#review — Public Fediverse posts

Under The Radar – Dear Boy And The Noise

Less than 1,000 monthly listeners. More than 1,000 reasons to listen.

How did you come up with the bands name?

The band name was inspired by our lead guitarists father Len as he has always used the phrase ‘dear boy’ and we thought it was a nice little tip of the hat to use that within our band name… the noise part well that explains itself.

Where are you from?

Chelmsford, Essex.

What genre would you class your music as?

Rock And Roll.

For Fans Of?

Black Rebel Motorcycle Club, Queens Of The Stone Age & MC5.

Where can people connect with you?

• Spotify
• Instagram
• Facebook
• YouTube

The bands website is http://www.dearboyandthenoise.com/

What is your latest release?

https://open.spotify.com/track/5Gi8hwdl6Hk5aXz3NuflYV?si=c79d5b3841844949

Favourite is fast, in your face, unforgivingly energetic and guaranteed to make your head bop we call it the scrunched your face effect.

What are the three songs you would recommend to new listeners?

Sugar Sugar really introduces you to our heavy baselines and melodic vocals and a powerful guitar solo its just an all round energetic and fun sound.

https://open.spotify.com/track/3eeGKFMBOvggZ7S0zXt9rC?si=900be357e8f04a53

Little Mamma. This song really shows the other side of our sound when it comes to sassy vocal melodies and feel good music. Punchy, Fun and sexy.

https://open.spotify.com/track/1llryVk7rtJF8659J4t1Ts?si=3f51be386282491d

What is the song you’re most proud of as a band?

Sugar Sugar currently because it was the first official song and release we wrote and was the song that made us realise we found our sound. It was debuted on BBC Introducing upon release and always gets a great reception when we perform it live.

The story behind it was purely to create a song that was instrumentally dirty but slightly masked by its light melodic vocal sections and its action and response elements within the verses whilst leaving gaps to allow the hard hitting drums, heavy baseline and roaring guitar to hit home.

Who would be your dream collaboration?

“Jimmy Hendrix. Because its Jimmy Hendrix” – Richard Tuckey.

All rights to the songs used on this post are retained by the band in question. This site claims no rights over them. All images were provided by the band.

Under The Radar – Dear Boy And The Noise

Less than 1,000 monthly listeners. More than 1,000 reasons to listen.

How did you come up with the bands name?

The band name was inspired by our lead guitarists father Len as he has always used the phrase ‘dear boy’ and we thought it was a nice little tip of the hat to use that within our band name… the noise part well that explains itself.

Where are you from?

Chelmsford, Essex.

What genre would you class your music as?

Rock And Roll.

For Fans Of?

Black Rebel Motorcycle Club, Queens Of The Stone Age & MC5.

Where can people connect with you?

• Spotify
• Instagram
• Facebook
• YouTube

The bands website is http://www.dearboyandthenoise.com/

What is your latest release?

https://open.spotify.com/track/5Gi8hwdl6Hk5aXz3NuflYV?si=c79d5b3841844949

Favourite is fast, in your face, unforgivingly energetic and guaranteed to make your head bop we call it the scrunched your face effect.

What are the three songs you would recommend to new listeners?

Sugar Sugar really introduces you to our heavy baselines and melodic vocals and a powerful guitar solo its just an all round energetic and fun sound.

https://open.spotify.com/track/3eeGKFMBOvggZ7S0zXt9rC?si=900be357e8f04a53

Little Mamma. This song really shows the other side of our sound when it comes to sassy vocal melodies and feel good music. Punchy, Fun and sexy.

https://open.spotify.com/track/1llryVk7rtJF8659J4t1Ts?si=3f51be386282491d

What is the song you’re most proud of as a band?

Sugar Sugar currently because it was the first official song and release we wrote and was the song that made us realise we found our sound. It was debuted on BBC Introducing upon release and always gets a great reception when we perform it live.

The story behind it was purely to create a song that was instrumentally dirty but slightly masked by its light melodic vocal sections and its action and response elements within the verses whilst leaving gaps to allow the hard hitting drums, heavy baseline and roaring guitar to hit home.

Who would be your dream collaboration?

“Jimmy Hendrix. Because its Jimmy Hendrix” – Richard Tuckey.

All rights to the songs used on this post are retained by the band in question. This site claims no rights over them. All images were provided by the band.

Under The Radar – Dear Boy And The Noise

Less than 1,000 monthly listeners. More than 1,000 reasons to listen.

How did you come up with the bands name?

The band name was inspired by our lead guitarists father Len as he has always used the phrase ‘dear boy’ and we thought it was a nice little tip of the hat to use that within our band name… the noise part well that explains itself.

Where are you from?

Chelmsford, Essex.

What genre would you class your music as?

Rock And Roll.

For Fans Of?

Black Rebel Motorcycle Club, Queens Of The Stone Age & MC5.

Where can people connect with you?

• Spotify
• Instagram
• Facebook
• YouTube

The bands website is http://www.dearboyandthenoise.com/

What is your latest release?

https://open.spotify.com/track/5Gi8hwdl6Hk5aXz3NuflYV?si=c79d5b3841844949

Favourite is fast, in your face, unforgivingly energetic and guaranteed to make your head bop we call it the scrunched your face effect.

