#reviews — Public Fediverse posts

Elvis Crespo + Beéle ► Pa’ Bailar

https://musicwayatx.com/2026/09/24/elvis-crespo-beele-%e2%96%ba-pa-bailar/

Elvis Crespo + Beéle ► Pa’ Bailar

https://musicwayatx.com/2026/09/24/elvis-crespo-beele-%e2%96%ba-pa-bailar/

Elvis Crespo + Beéle ► Pa’ Bailar

https://musicwayatx.com/2026/09/24/elvis-crespo-beele-%e2%96%ba-pa-bailar/

Elvis Crespo + Beéle ► Pa’ Bailar

https://musicwayatx.com/2026/09/24/elvis-crespo-beele-%e2%96%ba-pa-bailar/

Elvis Crespo + Beéle ► Pa’ Bailar

https://musicwayatx.com/2026/09/24/elvis-crespo-beele-%e2%96%ba-pa-bailar/

https://www.europesays.com/ch/135813/ Days of Ruin: Swiss Metalcore Quintet Return With ‘Age of Ignorance’ (EP PREMIERE) | Features #aor #death #doom #emo #Features #hardcore #Indie #Industrial #Interviews #lists #Metal #music #noise #pop #Punk #Rap #Reviews #rock #Songs #Swiss #Switzerland #thrash

#Watching MUTE WITNESS

See it, or as the main character Billy would say, "-------".

https://letterboxd.com/noeljpenaflor/film/mute-witness/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching MUTE WITNESS

See it, or as the main character Billy would say, "-------".

https://letterboxd.com/noeljpenaflor/film/mute-witness/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching MUTE WITNESS

See it, or as the main character Billy would say, "-------".

https://letterboxd.com/noeljpenaflor/film/mute-witness/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching MUTE WITNESS

See it, or as the main character Billy would say, "-------".

https://letterboxd.com/noeljpenaflor/film/mute-witness/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

#Watching MUTE WITNESS

See it, or as the main character Billy would say, "-------".

https://letterboxd.com/noeljpenaflor/film/mute-witness/

#horrorMovies #horrorfam #horrorFamily #movies #movie
#letterboxd #letterboxdfriday #nowwatching
#horrorCommunity #horrorMovie #horrorMovies #horrorFilm #horrorFilms #horrormastodon #reviews #filmreviews #moviereviews

A Look Back at Wolverine #50 (1992)

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 culture enthusiasts, X-Men fans and comic book collectors! Today we revisit the Marvel Comics universe to examine one of the many tales of the Wolverine monthly series.  

Before I start the review, I have to say out loud that the very woke and shameless game developer Insomniac Games ruined the superhero icon in the new Wolverine game on PlayStation 5. They inserted woke and homosexual elements into the game. That said, Insomniac Games never intended to make a Wolverine game that was fun and accurate to the source material. I urge you fans of X-Men and Wolverine to BOYCOTT the Wolverine PlayStation 5 video game!

Times like these, it is best to go back to reading the comic books published from the 1970s to the 1990s that featured Wolverine.

With those details laid down, here is a look back at Wolverine #50, published by Marvel Comics in 1992 with a story written by Larry Hama and drawn by Marc Silverstri.

Early story

The story begins with Wolverine forcibly going up a New York City skyscraper with his motorcycle. It turns out that S.H.I.E.L.D.’s Helicarrier is secretly floating by the top of the building and Wolverine – who caused a lot of disturbance along the way – used his motorcycle to leave on to the floating structure. Wolverine crashes through the Helicarrier’s window and makes his way to Colonel Nick Fury. Wolverine tells him that he is aware about El Tigre and Emilio Garra’s activities in Cuba and he wants him to hand over his security dossier.

Minutes after Fury makes a call to secure the dossier, pawns of Hydra inside a building nearby gets alerted and retrieves from the National Security Agency (NSA) files of S.H.I.E.L.D. that have not been pulled in over twenty years.

The next day in Washington, D.C., Wolverine arrives at the office of the Department of Agriculture wanting to talk to Professor Thornton who is behind the closed door of his office…

Quality

The best way to describe this particular story of Wolverine is that it is a mystery and suspense tale (with a touch of political intrigue) told in the form of a superhero tale. More notably, this one reconnects to Wolverine’s past with Weapon X and it strong emphasizes the sinister nature of Weapon X and how is ruined the memories and lives of its living objects (including Wolverine and Silver Fox).

As many fans are already aware, it was during the Weapon X project when Logan was held against his will, got heavily experimented on and had Adamantium installed into his skeleton (note: the sharp Adamantium claws were installed on Logan).

In this comic book, Larry Hama went further with the mysteries by focusing on the memories Wolverine remembers and how the people behind Weapon X cleverly staged scenes (complete with physical sets, props and movie cameras) and implanted false memories into their minds by having neuro-synthetic implants placed in the cerebral vortex.

That said, this comic book explores moments from Wolverine’s past which will challenge readers to think if such moments are real or somehow fabricated. Considering Wolverine’s legacy as an aged superhuman who could not figure out his own personal history, this tale offers readers a cerebral reading experience that is truly one of a kind.   

Of course, this comic book would not be complete with action scenes of the icon. Wolverine’s battle with Shiva is indeed action-packed and Marc Silvestri’s art style made it look dynamic and gritty at the same time. I should state that the action did not happen in a random fashion. Instead, the action happened within the context of the story complete with moments of intrigue and revelations (note: pay close attention to the dialogue and other details during the action scenes).

Conclusion

Wolverine #50 (1992) is indeed a very compelling read and it still is a great, standalone Wolverine tale to follow from start to finish. The story has a good amount of intelligence, mystery, political intrigue and twists carefully blended. In my experience, the tension gradually built up as Wolverine’s quest for answers and the truth went on. I can also say the payoffs are rewarding. More notably, this old comic book will make you think deeply about Wolverine and his past, and how Weapon X violated him to the point of ruining his memory. This comic book could also make you sympathetic towards the tough and violent Marvel icon in ways that other forms of media (notably the movies) could not.

Overall, Wolverine $50 (1992) is highly recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. 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 Wolverine #50 (1992)

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 culture enthusiasts, X-Men fans and comic book collectors! Today we revisit the Marvel Comics universe to examine one of the many tales of the Wolverine monthly series.  

Before I start the review, I have to say out loud that the very woke and shameless game developer Insomniac Games ruined the superhero icon in the new Wolverine game on PlayStation 5. They inserted woke and homosexual elements into the game. That said, Insomniac Games never intended to make a Wolverine game that was fun and accurate to the source material. I urge you fans of X-Men and Wolverine to BOYCOTT the Wolverine PlayStation 5 video game!

Times like these, it is best to go back to reading the comic books published from the 1970s to the 1990s that featured Wolverine.

With those details laid down, here is a look back at Wolverine #50, published by Marvel Comics in 1992 with a story written by Larry Hama and drawn by Marc Silverstri.

Early story

The story begins with Wolverine forcibly going up a New York City skyscraper with his motorcycle. It turns out that S.H.I.E.L.D.’s Helicarrier is secretly floating by the top of the building and Wolverine – who caused a lot of disturbance along the way – used his motorcycle to leave on to the floating structure. Wolverine crashes through the Helicarrier’s window and makes his way to Colonel Nick Fury. Wolverine tells him that he is aware about El Tigre and Emilio Garra’s activities in Cuba and he wants him to hand over his security dossier.

Minutes after Fury makes a call to secure the dossier, pawns of Hydra inside a building nearby gets alerted and retrieves from the National Security Agency (NSA) files of S.H.I.E.L.D. that have not been pulled in over twenty years.

The next day in Washington, D.C., Wolverine arrives at the office of the Department of Agriculture wanting to talk to Professor Thornton who is behind the closed door of his office…

Quality

The best way to describe this particular story of Wolverine is that it is a mystery and suspense tale (with a touch of political intrigue) told in the form of a superhero tale. More notably, this one reconnects to Wolverine’s past with Weapon X and it strong emphasizes the sinister nature of Weapon X and how is ruined the memories and lives of its living objects (including Wolverine and Silver Fox).

As many fans are already aware, it was during the Weapon X project when Logan was held against his will, got heavily experimented on and had Adamantium installed into his skeleton (note: the sharp Adamantium claws were installed on Logan).

