#thebody — Public Fediverse posts

The Scariest Part Of A Concussion Is The Uncertainty

https://web.brid.gy/r/https://defector.com/the-scariest-part-of-a-concussion-is-the-uncertainty

The Scariest Part Of A Concussion Is The Uncertainty

https://web.brid.gy/r/https://defector.com/the-scariest-part-of-a-concussion-is-the-uncertainty

The Scariest Part Of A Concussion Is The Uncertainty

https://web.brid.gy/r/https://defector.com/the-scariest-part-of-a-concussion-is-the-uncertainty

The Scariest Part Of A Concussion Is The Uncertainty

https://web.brid.gy/r/https://defector.com/the-scariest-part-of-a-concussion-is-the-uncertainty

https://www.europesays.com/it/438534/ Elle Macpherson, a 62 anni posa in intimo, testimonial di un brand di lingerie e «The Body» conquista i social #abbracciare #bellezza #body #brand #BrandLingerie #campagna #Celebrità #Celebrities #elle #ElleMacpherson #Entertainment #foto #instagram #intimo #Intrattenimento #IT #Italia #Italy #lingerie #macpherson #modella #posa #the #TheBody #utenti

I’ve been going pretty much nonstop today, but..

I got reunited with the short sword from Emerson’s and my wedding and obtained a tiara!!!

This photo was taken of me at Linneman’s tonight:

I would describe this aesthetic as “Galadriel if she had decided to marry Sauron, but had eventually gotten tired of his conniving ass, gutted him in the divorce proceedings, and taken the One Ring and the prettiest parts of Middle Earth in the aftermath of waxing his ass in court” lol.

-Allēna

Cattle Hammer – Dark Thoughts with Lights Out

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way…
#NewsBeep #News #Music #1.0 #2026 #BlackMetal #BritishMetal #CA #Canada #CattleHammer #DarkThoughtswithLightsOut #DoomMetal #drone #Entertainment #Feb26 #Fukpig #Mistress #PrimitiveMan #review #reviews #RoadtoMasochist #Sludge #Sumac #TheBody #Weedeater
https://www.newsbeep.com/ca/480984/

https://www.europesays.com/uk/770669/ Cattle Hammer – Dark Thoughts with Lights Out #10 #2026 #BlackMetal #BritishMetal #CattleHammer #DarkThoughtsWithLightsOut #DoomMetal #Drone #Entertainment #Feb26 #Fukpig #mistress #music #PrimitiveMan #Review #Reviews #RoadToMasochist #Sludge #Sumac #TheBody #UK #UnitedKingdom #Weedeater

Cattle Hammer – Dark Thoughts with Lights Out

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #1.0 #2026 #BlackMetal #BritishMetal #CattleHammer #DarkThoughtswithLightsOut #DoomMetal #drone #Entertainment #Feb26 #Fukpig #Mistress #PrimitiveMan #review #reviews #RoadtoMasochist #Sludge #Sumac #TheBody #Weedeater
https://www.newsbeep.com/us/473950/

Cattle Hammer – Dark Thoughts with Lights Out

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #1.0 #2026 #BlackMetal #BritishMetal #CattleHammer #DarkThoughtswithLightsOut #DoomMetal #drone #Entertainment #Feb26 #Fukpig #Mistress #PrimitiveMan #review #reviews #RoadtoMasochist #Sludge #Sumac #TheBody #Weedeater
https://www.newsbeep.com/us/473950/

https://www.europesays.com/ie/341865/ Cattle Hammer – Dark Thoughts with Lights Out #10 #2026 #BlackMetal #BritishMetal #CattleHammer #DarkThoughtsWithLightsOut #DoomMetal #drone #Éire #Entertainment #Feb26 #Fukpig #IE #Ireland #Mistress #Music #PrimitiveMan #Review #Reviews #RoadToMasochist #Sludge #Sumac #TheBody #Weedeater

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way that skiers repurpose “powder” or “carve” and gamers repurpose “own” or “sweaty,” metal fans break and contort language to suit our needs. We talk about “filthy” guitar tones and “razor sharp” riffs, discuss “cavernous” production and “suffocating” weight, and use violent imagery—bleeding ears, caved in skulls—to denote quality. So when I read phrases like “slow, painful march,” “soporific1 dirge,” and “empty decades between chords” on the promo sheet for debut Dark Thoughts with Lights Out, I thought Cattle Hammer was just employing a little dialectical variance, speaking the lingo. Joke’s on me, though. They weren’t.