What are the three songs you would recommend to new listeners?

Sugar Sugar really introduces you to our heavy baselines and melodic vocals and a powerful guitar solo its just an all round energetic and fun sound.

https://open.spotify.com/track/3eeGKFMBOvggZ7S0zXt9rC?si=900be357e8f04a53

Little Mamma. This song really shows the other side of our sound when it comes to sassy vocal melodies and feel good music. Punchy, Fun and sexy.

https://open.spotify.com/track/1llryVk7rtJF8659J4t1Ts?si=3f51be386282491d

What is the song you’re most proud of as a band?

Sugar Sugar currently because it was the first official song and release we wrote and was the song that made us realise we found our sound. It was debuted on BBC Introducing upon release and always gets a great reception when we perform it live.

The story behind it was purely to create a song that was instrumentally dirty but slightly masked by its light melodic vocal sections and its action and response elements within the verses whilst leaving gaps to allow the hard hitting drums, heavy baseline and roaring guitar to hit home.

Who would be your dream collaboration?

“Jimmy Hendrix. Because its Jimmy Hendrix” – Richard Tuckey.

All rights to the songs used on this post are retained by the band in question. This site claims no rights over them. All images were provided by the band.

Under The Radar – Dear Boy And The Noise

Less than 1,000 monthly listeners. More than 1,000 reasons to listen.

How did you come up with the bands name?

The band name was inspired by our lead guitarists father Len as he has always used the phrase ‘dear boy’ and we thought it was a nice little tip of the hat to use that within our band name… the noise part well that explains itself.

Where are you from?

Chelmsford, Essex.

What genre would you class your music as?

Rock And Roll.

For Fans Of?

Black Rebel Motorcycle Club, Queens Of The Stone Age & MC5.

Where can people connect with you?

• Spotify
• Instagram
• Facebook
• YouTube

The bands website is http://www.dearboyandthenoise.com/

What is your latest release?

https://open.spotify.com/track/5Gi8hwdl6Hk5aXz3NuflYV?si=c79d5b3841844949

Favourite is fast, in your face, unforgivingly energetic and guaranteed to make your head bop we call it the scrunched your face effect.

What are the three songs you would recommend to new listeners?

Sugar Sugar really introduces you to our heavy baselines and melodic vocals and a powerful guitar solo its just an all round energetic and fun sound.

https://open.spotify.com/track/3eeGKFMBOvggZ7S0zXt9rC?si=900be357e8f04a53

Little Mamma. This song really shows the other side of our sound when it comes to sassy vocal melodies and feel good music. Punchy, Fun and sexy.

https://open.spotify.com/track/1llryVk7rtJF8659J4t1Ts?si=3f51be386282491d

What is the song you’re most proud of as a band?

Sugar Sugar currently because it was the first official song and release we wrote and was the song that made us realise we found our sound. It was debuted on BBC Introducing upon release and always gets a great reception when we perform it live.

The story behind it was purely to create a song that was instrumentally dirty but slightly masked by its light melodic vocal sections and its action and response elements within the verses whilst leaving gaps to allow the hard hitting drums, heavy baseline and roaring guitar to hit home.

Who would be your dream collaboration?

“Jimmy Hendrix. Because its Jimmy Hendrix” – Richard Tuckey.

All rights to the songs used on this post are retained by the band in question. This site claims no rights over them. All images were provided by the band.

Under The Radar – Dear Boy And The Noise

Less than 1,000 monthly listeners. More than 1,000 reasons to listen.

How did you come up with the bands name?

The band name was inspired by our lead guitarists father Len as he has always used the phrase ‘dear boy’ and we thought it was a nice little tip of the hat to use that within our band name… the noise part well that explains itself.

Where are you from?

Chelmsford, Essex.

What genre would you class your music as?

Rock And Roll.

For Fans Of?

Black Rebel Motorcycle Club, Queens Of The Stone Age & MC5.

Where can people connect with you?

• Spotify
• Instagram
• Facebook
• YouTube

The bands website is http://www.dearboyandthenoise.com/

What is your latest release?

https://open.spotify.com/track/5Gi8hwdl6Hk5aXz3NuflYV?si=c79d5b3841844949

Favourite is fast, in your face, unforgivingly energetic and guaranteed to make your head bop we call it the scrunched your face effect.

What are the three songs you would recommend to new listeners?

Sugar Sugar really introduces you to our heavy baselines and melodic vocals and a powerful guitar solo its just an all round energetic and fun sound.

https://open.spotify.com/track/3eeGKFMBOvggZ7S0zXt9rC?si=900be357e8f04a53

Little Mamma. This song really shows the other side of our sound when it comes to sassy vocal melodies and feel good music. Punchy, Fun and sexy.

https://open.spotify.com/track/1llryVk7rtJF8659J4t1Ts?si=3f51be386282491d

What is the song you’re most proud of as a band?

Sugar Sugar currently because it was the first official song and release we wrote and was the song that made us realise we found our sound. It was debuted on BBC Introducing upon release and always gets a great reception when we perform it live.