In this comic book, Larry Hama went further with the mysteries by focusing on the memories Wolverine remembers and how the people behind Weapon X cleverly staged scenes (complete with physical sets, props and movie cameras) and implanted false memories into their minds by having neuro-synthetic implants placed in the cerebral vortex.

That said, this comic book explores moments from Wolverine’s past which will challenge readers to think if such moments are real or somehow fabricated. Considering Wolverine’s legacy as an aged superhuman who could not figure out his own personal history, this tale offers readers a cerebral reading experience that is truly one of a kind.   

Of course, this comic book would not be complete with action scenes of the icon. Wolverine’s battle with Shiva is indeed action-packed and Marc Silvestri’s art style made it look dynamic and gritty at the same time. I should state that the action did not happen in a random fashion. Instead, the action happened within the context of the story complete with moments of intrigue and revelations (note: pay close attention to the dialogue and other details during the action scenes).

Conclusion

Wolverine #50 (1992) is indeed a very compelling read and it still is a great, standalone Wolverine tale to follow from start to finish. The story has a good amount of intelligence, mystery, political intrigue and twists carefully blended. In my experience, the tension gradually built up as Wolverine’s quest for answers and the truth went on. I can also say the payoffs are rewarding. More notably, this old comic book will make you think deeply about Wolverine and his past, and how Weapon X violated him to the point of ruining his memory. This comic book could also make you sympathetic towards the tough and violent Marvel icon in ways that other forms of media (notably the movies) could not.

Overall, Wolverine $50 (1992) is highly recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. 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 Wolverine #50 (1992)

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 culture enthusiasts, X-Men fans and comic book collectors! Today we revisit the Marvel Comics universe to examine one of the many tales of the Wolverine monthly series.  

Before I start the review, I have to say out loud that the very woke and shameless game developer Insomniac Games ruined the superhero icon in the new Wolverine game on PlayStation 5. They inserted woke and homosexual elements into the game. That said, Insomniac Games never intended to make a Wolverine game that was fun and accurate to the source material. I urge you fans of X-Men and Wolverine to BOYCOTT the Wolverine PlayStation 5 video game!

Times like these, it is best to go back to reading the comic books published from the 1970s to the 1990s that featured Wolverine.

With those details laid down, here is a look back at Wolverine #50, published by Marvel Comics in 1992 with a story written by Larry Hama and drawn by Marc Silverstri.

Early story

The story begins with Wolverine forcibly going up a New York City skyscraper with his motorcycle. It turns out that S.H.I.E.L.D.’s Helicarrier is secretly floating by the top of the building and Wolverine – who caused a lot of disturbance along the way – used his motorcycle to leave on to the floating structure. Wolverine crashes through the Helicarrier’s window and makes his way to Colonel Nick Fury. Wolverine tells him that he is aware about El Tigre and Emilio Garra’s activities in Cuba and he wants him to hand over his security dossier.

Minutes after Fury makes a call to secure the dossier, pawns of Hydra inside a building nearby gets alerted and retrieves from the National Security Agency (NSA) files of S.H.I.E.L.D. that have not been pulled in over twenty years.

The next day in Washington, D.C., Wolverine arrives at the office of the Department of Agriculture wanting to talk to Professor Thornton who is behind the closed door of his office…

Quality

The best way to describe this particular story of Wolverine is that it is a mystery and suspense tale (with a touch of political intrigue) told in the form of a superhero tale. More notably, this one reconnects to Wolverine’s past with Weapon X and it strong emphasizes the sinister nature of Weapon X and how is ruined the memories and lives of its living objects (including Wolverine and Silver Fox).

As many fans are already aware, it was during the Weapon X project when Logan was held against his will, got heavily experimented on and had Adamantium installed into his skeleton (note: the sharp Adamantium claws were installed on Logan).

In this comic book, Larry Hama went further with the mysteries by focusing on the memories Wolverine remembers and how the people behind Weapon X cleverly staged scenes (complete with physical sets, props and movie cameras) and implanted false memories into their minds by having neuro-synthetic implants placed in the cerebral vortex.

That said, this comic book explores moments from Wolverine’s past which will challenge readers to think if such moments are real or somehow fabricated. Considering Wolverine’s legacy as an aged superhuman who could not figure out his own personal history, this tale offers readers a cerebral reading experience that is truly one of a kind.   

Of course, this comic book would not be complete with action scenes of the icon. Wolverine’s battle with Shiva is indeed action-packed and Marc Silvestri’s art style made it look dynamic and gritty at the same time. I should state that the action did not happen in a random fashion. Instead, the action happened within the context of the story complete with moments of intrigue and revelations (note: pay close attention to the dialogue and other details during the action scenes).

Conclusion

Wolverine #50 (1992) is indeed a very compelling read and it still is a great, standalone Wolverine tale to follow from start to finish. The story has a good amount of intelligence, mystery, political intrigue and twists carefully blended. In my experience, the tension gradually built up as Wolverine’s quest for answers and the truth went on. I can also say the payoffs are rewarding. More notably, this old comic book will make you think deeply about Wolverine and his past, and how Weapon X violated him to the point of ruining his memory. This comic book could also make you sympathetic towards the tough and violent Marvel icon in ways that other forms of media (notably the movies) could not.

Overall, Wolverine $50 (1992) is highly recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. 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/.

Diablo IV Developers Send Chuseok Greetings to Korean Fans: “Thank You for 30 Years Together”

The Diablo IV development team delivered Chuseok holiday greetings and expressed gratitude to Korean fans. Developers’ Chuseok Greeting…
#EuropeSays #Korea #KR #Discussions #Entertainments #Esports #Guides #Interview #Korean #Leagueoflegends #Lol #Mobile #news #Overwatch #PC #Previews #PS4 #reviews #Strategies #Trailers #Videos #Walkthroughs #XboxOne
https://www.europesays.com/korea/166013/

Metal Gear Solid: Master Collection Vol. 2 (Switch 2) Review
They got it right the first time.
https://www.vooks.net/metal-gear-solid-master-collection-vol-2-switch-2-review/
#Switch2 #MetalGearSolid #Reviews

Metal Gear Solid: Master Collection Vol. 2 (Switch 2) Review
They got it right the first time.
https://www.vooks.net/metal-gear-solid-master-collection-vol-2-switch-2-review/
#Switch2 #MetalGearSolid #Reviews

Metal Gear Solid: Master Collection Vol. 2 (Switch 2) Review
They got it right the first time.
https://www.vooks.net/metal-gear-solid-master-collection-vol-2-switch-2-review/
#Switch2 #MetalGearSolid #Reviews

‘The Visit’ at Pasadena Playhouse Review: The ’50s Absurdist Comedy Is Too Smug in Its Peak-Bleak View of Venal Humanity, but Jefferson Mays and Melinda Page Hamilton Are Worth the Visit
#Variety #News #Reviews #DarkoTresnjak #JeffersonMays #MelindaPageHamilton #PasadenaPlayhouse

https://variety.com/2026/legit/reviews/the-visit-pasadena-playhouse-stage-review-absurdist-comedy-1236873818/

‘The Visit’ at Pasadena Playhouse Review: The ’50s Absurdist Comedy Is Too Smug in Its Peak-Bleak View of Venal Humanity, but Jefferson Mays and Melinda Page Hamilton Are Worth the Visit
#Variety #News #Reviews #DarkoTresnjak #JeffersonMays #MelindaPageHamilton #PasadenaPlayhouse

https://variety.com/2026/legit/reviews/the-visit-pasadena-playhouse-stage-review-absurdist-comedy-1236873818/

‘The Visit’ at Pasadena Playhouse Review: The ’50s Absurdist Comedy Is Too Smug in Its Peak-Bleak View of Venal Humanity, but Jefferson Mays and Melinda Page Hamilton Are Worth the Visit
#Variety #News #Reviews #DarkoTresnjak #JeffersonMays #MelindaPageHamilton #PasadenaPlayhouse

https://variety.com/2026/legit/reviews/the-visit-pasadena-playhouse-stage-review-absurdist-comedy-1236873818/

‘The Visit’ at Pasadena Playhouse Review: The ’50s Absurdist Comedy Is Too Smug in Its Peak-Bleak View of Venal Humanity, but Jefferson Mays and Melinda Page Hamilton Are Worth the Visit
#Variety #News #Reviews #DarkoTresnjak #JeffersonMays #MelindaPageHamilton #PasadenaPlayhouse

https://variety.com/2026/legit/reviews/the-visit-pasadena-playhouse-stage-review-absurdist-comedy-1236873818/

