non-Muslim, & torture them until all of their sins has paid off with the punishments inflicted. Thus sent them all to Heaven.

Meanwhile, for non-Muslims, Ka’b has described the Zabaniyah shackle & drag them more severely than Muslim sinners into Hell while burning them as they walked in, then punish them for eternity. The Zabaniyah angels will wrap the inmates of Hell with a nail made of fire. So they’ll not hear anything, & none of those inmates can see that there is other peoples tortured nearby.

Sufism tradition says the fate after death that an army of angels of punishment battled against the angels of mercy over the soul of a sinner. In some Turkish lore, it’s believed that both groups battle, their strikes cause thunder.

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Zabaniyah

The Zabaniyah are the “Wardens of Hell,” who torture the sinners or carry off the souls of the wicked. They’re identified with the “19 angels of Hell,” & “Angels of punishment,” & Guardians of Hell,” & “Angels of Hell.”

According to the Quran & the ahadith, the Zabaniyah are 19 in number. Maalik is their leader. Maalik is an angel in Hell/Purgatory who guarded the hellfire & assisted by the other angel guards of the Zabaniyah. As angels, despite their unsightly looks & actions, are ultimately subordinate to God. Their actions are considered just because of this.

Zabaniyah is the name for a group of angels. The angels of punishment are those angels who said, “Will you (God) place there in one who will cause corruption & shed blood?” questioning the creation of Adam.

A tradition from At-Tabhkirah, a book authored by Al-Qurtubi, recorded that 1 of Zabaniyah was named Daqa’il, who accompanied the Angel of Death whenever he took the souls of a sinner. A Zabaniyah angel called Susa’il shows Muhammad the punishments of sinners in hell. However, the 1 which Muhammad met during Mi’raj & shown Muhammad about hell was Maalik himself, the leader of Zabaniyah.

The Zabaniya are 19 in number. The number 19 is only meant for the archangels, or leaders of the angels of hell. Another classical exegesis addendum is that their number is 19,000. Modern Saudi mufti Abd al-Aziz Ibn Baz has mentioned some 4.9 billion angels who keep hell, where each 70,000 holds a bridle from 70,000 while restraining Jahannam. A mufti is an Islamic legal scholar who interprets religious law to issue authoritative rulings.

The 19 angels refer to the leaders of those angels, including Maalik. While the insurmountable numbers were referring to the hell angels, which were led by those 19 Zabaniyah.

Several features of the Zabaniyah describe their physicality:

• Face
  • Several Habiths as recorded that Muhammad has met Maalik, the Zabaniyah, in 1 occasion described that he had a sickeningly ugly face. The true face of Zabaniyah angels is so repulsive beyond comprehension, to the point that any living human could die by the shock of only looking at their face. Aside from those, the Isra’ &Mi’raj tradition, Muhammad also notes the gruesome appearance of Maalik in his dream. The eyes of Zabaiyah were like lightning & their mouths were like spurs of chicken. Their hair is so long that it’s dragged under their feet. They’ve “repulsive faces, eyes like flashing lightning, teeth white like cows’ horns, lips hanging down to their feet, & rotten breath.
• Size
  • The Zabaniyah are the largest type of angel. Their shoulders are described as having a distance of 500 years. The angels that protected Muhammad from Abu Jahl’s aggression near the Ka’ba were 12 zabaniyah as tall as the sky. 1 of the Zabaniyah has its chest as wide as 1 of the gates of Jahannam. Jahannam is the place of punishment for evildoers in Hell.
• Tools
  • Zabaniyah angels carrying tools such as an iron beater or Mirzabba with 2 prongs, & whip(s) made of fire. The Zabaniyah angels used these tools to punish the sinners vigorously. The Zabaniyah will drive the sinners into Hell with “iron hooks.” Also, they carry hot chains for torturing inmates.
• Strength
  • The Zabaniyah are the most powerful among angels. The Zabaniyah angels were created by Allah to perform any tasks commanded upon them to torture the inmates of Hell. Allah has granted Zabaniyah the ability to manage a torture for sinners that no one can emulate. Gripping strength that was so severe, which no creature could match. After the Judgment Day, 1 of Zabaniyah was described as being able to drag entire sinners who are judged to enter Hell while carrying a mountain on his shoulder. He’ll use the said mountain to crush the sinners, after all of them have entered Hell. During Judgment Day, the Zabaniyah angels will lift & drag out Jahannam from its place to the surface of the plain, and the inmates of Hell will be in blind & deaf condition. The Zabaniyah angels possessed an ability where those deaf inmates could somehow hear the voices of Zabaniyah, who tortured them.
• Fingers
  • The Zabaniyah angels possessed fingers with the number of the sinners that’ll be thrown into Hell after the Judgment Day. The fingers of Maalik are so hot to the point that if 1 of his fingers touched the sky, that finger would cause the sky to melt. Zabaniyah was created 1,000 years before Hell was created. While their physical strength grows every day, to the point that each of Zabaniyah’s fingers could squeeze a human from the head to the ankles.
• Wings
  • The Zabaniyah had wings. The Zabaniyah showed up before Abu Jahl (he was the main opponent of the Prophet Muhammad), as Muhammad prayed in/at the Kaaba. 1 of the Zabaniyah scares Abu Jahl when he tries to trample on Muhammad’s neck with his foot. When asked about his retreat, Abu answered that he suddenly saw a winged, terrifying monster in a trench filled with flames, between him & Muhammad. This incident were/was believed by Muslims to be the Asbab al-Nuzul (Revelation) of the Quran chapter al-Alaq 96:18. Allah made the Zabaniyah angels’ hearts hard because they have 0 mercy towards the inmates.