Based in Birmingham, UK, Cattle Hammer was formed by vocalist/guitarist Duncan Wilkins (Fukpig, Mistress) in 2023. He’s joined by I Cartwright on drums, J Wyles on guitar, and D Von Donovan on bass. Together, they mix a caustic brew of drone, doom, and sludge, but each track on Dark Thoughts with Lights Out has its own identity. “Gloomsower” leans stony, and Wilkins oscillates between deep roars and strangled croaks reminiscent of Weedeater. “Rotting” features short tremolos, although they don’t do much besides check the “blackened” box on the PR sheet. The ambient, noise-tinged intro to “Watchmen, Alone” caught my attention, but repetition of the vocal sample stunts its ability to build tension. Similarly, “Body Puzzle” ends on some interesting synths, but it’s a tough sell so late in the album. If you can’t tell, I’m really reaching for positives here, but there’s not a one that isn’t ultimately a disappointment.

Dark Thoughts With Lights Out by Cattle Hammer

Every time I thought Cattle Hammer might do something interesting or better texturize Dark Thoughts with Lights Out, they shrank from the occasion. The early lead guitar in “Gloomsower” is a bright change of pace amidst thick, doomy passages, but instead of playing a countermelody or variation on the theme or literally anything else, it just plays the same fucking riff in a higher register. This same-riff-different-instrument/key tactic is fairly common (“Rotting,” “Watchmen, Alone”). Organ (“Watchmen, Alone,” “Body Puzzle”) and piano (“Rotting”) make appearances, but fail to deliver anything justifying their inclusion. Static and feedback crop up frequently, but in Cattle Hammer’s hands, they are merely unpleasant and banal. While I was intrigued by the first sample2 and always appreciate Sheri Moon Zombie,3 Cattle Hammer’s sample usage is ham-fisted and melodramatic. Each of these ornaments gave me hope that I might soon feel something besides boredom and frustration, but invariably, Dark Thoughts with Lights Out dashed my hopes and shuffled on.

What astounds me most on Dark Thoughts with Lights Out is how avoidable many of these blunders seem. Percussion is a little lackluster, and the instruments seem a bit compressed in the mix, leaving the vocals too far in front. These aren’t deal breakers, but playing fewer riffs—I’m being generous, calling them that—in 45 minutes than I have fingers is. Structuring the front half of a song to sound like a narrative climax with no build-up or release is (“Watchmen, Alone,” “Body Puzzle”). Rhythmic density rivaling the emptiness of space is. Ambient, feedback-laden outros enough to compile an EP is. This album is ostensibly meant to convey misery and suffering, but devoid of creativity or artistic abstraction, it misses the mark that acts like Primitive Man, The Body, or Sumac hit so well. It’s as if Cattle Hammer has crafted some misguided meta experience, in which the act of listening to the music imparts the misery normally communicated through the music itself.

If there’s one thing Cattle Hammer truly excels at, it’s squandering potential. Every criticism in this review is a place where I saw an opportunity for Dark Thoughts with Lights Out to get better, only for it to stay the course. What’s even more frustrating is that, if any one of these problems weren’t a problem, it could have at least partially salvaged the album. Amidst deeply uninteresting riffs played slow enough for inter-note naps, song constructions that fail to launch, underutilized instrumentation, an impressive lack of variation, repetition ad nauseum, and a totally unjustified runtime, Dark Thoughts with Lights Out isn’t simply unremarkable or uninteresting; it’s a literal chore to listen through. Based on the promo sheet, maybe that’s the point, but whether Cattle Hammer achieved their goal is irrelevant.4 Dark Thoughts with Lights Out is a bad album.

Rating: 1.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: Bandcamp | Ampwall | Facebook | Instagram
Releases Worldwide: February 6th, 2026

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way that skiers repurpose “powder” or “carve” and gamers repurpose “own” or “sweaty,” metal fans break and contort language to suit our needs. We talk about “filthy” guitar tones and “razor sharp” riffs, discuss “cavernous” production and “suffocating” weight, and use violent imagery—bleeding ears, caved in skulls—to denote quality. So when I read phrases like “slow, painful march,” “soporific1 dirge,” and “empty decades between chords” on the promo sheet for debut Dark Thoughts with Lights Out, I thought Cattle Hammer was just employing a little dialectical variance, speaking the lingo. Joke’s on me, though. They weren’t.