‘The Visit’ at Pasadena Playhouse Review: The ’50s Absurdist Comedy Is Too Smug in Its Peak-Bleak View of Venal Humanity, but Jefferson Mays and Melinda Page Hamilton Are Worth the Visit
#Variety #News #Reviews #DarkoTresnjak #JeffersonMays #MelindaPageHamilton #PasadenaPlayhouse

https://variety.com/2026/legit/reviews/the-visit-pasadena-playhouse-stage-review-absurdist-comedy-1236873818/

‘Les Misérables’ Review: A Starry, Lavishly Empty, French-Language Version of Victor Hugo’s Epic
#Variety #Reviews #CamilleCottin #LesMiserables #NoémieMerlant #SanSebastiánFilmFestival #TaharRahim #VincentLindon

https://variety.com/2026/film/reviews/les-miserables-review-1236871999/

‘Les Misérables’ Review: A Starry, Lavishly Empty, French-Language Version of Victor Hugo’s Epic
#Variety #Reviews #CamilleCottin #LesMiserables #NoémieMerlant #SanSebastiánFilmFestival #TaharRahim #VincentLindon

https://variety.com/2026/film/reviews/les-miserables-review-1236871999/

‘Les Misérables’ Review: A Starry, Lavishly Empty, French-Language Version of Victor Hugo’s Epic
#Variety #Reviews #CamilleCottin #LesMiserables #NoémieMerlant #SanSebastiánFilmFestival #TaharRahim #VincentLindon

https://variety.com/2026/film/reviews/les-miserables-review-1236871999/

‘Les Misérables’ Review: A Starry, Lavishly Empty, French-Language Version of Victor Hugo’s Epic
#Variety #Reviews #CamilleCottin #LesMiserables #NoémieMerlant #SanSebastiánFilmFestival #TaharRahim #VincentLindon

https://variety.com/2026/film/reviews/les-miserables-review-1236871999/

‘Les Misérables’ Review: A Starry, Lavishly Empty, French-Language Version of Victor Hugo’s Epic
#Variety #Reviews #CamilleCottin #LesMiserables #NoémieMerlant #SanSebastiánFilmFestival #TaharRahim #VincentLindon

https://variety.com/2026/film/reviews/les-miserables-review-1236871999/

Red Bull League of its Own 2026 heads to Spain with T1 and G2

Red Bull League of its Own is coming to Spain for the first time, with T1, G2 Esports,…
#Spain #ES #Europe #Europa #EU #Discussions #Entertainments #Esports #Guides #interview #LeagueofLegends #LoL #Mobile #News #Overwatch #PC #previews #PS4 #Reviews #Strategies #Trailers #Videos #Walkthroughs #xboxone
https://www.europesays.com/spain/90276/

Deathcore is having an identity crisis; Lorna Shore’s breakout popularity influenced a horde of homogeneous blackened deathcore bands and became a tipping point for a genre more than happy to never evolve. As the glut of technically talented but melodically stunted bands continue fighting for second place in the Lorna Shore soundalikes competition, a few try to break out, but rarely have the chops to bring anything new or interesting. As if by a mandate from Hell, Crown Magnetar truly take to the deathcore moniker in a way few bands even attempt to; by drawing from the roots of death metal and hardcore, combining them to create a blender of bludgeoning worthy of a genre that combines two of the beefiest slabs of metal in terms of their sonic footprint. For a band relatively new to the game, Crown Magnetar’s third LP, The Hollowing of Godflesh, couldn’t have come at a better time, but whether it is a bona fide modern classic or another uninspired attempt will depend on how willing the band is to step out of the genre’s shadow and pummel a new path to devastation.

Crown Magnetar offers an eviscerating combination of brutal death metal, deathcore, and tech-death. The band excises overblown theatrics, snarl-fueled vocal tangents, and reliance on machine-gun breakdowns. Instead, they trade them for brutal death vocals, slamming riffs, and tech-death chainsaw riffage that would make Archspire blush. Dan Tucker’s vocals quickly stand out, drawing more from death metal and brutal death than the aforementioned blackened deathcore. He even cites brutal death as his major influence in recent years, especially bands like Defeated Sanity and Brodequin. This isn’t just lip service; The Hollowing of Godflesh is stuffed with brutal death and slam influences, making it one of the heaviest records in recent memory, a feat rare for the shock-focused banal heaviness typical of modern deathcore.

Not to be one-upped, new guitarist Rob Maramonte (ex-Fallujah, ex-The Zenith Passage) is the sleeper star of the affair. Crown Magnetar’s latest is their technical pinnacle and for an album so relentlessly devastating, Maramonte finds plenty of time to impress. Blinding speed bolsters songs that suplex you from beat to beat as he taps through leads or drops chainsaw-riff after riff of hooks, worthy of Aborted. Clearly, the group’s tour mates inspired their latest, with obvious influences from Archspire and Aborted as well as Dying Fetus and fellow core crushers Spite. As initially overwhelming as The Hollowing of Godflesh can be, repeated listens revealed the depth of Maramonte’s guitar work. Every song has riffs that will stick with you or multiple moments of creative destruction. Drummer Matt Kilner (ex-Vitriol) offers technical chops to match Maramonte, while still sounding natural in a way so few modern metal drummers do. The raucous snare sits right at home with the intensity of Crown Magnetar’s sound, and The Hollowing of Godflesh feels cohesive and consequential as a result.

The Hollowing of Godflesh is a rare beast, and Crown Magnetar took to the record with a surgeon’s scalpel. At ten tracks and just under thirty minutes, not a single one breaks the four-minute mark. The most egregious being the album’s introduction, the subtly titled “Gun Eater,” which wallows in deathcore staples and silliness, as if to get it out of the band’s system before the record can truly begin. Still, it hits like a truck thanks to the talent on hand and the clarity of production. While it isn’t perfect, The Hollowing of Godflesh mostly avoids the horrible compression of modern deathcore, especially on many of Unique Leader’s records. Having your longtime producer also become your bassist likely helps, as Michael Sahm clearly understands how to bring out the best in Crown Magnetar’s sound. “Gun Eater” aside, every track on the record feels vital and stuffed with memorable moments. The mid-record trio of “Impaled Genesis,” “The Hollowing of Godflesh,” and “Godkiller” offer up a manifesto of mutilation that should put the stank-face on any earnest listener.

I came into The Hollowing of Godflesh wary of yet another deathcore band with comically dark anti-religious theming and over-the-top names. Luckily for us all, there is no “Ov” in sight. Only miles of breakneck, grinding riffage, slamming breakdowns, and genuine heaviness that would make an elephant blush. With The Hollowing of Godflesh, Crown Magnetar have established themselves as modern masters of deathcore debauchery and set a new standard for other upcoming bands wanting to break away from blackened death and bring back the brutal.

Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Unique Leader Records
Websites: Bandcamp | Instagram
Releases Worldwide: September 25th, 2026

Deathcore is having an identity crisis; Lorna Shore’s breakout popularity influenced a horde of homogeneous blackened deathcore bands and became a tipping point for a genre more than happy to never evolve. As the glut of technically talented but melodically stunted bands continue fighting for second place in the Lorna Shore soundalikes competition, a few try to break out, but rarely have the chops to bring anything new or interesting. As if by a mandate from Hell, Crown Magnetar truly take to the deathcore moniker in a way few bands even attempt to; by drawing from the roots of death metal and hardcore, combining them to create a blender of bludgeoning worthy of a genre that combines two of the beefiest slabs of metal in terms of their sonic footprint. For a band relatively new to the game, Crown Magnetar’s third LP, The Hollowing of Godflesh, couldn’t have come at a better time, but whether it is a bona fide modern classic or another uninspired attempt will depend on how willing the band is to step out of the genre’s shadow and pummel a new path to devastation.

Crown Magnetar offers an eviscerating combination of brutal death metal, deathcore, and tech-death. The band excises overblown theatrics, snarl-fueled vocal tangents, and reliance on machine-gun breakdowns. Instead, they trade them for brutal death vocals, slamming riffs, and tech-death chainsaw riffage that would make Archspire blush. Dan Tucker’s vocals quickly stand out, drawing more from death metal and brutal death than the aforementioned blackened deathcore. He even cites brutal death as his major influence in recent years, especially bands like Defeated Sanity and Brodequin. This isn’t just lip service; The Hollowing of Godflesh is stuffed with brutal death and slam influences, making it one of the heaviest records in recent memory, a feat rare for the shock-focused banal heaviness typical of modern deathcore.