The Zabaniyah also imposes punishments on people who commit Riba (usury) by pelting their mouths with rocks while forcing them to swim in a river of blood. The situation of people who commit usury in Barzakh (a realm of the afterlife) before the Judgment Day.

According to the Quran, the Zabaniya are the angels of death who conduct the souls of sinners & question them in the grave. Nazi’at & Nasitat & Munkar &Nakir, they help Azra’il (Azrael), who’s the canonical Angel of Death in Islam. Nazi’at is commissioned to take the lives of unbelievers forcefully, while Nashitat takes believers gently.

They appear as black shadows to the dying person, pull their souls out of their bodies, & drag them to hell. It’s been recorded that after the Angel of Death has separated the soul of the sinner from their body, an Zabaniyah angel named Daqa’il will restrain the soul with a giant wrap which made from rough hairs & parading the soul to the sky. This is before throwing the soul towards another Zabaniyah angel(s), who react by taking the soul into the Sijjin, a rock-shaped prison of the sinners below the Barzakh.

The Zabaniyah’s role during the Judgment is that they’re tasked with gathering & suppressing all sinners, Muslims & non-Muslims alike. Whoever wants to be saved from torture AFTER Judgment Day should recite the basmala (This is an Islamic phrase that means: “In the name of God, the Most Gracious, the Most Merciful.”) frequently during their life. As the basmala consists of 19 letters in accordance of the number of Zabaniyah.

1 of their duties after Judgment Day is to push those who mocked Islam into Hell. They’re also described as leading the army of angels.

In some Isra’ & Mi’raj traditions:

The Zabaniyat landscape of the 1st layer of Hell & the fiery seas within. As Maalik was created by God inside Hell. So they would have no desire to leave & feel comfortable in it. They’re standing tall above Saqar, a place in Hell. They’re also described as leading the army of angels. Al-Muddaththir 69:30 is interpreted about how the group of Zabaniyah threw the sinners into Jahannam.

They have the task of Zabaniyah driving sinners to enter Hell. In some Isra’ & MI’raj traditions the Zabaniyat landscape of the 1st layer of Hell & fiery seas within. As Maalik explains to Muhammad that the Zabaniya were created by God inside hell so they’ve no desire to leave this place & fell comfortable in it. The Zabaniyah are standing tall above Saqar, a place in Hell.

Each Zabaniyah restrained the sinners who were fated to be thrown in Hell are shackling each sinner’s arms to their neck before dragging them down. The Zabaniyah perform their job by using both of their hands & feet in torturing sinners in Hell. The Zabaniyah will drag the face of those they torture.

The Zabaniyah will shackle the inmates, cursing them, pouring boiled water on top of their head. While at the same time, force-feeding them with the fruits of Zaqqum tree. In Islam, the Zaqqum tree is a cursed tree that’s rooted in the center of Jahannum. It’s 1st mentioned in the Quran, 3x by name, as a tree that produces fruits that’s fed to the inhabitants of Hell to burn their stomachs, before they’re also fed boiling liquids.

In an interpretation of Quran chapter Al-Haqqa verse 32 gave their explanation that the chains in the verse were meant to be the chains used by Zabiyah angels to shackle the inmates in Hell. The Zabaniyah will shove the hot chains to the inmates rectums until it emerges from their mouth.

As for Muslim sinners which has committed huge sins & never repented during their life, the Zabaniyah tasked to shackle them more leniently than non-Muslim, & torture them until all of their sins has paid off with the punishments inflicted. Thus sent them all to Heaven.

Meanwhile, for non-Muslims, Ka’b has described the Zabaniyah shackle & drag them more severely than Muslim sinners into Hell while burning them as they walked in, then punish them for eternity. The Zabaniyah angels will wrap the inmates of Hell with a nail made of fire. So they’ll not hear anything, & none of those inmates can see that there is other peoples tortured nearby.