The story behind it was purely to create a song that was instrumentally dirty but slightly masked by its light melodic vocal sections and its action and response elements within the verses whilst leaving gaps to allow the hard hitting drums, heavy baseline and roaring guitar to hit home.

Who would be your dream collaboration?

“Jimmy Hendrix. Because its Jimmy Hendrix” – Richard Tuckey.

All rights to the songs used on this post are retained by the band in question. This site claims no rights over them. All images were provided by the band.

A Look Back at Spectacular Spider-Man #211 (1994)

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Spider-Man fans and comic book collectors! Today we go back to the year 1994 to examine a small part of the Marvel Comics shared universe through a tale of the Spectacular Spider-Man monthly series.

Following the tragedy told in Amazing Spider-Man #388, Spider-Man got broken emotionally and he started lusting for revenge against the Chameleon in Spider-Man #45 which marked the beginning of the Pursuit storyline. Along the way, the webslinger became more intense, more violent and his marriage with Mary Jane got strained even more.

With those details laid down, here is a look back at Spectacular Spider-Man #211, published in 1994 by Marvel Comics with a story written by Mike Lackey and drawn by Sal Buscema. This is the 2nd chapter of the Pursuit storyline.

Early story

The story begins with Spider-Man overwhelming an entire gang of dangerous men on the rooftop of a building. Even though they were armed dangerous, the obsessed webslinger successfully hurt each of them until they fell down on the floor. He beat them all as he obsessively searched for answers about the Chameleon. One of them told Spider-Man they don’t know where the Chameleon is but they heard that he offered a million Dollars to hit him (Spidey). Realizing that he just had another dead end for his search, the webslinger traps them all with his web and then swings away to another destination.

Meanwhile at one of the units of a residential tower in New York, the Chameleon cannot help but smash a lot of things as he struggles with his anger and hatred with Spider-Man. He knows that it is a matter of time before the webslinger finds him…

Quality

In this 2nd chapter of the Pursuit storyline, things really intensified as the plot unraveled. As Spider-Man does his search for the Chameleon and answers, the said super villain executed his strategies that involve deception and deep resources that go beyond money. As such, the webslinger became the target of Tracer who has a powered suit of armor and high-tech weaponry.

As anticipated, Spider-Man remains driven by revenge in his quest for the Chameleon and because of his broken emotional state, he has gotten more violent with his physical action. He also turned sarcastic in key moments which is a lively reminder that this Spider-Man is no longer the friendly neighborhood hero he used to be. The famous webslinger is not completely unhinged here as his concern for bystanders showed he still has some humanity left within him.

When it comes to the Chameleon, this comic book portrays him to be very cunning and resourceful. His deception towards others might draw emotions from you and might make you wish he will suffer a lot once Spider-Man finds him.

Conclusion

As the 2nd part of the Pursuit storyline, Spectacular Spider-Man #211 (1994) delivers a portrayal of a deeply hurt Spider-Man whose lust for revenge keeps him going no matter what obstacles he faces. As readers, we witness his intense search for the dreaded villain Chameleon as well as his emotional deterioration. That said, this comic book has a somewhat depressing tone as Spider-Man’s life gets worse and his wife Mary Jane is suffering too. Ultimately, this comic book convinced me to continue with the storyline.

Overall, Spectacular Spider-Man #211 (1994) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @CarloCarrascoPH as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco

A Look Back at Spectacular Spider-Man #211 (1994)

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Spider-Man fans and comic book collectors! Today we go back to the year 1994 to examine a small part of the Marvel Comics shared universe through a tale of the Spectacular Spider-Man monthly series.

Following the tragedy told in Amazing Spider-Man #388, Spider-Man got broken emotionally and he started lusting for revenge against the Chameleon in Spider-Man #45 which marked the beginning of the Pursuit storyline. Along the way, the webslinger became more intense, more violent and his marriage with Mary Jane got strained even more.

With those details laid down, here is a look back at Spectacular Spider-Man #211, published in 1994 by Marvel Comics with a story written by Mike Lackey and drawn by Sal Buscema. This is the 2nd chapter of the Pursuit storyline.

Early story

The story begins with Spider-Man overwhelming an entire gang of dangerous men on the rooftop of a building. Even though they were armed dangerous, the obsessed webslinger successfully hurt each of them until they fell down on the floor. He beat them all as he obsessively searched for answers about the Chameleon. One of them told Spider-Man they don’t know where the Chameleon is but they heard that he offered a million Dollars to hit him (Spidey). Realizing that he just had another dead end for his search, the webslinger traps them all with his web and then swings away to another destination.

Meanwhile at one of the units of a residential tower in New York, the Chameleon cannot help but smash a lot of things as he struggles with his anger and hatred with Spider-Man. He knows that it is a matter of time before the webslinger finds him…

Quality

In this 2nd chapter of the Pursuit storyline, things really intensified as the plot unraveled. As Spider-Man does his search for the Chameleon and answers, the said super villain executed his strategies that involve deception and deep resources that go beyond money. As such, the webslinger became the target of Tracer who has a powered suit of armor and high-tech weaponry.