Not to be one-upped, new guitarist Rob Maramonte (ex-Fallujah, ex-The Zenith Passage) is the sleeper star of the affair. Crown Magnetar’s latest is their technical pinnacle and for an album so relentlessly devastating, Maramonte finds plenty of time to impress. Blinding speed bolsters songs that suplex you from beat to beat as he taps through leads or drops chainsaw-riff after riff of hooks, worthy of Aborted. Clearly, the group’s tour mates inspired their latest, with obvious influences from Archspire and Aborted as well as Dying Fetus and fellow core crushers Spite. As initially overwhelming as The Hollowing of Godflesh can be, repeated listens revealed the depth of Maramonte’s guitar work. Every song has riffs that will stick with you or multiple moments of creative destruction. Drummer Matt Kilner (ex-Vitriol) offers technical chops to match Maramonte, while still sounding natural in a way so few modern metal drummers do. The raucous snare sits right at home with the intensity of Crown Magnetar’s sound, and The Hollowing of Godflesh feels cohesive and consequential as a result.

The Hollowing of Godflesh is a rare beast, and Crown Magnetar took to the record with a surgeon’s scalpel. At ten tracks and just under thirty minutes, not a single one breaks the four-minute mark. The most egregious being the album’s introduction, the subtly titled “Gun Eater,” which wallows in deathcore staples and silliness, as if to get it out of the band’s system before the record can truly begin. Still, it hits like a truck thanks to the talent on hand and the clarity of production. While it isn’t perfect, The Hollowing of Godflesh mostly avoids the horrible compression of modern deathcore, especially on many of Unique Leader’s records. Having your longtime producer also become your bassist likely helps, as Michael Sahm clearly understands how to bring out the best in Crown Magnetar’s sound. “Gun Eater” aside, every track on the record feels vital and stuffed with memorable moments. The mid-record trio of “Impaled Genesis,” “The Hollowing of Godflesh,” and “Godkiller” offer up a manifesto of mutilation that should put the stank-face on any earnest listener.

I came into The Hollowing of Godflesh wary of yet another deathcore band with comically dark anti-religious theming and over-the-top names. Luckily for us all, there is no “Ov” in sight. Only miles of breakneck, grinding riffage, slamming breakdowns, and genuine heaviness that would make an elephant blush. With The Hollowing of Godflesh, Crown Magnetar have established themselves as modern masters of deathcore debauchery and set a new standard for other upcoming bands wanting to break away from blackened death and bring back the brutal.

Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Unique Leader Records
Websites: Bandcamp | Instagram
Releases Worldwide: September 25th, 2026

Deathcore is having an identity crisis; Lorna Shore’s breakout popularity influenced a horde of homogeneous blackened deathcore bands and became a tipping point for a genre more than happy to never evolve. As the glut of technically talented but melodically stunted bands continue fighting for second place in the Lorna Shore soundalikes competition, a few try to break out, but rarely have the chops to bring anything new or interesting. As if by a mandate from Hell, Crown Magnetar truly take to the deathcore moniker in a way few bands even attempt to; by drawing from the roots of death metal and hardcore, combining them to create a blender of bludgeoning worthy of a genre that combines two of the beefiest slabs of metal in terms of their sonic footprint. For a band relatively new to the game, Crown Magnetar’s third LP, The Hollowing of Godflesh, couldn’t have come at a better time, but whether it is a bona fide modern classic or another uninspired attempt will depend on how willing the band is to step out of the genre’s shadow and pummel a new path to devastation.

Crown Magnetar offers an eviscerating combination of brutal death metal, deathcore, and tech-death. The band excises overblown theatrics, snarl-fueled vocal tangents, and reliance on machine-gun breakdowns. Instead, they trade them for brutal death vocals, slamming riffs, and tech-death chainsaw riffage that would make Archspire blush. Dan Tucker’s vocals quickly stand out, drawing more from death metal and brutal death than the aforementioned blackened deathcore. He even cites brutal death as his major influence in recent years, especially bands like Defeated Sanity and Brodequin. This isn’t just lip service; The Hollowing of Godflesh is stuffed with brutal death and slam influences, making it one of the heaviest records in recent memory, a feat rare for the shock-focused banal heaviness typical of modern deathcore.

Not to be one-upped, new guitarist Rob Maramonte (ex-Fallujah, ex-The Zenith Passage) is the sleeper star of the affair. Crown Magnetar’s latest is their technical pinnacle and for an album so relentlessly devastating, Maramonte finds plenty of time to impress. Blinding speed bolsters songs that suplex you from beat to beat as he taps through leads or drops chainsaw-riff after riff of hooks, worthy of Aborted. Clearly, the group’s tour mates inspired their latest, with obvious influences from Archspire and Aborted as well as Dying Fetus and fellow core crushers Spite. As initially overwhelming as The Hollowing of Godflesh can be, repeated listens revealed the depth of Maramonte’s guitar work. Every song has riffs that will stick with you or multiple moments of creative destruction. Drummer Matt Kilner (ex-Vitriol) offers technical chops to match Maramonte, while still sounding natural in a way so few modern metal drummers do. The raucous snare sits right at home with the intensity of Crown Magnetar’s sound, and The Hollowing of Godflesh feels cohesive and consequential as a result.

The Hollowing of Godflesh is a rare beast, and Crown Magnetar took to the record with a surgeon’s scalpel. At ten tracks and just under thirty minutes, not a single one breaks the four-minute mark. The most egregious being the album’s introduction, the subtly titled “Gun Eater,” which wallows in deathcore staples and silliness, as if to get it out of the band’s system before the record can truly begin. Still, it hits like a truck thanks to the talent on hand and the clarity of production. While it isn’t perfect, The Hollowing of Godflesh mostly avoids the horrible compression of modern deathcore, especially on many of Unique Leader’s records. Having your longtime producer also become your bassist likely helps, as Michael Sahm clearly understands how to bring out the best in Crown Magnetar’s sound. “Gun Eater” aside, every track on the record feels vital and stuffed with memorable moments. The mid-record trio of “Impaled Genesis,” “The Hollowing of Godflesh,” and “Godkiller” offer up a manifesto of mutilation that should put the stank-face on any earnest listener.

I came into The Hollowing of Godflesh wary of yet another deathcore band with comically dark anti-religious theming and over-the-top names. Luckily for us all, there is no “Ov” in sight. Only miles of breakneck, grinding riffage, slamming breakdowns, and genuine heaviness that would make an elephant blush. With The Hollowing of Godflesh, Crown Magnetar have established themselves as modern masters of deathcore debauchery and set a new standard for other upcoming bands wanting to break away from blackened death and bring back the brutal.

Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Unique Leader Records
Websites: Bandcamp | Instagram
Releases Worldwide: September 25th, 2026

Deathcore is having an identity crisis; Lorna Shore’s breakout popularity influenced a horde of homogeneous blackened deathcore bands and became a tipping point for a genre more than happy to never evolve. As the glut of technically talented but melodically stunted bands continue fighting for second place in the Lorna Shore soundalikes competition, a few try to break out, but rarely have the chops to bring anything new or interesting. As if by a mandate from Hell, Crown Magnetar truly take to the deathcore moniker in a way few bands even attempt to; by drawing from the roots of death metal and hardcore, combining them to create a blender of bludgeoning worthy of a genre that combines two of the beefiest slabs of metal in terms of their sonic footprint. For a band relatively new to the game, Crown Magnetar’s third LP, The Hollowing of Godflesh, couldn’t have come at a better time, but whether it is a bona fide modern classic or another uninspired attempt will depend on how willing the band is to step out of the genre’s shadow and pummel a new path to devastation.

Crown Magnetar offers an eviscerating combination of brutal death metal, deathcore, and tech-death. The band excises overblown theatrics, snarl-fueled vocal tangents, and reliance on machine-gun breakdowns. Instead, they trade them for brutal death vocals, slamming riffs, and tech-death chainsaw riffage that would make Archspire blush. Dan Tucker’s vocals quickly stand out, drawing more from death metal and brutal death than the aforementioned blackened deathcore. He even cites brutal death as his major influence in recent years, especially bands like Defeated Sanity and Brodequin. This isn’t just lip service; The Hollowing of Godflesh is stuffed with brutal death and slam influences, making it one of the heaviest records in recent memory, a feat rare for the shock-focused banal heaviness typical of modern deathcore.