Sufism tradition says the fate after death that an army of angels of punishment battled against the angels of mercy over the soul of a sinner. In some Turkish lore, it’s believed that both groups battle, their strikes cause thunder.

Make a one-time donation

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Woodcut diagram of Dante's Inferno (ca. 1518), from Divine Comedy.

Source: Cornell University Library

https://pdimagearchive.org/images/7fe8cb81-5538-441d-8528-ef65f5e00f7d

#diagrams #strata #paradise #dante #inferno #purgatory #art #publicdomain

Woodcut diagram of Dante's Inferno (ca. 1518), from Divine Comedy.

Source: Cornell University Library

https://pdimagearchive.org/images/7fe8cb81-5538-441d-8528-ef65f5e00f7d

#diagrams #strata #paradise #dante #inferno #purgatory #art #publicdomain

Woodcut diagram of Dante's Inferno (ca. 1518), from Divine Comedy.

Source: Cornell University Library

https://pdimagearchive.org/images/7fe8cb81-5538-441d-8528-ef65f5e00f7d

#diagrams #strata #paradise #dante #inferno #purgatory #art #publicdomain

Woodcut diagram of Dante's Inferno (ca. 1518), from Divine Comedy.

Source: Cornell University Library

https://pdimagearchive.org/images/7fe8cb81-5538-441d-8528-ef65f5e00f7d

#diagrams #strata #paradise #dante #inferno #purgatory #art #publicdomain

Woodcut diagram of Dante's Inferno (ca. 1518), from Divine Comedy.

Source: Cornell University Library

https://pdimagearchive.org/images/7fe8cb81-5538-441d-8528-ef65f5e00f7d

#diagrams #strata #paradise #dante #inferno #purgatory #art #publicdomain

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

Haunted WV Penitentiary: Top 10 Most Violent Prison in the United States

https://kandiblaze.wordpress.com/2026/04/10/haunted-wv-penitentiary-top-10-most-violent-prison-in-the-united-states/

Haunted WV Penitentiary: Top 10 Most Violent Prison in the United States

https://kandiblaze.wordpress.com/2026/04/10/haunted-wv-penitentiary-top-10-most-violent-prison-in-the-united-states/

Haunted WV Penitentiary: Top 10 Most Violent Prison in the United States

https://kandiblaze.wordpress.com/2026/04/10/haunted-wv-penitentiary-top-10-most-violent-prison-in-the-united-states/

Haunted WV Penitentiary: Top 10 Most Violent Prison in the United States

https://kandiblaze.wordpress.com/2026/04/10/haunted-wv-penitentiary-top-10-most-violent-prison-in-the-united-states/

Haunted WV Penitentiary: Top 10 Most Violent Prison in the United States

https://kandiblaze.wordpress.com/2026/04/10/haunted-wv-penitentiary-top-10-most-violent-prison-in-the-united-states/

Oh, the irony! The Pentagon's medieval threats are as useful as demanding a JavaScript update from the Vatican's IT department. 💻🔐 In a world where #cookies are essential, even the Holy See can't escape the tech support #purgatory. 🍪🔄
https://www.thelettersfromleo.com/p/the-pentagon-threatened-pope-leo #PentagonThreats #JavaScriptUpdate #TechSupport #Irony #HackerNews #ngated

Oh, the irony! The Pentagon's medieval threats are as useful as demanding a JavaScript update from the Vatican's IT department. 💻🔐 In a world where #cookies are essential, even the Holy See can't escape the tech support #purgatory. 🍪🔄
https://www.thelettersfromleo.com/p/the-pentagon-threatened-pope-leo #PentagonThreats #JavaScriptUpdate #TechSupport #Irony #HackerNews #ngated

Oh, the irony! The Pentagon's medieval threats are as useful as demanding a JavaScript update from the Vatican's IT department. 💻🔐 In a world where #cookies are essential, even the Holy See can't escape the tech support #purgatory. 🍪🔄
https://www.thelettersfromleo.com/p/the-pentagon-threatened-pope-leo #PentagonThreats #JavaScriptUpdate #TechSupport #Irony #HackerNews #ngated

Oh, the irony! The Pentagon's medieval threats are as useful as demanding a JavaScript update from the Vatican's IT department. 💻🔐 In a world where #cookies are essential, even the Holy See can't escape the tech support #purgatory. 🍪🔄
https://www.thelettersfromleo.com/p/the-pentagon-threatened-pope-leo #PentagonThreats #JavaScriptUpdate #TechSupport #Irony #HackerNews #ngated

Oh, the irony! The Pentagon's medieval threats are as useful as demanding a JavaScript update from the Vatican's IT department. 💻🔐 In a world where #cookies are essential, even the Holy See can't escape the tech support #purgatory. 🍪🔄
https://www.thelettersfromleo.com/p/the-pentagon-threatened-pope-leo #PentagonThreats #JavaScriptUpdate #TechSupport #Irony #HackerNews #ngated