Based in Birmingham, UK, Cattle Hammer was formed by vocalist/guitarist Duncan Wilkins (Fukpig, Mistress) in 2023. He’s joined by I Cartwright on drums, J Wyles on guitar, and D Von Donovan on bass. Together, they mix a caustic brew of drone, doom, and sludge, but each track on Dark Thoughts with Lights Out has its own identity. “Gloomsower” leans stony, and Wilkins oscillates between deep roars and strangled croaks reminiscent of Weedeater. “Rotting” features short tremolos, although they don’t do much besides check the “blackened” box on the PR sheet. The ambient, noise-tinged intro to “Watchmen, Alone” caught my attention, but repetition of the vocal sample stunts its ability to build tension. Similarly, “Body Puzzle” ends on some interesting synths, but it’s a tough sell so late in the album. If you can’t tell, I’m really reaching for positives here, but there’s not a one that isn’t ultimately a disappointment.

Dark Thoughts With Lights Out by Cattle Hammer

Every time I thought Cattle Hammer might do something interesting or better texturize Dark Thoughts with Lights Out, they shrank from the occasion. The early lead guitar in “Gloomsower” is a bright change of pace amidst thick, doomy passages, but instead of playing a countermelody or variation on the theme or literally anything else, it just plays the same fucking riff in a higher register. This same-riff-different-instrument/key tactic is fairly common (“Rotting,” “Watchmen, Alone”). Organ (“Watchmen, Alone,” “Body Puzzle”) and piano (“Rotting”) make appearances, but fail to deliver anything justifying their inclusion. Static and feedback crop up frequently, but in Cattle Hammer’s hands, they are merely unpleasant and banal. While I was intrigued by the first sample2 and always appreciate Sheri Moon Zombie,3 Cattle Hammer’s sample usage is ham-fisted and melodramatic. Each of these ornaments gave me hope that I might soon feel something besides boredom and frustration, but invariably, Dark Thoughts with Lights Out dashed my hopes and shuffled on.

What astounds me most on Dark Thoughts with Lights Out is how avoidable many of these blunders seem. Percussion is a little lackluster, and the instruments seem a bit compressed in the mix, leaving the vocals too far in front. These aren’t deal breakers, but playing fewer riffs—I’m being generous, calling them that—in 45 minutes than I have fingers is. Structuring the front half of a song to sound like a narrative climax with no build-up or release is (“Watchmen, Alone,” “Body Puzzle”). Rhythmic density rivaling the emptiness of space is. Ambient, feedback-laden outros enough to compile an EP is. This album is ostensibly meant to convey misery and suffering, but devoid of creativity or artistic abstraction, it misses the mark that acts like Primitive Man, The Body, or Sumac hit so well. It’s as if Cattle Hammer has crafted some misguided meta experience, in which the act of listening to the music imparts the misery normally communicated through the music itself.

If there’s one thing Cattle Hammer truly excels at, it’s squandering potential. Every criticism in this review is a place where I saw an opportunity for Dark Thoughts with Lights Out to get better, only for it to stay the course. What’s even more frustrating is that, if any one of these problems weren’t a problem, it could have at least partially salvaged the album. Amidst deeply uninteresting riffs played slow enough for inter-note naps, song constructions that fail to launch, underutilized instrumentation, an impressive lack of variation, repetition ad nauseum, and a totally unjustified runtime, Dark Thoughts with Lights Out isn’t simply unremarkable or uninteresting; it’s a literal chore to listen through. Based on the promo sheet, maybe that’s the point, but whether Cattle Hammer achieved their goal is irrelevant.4 Dark Thoughts with Lights Out is a bad album.

Rating: 1.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: Bandcamp | Ampwall | Facebook | Instagram
Releases Worldwide: February 6th, 2026

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way that skiers repurpose “powder” or “carve” and gamers repurpose “own” or “sweaty,” metal fans break and contort language to suit our needs. We talk about “filthy” guitar tones and “razor sharp” riffs, discuss “cavernous” production and “suffocating” weight, and use violent imagery—bleeding ears, caved in skulls—to denote quality. So when I read phrases like “slow, painful march,” “soporific1 dirge,” and “empty decades between chords” on the promo sheet for debut Dark Thoughts with Lights Out, I thought Cattle Hammer was just employing a little dialectical variance, speaking the lingo. Joke’s on me, though. They weren’t.

