#slam — Public Fediverse posts

FACE MAULER (Itàlia) presenta nou EP: "World Mauler" #FaceMauler #Slam #BrutalDeathMetal #Maig2026 #Itàlia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

FACE MAULER (Itàlia) presenta nou EP: "World Mauler" #FaceMauler #Slam #BrutalDeathMetal #Maig2026 #Itàlia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/nl/209201/ NMO Luisteronderzoek week 19-2026: NPO Radio 2 is marktleider – Radiowereld #100%NL #3FM #538 #Amusement #Arrow #BNR #BNRNieuwsradio #Dutch #Entertainment #joe #KINK #luistercijfers #Music #Muziek #NationaalLuisterOnderzoek #Nederland #Nederlanden #Nederlands #Netherlands #NL #NMOLuisteronderzoek #NPO #NPO3FM #NPOKlassiek #NPORadio1 #NPORadio2 #NPORadio5 #Qmusic #Radio10 #Radio538 #RadioDecibel #RadioVeronica #SkyRadio #skyradio #Slam #sublime #Veronica

FLAMMABLE REGURGITOSIS (Austràlia) presenta nou EP: "Transcending Intelligence Through Post Human Carnification" #FlammableRegurgitosis #Slam #BrutalDeathMetal #Maig2026 #Austràlia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

FLAMMABLE REGURGITOSIS (Austràlia) presenta nou EP: "Transcending Intelligence Through Post Human Carnification" #FlammableRegurgitosis #Slam #BrutalDeathMetal #Maig2026 #Austràlia #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Lesen und gelesen werden – Science Slam der Uni Potsdam in der Waschhaus-Arena

Von Tacitus’ „Germania“ bis Karl Mays „Winnetou“ reicht das literarische Spektrum des nächsten Science Slams der Universität Potsdam, der am 13. Mai um 20 Uhr in der Waschhaus Arena einige kulturwissenschaftliche Akzente setzt: https://www.uni-potsdam.de/de/nachrichten/detail/2026-05-05-lesen-und-gelesen-werden-science-slam-der-uni-potsdam-in-der-waschhaus-arena

#scienceslam #forschung #wissenschaft #slam #kultur #literatur #kulturwissenschaften #naturwissenschaften #chemie #künstlicheintelligenz #unifindetstadt #potsdam

Lesen und gelesen werden – Science Slam der Uni Potsdam in der Waschhaus-Arena

Von Tacitus’ „Germania“ bis Karl Mays „Winnetou“ reicht das literarische Spektrum des nächsten Science Slams der Universität Potsdam, der am 13. Mai um 20 Uhr in der Waschhaus Arena einige kulturwissenschaftliche Akzente setzt: https://www.uni-potsdam.de/de/nachrichten/detail/2026-05-05-lesen-und-gelesen-werden-science-slam-der-uni-potsdam-in-der-waschhaus-arena

#scienceslam #forschung #wissenschaft #slam #kultur #literatur #kulturwissenschaften #naturwissenschaften #chemie #künstlicheintelligenz #unifindetstadt #potsdam

Lesen und gelesen werden – Science Slam der Uni Potsdam in der Waschhaus-Arena

Von Tacitus’ „Germania“ bis Karl Mays „Winnetou“ reicht das literarische Spektrum des nächsten Science Slams der Universität Potsdam, der am 13. Mai um 20 Uhr in der Waschhaus Arena einige kulturwissenschaftliche Akzente setzt: https://www.uni-potsdam.de/de/nachrichten/detail/2026-05-05-lesen-und-gelesen-werden-science-slam-der-uni-potsdam-in-der-waschhaus-arena

#scienceslam #forschung #wissenschaft #slam #kultur #literatur #kulturwissenschaften #naturwissenschaften #chemie #künstlicheintelligenz #unifindetstadt #potsdam