Grief doesn’t just break your heart it drains your energy, clouds your mind, and can strain your health.
 
https://de320.isrefer.com/go/LUYDFREE/Stuartn/
 
#GriefHurts #HiddenCostOfGrief #MentalHealthMatters #HealingJourney #YouAreNotAlone #ThinkandGrowEducation #RayBehan #Purgatory

Ah yes, the age-old tale: spend two years in #architecture #purgatory, only to find salvation in the open arms of #PHP 😇. Who knew the key to world peace was a language everyone loves to hate? 😂 But hey, why ship features when you can debate the elegance of code forever? 🚀
https://laughingmeme.org/2026/02/09/code-has-always-been-the-easy-part.html #coding #humor #developer #life #tech #satire #HackerNews #ngated

Ah yes, the age-old tale: spend two years in #architecture #purgatory, only to find salvation in the open arms of #PHP 😇. Who knew the key to world peace was a language everyone loves to hate? 😂 But hey, why ship features when you can debate the elegance of code forever? 🚀
https://laughingmeme.org/2026/02/09/code-has-always-been-the-easy-part.html #coding #humor #developer #life #tech #satire #HackerNews #ngated

Ah yes, the age-old tale: spend two years in #architecture #purgatory, only to find salvation in the open arms of #PHP 😇. Who knew the key to world peace was a language everyone loves to hate? 😂 But hey, why ship features when you can debate the elegance of code forever? 🚀
https://laughingmeme.org/2026/02/09/code-has-always-been-the-easy-part.html #coding #humor #developer #life #tech #satire #HackerNews #ngated

Ah yes, the age-old tale: spend two years in #architecture #purgatory, only to find salvation in the open arms of #PHP 😇. Who knew the key to world peace was a language everyone loves to hate? 😂 But hey, why ship features when you can debate the elegance of code forever? 🚀
https://laughingmeme.org/2026/02/09/code-has-always-been-the-easy-part.html #coding #humor #developer #life #tech #satire #HackerNews #ngated

https://www.europesays.com/ie/342250/ Phasma – Purgatory Review | Angry Metal Guy #2026 #40 #american #AtraeBilis #BlackMetal #BrutalDeathMetal #CryptsOfDespair #DeathMetal #Deathcore #Éire #Entertainment #Feb26 #GreekMetal #Hardcore #Harm’sWay #IE #international #Ireland #Music #Phasma #Purgatory #Review #Reviews #TechnicalDeathMetal #TranscendingObscurityRecords #VampireSquid #Vimur #Whitechapel

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Dante and Virgil at the gates of Purgatory, and the Proud carrying heavy stones (1444–1450), from Divine Comedy.

Source: British Library

https://pdimagearchive.org/images/febe7472-fa27-4f4c-9e2f-4bc7cbcf3624

#medieval #stones #dante #birds #purgatory #rocks #carrying #gates #christianity #art #publicdomain

Dante and Virgil at the gates of Purgatory, and the Proud carrying heavy stones (1444–1450), from Divine Comedy.

Source: British Library

https://pdimagearchive.org/images/febe7472-fa27-4f4c-9e2f-4bc7cbcf3624

#medieval #stones #dante #birds #purgatory #rocks #carrying #gates #christianity #art #publicdomain

Dante and Virgil at the gates of Purgatory, and the Proud carrying heavy stones (1444–1450), from Divine Comedy.

Source: British Library

https://pdimagearchive.org/images/febe7472-fa27-4f4c-9e2f-4bc7cbcf3624

#medieval #stones #dante #birds #purgatory #rocks #carrying #gates #christianity #art #publicdomain

Dante and Virgil at the gates of Purgatory, and the Proud carrying heavy stones (1444–1450), from Divine Comedy.

Source: British Library

https://pdimagearchive.org/images/febe7472-fa27-4f4c-9e2f-4bc7cbcf3624

#medieval #stones #dante #birds #purgatory #rocks #carrying #gates #christianity #art #publicdomain

Dante and Virgil at the gates of Purgatory, and the Proud carrying heavy stones (1444–1450), from Divine Comedy.

Source: British Library

https://pdimagearchive.org/images/febe7472-fa27-4f4c-9e2f-4bc7cbcf3624

#medieval #stones #dante #birds #purgatory #rocks #carrying #gates #christianity #art #publicdomain

🍿🕺 Oh, the suspense! A #concert so #exclusive that only one JavaScript-enabled browser could attend. 🎸🥳 Meanwhile, the rest of us are stuck in #cookie #purgatory, waiting for the spinning wheel of death to grant us #access to Dylan's #digital dulcet tones. 🍪🔄
https://www.flaggingdown.com/p/the-bob-dylan-concert-for-just-one #JavaScript #suspense #HackerNews #ngated