Not to be one-upped, new guitarist Rob Maramonte (ex-Fallujah, ex-The Zenith Passage) is the sleeper star of the affair. Crown Magnetar’s latest is their technical pinnacle and for an album so relentlessly devastating, Maramonte finds plenty of time to impress. Blinding speed bolsters songs that suplex you from beat to beat as he taps through leads or drops chainsaw-riff after riff of hooks, worthy of Aborted. Clearly, the group’s tour mates inspired their latest, with obvious influences from Archspire and Aborted as well as Dying Fetus and fellow core crushers Spite. As initially overwhelming as The Hollowing of Godflesh can be, repeated listens revealed the depth of Maramonte’s guitar work. Every song has riffs that will stick with you or multiple moments of creative destruction. Drummer Matt Kilner (ex-Vitriol) offers technical chops to match Maramonte, while still sounding natural in a way so few modern metal drummers do. The raucous snare sits right at home with the intensity of Crown Magnetar’s sound, and The Hollowing of Godflesh feels cohesive and consequential as a result.

The Hollowing of Godflesh is a rare beast, and Crown Magnetar took to the record with a surgeon’s scalpel. At ten tracks and just under thirty minutes, not a single one breaks the four-minute mark. The most egregious being the album’s introduction, the subtly titled “Gun Eater,” which wallows in deathcore staples and silliness, as if to get it out of the band’s system before the record can truly begin. Still, it hits like a truck thanks to the talent on hand and the clarity of production. While it isn’t perfect, The Hollowing of Godflesh mostly avoids the horrible compression of modern deathcore, especially on many of Unique Leader’s records. Having your longtime producer also become your bassist likely helps, as Michael Sahm clearly understands how to bring out the best in Crown Magnetar’s sound. “Gun Eater” aside, every track on the record feels vital and stuffed with memorable moments. The mid-record trio of “Impaled Genesis,” “The Hollowing of Godflesh,” and “Godkiller” offer up a manifesto of mutilation that should put the stank-face on any earnest listener.

I came into The Hollowing of Godflesh wary of yet another deathcore band with comically dark anti-religious theming and over-the-top names. Luckily for us all, there is no “Ov” in sight. Only miles of breakneck, grinding riffage, slamming breakdowns, and genuine heaviness that would make an elephant blush. With The Hollowing of Godflesh, Crown Magnetar have established themselves as modern masters of deathcore debauchery and set a new standard for other upcoming bands wanting to break away from blackened death and bring back the brutal.

Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Unique Leader Records
Websites: Bandcamp | Instagram
Releases Worldwide: September 25th, 2026

Deathcore is having an identity crisis; Lorna Shore’s breakout popularity influenced a horde of homogeneous blackened deathcore bands and became a tipping point for a genre more than happy to never evolve. As the glut of technically talented but melodically stunted bands continue fighting for second place in the Lorna Shore soundalikes competition, a few try to break out, but rarely have the chops to bring anything new or interesting. As if by a mandate from Hell, Crown Magnetar truly take to the deathcore moniker in a way few bands even attempt to; by drawing from the roots of death metal and hardcore, combining them to create a blender of bludgeoning worthy of a genre that combines two of the beefiest slabs of metal in terms of their sonic footprint. For a band relatively new to the game, Crown Magnetar’s third LP, The Hollowing of Godflesh, couldn’t have come at a better time, but whether it is a bona fide modern classic or another uninspired attempt will depend on how willing the band is to step out of the genre’s shadow and pummel a new path to devastation.

Crown Magnetar offers an eviscerating combination of brutal death metal, deathcore, and tech-death. The band excises overblown theatrics, snarl-fueled vocal tangents, and reliance on machine-gun breakdowns. Instead, they trade them for brutal death vocals, slamming riffs, and tech-death chainsaw riffage that would make Archspire blush. Dan Tucker’s vocals quickly stand out, drawing more from death metal and brutal death than the aforementioned blackened deathcore. He even cites brutal death as his major influence in recent years, especially bands like Defeated Sanity and Brodequin. This isn’t just lip service; The Hollowing of Godflesh is stuffed with brutal death and slam influences, making it one of the heaviest records in recent memory, a feat rare for the shock-focused banal heaviness typical of modern deathcore.

Not to be one-upped, new guitarist Rob Maramonte (ex-Fallujah, ex-The Zenith Passage) is the sleeper star of the affair. Crown Magnetar’s latest is their technical pinnacle and for an album so relentlessly devastating, Maramonte finds plenty of time to impress. Blinding speed bolsters songs that suplex you from beat to beat as he taps through leads or drops chainsaw-riff after riff of hooks, worthy of Aborted. Clearly, the group’s tour mates inspired their latest, with obvious influences from Archspire and Aborted as well as Dying Fetus and fellow core crushers Spite. As initially overwhelming as The Hollowing of Godflesh can be, repeated listens revealed the depth of Maramonte’s guitar work. Every song has riffs that will stick with you or multiple moments of creative destruction. Drummer Matt Kilner (ex-Vitriol) offers technical chops to match Maramonte, while still sounding natural in a way so few modern metal drummers do. The raucous snare sits right at home with the intensity of Crown Magnetar’s sound, and The Hollowing of Godflesh feels cohesive and consequential as a result.

The Hollowing of Godflesh is a rare beast, and Crown Magnetar took to the record with a surgeon’s scalpel. At ten tracks and just under thirty minutes, not a single one breaks the four-minute mark. The most egregious being the album’s introduction, the subtly titled “Gun Eater,” which wallows in deathcore staples and silliness, as if to get it out of the band’s system before the record can truly begin. Still, it hits like a truck thanks to the talent on hand and the clarity of production. While it isn’t perfect, The Hollowing of Godflesh mostly avoids the horrible compression of modern deathcore, especially on many of Unique Leader’s records. Having your longtime producer also become your bassist likely helps, as Michael Sahm clearly understands how to bring out the best in Crown Magnetar’s sound. “Gun Eater” aside, every track on the record feels vital and stuffed with memorable moments. The mid-record trio of “Impaled Genesis,” “The Hollowing of Godflesh,” and “Godkiller” offer up a manifesto of mutilation that should put the stank-face on any earnest listener.

I came into The Hollowing of Godflesh wary of yet another deathcore band with comically dark anti-religious theming and over-the-top names. Luckily for us all, there is no “Ov” in sight. Only miles of breakneck, grinding riffage, slamming breakdowns, and genuine heaviness that would make an elephant blush. With The Hollowing of Godflesh, Crown Magnetar have established themselves as modern masters of deathcore debauchery and set a new standard for other upcoming bands wanting to break away from blackened death and bring back the brutal.

Rating: 4.0/5.0
DR: 4 | Format Reviewed: 320 kb/s mp3
Label: Unique Leader Records
Websites: Bandcamp | Instagram
Releases Worldwide: September 25th, 2026

Game Two daddelt mal wieder auf YouTube:

Das MUSS die nächste Konsolen-Generation können! | 30 Sekunden über

https://www.youtube.com/watch?v=ad5PYxIg9lU

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #Sony #SonyPlaystation #XBOX #XBOX720 #NoDiscNoBuy #Nintendo #NeueKonsolen #Eddy #Nils #rewind #tonyhawk #couchkoop #splitscreen #halo

Game Two daddelt mal wieder auf YouTube:

Das MUSS die nächste Konsolen-Generation können! | 30 Sekunden über

https://www.youtube.com/watch?v=ad5PYxIg9lU

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #Sony #SonyPlaystation #XBOX #XBOX720 #NoDiscNoBuy #Nintendo #NeueKonsolen #Eddy #Nils #rewind #tonyhawk #couchkoop #splitscreen #halo

Game Two daddelt mal wieder auf YouTube:

Das MUSS die nächste Konsolen-Generation können! | 30 Sekunden über

https://www.youtube.com/watch?v=ad5PYxIg9lU

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #Sony #SonyPlaystation #XBOX #XBOX720 #NoDiscNoBuy #Nintendo #NeueKonsolen #Eddy #Nils #rewind #tonyhawk #couchkoop #splitscreen #halo

Game Two daddelt mal wieder auf YouTube:

Das MUSS die nächste Konsolen-Generation können! | 30 Sekunden über

https://www.youtube.com/watch?v=ad5PYxIg9lU

#GameTwo #RocketBeans #RBTV #RocketBeansTv #gaming #review #preview #reviews #Sony #SonyPlaystation #XBOX #XBOX720 #NoDiscNoBuy #Nintendo #NeueKonsolen #Eddy #Nils #rewind #tonyhawk #couchkoop #splitscreen #halo