Lesen und gelesen werden – Science Slam der Uni Potsdam in der Waschhaus-Arena

Von Tacitus’ „Germania“ bis Karl Mays „Winnetou“ reicht das literarische Spektrum des nächsten Science Slams der Universität Potsdam, der am 13. Mai um 20 Uhr in der Waschhaus Arena einige kulturwissenschaftliche Akzente setzt: https://www.uni-potsdam.de/de/nachrichten/detail/2026-05-05-lesen-und-gelesen-werden-science-slam-der-uni-potsdam-in-der-waschhaus-arena

#scienceslam #forschung #wissenschaft #slam #kultur #literatur #kulturwissenschaften #naturwissenschaften #chemie #künstlicheintelligenz #unifindetstadt #potsdam

Lesen und gelesen werden – Science Slam der Uni Potsdam in der Waschhaus-Arena

Von Tacitus’ „Germania“ bis Karl Mays „Winnetou“ reicht das literarische Spektrum des nächsten Science Slams der Universität Potsdam, der am 13. Mai um 20 Uhr in der Waschhaus Arena einige kulturwissenschaftliche Akzente setzt: https://www.uni-potsdam.de/de/nachrichten/detail/2026-05-05-lesen-und-gelesen-werden-science-slam-der-uni-potsdam-in-der-waschhaus-arena

#scienceslam #forschung #wissenschaft #slam #kultur #literatur #kulturwissenschaften #naturwissenschaften #chemie #künstlicheintelligenz #unifindetstadt #potsdam

DISSENTOMY (Indonèsia) presenta nova demo: "Demo 2026" #Dissentomy #Slam #BrutalDeathMetal #Maig2026 #Indonèsia #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

DISSENTOMY (Indonèsia) presenta nova demo: "Demo 2026" #Dissentomy #Slam #BrutalDeathMetal #Maig2026 #Indonèsia #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

DISSENTOMY (Indonèsia) presenta nova demo: "Demo 2026" #Dissentomy #Slam #BrutalDeathMetal #Maig2026 #Indonèsia #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

DECOMPOSITION OF ENTRAILS (Rússia) presenta nova col·laboració: "Scourged by Enmity" #DecompositionOfEntrails #Slam #BrutalDeathMetal #Maig2026 #Rússia #NovaCol·laboració #Metall #Metal #MúsicaMetal #MetalMusic

DECOMPOSITION OF ENTRAILS (Rússia) presenta nova col·laboració: "Scourged by Enmity" #DecompositionOfEntrails #Slam #BrutalDeathMetal #Maig2026 #Rússia #NovaCol·laboració #Metall #Metal #MúsicaMetal #MetalMusic

SKIN FLAYER presenta nou àlbum: "v1. 24-Karat Slaughter" #SkinFlayer #Slam #BrutalDeathMetal #Maig2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

SKIN FLAYER presenta nou àlbum: "v1. 24-Karat Slaughter" #SkinFlayer #Slam #BrutalDeathMetal #Maig2026 #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/africa/228250/ Sanlam Kenya stock (KE0000000414): Insurance and financial services play in East Africa #KE0000000414 #Kenya #slam

https://www.europesays.com/it/483622/ «Io, Sinner, Alcaraz guadagnamo bene. Il problema è che tanti giocatori non riescono a vivere di tennis, non è sostenibile» #boicottaggio #InternazionaliRoma2026 #IT #Italia #Italy #slam #Sport #Sports #tennis #zverev

DECARNATE (Estats Units) presenta nou EP: "Sentenced to Psychopathy" #Decarnate #Slam #BrutalDeathMetal #Maig2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

DECARNATE (Estats Units) presenta nou EP: "Sentenced to Psychopathy" #Decarnate #Slam #BrutalDeathMetal #Maig2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

GUTRECTOMY (Alemanya) presenta nou single: "Eating 6 Humans by Daylight" #Gutrectomy #Slam #BrutalDeathMetal #BrutalDeathcore #Maig2026 #Alemanya #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

