#sadist — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #sadist, aggregated by home.social.
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you're going to #slap them 10 times with a butterknife!
Find me live, or dm with what site you gifted on & the amount to begin!
#cbt #foodfetish #humiliation #degredation #waxplay #bbw #sadist #masochist #bdsm #tpe #flr
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you're going to #slap them 10 times with a butterknife!
Find me live, or dm with what site you gifted on & the amount to begin!
#cbt #foodfetish #humiliation #degredation #waxplay #bbw #sadist #masochist #bdsm #tpe #flr
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you're going to #slap them 10 times with a butterknife!
Find me live, or dm with what site you gifted on & the amount to begin!
#cbt #foodfetish #humiliation #degredation #waxplay #bbw #sadist #masochist #bdsm #tpe #flr
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you're going to #slap them 10 times with a butterknife!
Find me live, or dm with what site you gifted on & the amount to begin!
#cbt #foodfetish #humiliation #degredation #waxplay #bbw #sadist #masochist #bdsm #tpe #flr
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Full of #PMS rage and your face is stupid, sub task slap yourself in the face & then go send me a triple digit thank you.
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Full of #PMS rage and your face is stupid, sub task slap yourself in the face & then go send me a triple digit thank you.
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Full of #PMS rage and your face is stupid, sub task slap yourself in the face & then go send me a triple digit thank you.
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RE: https://mastodon.social/@LadyMarzanna/116806718510668932
I'm online this morning and a bit cranky so perfect for #SPH, #CBT, humiliating you for being a sweaty pathetic #loser, and causing you pain.
Come see me on my #nsfw sites immediately ;) -
You may have seen Nath and panda teach virtually together or in person at a hypnokink convention. Sadism for Softies may be one of the only times they are teaching a virtual class together from the same location, which should make for some extra fun examples!
Tickets: https://forbiddentickets.com/events/pandastory/ae3cedc392 .
#KinkEducation #Kink #Sadist
https://forbiddentickets.com/events/pandastory/ae3cedc392 -
You may have seen Nath and panda teach virtually together or in person at a hypnokink convention. Sadism for Softies may be one of the only times they are teaching a virtual class together from the same location, which should make for some extra fun examples!
Tickets: https://forbiddentickets.com/events/pandastory/ae3cedc392 .
#KinkEducation #Kink #Sadist
https://forbiddentickets.com/events/pandastory/ae3cedc392 -
You may have seen Nath and panda teach virtually together or in person at a hypnokink convention. Sadism for Softies may be one of the only times they are teaching a virtual class together from the same location, which should make for some extra fun examples!
Tickets: https://forbiddentickets.com/events/pandastory/ae3cedc392 .
#KinkEducation #Kink #Sadist
https://forbiddentickets.com/events/pandastory/ae3cedc392 -
In case you haven't noticed, this page is a NO dick zone 👌🏻
🔥😈🔥
#nsfw #clowns #putonahappyface #fetish #humiliation #bdsm #sadist #masochist #porn #pain #lowblow #kickingballs #giggles #girlsjustwannahavefun #hotasfuck #daddylikes #sexy #naughty #erotic #playful #princess #foxy #babe #fuckdoll #goddess #thatface #smile #wifeymaterial #yummy #legs #heels -
In case you haven't noticed, this page is a NO dick zone 👌🏻
🔥😈🔥
#nsfw #clowns #putonahappyface #fetish #humiliation #bdsm #sadist #masochist #porn #pain #lowblow #kickingballs #giggles #girlsjustwannahavefun #hotasfuck #daddylikes #sexy #naughty #erotic #playful #princess #foxy #babe #fuckdoll #goddess #thatface #smile #wifeymaterial #yummy #legs #heels -
I've basically been asleep since Sunday because of a migraine.
It sucks.
I'm finally starting to feel somewhat human again, I want gifts to congratulate me on surviving & a man to step on with the same pressure that was behind my left eye for the last 3 days. -
... along with Netanyahu to turn Israel into Is-real-Hell. They are the 2026 Laurel & Hardy of horror tandem, giving a daily bloody horror show each day worse than the previous one.
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... along with Netanyahu to turn Israel into Is-real-Hell. They are the 2026 Laurel & Hardy of horror tandem, giving a daily bloody horror show each day worse than the previous one.
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Late night lurkers & early morning jerkers
The #Femdom Casino e-doors are open
Time to #cum go beserkers!Live now on my fave #spicy sites <3
#findom #bdsm #spanking #sph #feminization #feet #sadist #masochist #blackjack
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Late night lurkers & early morning jerkers
The #Femdom Casino e-doors are open
Time to #cum go beserkers!Live now on my fave #spicy sites <3
#findom #bdsm #spanking #sph #feminization #feet #sadist #masochist #blackjack
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Late night lurkers & early morning jerkers
The #Femdom Casino e-doors are open
Time to #cum go beserkers!Live now on my fave #spicy sites <3
#findom #bdsm #spanking #sph #feminization #feet #sadist #masochist #blackjack
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Late night lurkers & early morning jerkers
The #Femdom Casino e-doors are open
Time to #cum go beserkers!Live now on my fave #spicy sites <3
#findom #bdsm #spanking #sph #feminization #feet #sadist #masochist #blackjack
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Another #GOP #Sadist #Fascist Administration....
