#reviews — Public Fediverse posts

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Can Apple Home’s AI camera features outsmart Amazon’s and Google’s? I put them to the test

A few years back, I was at a beachside Easter egg hunt, watching my kids dash through sand…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Technology #AI #apple #reviews #SmartHome #SmartwatchReviews #Tech
https://www.newsbeep.com/us/860335/

Can Apple Home’s AI camera features outsmart Amazon’s and Google’s? I put them to the test

A few years back, I was at a beachside Easter egg hunt, watching my kids dash through sand…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Technology #AI #apple #reviews #SmartHome #SmartwatchReviews #Tech
https://www.newsbeep.com/us/860335/

https://www.europesays.com/uk/1221847/ Ace Combat 8: Wings of Theve Review (PS5) #AceCombat8:WingsOfTheve #BandaiNamco #PlayStation #PlayStation5 #PS5 #Reviews #Technology #UK #UnitedKingdom

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

I love how Finland does blackened thrash metal. As heard on Urn’s 666 Megatons, Evil Angel’s Unholy Fight for Metal, and Flame’s Into the Age of Fire, the Finns often play this style in a way that’s blunt and ruthless, with drums that pound like jackhammers and riffs that hit like a flamethrower to the balls. The similar approach of these bands isn’t surprising given how they’ve shared members over the years. Flame’s two core members, vocalist/guitarist “Blackvenom” and drummer “Pimeä (Nocturnal Blackspirit),” both played in Urn at separate times years ago, and Flame now count two Evil Angel members among their ranks (who also played in Urn). With time, however, Urn have cast aside those fukkers and moved away from their bludgeoning beginnings, with more recent albums featuring a sound that’s more melodic and (dare I say) nuanced. Apparently, Flame want to follow the same sonic trajectory. After hailing Satan and beating the fukk out of me with their aforementioned 2005 debut Into the Age of Fire and its 2011 follow-up March into Firelands, the band have decided to write more complex songs and “esoteric” lyrics for their long-awaited third album, Ignis Draconis Daemonicus. But is this a change for the better?

Yes and no. On one hand, Flame still have energy and know how to fukkin thrash. After what’s presumably a dragon roar, the opener, “Kaosphere,” kicks in with battering blast beats, addictive riffs, and commanding vocals that practically demand for heads to be banged. It’s everything you could want from Finnish blackened thrash, all in a tight sub-3-minute package. Later tracks like “Deification (The Serpent’s Promise)” and “Pure Damnation’s Ecstasy” similarly abuse your eardrums with hot, chord-bashing compositions that are embellished with echoing leads and mid-paced, triumphant progressions. Sometimes things feel a little too blunt, but that’s hardly a problem when you’re having such a good time.

Instead, the problem arises when Flame stretch their wings too far. Draconis’s biggest flaw is that the second and third track are some of the weakest and longest songs here, dampening the momentum built by “Kaosphere.” The second track, “Spellfire,” has a decent stomping main riff, but the song’s pace feels too slow this early in the record, and it leans on that main riff far more than it should for its nearly six-minute runtime. The third song, “Black Flames Divination,” gives us yet another stomping riff before combining faster moments, whispered vocals, clean picking, and swelling ambiance in a way that feels ambitious but never comes together in a way that justifies the song’s seven-minute length.

The album’s largely sagging first third is all the more frustrating given how much cool stuff there is elsewhere. The closing title track is a war anthem of the highest order and easily the best song here, evoking the glory of Viking-era Bathory with its epic marching pace, choral embellishments, and fist-raising hooks. At eight-and-a-half minutes long, the song is proof positive that the band are capable of writing longer tracks that work. Throughout Draconis, the band also make a conscious effort to add variety, with “Mystical Voice of My Demon Master” employing galloping rhythms, gleaming leads, and shuffling chords that don’t sound much like anything else here. “Rising Crimson Desert Storm” is also an interesting interlude, with thrumming ambiance and effects-heavy crooning that makes the track sound like a Native American ritual. On the proper songs, Blackvenom’s gruff, intelligible rasps add just the aggression that’s needed.