GUTRECTOMY (Alemanya) presenta nou single: "Eating 6 Humans by Daylight" #Gutrectomy #Slam #BrutalDeathMetal #BrutalDeathcore #Maig2026 #Alemanya #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/it/481871/ Zverev sul boicottaggio degli Slam: «Io, Sinner, Alcaraz guadagnamo bene. Il problema è che tanti giocatori non riescono a vivere di… – Il Messaggero #boicottaggio #InternazionaliRoma2026 #IT #Italia #Italy #slam #Sport #Sports #tennis #zverev

https://www.europesays.com/it/480722/ Sinner, niente tornei tra Roland Garros e Wimbledon #cobolli #domani #erba #finale #FinaleRoland #FinaleRolandGarros #garros #IT #Italia #Italy #jannik #parigi #roland #RolandGarros #Sinner #slam #Sport #Sports #team #tennis #tornei #wimbledon

INGESTED (Regne Unit) presenta nou àlbum: "Denigration" #Ingested #Slam #BrutalDeathMetal #Deathcore #Maig2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

INGESTED (Regne Unit) presenta nou àlbum: "Denigration" #Ingested #Slam #BrutalDeathMetal #Deathcore #Maig2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

It is hard to believe that Ingested is hitting their eighth record. A band that managed to bring slam to the relative mainstream, combining the grotesque, guttural brutality of extreme music with more core-infused elements. Their previous record, The Tide of Death and Fractured Dreams, leaned a little too hard into these elements. Losing much of the slam and focusing on simplified song structures to its detriment. Their latest release, Denigration, marks the first without founding vocalist Jason Evans, someone who defined the sound of Ingested. Unfortunately for the band, the album is also marked by tumult. With the departure of Evans, his replacement was quickly outed over sexual assault allegations, and at the last minute, guitarists Sean Haynes and Andrew Virrueta took over. The album was re-tooled to replace the vocals (something I commend the band for wholeheartedly), but was something excised in the process, or is it a return to form for a band that had seemingly lost its extreme roots?

I hate to break it to you, but Denigration is an album as messy as the story behind its creation. The album starts strongly, and unfortunately enough, with what is probably its best track. Half the band screams the opening line before the song drops into an absolute blast of destructive drumming. The track is simple but effective, and contains just enough variety and speed to keep things interesting. Haynes and Virrueta do an admirable job bringing heft and technical skill to each track, but they too often devolve into the same bouncing slam riffs to the point of bleeding together. Individual songs are hard to tell apart, and while founding drummer Lyn Jeffs has always been talented, the snare production basically kills his entire performance. This is nearly St. Anger levels of snare-tragedy, and the drums aren’t the only victim; production across the record is uniformly terrible.

Denigration’s Achilles heel is its soundscape. While dynamic range isn’t necessarily a surefire sign of quality, this album has songs that go as low as a 2 on the scale. Tracks are a cacophony in the worst way; the snare is downright grating and overly loud, while the rest blends into a miasma of noise and chuggery. This is an album with so little range between individual tracks that it can feel like one long song, which is grueling for a slam record. Top this with the fact that the last-minute fill-in vocalists are clearly amateurs, especially compared to Evans, and you get an album that sounds like a debut by a young band making early mistakes. I have to imagine replacing the vocals at the last minute did serious damage to their original mix, but Ingested has a history of production issues on top of this. Combining these two has made for an album that can hurt to listen to at times.

I don’t mean to disparage the band; in fact, this was a record I was genuinely hoping would be great. I have always had a soft spot for Ingested’s unique brand of slamcore. Evans vocals are top-tier, and they were always willing to take the genre to creative places. Julia Frau’s vocals on “Ashes Lie Still,” Kirk Windstein’s epic chorus on “Another Breath,” and Josh Middleton’s on “Expect to Fail” define the band’s willingness to explore their sound. On Denigration, the guests only work to divert from the monotony between tracks; even then, their addition feels perfunctory. This doesn’t feel like the band that wrote bangers like “Misery Leech,” “Skinned and Fucked,” or “The List.” At least they are trying to emulate their slam roots with a more streamlined sound built around the classic Chug & Guttural™ combo. There will be those who find this record more palatable than Ingested’s recent deathcore-adjacent trajectory, even if the production takes crushed and curb-stomps it.