...another #War of #Distraction in the #MiddleEast
#Fascist #Imperialist #War of #empire to distract from #EpsteinClass and #Oligarch #Billionaires in the #EpsteinFiles
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Another #GOP #Sadist #Fascist Administration....
...another #War of #Distraction in the #MiddleEast
#Fascist #Imperialist #War of #empire to distract from #EpsteinClass and #Oligarch #Billionaires in the #EpsteinFiles
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Another #GOP #Sadist #Fascist Administration....
...another #War of #Distraction in the #MiddleEast
#Fascist #Imperialist #War of #empire to distract from #EpsteinClass and #Oligarch #Billionaires in the #EpsteinFiles
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Another #GOP #Sadist #Fascist Administration....
...another #War of #Distraction in the #MiddleEast
#Fascist #Imperialist #War of #empire to distract from #EpsteinClass and #Oligarch #Billionaires in the #EpsteinFiles
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Another #GOP #Sadist #Fascist Administration....
...another #War of #Distraction in the #MiddleEast
#Fascist #Imperialist #War of #empire to distract from #EpsteinClass and #Oligarch #Billionaires in the #EpsteinFiles
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4. Grab your bouncy balls, and bounce them one at a time off wall until you get a bullseye on each side.
5. Make it competitive: Give the bullseye rings different points (5, 10, 25, and 50 for the bullseye)! Play one nut against each other until one reaches 200. -
Headline
Local Sadist/Dom Mercilessly Teases Subby Boi about Impending Neutering.(It's ok, you know the sub likes it, and will be especially cute once I'm done ✂️)
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Headline
Local Sadist/Dom Mercilessly Teases Subby Boi about Impending Neutering.(It's ok, you know the sub likes it, and will be especially cute once I'm done ✂️)
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Headline
Local Sadist/Dom Mercilessly Teases Subby Boi about Impending Neutering.(It's ok, you know the sub likes it, and will be especially cute once I'm done ✂️)
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Headline
Local Sadist/Dom Mercilessly Teases Subby Boi about Impending Neutering.(It's ok, you know the sub likes it, and will be especially cute once I'm done ✂️)
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Headline
Local Sadist/Dom Mercilessly Teases Subby Boi about Impending Neutering.(It's ok, you know the sub likes it, and will be especially cute once I'm done ✂️)
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"This evil bastard has been a white nationalist since he was a teenager. His own family disowned him because he is that hateful. He is the architect behind the child separation policy."
#StephenMiller #ViolentCruelty #Sadist #CBP #MAGA #Trump #Nazi #WhiteNationalist #ChildSeparation #Hateful
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"This evil bastard has been a white nationalist since he was a teenager. His own family disowned him because he is that hateful. He is the architect behind the child separation policy."
#StephenMiller #ViolentCruelty #Sadist #CBP #MAGA #Trump #Nazi #WhiteNationalist #ChildSeparation #Hateful
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CW: whumptober 2025, day 15: live-streamed torture. electrocution, dungeon, nudity
Miel has limits, and these guys pushed and broke them. But everyone knows Miel will be fine with being out of commission for a while if the money made Stan smile.
Whumptober 2025, day 15: Live-Streamed Torture
#oc #nsfw #art #torture #whump #trans #boy #electrocution #blood #gore #filming #livestream #pain #masochist #sadist #rape
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SADIST (Itàlia) presenta nou single: "Mater Tenebrarum" #Sadist #ProgressiveDeathMetal #Octubre2025 #Itàlia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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SADIST (Itàlia) presenta nou single: "Mater Tenebrarum" #Sadist #ProgressiveDeathMetal #Octubre2025 #Itàlia #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic
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CW: NSFW, CBT
Balls are so weird!!
- Lucy LaRue (ft Vic Violet ) in “BALLS 3.0 Intro to CBT” (12 minutes)
https://apclips.com/lacebaby/balls-3-0-intro-to-cbt
#cbt #cockandballtorture #femdom #masochist #sadist #bdsm #kink #balls -
#Universalism Makes #God The Worst #Sadist
Even Universalism can't get The #TribalWar #godofAbraham off the hook.
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#Universalism Makes #God The Worst #Sadist
Even Universalism can't get The #TribalWar #godofAbraham off the hook.
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025Show 3 footnotes
- Session bass for Autopsy’s Severed Survival and member of Death for Human and Individual Thought Patterns. ↩
- DiGiorgio has been known to rock a 3-string bass too! ↩
- Reminding me of Atheist’s claim to the coolest bass harmonic in all of metal. ↩
#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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By Dolphin Whisperer
Who needs two guitar players when you could have two master bass players at the helm? Quadvium seeks to answer this question with the fiery fingerwork of metal legends Steve DiGiorgio and Jeroen Paul Thesseling. DiGiorgio revolutionized bass playing in the metalsphere through radical death works with Autopsy, Death,1 and his own band, Sadus. Even if you don’t know his name, you may recognize these hallmarks of percussive and frenetic bass engineering, or any number of the thrashy, deathly, or progressive albums to which he has lent a wild, throbbing pulse. Likewise, Thesseling has weaved his way around celebrated releases, designing a style equally tricky but heavier in jazz-indebted fusion. Both Pestilence’s Spheres and Obscura’s breakout albums Cosmogenesis and Omnivium would not have seen the same light without his buttery and bleeping presence.