As anticipated, Spider-Man remains driven by revenge in his quest for the Chameleon and because of his broken emotional state, he has gotten more violent with his physical action. He also turned sarcastic in key moments which is a lively reminder that this Spider-Man is no longer the friendly neighborhood hero he used to be. The famous webslinger is not completely unhinged here as his concern for bystanders showed he still has some humanity left within him.

When it comes to the Chameleon, this comic book portrays him to be very cunning and resourceful. His deception towards others might draw emotions from you and might make you wish he will suffer a lot once Spider-Man finds him.

Conclusion

As the 2nd part of the Pursuit storyline, Spectacular Spider-Man #211 (1994) delivers a portrayal of a deeply hurt Spider-Man whose lust for revenge keeps him going no matter what obstacles he faces. As readers, we witness his intense search for the dreaded villain Chameleon as well as his emotional deterioration. That said, this comic book has a somewhat depressing tone as Spider-Man’s life gets worse and his wife Mary Jane is suffering too. Ultimately, this comic book convinced me to continue with the storyline.

Overall, Spectacular Spider-Man #211 (1994) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @CarloCarrascoPH as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco

Less than a year after delivering one of my favorite albums of 2025,1 Sallow Moth flutters in to unload another monstrous helping of progressive death metal. Thematically, Hydrophilous Brood continues exploring the quantum entanglements of the Mossbane Lantern, a capriciously powerful artifact that can transport users across planes of existence—often with horrific consequences. I thoroughly enjoyed this backdrop on Mossbane Lantern, and learning that Sallow Moth’s new platter would once again fathom the inscrutable fickleness of the Lantern made me equal parts giddy and nervous. With expectations unfairly inflated, I slipped off my skivvies to bathe in the marvels of Hydrophilous Brood.

Compared to Mossbane Lantern, Hydrophilous Brood luxuriates in murkier, more organic tones than its predecessor. Largely, the differences between them condense into two observations. First, Garry Brents’ addition of drummer Allen Gingerich pays off big time. Second, most of the electronic embellishments heard on Mossbane Lantern have dwindled significantly, even though their spirit periodically reemerges via guitar or bass reprisals. What stands out most against Mossbane Lantern is the new LP’s commitment to more traditional instrumentation, even if the compositions themselves remain wildly unpredictable. Rather than abrupt shifts between crushing death metal, trip hop shimmers, and electronica-infused breaks, Hydrophilous Brood suggests most of these moods without pulling the rug out from listeners, and the end result impresses with more streamlined, delightfully lawless musical hooliganism.

Performance-wise, Sallow Moth doesn’t miss a beat as Brents and Gingerich glide through Hydrophilous Brood’s runtime. Most immediately, Gingerich’s drums supply an enormous boost to Sallow Moth’s compositions. The percussive elements on Mossbane Lantern never disappointed, yet Hydrophilous Brood quickly reinforces the magic that a skilled technician can add. Robotic rolls and precision snare abuse (“Driftmoth Vivisector”) may give the impression of programmed drums, but Gingerich also imparts slick sticksmanship and jazzy spasms (“Polymorphic Gnaw,” “Serene Aqueous Leech”) that leave me reeling with whiplashing wonder. In addition to the drums, Gingerich discharges a couple of guitar solos on “Arcane Benthic Umbilicus” and “Polymorphic Gnaw” that hew closer to more traditional fretwork, adding further depth to Sallow Moth’s arrangements. Brents, meanwhile, rekindles the aural anarchy from Mossbane Lantern, especially the crisply shred-infested riffing interspersed with brief passages of Cynical bass noodling and subtle synth atmospherics. Vocally, Brents strikes with a varied attack, assaulting listeners with brown-note toilet burps in line with this year’s Lureplasm (“Nebulous Appendages of Vacillant Seafoam,” “Polymorphic Gnaw”),2 aggrieved caveman roars (“Arcane Benthic Umbilicus”), and several brief guest cameos, including Corey Peterson (Thætas) and Evan Sadler (Labyrinthine Heirs).

In all, Sallow Moth throws a dizzying spread of instrumentation at listeners, making Hydrophilous Brood so dense and tangled that it can be difficult to navigate at first. It’s a bit like a several-thousand-piece puzzle, where the first listen is just flipping all the pieces over the right way. With more time, though, the album takes shape and reveals the overarching vision beneath the madness. Melodic phrases regularly trade the spotlight with tumultuous chugs and squealing guitars, never allowing songs to lock in before lurching to the next. I understand how it can be jarring, but catching the quick-flitting melodies as they dance to the fore then fade into the background without dissipating altogether demands appreciation. Thematically, the whimsical nature of the Mossbane Lantern artifact persists on Hydrophilous Brood, exerting wicked fun throughout.