When I originally started spinning Denigration for review, numerous elements kept coming to my attention that now feel obvious, seeing how many things changed at the last minute. What should have been a creative refresh for a band that felt like it was relying a little too much on vocal talent has turned into the exact opposite. Denigration fails to bring the hooks, a key to any good slam record, while also being hamstrung by terrible production, middling vocals, and a lack of creativity. Hopefully, Ingested can come back stronger from all this and make the great album I know they are capable of, but all Denigration did was send me straight to the band’s better records.

Rating: Bad
DR: 3| Format Reviewed: 320 kbps mp3
Label: Metal Blade Records
Websites: Bandcamp | Official Site
Releases Worldwide: May 8th, 2026

https://www.europesays.com/nl/204652/ NMO Luisteronderzoek week 18-2026: NPO Radio 2 is marktleider – Radiowereld #100%NL #3FM #Amusement #Arrow #BNR #BNRNieuwsradio #Dutch #Entertainment #joe #KINK #luistercijfers #Music #Muziek #NationaalLuisterOnderzoek #Nederland #Nederlanden #Nederlands #Netherlands #NL #NMOLuisteronderzoek #NPO3FM #NPOKlassiek #NPORadio1 #NPORadio2 #NPORadio5 #Qmusic #radio #Radio10 #Radio538 #RadioDecibel #RadioVeronica #SkyRadio #skyradio #Slam #sublime #Veronica

https://www.europesays.com/it/479326/ Djokovic incorona Sinner: «Vincerà tutti i Masters 1000». È la sua ultima volta? #accolto #AccoltoPrimi #AccoltoPrimiAllenamenti #alcaraz #basse #circuito #davvero #djokovic #fondato #FondatoPtpa #foro #giocatori #impressionante #IT #Italia #Italy #jannik #masters #merito #nole #numero #parigi #politica #posizione #ptpa #roma #serbo #Sinner #slam #sosterrò #Sport #Sports #tennis #terra #tornei #torneo #ultima #vincerà #vivere #VivereTennis

https://www.europesays.com/it/479308/ Diritti tv: tennis, le finali di Grande Slam e Masters 1000 saranno trasmesse in chiaro #agcom #atletica #AtleticaNuoto #autorità #chiaro #competizioni #diritti #disciplina #discipline #eventi #EventiTrasmettere #EventiTrasmettereChiaro #finali #IT #Italia #italiana #Italy #lista #livello #masters #nuoto #particolare #Rugby #slam #SlamMasters #Sport #sportivo #Sports #tennis #tornei #TorneiSlam #TorneiSlamMasters

#JeanGenet

Le vent qui roule un cœur sur le pavé des cours, un ange qui sanglote accroché dans un arbre, la colonne d’azur qu’entortille le marbre font ouvrir dans ma nuit des portes de secours.

#LesChevalsHongrois #MarcOgeret #érotisme #LeCondamnéAMort #Poésie #HipHop #Slam #SpokenPoetry #France #Music #socialmedia #tv

https://www.youtube.com/watch?v=eUR08ydNG80

https://www.youtube.com/watch?v=ijfsnAxymd4&list=OLAK5uy_lT9H-gOTS33lWDE2m1izp151xurYVdFu8

#JeanGenet

Le vent qui roule un cœur sur le pavé des cours, un ange qui sanglote accroché dans un arbre, la colonne d’azur qu’entortille le marbre font ouvrir dans ma nuit des portes de secours.