Nonetheless, I can’t help but have mixed feelings about Draconis. Even aside from the weak stretch early in the album, the record as a whole is held back by a harsh, trebly production that becomes a tad grating. Likewise, while I don’t mind the band trying to write longer and more complex material, they’re generally better when they keep things shorter and more bloodthirsty, and even some of the better songs here could have benefited from a more concise approach. With more refinement, Flame’s new style could work. For now, I’ll probably pull Draconis’s best songs out for my jogging playlists and leave the rest to smolder where they lie.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kbps
Label: Primitive Reaction
Websites: satansflame.bandcamp.com | facebook.com/satansflame
Releases Worldwide: September 25th, 2026

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

This week on Tell Us About Your Shelf we are fortunate to have with us Naja Søndergaard of Mostly Murders Book Reviews who has kindly taken the time to chat with us as we talk about her favourite books, what got her into reading in the first place, the go-to books she turns to for comfort and what reading means to her!

https://lawrenceg.substack.com/p/tell-us-about-your-shelf-featuring?r=2agwdo&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

#books #bookcommunity #reading #readingcommunity #reviews #bookbloggers

Player One - 061 - Février 1996 [FRENCH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #french #fr #PlayerOne #061 #Fevrier #1996

https://www.youtube.com/shorts/mVCove854ok

Player One - 061 - Février 1996 [FRENCH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #french #fr #PlayerOne #061 #Fevrier #1996

https://www.youtube.com/shorts/mVCove854ok

Player One - 061 - Février 1996 [FRENCH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #french #fr #PlayerOne #061 #Fevrier #1996

https://www.youtube.com/shorts/mVCove854ok

Player One - 061 - Février 1996 [FRENCH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #french #fr #PlayerOne #061 #Fevrier #1996

https://www.youtube.com/shorts/mVCove854ok

Player One - 061 - Février 1996 [FRENCH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #french #fr #PlayerOne #061 #Fevrier #1996

https://www.youtube.com/shorts/mVCove854ok

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/

PSM – Issue 077 (November 2003) [ENGLISH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #english #en #us #ps1 #ps2 #psm #077 #november #2003

https://www.youtube.com/shorts/1rTqeAsPkLY

PSM – Issue 077 (November 2003) [ENGLISH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #english #en #us #ps1 #ps2 #psm #077 #november #2003

https://www.youtube.com/shorts/1rTqeAsPkLY

PSM – Issue 077 (November 2003) [ENGLISH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #english #en #us #ps1 #ps2 #psm #077 #november #2003

https://www.youtube.com/shorts/1rTqeAsPkLY

PSM – Issue 077 (November 2003) [ENGLISH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #english #en #us #ps1 #ps2 #psm #077 #november #2003

https://www.youtube.com/shorts/1rTqeAsPkLY

PSM – Issue 077 (November 2003) [ENGLISH] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #english #en #us #ps1 #ps2 #psm #077 #november #2003

https://www.youtube.com/shorts/1rTqeAsPkLY

Next Level - Issue 42 (December 2002) [ARGENTINA] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #reviews #sp #argentina #ar #nextlevel #42 #december #2002

https://www.youtube.com/shorts/OhBSFbOLeqE

Next Level - Issue 42 (December 2002) [ARGENTINA] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #reviews #sp #argentina #ar #nextlevel #42 #december #2002

https://www.youtube.com/shorts/OhBSFbOLeqE

Next Level - Issue 42 (December 2002) [ARGENTINA] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #reviews #sp #argentina #ar #nextlevel #42 #december #2002

https://www.youtube.com/shorts/OhBSFbOLeqE

Next Level - Issue 42 (December 2002) [ARGENTINA] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #reviews #sp #argentina #ar #nextlevel #42 #december #2002

https://www.youtube.com/shorts/OhBSFbOLeqE

Next Level - Issue 42 (December 2002) [ARGENTINA] #magazine #retrogaming #reviews

#johnnygameovermag #jgomag #magazine #videogamemagazine #retrogaming #games #gaming #reviews #sp #argentina #ar #nextlevel #42 #december #2002

https://www.youtube.com/shorts/OhBSFbOLeqE

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/.