After delivering one of my favorite death metal slabs of 2025, Sallow Moth follows up with another gloriously depraved contender. As I reflect on the music I’ve loved over the last couple of years, I find that what appeals to me mostly falls into one of two camps: flawless executions of proven recipes and novel explorations of metal. Sallow Moth lands squarely in the latter, and though novelty for its own sake often falls flat, the stories embedded within Hydrophilous Brood amplify the music, giving form to its chaos. Sure, there are things I miss from Mossbane Lantern, particularly the electronica-infused injections, and there are things I wish had been utilized more, like Ola’s noir-coded trumpet on “Serene Aqueous Leech.” Yet in the end, my critical comments mostly boil down to what I wish they’d done more of rather than faulting what they did. It takes patience to unravel and appreciate Sallow Moth’s latest, but after marinating in its waters for spins on end, I’m unashamedly glued to the Brood.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

Less than a year after delivering one of my favorite albums of 2025,1 Sallow Moth flutters in to unload another monstrous helping of progressive death metal. Thematically, Hydrophilous Brood continues exploring the quantum entanglements of the Mossbane Lantern, a capriciously powerful artifact that can transport users across planes of existence—often with horrific consequences. I thoroughly enjoyed this backdrop on Mossbane Lantern, and learning that Sallow Moth’s new platter would once again fathom the inscrutable fickleness of the Lantern made me equal parts giddy and nervous. With expectations unfairly inflated, I slipped off my skivvies to bathe in the marvels of Hydrophilous Brood.

Compared to Mossbane Lantern, Hydrophilous Brood luxuriates in murkier, more organic tones than its predecessor. Largely, the differences between them condense into two observations. First, Garry Brents’ addition of drummer Allen Gingerich pays off big time. Second, most of the electronic embellishments heard on Mossbane Lantern have dwindled significantly, even though their spirit periodically reemerges via guitar or bass reprisals. What stands out most against Mossbane Lantern is the new LP’s commitment to more traditional instrumentation, even if the compositions themselves remain wildly unpredictable. Rather than abrupt shifts between crushing death metal, trip hop shimmers, and electronica-infused breaks, Hydrophilous Brood suggests most of these moods without pulling the rug out from listeners, and the end result impresses with more streamlined, delightfully lawless musical hooliganism.

Performance-wise, Sallow Moth doesn’t miss a beat as Brents and Gingerich glide through Hydrophilous Brood’s runtime. Most immediately, Gingerich’s drums supply an enormous boost to Sallow Moth’s compositions. The percussive elements on Mossbane Lantern never disappointed, yet Hydrophilous Brood quickly reinforces the magic that a skilled technician can add. Robotic rolls and precision snare abuse (“Driftmoth Vivisector”) may give the impression of programmed drums, but Gingerich also imparts slick sticksmanship and jazzy spasms (“Polymorphic Gnaw,” “Serene Aqueous Leech”) that leave me reeling with whiplashing wonder. In addition to the drums, Gingerich discharges a couple of guitar solos on “Arcane Benthic Umbilicus” and “Polymorphic Gnaw” that hew closer to more traditional fretwork, adding further depth to Sallow Moth’s arrangements. Brents, meanwhile, rekindles the aural anarchy from Mossbane Lantern, especially the crisply shred-infested riffing interspersed with brief passages of Cynical bass noodling and subtle synth atmospherics. Vocally, Brents strikes with a varied attack, assaulting listeners with brown-note toilet burps in line with this year’s Lureplasm (“Nebulous Appendages of Vacillant Seafoam,” “Polymorphic Gnaw”),2 aggrieved caveman roars (“Arcane Benthic Umbilicus”), and several brief guest cameos, including Corey Peterson (Thætas) and Evan Sadler (Labyrinthine Heirs).

In all, Sallow Moth throws a dizzying spread of instrumentation at listeners, making Hydrophilous Brood so dense and tangled that it can be difficult to navigate at first. It’s a bit like a several-thousand-piece puzzle, where the first listen is just flipping all the pieces over the right way. With more time, though, the album takes shape and reveals the overarching vision beneath the madness. Melodic phrases regularly trade the spotlight with tumultuous chugs and squealing guitars, never allowing songs to lock in before lurching to the next. I understand how it can be jarring, but catching the quick-flitting melodies as they dance to the fore then fade into the background without dissipating altogether demands appreciation. Thematically, the whimsical nature of the Mossbane Lantern artifact persists on Hydrophilous Brood, exerting wicked fun throughout.

After delivering one of my favorite death metal slabs of 2025, Sallow Moth follows up with another gloriously depraved contender. As I reflect on the music I’ve loved over the last couple of years, I find that what appeals to me mostly falls into one of two camps: flawless executions of proven recipes and novel explorations of metal. Sallow Moth lands squarely in the latter, and though novelty for its own sake often falls flat, the stories embedded within Hydrophilous Brood amplify the music, giving form to its chaos. Sure, there are things I miss from Mossbane Lantern, particularly the electronica-infused injections, and there are things I wish had been utilized more, like Ola’s noir-coded trumpet on “Serene Aqueous Leech.” Yet in the end, my critical comments mostly boil down to what I wish they’d done more of rather than faulting what they did. It takes patience to unravel and appreciate Sallow Moth’s latest, but after marinating in its waters for spins on end, I’m unashamedly glued to the Brood.

Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

We get some history and more demonic action in Excommunicated #3 from Vault Comics this week.

https://comics.3millionyears.co.uk/p/review-excommunicated-3

#Review #Excommunicated #VaultComcis

Recap/Review: ‘Star Trek: Strange New Worlds’ Embraces Its Fate In “Valles Marineris” https://trekmovie.com/2026/07/23/recap-review-star-trek-strange-new-worlds-embraces-its-fate-in-valles-marineris/ #StarTrek:StrangeNewWorlds #StrangeNewWorlds #Review

Recap/Review: ‘Star Trek: Strange New Worlds’ Embraces Its Fate In “Valles Marineris” https://trekmovie.com/2026/07/23/recap-review-star-trek-strange-new-worlds-embraces-its-fate-in-valles-marineris/ #StarTrek:StrangeNewWorlds #StrangeNewWorlds #Review

It's not every day that someone makes a sex flick that deals with aliens and sci-fi business, but that's why you call up Jess Franco and Lina Romay to make something like that. Here's my review of 1975's Shining Sex.

Read the review from April 2021 at https://wp.me/p9XNnZ-1Xi

#blog #review #70s #adultfilm #jessfranco #linaromay #sciencefiction

Ab heute im #Kino: KRAKEN – ERWACHEN DER TIEFE. So hanebüchen die Ausgangslage des norwegischen Monsterhorrorfilms auch ist, man kann sich vorstellen, dass das funktionieren könnte. Doch trotz guter Tricks wirkt das an vielen Stellen derart rau und ist zu verkrampft um Ernsthaftigkeit bemüht. Zur #Review: https://www.treffpunkt-kritik.de/kraken-erwachen-der-tiefe-2026/

Press Secured For Stonedead 2026!

Fox Reviews Rock have secured another set of press tickets for one of the UK best rock festivals! This time it is Stonedead held at Newark Agricultural Showground at the end of August.

This is a festival Fox has always wanted to attend so you can only imagine his excitement levels right now… Especially as across the day he will get to see Europe, Accept, Magnum and many more! As it only has one stage there is no chance of anything clashing either.

As always a full review will be provided so you will know all the details before deciding if you want to attend next year!

Press Secured For Stonedead 2026!

Fox Reviews Rock have secured another set of press tickets for one of the UK best rock festivals! This time it is Stonedead held at Newark Agricultural Showground at the end of August.

This is a festival Fox has always wanted to attend so you can only imagine his excitement levels right now… Especially as across the day he will get to see Europe, Accept, Magnum and many more! As it only has one stage there is no chance of anything clashing either.

As always a full review will be provided so you will know all the details before deciding if you want to attend next year!

Press Secured For Stonedead 2026!

Fox Reviews Rock have secured another set of press tickets for one of the UK best rock festivals! This time it is Stonedead held at Newark Agricultural Showground at the end of August.

This is a festival Fox has always wanted to attend so you can only imagine his excitement levels right now… Especially as across the day he will get to see Europe, Accept, Magnum and many more! As it only has one stage there is no chance of anything clashing either.

As always a full review will be provided so you will know all the details before deciding if you want to attend next year!

A selection of one-shot stories from Rebellion this week with the 2000 AD Sci-Fi Special 2026.

https://comics.3millionyears.co.uk/p/review-2000-ad-sci-fi-special-2026

#Review #2000AD #Rebellion

#Inheritance #review There are several movies by this name.This one's an indie with all women behind and in front of the camera. https://oldaintdead.com/inheritance-top-notch-indie-about-family/

#Inheritance #review There are several movies by this name.This one's an indie with all women behind and in front of the camera. https://oldaintdead.com/inheritance-top-notch-indie-about-family/

As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).1 The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.

Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.2 Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.

The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.3 Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.

At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.

Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).1 The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.

Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.2 Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.

The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.3 Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.

At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.

Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).1 The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.

Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.2 Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.

The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.3 Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.

At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.

Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).1 The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.

Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.2 Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.

The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.3 Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.

At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.

Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

As AMG readers surely know, death metal and science fiction go together like science and fiction. Foundational and contemporary examples alike confirm that atonal riffing, guttural growling, and machine-gun drumming pair well with spaceships, aliens, and exoplanets. On the surface, Italy’s Into Darkness fit nicely into this milieu—that cover recalls the content of Spheres (Pestilence) and the color palette of The Key (Nocturnus).1 The band insists, however, that they do not play ‘sci-fi’ or ‘spacey’ death metal. Instead, Into Darkness describe Route to the Outer Side, their long-gestating debut album, as timeless death metal with a focus on ‘divulgative astronomy,’ which translates complex science into accessible language. Death metal, too, constitutes its own specialized language, with experts in the Commentariat ready to evaluate this Italian trio’s contribution to the discourse.