#LesChevalsHongrois #MarcOgeret #érotisme #LeCondamnéAMort #Poésie #HipHop #Slam #SpokenPoetry #France #Music #socialmedia #tv

https://www.youtube.com/watch?v=eUR08ydNG80

https://www.youtube.com/watch?v=ijfsnAxymd4&list=OLAK5uy_lT9H-gOTS33lWDE2m1izp151xurYVdFu8

#JeanGenet

Le vent qui roule un cœur sur le pavé des cours, un ange qui sanglote accroché dans un arbre, la colonne d’azur qu’entortille le marbre font ouvrir dans ma nuit des portes de secours.

#LesChevalsHongrois #MarcOgeret #érotisme #LeCondamnéAMort #Poésie #HipHop #Slam #SpokenPoetry #France #Music #socialmedia #tv

https://www.youtube.com/watch?v=eUR08ydNG80

https://www.youtube.com/watch?v=ijfsnAxymd4&list=OLAK5uy_lT9H-gOTS33lWDE2m1izp151xurYVdFu8

#JeanGenet

Le vent qui roule un cœur sur le pavé des cours, un ange qui sanglote accroché dans un arbre, la colonne d’azur qu’entortille le marbre font ouvrir dans ma nuit des portes de secours.

#LesChevalsHongrois #MarcOgeret #érotisme #LeCondamnéAMort #Poésie #HipHop #Slam #SpokenPoetry #France #Music #socialmedia #tv

https://www.youtube.com/watch?v=eUR08ydNG80

https://www.youtube.com/watch?v=ijfsnAxymd4&list=OLAK5uy_lT9H-gOTS33lWDE2m1izp151xurYVdFu8

#JeanGenet

Le vent qui roule un cœur sur le pavé des cours, un ange qui sanglote accroché dans un arbre, la colonne d’azur qu’entortille le marbre font ouvrir dans ma nuit des portes de secours.

#LesChevalsHongrois #MarcOgeret #érotisme #LeCondamnéAMort #Poésie #HipHop #Slam #SpokenPoetry #France #Music #socialmedia #tv

https://www.youtube.com/watch?v=eUR08ydNG80

https://www.youtube.com/watch?v=ijfsnAxymd4&list=OLAK5uy_lT9H-gOTS33lWDE2m1izp151xurYVdFu8

https://www.europesays.com/it/479146/ Djokovic: “Sinner vincerà a Roma, magari già quest’anno. Sì al boicottaggio” #adattarsi #affrontarli #AffrontarliCredo #AffrontarliCredoLì #alternativo #amo #boicottaggio #capire #ce #credo #davvero #djokovic #formato #gioca #giocatori #internazionali #IT #Italia #Italy #masters #parliamo #player #potere #punto #roma #serbo #Sinner #sistema #slam #Sport #Sports #tennis #torneo #ve

https://www.europesays.com/it/479015/ Internazionali d’Italia, Sinner: “Boicottaggio agli Slam? Siamo stati zitti troppo tempo” #arrivato #boicottaggio #Calcio #campo #chiedere #ChiedereRispetto #continuo #ContinuoGiocatori #ContinuoGiocatoriSlam #dialogo #DialogoContinuo #DialogoContinuoGiocatori #donne #DonneUomini #IT #Italia #Italy #slam #Sport #Sports #tennis

Hallo #Graz! DRAMOLETTE gesucht!
Bis zum 10. Mai um 23:59 können noch Stücke für die 38. DRaMa SLaM am 28. Mai im #Schauspielhaus Graz eingereicht werden!
Autor_innen schreiben szenisch
Schauspielende spielen vom Blatt
Das Publikum entscheidet
über den besten #Text des Abends!

Er sollte maximal 10 Minuten lang sein, für mindestens 3 Figuren geschrieben (vier Spielende stehen zur Verfügung)
und bis Sonntag in der Inbox unter text[at]dramaslam.eu landen!

#OpenCall #Drama #Slam #Dramaslam #Steiermark