Kakao Games Offers 90 Divine Summon Tickets for ‘Odin’ Chuseok Event

Kakao Games is hosting a Chuseok celebration event in ODIN: Valhalla Rising (hereinafter Odin) starting September 23. As…
#EuropeSays #Korea #KR #Kakao #Discussions #Entertainments #Esports #Guides #Interview #Leagueoflegends #Lol #Mobile #news #Overwatch #PC #Previews #PS4 #reviews #Strategies #Trailers #Videos #Walkthroughs #XboxOne
https://www.europesays.com/korea/165103/

In the spirit of Noctule—Svalbard frontwoman Serena Cherry’s solo meloblack/Covid lockdown project—and their video game theming, I have lore with this band. Noctule’s debut, 2021’s Skyrim tribute Wretched Abyss, was the subject of my audition review for this very blog. Given the assignment was to review an album you’d rate as mixed/2.5, you can infer my assessment of it. So, why then was I so excited to relieve Dear Hollow of reviewing Noctule’s follow-up, Extinguish Thy Flame? It’s not because it’s tackling Elden Ring this time,1 a game Cherry credits in the promo with saving her life.2 It’s because, though Wretched Abyss was a one-note record, that one note was massive. Noctule’s coiling melodies kick ludicrous butt on that album, and I had long hoped Cherry would give her side-project another swing. Well, here it is: Extinguish Thy Flame. Does Noctule seize upon their potential, or is their flame more meager than I had believed?

Rest assured that the aspects that made Noctule’s debut compelling remain untarnished on Extinguish Thy Flame. Wretched Abyss’s formula of interwoven hyper-melodic leads soaring over pummeling drums and Cherry’s commanding bellows was potent in 2021, and you’d best believe it works just as well today. Behold “Become My Blade Once More” and true opener “Devour the Gods;” disregarding Extinguish Thy Flame’s clearer production, these songs could’ve been off the debut. Noctule is still an approachable, hook-first project, typified by surefire bangers like “Grafted,” swapping between chuggy chops and spacious melodies and “Hallowhorn Grounds” with its surprisingly bright atmospheres. The only strength of the debut that takes a minor backstep on Extinguish Thy Flame is in its pacing, as two brief interludes in “Welcome to Limgrave” and “O’ Death” delay/interrupt the action a smidge more than Wretched Abyss ever did. Even so, Extinguish Thy Flame is still a tight and vital listen, and Noctule’s approach to melodic black metal is just as enjoyable as before.

However, Extinguish Thy Flame improves on Wretched Abyss’s greatest weakness: monotony. Where Noctule struggled in refreshing their formula before, an injection of melodeath into their style drastically ups Extinguish Thy Flame’s memorability. Adopting the school of InsOmnium Gatherum sad boi gorl melodeath riffing, Noctule sounds supercharged on emotional barnburners like “Lord of Blood” and “Age of the Stars,” sounding more precise and simply bigger than ever. “Age of the Stars,” “Devour the Gods,” and “Become My Blade Once More” alone have better-quality melodeath riffing than most bands not named At the Gates in 2026. “Big” is ultimately the word for Extinguish Thy Flame; Noctule embed gravitas into cuts like “Lament of the Omen King” and “Grafted” through rich and capacious arrangements, tom-heavy fills, and synth-backed symphonics. Where Wretched Abyss had few moments that broke its mold, every song on Extinguish Thy Flame has its standout aspect. Although monotony does show somewhat in Extinguish Thy Flame’s mostly uniform tempo, Noctule only needed a touch more diversity to level up their game.3

Against the opulence of Extinguish Thy Flame, Noctule casts a shadow of sadness across its runtime. It’s a Serena Cherry album, after all. Noctule manifests as a less confessional, more grandiose version of Svalbard on Extinguish Thy Flame, bearing Cherry’s signature burden of sorrow across its fiery tracks. Overt mourning weighs heavy on “Goddess of Rot”‘s slower tempo and tortured wails, while “Hallowhorn Grounds” wields Svalbard’s bittersweet post-hardcore riffing with conviction. Clean and acoustic guitars coil and harmonize like their distorted counterparts across Extinguish Thy Flame, most noticeably in bridging “Grafted” and “Goddess of Rot,” and succeed in evoking sadness as convincingly as the distorted harmonies do in raising hell. Lyrically, Cherry succeeds in drawing out the tragedy of Elden Ring’s various storylines (“Goddess of Rot,” “Age of the Stars”), proving further the beauty of a bad time. Noctule is as easy-listening as black metal gets, but that doesn’t mean Cherry’s not gonna try and pluck at your heartstrings on Extinguish Thy Flame.

Just as I’d hoped, Extinguish Thy Flame is Noctule better realized. Stronger arrangements, stronger musicianship, a more varied songwriting approach; there was no question that Noctule could weave a killer hook, but their sophomore outing proves the project has legitimate staying power. If you like your extreme metal big and melodic, you owe yourself a listen to Extinguish Thy Flame. If I discover future wannabe N00bs auditioning with this record, I will personally see them snuffed promoted back into the readership expeditiously. Detractors of Extinguish Thy Flame, I brook thee no quarter.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: noctule.bandcamp.com | facebook.com/noctuleband
Releases Worldwide: September 25th, 2026

In the spirit of Noctule—Svalbard frontwoman Serena Cherry’s solo meloblack/Covid lockdown project—and their video game theming, I have lore with this band. Noctule’s debut, 2021’s Skyrim tribute Wretched Abyss, was the subject of my audition review for this very blog. Given the assignment was to review an album you’d rate as mixed/2.5, you can infer my assessment of it. So, why then was I so excited to relieve Dear Hollow of reviewing Noctule’s follow-up, Extinguish Thy Flame? It’s not because it’s tackling Elden Ring this time,1 a game Cherry credits in the promo with saving her life.2 It’s because, though Wretched Abyss was a one-note record, that one note was massive. Noctule’s coiling melodies kick ludicrous butt on that album, and I had long hoped Cherry would give her side-project another swing. Well, here it is: Extinguish Thy Flame. Does Noctule seize upon their potential, or is their flame more meager than I had believed?

Rest assured that the aspects that made Noctule’s debut compelling remain untarnished on Extinguish Thy Flame. Wretched Abyss’s formula of interwoven hyper-melodic leads soaring over pummeling drums and Cherry’s commanding bellows was potent in 2021, and you’d best believe it works just as well today. Behold “Become My Blade Once More” and true opener “Devour the Gods;” disregarding Extinguish Thy Flame’s clearer production, these songs could’ve been off the debut. Noctule is still an approachable, hook-first project, typified by surefire bangers like “Grafted,” swapping between chuggy chops and spacious melodies and “Hallowhorn Grounds” with its surprisingly bright atmospheres. The only strength of the debut that takes a minor backstep on Extinguish Thy Flame is in its pacing, as two brief interludes in “Welcome to Limgrave” and “O’ Death” delay/interrupt the action a smidge more than Wretched Abyss ever did. Even so, Extinguish Thy Flame is still a tight and vital listen, and Noctule’s approach to melodic black metal is just as enjoyable as before.

However, Extinguish Thy Flame improves on Wretched Abyss’s greatest weakness: monotony. Where Noctule struggled in refreshing their formula before, an injection of melodeath into their style drastically ups Extinguish Thy Flame’s memorability. Adopting the school of InsOmnium Gatherum sad boi gorl melodeath riffing, Noctule sounds supercharged on emotional barnburners like “Lord of Blood” and “Age of the Stars,” sounding more precise and simply bigger than ever. “Age of the Stars,” “Devour the Gods,” and “Become My Blade Once More” alone have better-quality melodeath riffing than most bands not named At the Gates in 2026. “Big” is ultimately the word for Extinguish Thy Flame; Noctule embed gravitas into cuts like “Lament of the Omen King” and “Grafted” through rich and capacious arrangements, tom-heavy fills, and synth-backed symphonics. Where Wretched Abyss had few moments that broke its mold, every song on Extinguish Thy Flame has its standout aspect. Although monotony does show somewhat in Extinguish Thy Flame’s mostly uniform tempo, Noctule only needed a touch more diversity to level up their game.3

Against the opulence of Extinguish Thy Flame, Noctule casts a shadow of sadness across its runtime. It’s a Serena Cherry album, after all. Noctule manifests as a less confessional, more grandiose version of Svalbard on Extinguish Thy Flame, bearing Cherry’s signature burden of sorrow across its fiery tracks. Overt mourning weighs heavy on “Goddess of Rot”‘s slower tempo and tortured wails, while “Hallowhorn Grounds” wields Svalbard’s bittersweet post-hardcore riffing with conviction. Clean and acoustic guitars coil and harmonize like their distorted counterparts across Extinguish Thy Flame, most noticeably in bridging “Grafted” and “Goddess of Rot,” and succeed in evoking sadness as convincingly as the distorted harmonies do in raising hell. Lyrically, Cherry succeeds in drawing out the tragedy of Elden Ring’s various storylines (“Goddess of Rot,” “Age of the Stars”), proving further the beauty of a bad time. Noctule is as easy-listening as black metal gets, but that doesn’t mean Cherry’s not gonna try and pluck at your heartstrings on Extinguish Thy Flame.