Based in Birmingham, UK, Cattle Hammer was formed by vocalist/guitarist Duncan Wilkins (Fukpig, Mistress) in 2023. He’s joined by I Cartwright on drums, J Wyles on guitar, and D Von Donovan on bass. Together, they mix a caustic brew of drone, doom, and sludge, but each track on Dark Thoughts with Lights Out has its own identity. “Gloomsower” leans stony, and Wilkins oscillates between deep roars and strangled croaks reminiscent of Weedeater. “Rotting” features short tremolos, although they don’t do much besides check the “blackened” box on the PR sheet. The ambient, noise-tinged intro to “Watchmen, Alone” caught my attention, but repetition of the vocal sample stunts its ability to build tension. Similarly, “Body Puzzle” ends on some interesting synths, but it’s a tough sell so late in the album. If you can’t tell, I’m really reaching for positives here, but there’s not a one that isn’t ultimately a disappointment.

Dark Thoughts With Lights Out by Cattle Hammer

Every time I thought Cattle Hammer might do something interesting or better texturize Dark Thoughts with Lights Out, they shrank from the occasion. The early lead guitar in “Gloomsower” is a bright change of pace amidst thick, doomy passages, but instead of playing a countermelody or variation on the theme or literally anything else, it just plays the same fucking riff in a higher register. This same-riff-different-instrument/key tactic is fairly common (“Rotting,” “Watchmen, Alone”). Organ (“Watchmen, Alone,” “Body Puzzle”) and piano (“Rotting”) make appearances, but fail to deliver anything justifying their inclusion. Static and feedback crop up frequently, but in Cattle Hammer’s hands, they are merely unpleasant and banal. While I was intrigued by the first sample2 and always appreciate Sheri Moon Zombie,3 Cattle Hammer’s sample usage is ham-fisted and melodramatic. Each of these ornaments gave me hope that I might soon feel something besides boredom and frustration, but invariably, Dark Thoughts with Lights Out dashed my hopes and shuffled on.

What astounds me most on Dark Thoughts with Lights Out is how avoidable many of these blunders seem. Percussion is a little lackluster, and the instruments seem a bit compressed in the mix, leaving the vocals too far in front. These aren’t deal breakers, but playing fewer riffs—I’m being generous, calling them that—in 45 minutes than I have fingers is. Structuring the front half of a song to sound like a narrative climax with no build-up or release is (“Watchmen, Alone,” “Body Puzzle”). Rhythmic density rivaling the emptiness of space is. Ambient, feedback-laden outros enough to compile an EP is. This album is ostensibly meant to convey misery and suffering, but devoid of creativity or artistic abstraction, it misses the mark that acts like Primitive Man, The Body, or Sumac hit so well. It’s as if Cattle Hammer has crafted some misguided meta experience, in which the act of listening to the music imparts the misery normally communicated through the music itself.

If there’s one thing Cattle Hammer truly excels at, it’s squandering potential. Every criticism in this review is a place where I saw an opportunity for Dark Thoughts with Lights Out to get better, only for it to stay the course. What’s even more frustrating is that, if any one of these problems weren’t a problem, it could have at least partially salvaged the album. Amidst deeply uninteresting riffs played slow enough for inter-note naps, song constructions that fail to launch, underutilized instrumentation, an impressive lack of variation, repetition ad nauseum, and a totally unjustified runtime, Dark Thoughts with Lights Out isn’t simply unremarkable or uninteresting; it’s a literal chore to listen through. Based on the promo sheet, maybe that’s the point, but whether Cattle Hammer achieved their goal is irrelevant.4 Dark Thoughts with Lights Out is a bad album.

Rating: 1.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: Bandcamp | Ampwall | Facebook | Instagram
Releases Worldwide: February 6th, 2026

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way that skiers repurpose “powder” or “carve” and gamers repurpose “own” or “sweaty,” metal fans break and contort language to suit our needs. We talk about “filthy” guitar tones and “razor sharp” riffs, discuss “cavernous” production and “suffocating” weight, and use violent imagery—bleeding ears, caved in skulls—to denote quality. So when I read phrases like “slow, painful march,” “soporific1 dirge,” and “empty decades between chords” on the promo sheet for debut Dark Thoughts with Lights Out, I thought Cattle Hammer was just employing a little dialectical variance, speaking the lingo. Joke’s on me, though. They weren’t.