Route to the Outer Side took a while to arrive, but it enters the death metal stratosphere with a bang. Formed in 2011, Into Darkness released several demos, splits, and EPs before their first full-length. Doomed Warrior is the ‘Commander’ of this musical mission, handling vocals, a host of guitar duties (rhythm, lead, acoustic), and bass. Santo is ‘Pilot,’ propelling the Into Darkness ship with his dexterous drumming, while Filippo serves as ‘Mission Specialist,’ mixing more guitars into the melee.2 Despite their Italian heritage, Into Darkness claim Dutch death metal as their primary influence. Indeed, the razor-wire tones, thrash-doom fluctuations, and merciless rhythmic assaults recall Asphyx. I’m also reminded of Spiritual Healing-era Death, insofar as Into Darkness illuminates their tried-and-true murkiness with a tech/prog sensibility. For a more contemporary referent, one can cite the elevated nastiness of Horrendous, seeing as the band favors walloping production that isn’t too low-end heavy. The result is a familiar, consistent debut of quality death metal that rips, grooves, and punishes.

The big question is whether its concept elevates Route to the Outer Side. As an exercise in divulgative astronomy, each song emblematizes an object in the outer region of our solar system: the four gas/ice giants, the Kuiper belt, and—of course—little old Pluto. A peek at their lyrics proves that Into Darkness aren’t joking when they describe their songs as ‘divulgative’ (i.e. informative). In opener “Jupiter,” for example, Doomed Warrior shreds a squeal-laden guitar maelstrom while screaming quantitative data about the fifth planet: ‘Its mass alone, heavy might, outweighs what stands beside / Two and a half times the mass of the other planets combined.’ Like much death metal, the lyrics are generally inscrutable; in this way, the lyrics ‘don’t matter,’ as is frequently true in the subgenre. The informative lyrics are unique, however, seeming to map onto melodic shifts and key changes (“Saturn”). This mapping isn’t obvious, though, revealing a potential over-reading on my part.3 Lyrics aside, the songwriting doesn’t quite stick after the mission ends, but each individual journey excites in the moment.

At 41 minutes, Route to the Outer Side comprises a concisely expansive voyage, though it’s hard to see the galaxy for the celestial objects. One might expect the opening quartet of “Jupiter” through “Neptune” to grow increasingly icy; alas, the four giants play out as dynamic yet interchangeable onslaughts. Into Darkness sprinkles black-box-sounding voiceovers throughout, reinforcing the divulgative concept. “Halley” doesn’t feel especially ‘comet-like,’ but “Kuiper Belt” is a nice interlude into “Pluto,” which should be the closer. Its concluding guitar melody (akin to “For Whom the Bell Tolls”) fades out in album-ending fashion, whereas the closing title track is a brief rager that absolutely sounds like liftoff.

Into Darkness have created a debut that should please most fans of death metal. As long as listeners don’t go in expecting it to be cosmic or atmospheric (despite the cover), they’ll be fine. Route to the Outer Side isn’t terribly original, but it’s totally righteous. It also taught me a thing or two about our solar system, which I can’t say is a typical result of consuming death metal. I’ll definitely be looking to the skies for Into Darkness to reappear. Hopefully, the band won’t be like Uranus, taking ‘eighty-four years to reach the end / Of another lone journey.’

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 24th, 2026

Ab heute im #Kino: TO MY SISTERS. Der Dokumentarfilm bietet eine schockierende, einzigartige, weibliche Perspektive auf die Schreckensherrschaft des IS und gerät allein deshalb bereits sehenswert. Selbst wenn es in anderen Bereichen an Einordnung mangelt. Zur #Review: https://www.treffpunkt-kritik.de/to-my-sisters-2026/

Eurowind Energy Romania Begins Construction of 3 New Wind Farms

Eurowind Energy Romania has obtained the setting-up authorizations from the National Energy Regulatory Authority (ANRE) and begins construction…
#Romania #RO #Europe #Europa #EU #analysis #electric #Energy #event #gas #industry #Interview #magazine #media #metals #mining #oil #opinion #power #print #Renewables #review #romania #stiri #tech
https://www.europesays.com/3148790/

Ab heute im #Kino: H WIE HABICHT. Sehenswert gespielt, treffen die leisen Beobachtungen des Dramas all diejenigen ins Herz, die selbst bereits einen geliebten Menschen verloren haben. Stark! Zur #Review: https://www.treffpunkt-kritik.de/h-wie-habicht-2025/

Ab heute im #Kino: TOY STORY 5. Auf der Suche nach einer Freundin für das Kind, das das Zentrum ihrer Welt ist, führt der Weg die Titel gebenden Spielzeuge nicht nur zurück in die Vergangenheit, sondern zu der Erkenntnis, dass Geräte heute interessanter sind, als Spielsachen. Liebevoll umgesetzt, ist das schön, trotz Schwächen. Zur #Review: https://www.treffpunkt-kritik.de/toy-story-5-2026/

lyf Bondi Junction Sydney turns Thursday night trivia into the main event

Think you know Lismore? Think again. From pop-up feasts to a buzzing nightlife to a thriving arts scene,…
#Australia #Sydney #accommodation #affordable #nsw-stay-posts #planning #review #sydney-stay
https://www.europesays.com/australia/56651/

https://www.cyclingeu.com/921245/how-reece-wilson-beat-asa-vermette-in-andorra-race-run-analysis/ How Reece Wilson Beat Asa Vermette in Andorra – Race Run Analysis #Andorra #AonRacing #AsaVermette #BermPeak #BernardKerr #Bicycling #Biking #brian #BrianCahal #cahal #Cycling #CyclingAndorra #EnduroMtb #ForbiddenDreadnought #frameworks #FrameworksDh #InsideLine #LongTermReview #MountainBike #MTB #MTBPODCAST #pinkbike #PinkbikeFieldTest #ReeceWilson #Review #SpecializedEnduro #VitalMtb