Just as I’d hoped, Extinguish Thy Flame is Noctule better realized. Stronger arrangements, stronger musicianship, a more varied songwriting approach; there was no question that Noctule could weave a killer hook, but their sophomore outing proves the project has legitimate staying power. If you like your extreme metal big and melodic, you owe yourself a listen to Extinguish Thy Flame. If I discover future wannabe N00bs auditioning with this record, I will personally see them snuffed promoted back into the readership expeditiously. Detractors of Extinguish Thy Flame, I brook thee no quarter.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: noctule.bandcamp.com | facebook.com/noctuleband
Releases Worldwide: September 25th, 2026

In the spirit of Noctule—Svalbard frontwoman Serena Cherry’s solo meloblack/Covid lockdown project—and their video game theming, I have lore with this band. Noctule’s debut, 2021’s Skyrim tribute Wretched Abyss, was the subject of my audition review for this very blog. Given the assignment was to review an album you’d rate as mixed/2.5, you can infer my assessment of it. So, why then was I so excited to relieve Dear Hollow of reviewing Noctule’s follow-up, Extinguish Thy Flame? It’s not because it’s tackling Elden Ring this time,1 a game Cherry credits in the promo with saving her life.2 It’s because, though Wretched Abyss was a one-note record, that one note was massive. Noctule’s coiling melodies kick ludicrous butt on that album, and I had long hoped Cherry would give her side-project another swing. Well, here it is: Extinguish Thy Flame. Does Noctule seize upon their potential, or is their flame more meager than I had believed?

Rest assured that the aspects that made Noctule’s debut compelling remain untarnished on Extinguish Thy Flame. Wretched Abyss’s formula of interwoven hyper-melodic leads soaring over pummeling drums and Cherry’s commanding bellows was potent in 2021, and you’d best believe it works just as well today. Behold “Become My Blade Once More” and true opener “Devour the Gods;” disregarding Extinguish Thy Flame’s clearer production, these songs could’ve been off the debut. Noctule is still an approachable, hook-first project, typified by surefire bangers like “Grafted,” swapping between chuggy chops and spacious melodies and “Hallowhorn Grounds” with its surprisingly bright atmospheres. The only strength of the debut that takes a minor backstep on Extinguish Thy Flame is in its pacing, as two brief interludes in “Welcome to Limgrave” and “O’ Death” delay/interrupt the action a smidge more than Wretched Abyss ever did. Even so, Extinguish Thy Flame is still a tight and vital listen, and Noctule’s approach to melodic black metal is just as enjoyable as before.

However, Extinguish Thy Flame improves on Wretched Abyss’s greatest weakness: monotony. Where Noctule struggled in refreshing their formula before, an injection of melodeath into their style drastically ups Extinguish Thy Flame’s memorability. Adopting the school of InsOmnium Gatherum sad boi gorl melodeath riffing, Noctule sounds supercharged on emotional barnburners like “Lord of Blood” and “Age of the Stars,” sounding more precise and simply bigger than ever. “Age of the Stars,” “Devour the Gods,” and “Become My Blade Once More” alone have better-quality melodeath riffing than most bands not named At the Gates in 2026. “Big” is ultimately the word for Extinguish Thy Flame; Noctule embed gravitas into cuts like “Lament of the Omen King” and “Grafted” through rich and capacious arrangements, tom-heavy fills, and synth-backed symphonics. Where Wretched Abyss had few moments that broke its mold, every song on Extinguish Thy Flame has its standout aspect. Although monotony does show somewhat in Extinguish Thy Flame’s mostly uniform tempo, Noctule only needed a touch more diversity to level up their game.3

Against the opulence of Extinguish Thy Flame, Noctule casts a shadow of sadness across its runtime. It’s a Serena Cherry album, after all. Noctule manifests as a less confessional, more grandiose version of Svalbard on Extinguish Thy Flame, bearing Cherry’s signature burden of sorrow across its fiery tracks. Overt mourning weighs heavy on “Goddess of Rot”‘s slower tempo and tortured wails, while “Hallowhorn Grounds” wields Svalbard’s bittersweet post-hardcore riffing with conviction. Clean and acoustic guitars coil and harmonize like their distorted counterparts across Extinguish Thy Flame, most noticeably in bridging “Grafted” and “Goddess of Rot,” and succeed in evoking sadness as convincingly as the distorted harmonies do in raising hell. Lyrically, Cherry succeeds in drawing out the tragedy of Elden Ring’s various storylines (“Goddess of Rot,” “Age of the Stars”), proving further the beauty of a bad time. Noctule is as easy-listening as black metal gets, but that doesn’t mean Cherry’s not gonna try and pluck at your heartstrings on Extinguish Thy Flame.

Just as I’d hoped, Extinguish Thy Flame is Noctule better realized. Stronger arrangements, stronger musicianship, a more varied songwriting approach; there was no question that Noctule could weave a killer hook, but their sophomore outing proves the project has legitimate staying power. If you like your extreme metal big and melodic, you owe yourself a listen to Extinguish Thy Flame. If I discover future wannabe N00bs auditioning with this record, I will personally see them snuffed promoted back into the readership expeditiously. Detractors of Extinguish Thy Flame, I brook thee no quarter.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: noctule.bandcamp.com | facebook.com/noctuleband
Releases Worldwide: September 25th, 2026

In the spirit of Noctule—Svalbard frontwoman Serena Cherry’s solo meloblack/Covid lockdown project—and their video game theming, I have lore with this band. Noctule’s debut, 2021’s Skyrim tribute Wretched Abyss, was the subject of my audition review for this very blog. Given the assignment was to review an album you’d rate as mixed/2.5, you can infer my assessment of it. So, why then was I so excited to relieve Dear Hollow of reviewing Noctule’s follow-up, Extinguish Thy Flame? It’s not because it’s tackling Elden Ring this time,1 a game Cherry credits in the promo with saving her life.2 It’s because, though Wretched Abyss was a one-note record, that one note was massive. Noctule’s coiling melodies kick ludicrous butt on that album, and I had long hoped Cherry would give her side-project another swing. Well, here it is: Extinguish Thy Flame. Does Noctule seize upon their potential, or is their flame more meager than I had believed?

Rest assured that the aspects that made Noctule’s debut compelling remain untarnished on Extinguish Thy Flame. Wretched Abyss’s formula of interwoven hyper-melodic leads soaring over pummeling drums and Cherry’s commanding bellows was potent in 2021, and you’d best believe it works just as well today. Behold “Become My Blade Once More” and true opener “Devour the Gods;” disregarding Extinguish Thy Flame’s clearer production, these songs could’ve been off the debut. Noctule is still an approachable, hook-first project, typified by surefire bangers like “Grafted,” swapping between chuggy chops and spacious melodies and “Hallowhorn Grounds” with its surprisingly bright atmospheres. The only strength of the debut that takes a minor backstep on Extinguish Thy Flame is in its pacing, as two brief interludes in “Welcome to Limgrave” and “O’ Death” delay/interrupt the action a smidge more than Wretched Abyss ever did. Even so, Extinguish Thy Flame is still a tight and vital listen, and Noctule’s approach to melodic black metal is just as enjoyable as before.