In the collision of these two thick-stringed giants, Tetradōm weaves and wobbles in delectable harmony. The role of bass in rock and metal arrangements rarely settles into that of the lead. But with conductors of this caliber on fretless, and extended-range bass devices,2 nasally slides, flatulent thumps, and snarling shuffles rumble about this airy but grounded soundstage. Despite the low-end firepower at play, each accompanying performer brings flair and experience to their respective lanes. Guitarist (and engineer for Tetradōm) Eve (Kaathe) brings a flowing touch and additional melodic guide—opener “Moksha” even leads with her crystalline phrasing—that borrows from her tenure with instrumental progressive outlet Myth of I. And kitmeister Yuma van Eekelen has a storied rhythmic history with understated bands Our Oceans and Exivious that allows his textural phrasing to embolden the space between flying frequencies. No shortage of talent befalls Quadvium’s calculated stride.
Though a tag of supergroup may follow Quadvium, Tetradōm leads with an ear for the tasteful and impactful rather than one deafened by excess. All members of Quadvium possess an overwhelming prowess and creativity that edges toward the funky fresh technicality of a fusion act like Tribal Tech. Yet, with a djent-like groove, Quadvium reclaims the sterile nature of scooped drop-F chugging against glitchy electronic backings with panned wide, warm bass massaging (“Apophis,” “Adhyasa”). Popping harmonics blare3 in a glory as flighty interruptions amongst Animals as Leaders-knotted riffage, all while capturing the exploratory jazz feel of the iconic and influential Jaco Pastorius (“Náströnd”). Howling and whinnying melodies signal a path around which Eve and van Eekelen can prance in touch-and-go solo flutters and cymbal-savvy atmosphere (“Sarab,” “Eidolon”). The breadth of techniques and tones on display requires an open and engaged mind to enjoy. But Quadvium’s resonant, interwoven throughput tied fast to ever-unfolding refrains never drifts into solo-laden, wandering note tedium.
Such a bass-forward presentation—and not in the subwoofer booming way that modern hip-hop or electronic music can be—requires a listening setup with an extra oomph through the low and mid range. I remember the first time I listened to Gordian Knot’s “Arsis,” a subtle solo bass intro to 2003’s classic, Emergent, I could have sworn nothing emerged from my crackling Logitech speakers, its subtle hum nary an auditory blip. Quadvium doesn’t render their instrumental dialogue quite as soft-spoken, with performers’ metal edges and jazzy chatter (and Eve’s cybersynth sound design) filling the room with bright, up-front, persistent movement. But to hear the nuances, and fall into a fuller love with Tetradōm, you may have to reach for your richest listening mode so that you lose neither the delicate drum teasing intro to “Ghardus”—and the bass duo’s subsequent descent to the lowest range of the experience—nor the delicate floor-scraping harmonies of “Apophis.” Of course, you could just crank that volume knob, lay out on the floor, and let the braying call-and-response bends of “Sarab” or the modulated stacked-track bliss of “Eidolon” vibrate your being to a higher existence.
Without a single word, Quadvium manages to conjure the esoteric nature that Tetradōm and its philosophy-inspired titles promise. Its strike, though, takes full shape, eschewing the potential for amorphous free jazz tone flexing that fusion music can embody. DiGiorgio and Thesseling have a vision of what bass can be in a rock and metal context, and Tetradōm realizes that with every squeaking slide, pattering finger roll, cascading chord. Masters don’t always produce hungry music, but Quadvium has shown their appetite remains growling.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Agonia Records | Bandcamp
Website: facebook.com/quadviumofficial
Releases Worldwide: May 30th, 2025#2025 #40 #AgoniaRecords #AnimalsAsLeaders #Atheist #Autopsy #Death #Exivious #GordianKnot #InstrumentalMetal #InternationalMetal #JacoPastorius #JazzFusion #May25 #MythOfI #Obscura #OurOceans #Pestilence #ProgressiveMetal #Quadvium #Review #Reviews #Sadist #Sadus #Tetradōm #TribalTech
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Richard L. Bean Detention Center Head Will Leave After “Loss of Confidence” in His Leadership — ProPublica
This miserable old man is a #Sadist in addition to a #Racist. It took them long enough and even then he’s going out on his terms. #GTFO
https://www.propublica.org/article/richard-l-bean-steps-down-detention-center-tennessee
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Way ahead of you, #Guardian
https://www.theguardian.com/books/2025/may/18/are-we-hardwired-to-fall-for-autocrats?CMP=Share_AndroidApp_Other
My take from 2020 here
https://nikolaskozloff.substack.com/p/reflections-on-trump-sociopaths-and #darwin #evolution #trump #fascism #anthropology #machiavelli #sadist #sadism #psychopath