Based in Birmingham, UK, Cattle Hammer was formed by vocalist/guitarist Duncan Wilkins (Fukpig, Mistress) in 2023. He’s joined by I Cartwright on drums, J Wyles on guitar, and D Von Donovan on bass. Together, they mix a caustic brew of drone, doom, and sludge, but each track on Dark Thoughts with Lights Out has its own identity. “Gloomsower” leans stony, and Wilkins oscillates between deep roars and strangled croaks reminiscent of Weedeater. “Rotting” features short tremolos, although they don’t do much besides check the “blackened” box on the PR sheet. The ambient, noise-tinged intro to “Watchmen, Alone” caught my attention, but repetition of the vocal sample stunts its ability to build tension. Similarly, “Body Puzzle” ends on some interesting synths, but it’s a tough sell so late in the album. If you can’t tell, I’m really reaching for positives here, but there’s not a one that isn’t ultimately a disappointment.

Dark Thoughts With Lights Out by Cattle Hammer

Every time I thought Cattle Hammer might do something interesting or better texturize Dark Thoughts with Lights Out, they shrank from the occasion. The early lead guitar in “Gloomsower” is a bright change of pace amidst thick, doomy passages, but instead of playing a countermelody or variation on the theme or literally anything else, it just plays the same fucking riff in a higher register. This same-riff-different-instrument/key tactic is fairly common (“Rotting,” “Watchmen, Alone”). Organ (“Watchmen, Alone,” “Body Puzzle”) and piano (“Rotting”) make appearances, but fail to deliver anything justifying their inclusion. Static and feedback crop up frequently, but in Cattle Hammer’s hands, they are merely unpleasant and banal. While I was intrigued by the first sample2 and always appreciate Sheri Moon Zombie,3 Cattle Hammer’s sample usage is ham-fisted and melodramatic. Each of these ornaments gave me hope that I might soon feel something besides boredom and frustration, but invariably, Dark Thoughts with Lights Out dashed my hopes and shuffled on.

What astounds me most on Dark Thoughts with Lights Out is how avoidable many of these blunders seem. Percussion is a little lackluster, and the instruments seem a bit compressed in the mix, leaving the vocals too far in front. These aren’t deal breakers, but playing fewer riffs—I’m being generous, calling them that—in 45 minutes than I have fingers is. Structuring the front half of a song to sound like a narrative climax with no build-up or release is (“Watchmen, Alone,” “Body Puzzle”). Rhythmic density rivaling the emptiness of space is. Ambient, feedback-laden outros enough to compile an EP is. This album is ostensibly meant to convey misery and suffering, but devoid of creativity or artistic abstraction, it misses the mark that acts like Primitive Man, The Body, or Sumac hit so well. It’s as if Cattle Hammer has crafted some misguided meta experience, in which the act of listening to the music imparts the misery normally communicated through the music itself.

If there’s one thing Cattle Hammer truly excels at, it’s squandering potential. Every criticism in this review is a place where I saw an opportunity for Dark Thoughts with Lights Out to get better, only for it to stay the course. What’s even more frustrating is that, if any one of these problems weren’t a problem, it could have at least partially salvaged the album. Amidst deeply uninteresting riffs played slow enough for inter-note naps, song constructions that fail to launch, underutilized instrumentation, an impressive lack of variation, repetition ad nauseum, and a totally unjustified runtime, Dark Thoughts with Lights Out isn’t simply unremarkable or uninteresting; it’s a literal chore to listen through. Based on the promo sheet, maybe that’s the point, but whether Cattle Hammer achieved their goal is irrelevant.4 Dark Thoughts with Lights Out is a bad album.

Rating: 1.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: Bandcamp | Ampwall | Facebook | Instagram
Releases Worldwide: February 6th, 2026

English is fairly adequate for basic communication, but it falls short for niche communities. In the same way that skiers repurpose “powder” or “carve” and gamers repurpose “own” or “sweaty,” metal fans break and contort language to suit our needs. We talk about “filthy” guitar tones and “razor sharp” riffs, discuss “cavernous” production and “suffocating” weight, and use violent imagery—bleeding ears, caved in skulls—to denote quality. So when I read phrases like “slow, painful march,” “soporific1 dirge,” and “empty decades between chords” on the promo sheet for debut Dark Thoughts with Lights Out, I thought Cattle Hammer was just employing a little dialectical variance, speaking the lingo. Joke’s on me, though. They weren’t.