However, Extinguish Thy Flame improves on Wretched Abyss’s greatest weakness: monotony. Where Noctule struggled in refreshing their formula before, an injection of melodeath into their style drastically ups Extinguish Thy Flame’s memorability. Adopting the school of InsOmnium Gatherum sad boi gorl melodeath riffing, Noctule sounds supercharged on emotional barnburners like “Lord of Blood” and “Age of the Stars,” sounding more precise and simply bigger than ever. “Age of the Stars,” “Devour the Gods,” and “Become My Blade Once More” alone have better-quality melodeath riffing than most bands not named At the Gates in 2026. “Big” is ultimately the word for Extinguish Thy Flame; Noctule embed gravitas into cuts like “Lament of the Omen King” and “Grafted” through rich and capacious arrangements, tom-heavy fills, and synth-backed symphonics. Where Wretched Abyss had few moments that broke its mold, every song on Extinguish Thy Flame has its standout aspect. Although monotony does show somewhat in Extinguish Thy Flame’s mostly uniform tempo, Noctule only needed a touch more diversity to level up their game.3

Against the opulence of Extinguish Thy Flame, Noctule casts a shadow of sadness across its runtime. It’s a Serena Cherry album, after all. Noctule manifests as a less confessional, more grandiose version of Svalbard on Extinguish Thy Flame, bearing Cherry’s signature burden of sorrow across its fiery tracks. Overt mourning weighs heavy on “Goddess of Rot”‘s slower tempo and tortured wails, while “Hallowhorn Grounds” wields Svalbard’s bittersweet post-hardcore riffing with conviction. Clean and acoustic guitars coil and harmonize like their distorted counterparts across Extinguish Thy Flame, most noticeably in bridging “Grafted” and “Goddess of Rot,” and succeed in evoking sadness as convincingly as the distorted harmonies do in raising hell. Lyrically, Cherry succeeds in drawing out the tragedy of Elden Ring’s various storylines (“Goddess of Rot,” “Age of the Stars”), proving further the beauty of a bad time. Noctule is as easy-listening as black metal gets, but that doesn’t mean Cherry’s not gonna try and pluck at your heartstrings on Extinguish Thy Flame.

Just as I’d hoped, Extinguish Thy Flame is Noctule better realized. Stronger arrangements, stronger musicianship, a more varied songwriting approach; there was no question that Noctule could weave a killer hook, but their sophomore outing proves the project has legitimate staying power. If you like your extreme metal big and melodic, you owe yourself a listen to Extinguish Thy Flame. If I discover future wannabe N00bs auditioning with this record, I will personally see them snuffed promoted back into the readership expeditiously. Detractors of Extinguish Thy Flame, I brook thee no quarter.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: noctule.bandcamp.com | facebook.com/noctuleband
Releases Worldwide: September 25th, 2026

In the spirit of Noctule—Svalbard frontwoman Serena Cherry’s solo meloblack/Covid lockdown project—and their video game theming, I have lore with this band. Noctule’s debut, 2021’s Skyrim tribute Wretched Abyss, was the subject of my audition review for this very blog. Given the assignment was to review an album you’d rate as mixed/2.5, you can infer my assessment of it. So, why then was I so excited to relieve Dear Hollow of reviewing Noctule’s follow-up, Extinguish Thy Flame? It’s not because it’s tackling Elden Ring this time,1 a game Cherry credits in the promo with saving her life.2 It’s because, though Wretched Abyss was a one-note record, that one note was massive. Noctule’s coiling melodies kick ludicrous butt on that album, and I had long hoped Cherry would give her side-project another swing. Well, here it is: Extinguish Thy Flame. Does Noctule seize upon their potential, or is their flame more meager than I had believed?

Rest assured that the aspects that made Noctule’s debut compelling remain untarnished on Extinguish Thy Flame. Wretched Abyss’s formula of interwoven hyper-melodic leads soaring over pummeling drums and Cherry’s commanding bellows was potent in 2021, and you’d best believe it works just as well today. Behold “Become My Blade Once More” and true opener “Devour the Gods;” disregarding Extinguish Thy Flame’s clearer production, these songs could’ve been off the debut. Noctule is still an approachable, hook-first project, typified by surefire bangers like “Grafted,” swapping between chuggy chops and spacious melodies and “Hallowhorn Grounds” with its surprisingly bright atmospheres. The only strength of the debut that takes a minor backstep on Extinguish Thy Flame is in its pacing, as two brief interludes in “Welcome to Limgrave” and “O’ Death” delay/interrupt the action a smidge more than Wretched Abyss ever did. Even so, Extinguish Thy Flame is still a tight and vital listen, and Noctule’s approach to melodic black metal is just as enjoyable as before.

However, Extinguish Thy Flame improves on Wretched Abyss’s greatest weakness: monotony. Where Noctule struggled in refreshing their formula before, an injection of melodeath into their style drastically ups Extinguish Thy Flame’s memorability. Adopting the school of InsOmnium Gatherum sad boi gorl melodeath riffing, Noctule sounds supercharged on emotional barnburners like “Lord of Blood” and “Age of the Stars,” sounding more precise and simply bigger than ever. “Age of the Stars,” “Devour the Gods,” and “Become My Blade Once More” alone have better-quality melodeath riffing than most bands not named At the Gates in 2026. “Big” is ultimately the word for Extinguish Thy Flame; Noctule embed gravitas into cuts like “Lament of the Omen King” and “Grafted” through rich and capacious arrangements, tom-heavy fills, and synth-backed symphonics. Where Wretched Abyss had few moments that broke its mold, every song on Extinguish Thy Flame has its standout aspect. Although monotony does show somewhat in Extinguish Thy Flame’s mostly uniform tempo, Noctule only needed a touch more diversity to level up their game.3

Against the opulence of Extinguish Thy Flame, Noctule casts a shadow of sadness across its runtime. It’s a Serena Cherry album, after all. Noctule manifests as a less confessional, more grandiose version of Svalbard on Extinguish Thy Flame, bearing Cherry’s signature burden of sorrow across its fiery tracks. Overt mourning weighs heavy on “Goddess of Rot”‘s slower tempo and tortured wails, while “Hallowhorn Grounds” wields Svalbard’s bittersweet post-hardcore riffing with conviction. Clean and acoustic guitars coil and harmonize like their distorted counterparts across Extinguish Thy Flame, most noticeably in bridging “Grafted” and “Goddess of Rot,” and succeed in evoking sadness as convincingly as the distorted harmonies do in raising hell. Lyrically, Cherry succeeds in drawing out the tragedy of Elden Ring’s various storylines (“Goddess of Rot,” “Age of the Stars”), proving further the beauty of a bad time. Noctule is as easy-listening as black metal gets, but that doesn’t mean Cherry’s not gonna try and pluck at your heartstrings on Extinguish Thy Flame.

Just as I’d hoped, Extinguish Thy Flame is Noctule better realized. Stronger arrangements, stronger musicianship, a more varied songwriting approach; there was no question that Noctule could weave a killer hook, but their sophomore outing proves the project has legitimate staying power. If you like your extreme metal big and melodic, you owe yourself a listen to Extinguish Thy Flame. If I discover future wannabe N00bs auditioning with this record, I will personally see them snuffed promoted back into the readership expeditiously. Detractors of Extinguish Thy Flame, I brook thee no quarter.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Release
Websites: noctule.bandcamp.com | facebook.com/noctuleband
Releases Worldwide: September 25th, 2026

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Jesse Mulligan Reviews Cassia At Its New Albert St Location. Does It Hit The Mark? https://www.diningandcooking.com/restaurants/31002/ #albert #ambitious #aT #been #cassia #chand #does #from #hit #IndianRestaurant #IndianRestaurants #IT #Its #jesse #location #mark #move #mulligan #NEW #one #reviews #right #sahrawat #St #the

Jesse Mulligan Reviews Cassia At Its New Albert St Location. Does It Hit The Mark? https://www.diningandcooking.com/restaurants/31002/ #albert #ambitious #aT #been #cassia #chand #does #from #hit #IndianRestaurant #IndianRestaurants #IT #Its #jesse #location #mark #move #mulligan #NEW #one #reviews #right #sahrawat #St #the

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https://twimom227.com/2026/09/review-revenge-of-the-sunshine-by-jackie-lau.html

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Review: Revenge of the Sunshine by Jackie Lau

https://twimom227.com/2026/09/review-revenge-of-the-sunshine-by-jackie-lau.html

#ContemporaryRomance #RatingA #Reviews #JackieLau #JenReview #LoveSpiteSeries #selfpublished

1st Wave in 1 Hour, 2nd in 5 Hours… Kakao Games Adds New Servers for ‘World of Dokkaebi’

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