Imperium – Exodus Unknown Review

Thrash has enjoyed a solid year thus far…Whether your poison has included the head-spinning technical fireworks of Cryptic…
#NewsBeep #News #Music #2026 #3.0 #CrypticShift #Desolus #EnglishMetal #Entertainment #ExodusUnknown #FuriHelium #GrooveMetal #HeavyMetalRecords #Imperium #Kreator #Metallica #NuclearTomb #Pantera #review #Reviews #Testament #ThrashMetal #UK #UnitedKingdom
https://www.newsbeep.com/uk/706399/

Are you looking for a new deckbuilding roguelike where you get to collect cute wiafus? Check out Super Bullet Break!

#keymailer #superbulletbreak #anime #deckbuilder #roguelike #gaming #game #videogame #review #blog

Are you looking for a new deckbuilding roguelike where you get to collect cute wiafus? Check out Super Bullet Break!

#keymailer #superbulletbreak #anime #deckbuilder #roguelike #gaming #game #videogame #review #blog

https://www.europesays.com/no/300082/ Big Bang Theory, Stuart Fails to Save the Universe #art #BigBangTheory #Entertainment #HBOMax #NO #Norge #Norway #review #serieguiden #StuartFailsToSaveTheUniverse #tk6 #Underholdning

Please check out my review on The Housemaid
Any likes/comments are greatly appreciated (it helps with the algorithm)
Please follow for more!
#moviereview #movies #movie #moviereviews #moviereviewer #film #films #subscribe #like #share #review #follow

http://ryansmoviereviews.com/2026/07/23/the-housemaid/

Please check out my review on The Housemaid
Any likes/comments are greatly appreciated (it helps with the algorithm)
Please follow for more!
#moviereview #movies #movie #moviereviews #moviereviewer #film #films #subscribe #like #share #review #follow

http://ryansmoviereviews.com/2026/07/23/the-housemaid/

Please check out my review on The Housemaid
Any likes/comments are greatly appreciated (it helps with the algorithm)
Please follow for more!
#moviereview #movies #movie #moviereviews #moviereviewer #film #films #subscribe #like #share #review #follow

http://ryansmoviereviews.com/2026/07/23/the-housemaid/

Please check out my review on The Housemaid
Any likes/comments are greatly appreciated (it helps with the algorithm)
Please follow for more!
#moviereview #movies #movie #moviereviews #moviereviewer #film #films #subscribe #like #share #review #follow

http://ryansmoviereviews.com/2026/07/23/the-housemaid/

Please check out my review on The Housemaid
Any likes/comments are greatly appreciated (it helps with the algorithm)
Please follow for more!
#moviereview #movies #movie #moviereviews #moviereviewer #film #films #subscribe #like #share #review #follow

http://ryansmoviereviews.com/2026/07/23/the-housemaid/

I Reviewed Late-2000s Digital Cameras. Allow Me to Remind You Why We All Switched to iPhones.

https://kbin.melroy.org/m/technology@lemmy.world/t/1824353

I Reviewed Late-2000s Digital Cameras. Allow Me to Remind You Why We All Switched to iPhones.

https://kbin.melroy.org/m/technology@lemmy.world/t/1824353

Pepsi Cherry Cream is the most offensive flavour of cola I've ever had —and I've tried Jeera Cola.

It smells awful, it tastes awful, it is all the bad parts of cherries and cola multiplied by 1000.

*wretch*

Crush Blue Raspberry on the other hand was incredibly delightful. Fruity, citrusy, and made my tongue blue which amused my kid.

#review #adulting

Pepsi Cherry Cream is the most offensive flavour of cola I've ever had —and I've tried Jeera Cola.

It smells awful, it tastes awful, it is all the bad parts of cherries and cola multiplied by 1000.

*wretch*

Crush Blue Raspberry on the other hand was incredibly delightful. Fruity, citrusy, and made my tongue blue which amused my kid.

#review #adulting

@timnitGebru @stevepiercy

The recommendations for individual mathematicians overlap 100% with what we face in #opensource software development when it comes to the flood of #AI generated contributions that stress our #review work.

https://leidendeclaration.ai/

#icalendar #foss #maintenace

Sony ‘may as well eliminate the hardware’, says Japanese developer

Companies like Sony and Microsoft are businesses, so they must prioritize profit. But when it comes to games…
#EuropeSays #Japan #JP #AnimeExpo #benchmarks #console #disgaea #dontkillthedisc #graphicscard #Japanese #japanesedeveloper #laptop #Microsoft #netbook #notebook #Petition #processor #PS5 #ps6 #reports #review #Reviews #soheiniikawa #Sony #sonybacklash #sonyoutrage #test #tests
https://www.europesays.com/japan/62449/