Based in Birmingham, UK, Cattle Hammer was formed by vocalist/guitarist Duncan Wilkins (Fukpig, Mistress) in 2023. He’s joined by I Cartwright on drums, J Wyles on guitar, and D Von Donovan on bass. Together, they mix a caustic brew of drone, doom, and sludge, but each track on Dark Thoughts with Lights Out has its own identity. “Gloomsower” leans stony, and Wilkins oscillates between deep roars and strangled croaks reminiscent of Weedeater. “Rotting” features short tremolos, although they don’t do much besides check the “blackened” box on the PR sheet. The ambient, noise-tinged intro to “Watchmen, Alone” caught my attention, but repetition of the vocal sample stunts its ability to build tension. Similarly, “Body Puzzle” ends on some interesting synths, but it’s a tough sell so late in the album. If you can’t tell, I’m really reaching for positives here, but there’s not a one that isn’t ultimately a disappointment.

Dark Thoughts With Lights Out by Cattle Hammer

Every time I thought Cattle Hammer might do something interesting or better texturize Dark Thoughts with Lights Out, they shrank from the occasion. The early lead guitar in “Gloomsower” is a bright change of pace amidst thick, doomy passages, but instead of playing a countermelody or variation on the theme or literally anything else, it just plays the same fucking riff in a higher register. This same-riff-different-instrument/key tactic is fairly common (“Rotting,” “Watchmen, Alone”). Organ (“Watchmen, Alone,” “Body Puzzle”) and piano (“Rotting”) make appearances, but fail to deliver anything justifying their inclusion. Static and feedback crop up frequently, but in Cattle Hammer’s hands, they are merely unpleasant and banal. While I was intrigued by the first sample2 and always appreciate Sheri Moon Zombie,3 Cattle Hammer’s sample usage is ham-fisted and melodramatic. Each of these ornaments gave me hope that I might soon feel something besides boredom and frustration, but invariably, Dark Thoughts with Lights Out dashed my hopes and shuffled on.

What astounds me most on Dark Thoughts with Lights Out is how avoidable many of these blunders seem. Percussion is a little lackluster, and the instruments seem a bit compressed in the mix, leaving the vocals too far in front. These aren’t deal breakers, but playing fewer riffs—I’m being generous, calling them that—in 45 minutes than I have fingers is. Structuring the front half of a song to sound like a narrative climax with no build-up or release is (“Watchmen, Alone,” “Body Puzzle”). Rhythmic density rivaling the emptiness of space is. Ambient, feedback-laden outros enough to compile an EP is. This album is ostensibly meant to convey misery and suffering, but devoid of creativity or artistic abstraction, it misses the mark that acts like Primitive Man, The Body, or Sumac hit so well. It’s as if Cattle Hammer has crafted some misguided meta experience, in which the act of listening to the music imparts the misery normally communicated through the music itself.

If there’s one thing Cattle Hammer truly excels at, it’s squandering potential. Every criticism in this review is a place where I saw an opportunity for Dark Thoughts with Lights Out to get better, only for it to stay the course. What’s even more frustrating is that, if any one of these problems weren’t a problem, it could have at least partially salvaged the album. Amidst deeply uninteresting riffs played slow enough for inter-note naps, song constructions that fail to launch, underutilized instrumentation, an impressive lack of variation, repetition ad nauseum, and a totally unjustified runtime, Dark Thoughts with Lights Out isn’t simply unremarkable or uninteresting; it’s a literal chore to listen through. Based on the promo sheet, maybe that’s the point, but whether Cattle Hammer achieved their goal is irrelevant.4 Dark Thoughts with Lights Out is a bad album.

Rating: 1.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Road to Masochist
Websites: Bandcamp | Ampwall | Facebook | Instagram
Releases Worldwide: February 6th, 2026

Full of Hell @ The Castle & Falcon, Birmingham - 11 Apr feat. Full of Hell, The Body, Jarhead Fertilizer + more

#SESH #FullofHell #TheBody #JarheadFertilizer

https://sesh.sx/e/1538446

Roadburn day 2/4.

Soooo...yeah...these earplugs definitely did their job, as this The Body show was really the 'body' of sound I expected. I have seen many LOUD performances in the past by bands like Sunn O))), Boris, Swans (Michael Gira and Kristof Hahn will play sunday!), Conan, etc. And this is definitely one for the 'loudest concerts ever' list. Also, I just loved the dark and grimm performance this duo left the audience with.