I’ve been slinging positive words about the relatively unknown Aussie Goth-doom crew The Eternal since 2018, when I was first captivated by their Waiting for the Eternal Dawn opus. It was like a variation on classic Peaceville doom mixed with acts like To Die For and H.I.M., and it worked despite the mammoth and unreasonable song runtimes. 2024s Skinwalker kept the winning formula while dialing back the song lengths a bit, and it was another win because the band have such a sharp handle on their chosen genre and style. Their early 2026 EP showed their mastery firmly in place, and now we get their 8th full-length, Obscured Horizons. The core sound remains somewhat intact, but this time they’ve moved further away from the 10-minute song lengths and smoothed out their presentation to make it significantly less heavy than before. It feels like a lite version of their Goth-doom style with a greater emphasis on melody and hooks. Their charm and songwriting guile are still present, so the new approach works more often than not, but have they lost essential depth and boldness in their special sadboi broth?

The album kicks off well with a typically downcast but gripping number, “Lament for the Hollow,” that showcases the moody, melancholic style The Eternal do so well. It’s hypnotic, easily digestible, and glum as fook, and that’s why you come to this particular show. It has shades of Paradise Lost and Dawn of Solace, but it’s uniquely them, and it kicks mopey ass. “Existing to Expire” sounds like a marriage between Paradise Lost’s One Second era and Lacrimas Profundere, and that’s a nice neighborhood to stop and have a good cry. Did I mention it’s sticky as hell too? It is. From here, Obscured Horizons settles into a very grey comfort zone of forlorn balladry and not-quite-metal Gothic exposition. Tracks like the engaging “Colours Fade” offer all the despair and negative feelings you want, but in a very light, melodic way with subtle touches of Voyager. This particular vibe carries throughout most of the album.

This is an easy-listening, drift-away kind of platter, with each song offering another bleak little cloud to float on as you come to grips with your inner pain. “I’ve Seen the Dream” feels especially weepy, with lyrics that speak clearly of loss and coping with the aftermath. It actually stings a bit if you really focus on what is being sung. By the time the 7-plus minutes of “Liminality” arrives, you may begin to sense that the album is rather one-note, with no real peaks and valleys in heaviness or pacing. The Eternal was never a crushingly heavy band, but they explored the heavier elements of doom, doom-death, and melodoom much more than they’re doing here. While no song is weak or unnecessary, taken together, they all start to blur into a graveyard grey mush by the 3/4 mark with so little deviation in approach. The only time a death roar appears is in the opening moments of “Liminality,” and it makes you long for more harsh elements to punctuate the slick, smooth Goth rocking. Whether it’s a booming death bellow, hostile riff, or dissonant squeal, the material screams for something, anything heavy as it floats from one ethereal vista to the next. That said, the title track is super hooky with just the right amount of pathos, and closer “Awaken” feels grandiose and sweeping, dragging in alt-rock elements without destabilizing the essential Gothery. At 51 minutes, this is a short album for The Eternal, and maybe it was wise to curtail the length given the monotone soundscape.

As always, Mark Kelson’s Gothic crooning is the main attraction here. He was born to sing gloomy tales of misadventure and heartbreak, and he does so with a smooth, unforced grace. I’ve become a big fan of his work over the years; I just wish his vocals weren’t so restrained and “safe” here. I miss the forays into Peaceville doom-death groaning and grunting because they set off the cleans so well and made them feel all the more poignant. Kelson and Richie Poate layer soft, nonthreatening Goth riffs and dreamy noodling everywhere, only occasionally offering something a bit harder or meaner (basically the first minute-and-change of “Liminality”). Though the music they craft is pretty and moody, it can end up pretty sleepy at times. I miss the swings from heavy to soft riffage that made Waiting for the Endless Dawn feel so dynamic. The songwriting itself is solid as always; it’s just that the album is too held back and constrained to rise to the same level as their prior releases.

I always assumed that if The Eternal ever tightened their songs into the 4-6 minute range, they could drop a truly mammoth sadboi platter on us. They did their part to tighten, but in the process they leeched nearly all the metal out of the end product. Obscured Horizons offers good to very good gloom rock by a band skilled enough to pull it off, but it’s not as captivating as their prior platters. Good stuff, but I want MOAR. I guess I’m never satisfied.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: September 18th, 2026

I’ve been slinging positive words about the relatively unknown Aussie Goth-doom crew The Eternal since 2018, when I was first captivated by their Waiting for the Eternal Dawn opus. It was like a variation on classic Peaceville doom mixed with acts like To Die For and H.I.M., and it worked despite the mammoth and unreasonable song runtimes. 2024s Skinwalker kept the winning formula while dialing back the song lengths a bit, and it was another win because the band have such a sharp handle on their chosen genre and style. Their early 2026 EP showed their mastery firmly in place, and now we get their 8th full-length, Obscured Horizons. The core sound remains somewhat intact, but this time they’ve moved further away from the 10-minute song lengths and smoothed out their presentation to make it significantly less heavy than before. It feels like a lite version of their Goth-doom style with a greater emphasis on melody and hooks. Their charm and songwriting guile are still present, so the new approach works more often than not, but have they lost essential depth and boldness in their special sadboi broth?

The album kicks off well with a typically downcast but gripping number, “Lament for the Hollow,” that showcases the moody, melancholic style The Eternal do so well. It’s hypnotic, easily digestible, and glum as fook, and that’s why you come to this particular show. It has shades of Paradise Lost and Dawn of Solace, but it’s uniquely them, and it kicks mopey ass. “Existing to Expire” sounds like a marriage between Paradise Lost’s One Second era and Lacrimas Profundere, and that’s a nice neighborhood to stop and have a good cry. Did I mention it’s sticky as hell too? It is. From here, Obscured Horizons settles into a very grey comfort zone of forlorn balladry and not-quite-metal Gothic exposition. Tracks like the engaging “Colours Fade” offer all the despair and negative feelings you want, but in a very light, melodic way with subtle touches of Voyager. This particular vibe carries throughout most of the album.

This is an easy-listening, drift-away kind of platter, with each song offering another bleak little cloud to float on as you come to grips with your inner pain. “I’ve Seen the Dream” feels especially weepy, with lyrics that speak clearly of loss and coping with the aftermath. It actually stings a bit if you really focus on what is being sung. By the time the 7-plus minutes of “Liminality” arrives, you may begin to sense that the album is rather one-note, with no real peaks and valleys in heaviness or pacing. The Eternal was never a crushingly heavy band, but they explored the heavier elements of doom, doom-death, and melodoom much more than they’re doing here. While no song is weak or unnecessary, taken together, they all start to blur into a graveyard grey mush by the 3/4 mark with so little deviation in approach. The only time a death roar appears is in the opening moments of “Liminality,” and it makes you long for more harsh elements to punctuate the slick, smooth Goth rocking. Whether it’s a booming death bellow, hostile riff, or dissonant squeal, the material screams for something, anything heavy as it floats from one ethereal vista to the next. That said, the title track is super hooky with just the right amount of pathos, and closer “Awaken” feels grandiose and sweeping, dragging in alt-rock elements without destabilizing the essential Gothery. At 51 minutes, this is a short album for The Eternal, and maybe it was wise to curtail the length given the monotone soundscape.

As always, Mark Kelson’s Gothic crooning is the main attraction here. He was born to sing gloomy tales of misadventure and heartbreak, and he does so with a smooth, unforced grace. I’ve become a big fan of his work over the years; I just wish his vocals weren’t so restrained and “safe” here. I miss the forays into Peaceville doom-death groaning and grunting because they set off the cleans so well and made them feel all the more poignant. Kelson and Richie Poate layer soft, nonthreatening Goth riffs and dreamy noodling everywhere, only occasionally offering something a bit harder or meaner (basically the first minute-and-change of “Liminality”). Though the music they craft is pretty and moody, it can end up pretty sleepy at times. I miss the swings from heavy to soft riffage that made Waiting for the Endless Dawn feel so dynamic. The songwriting itself is solid as always; it’s just that the album is too held back and constrained to rise to the same level as their prior releases.

I always assumed that if The Eternal ever tightened their songs into the 4-6 minute range, they could drop a truly mammoth sadboi platter on us. They did their part to tighten, but in the process they leeched nearly all the metal out of the end product. Obscured Horizons offers good to very good gloom rock by a band skilled enough to pull it off, but it’s not as captivating as their prior platters. Good stuff, but I want MOAR. I guess I’m never satisfied.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Reigning Phoenix
Websites: the-eternal.com | facebook.com/theeternal | instagram.com/theeternalofficial
Releases Worldwide: September 18th, 2026