#TheBody #Roadburn #Roadburn2025 #Tilburg #RedefiningHeavyness

Sleep rewires the brain to strengthen memories https://www.earth.com/news/sleep-rewires-the-brain-to-strengthen-memories/

"Why is a good night’s sleep so crucial for a sharp memory? A team of neuroscientists has taken a major step toward answering this question."

#theMind #theBody

Sleep rewires the brain to strengthen memories https://www.earth.com/news/sleep-rewires-the-brain-to-strengthen-memories/

"Why is a good night’s sleep so crucial for a sharp memory? A team of neuroscientists has taken a major step toward answering this question."

#theMind #theBody

Sleep rewires the brain to strengthen memories https://www.earth.com/news/sleep-rewires-the-brain-to-strengthen-memories/

"Why is a good night’s sleep so crucial for a sharp memory? A team of neuroscientists has taken a major step toward answering this question."

#theMind #theBody

Sleep rewires the brain to strengthen memories https://www.earth.com/news/sleep-rewires-the-brain-to-strengthen-memories/

"Why is a good night’s sleep so crucial for a sharp memory? A team of neuroscientists has taken a major step toward answering this question."

#theMind #theBody

Sleep rewires the brain to strengthen memories https://www.earth.com/news/sleep-rewires-the-brain-to-strengthen-memories/

"Why is a good night’s sleep so crucial for a sharp memory? A team of neuroscientists has taken a major step toward answering this question."

#theMind #theBody

Exercise Boosts Memory Across All Ages - Neuroscience News https://neurosciencenews.com/exercise-memory-aging-28512/

"Yoga, Tai Chi, and exergames showed the strongest improvements in memory and cognition."

#theMind #theBody

Exercise Boosts Memory Across All Ages - Neuroscience News https://neurosciencenews.com/exercise-memory-aging-28512/

"Yoga, Tai Chi, and exergames showed the strongest improvements in memory and cognition."

#theMind #theBody

Exercise Boosts Memory Across All Ages - Neuroscience News https://neurosciencenews.com/exercise-memory-aging-28512/

"Yoga, Tai Chi, and exergames showed the strongest improvements in memory and cognition."

#theMind #theBody

Exercise Boosts Memory Across All Ages - Neuroscience News https://neurosciencenews.com/exercise-memory-aging-28512/

"Yoga, Tai Chi, and exergames showed the strongest improvements in memory and cognition."

#theMind #theBody

Exercise Boosts Memory Across All Ages - Neuroscience News https://neurosciencenews.com/exercise-memory-aging-28512/

"Yoga, Tai Chi, and exergames showed the strongest improvements in memory and cognition."

#theMind #theBody

I appropriately saved this #NewMusic album for the #Bundestagwahl2025 today, because I am fearing the worst outcome. 😬

#DoomMetal singer #DisFig from #Berlin, #Germany collaborated with #noise #industrial #ElectronicMusic duo #TheBody from #Portland, #Oregan for this apocalyptic #artwork.

Dis Fig & The Body performed their wall of sound in the #Audiotree🌲 studio live, an amazing platform for worldwide music discovery, I wish Audiotree was here on :mastodon: Mastodon. 🙏
https://disfig.bandcamp.com/album/orchards-of-a-futile-heaven/

For people who enjoyed The Crying Out of Things from the body last year, they have a new album out soon with intensive Care. I don't know anything about intensive Care, but the single on the Bandcamp pre-order page is promising.

Was I Good Enough? from the body, intensive Care - out 14 March.

https://thebody.bandcamp.com/album/was-i-good-enough

#TheBody #IntensiveCare #ExperimetalMetal
Cc @SteveClough

For people who enjoyed The Crying Out of Things from the body last year, they have a new album out soon with intensive Care. I don't know anything about intensive Care, but the single on the Bandcamp pre-order page is promising.

Was I Good Enough? from the body, intensive Care - out 14 March.

https://thebody.bandcamp.com/album/was-i-good-enough

#TheBody #IntensiveCare #ExperimetalMetal
Cc @SteveClough

Helemaal fantastisch waren #TheBody & #DisFig. De laatste niet te verwarren met #Fizzgig en de eerste niet met #FransTimmermans in een oude hoodie achter een tafeltje met electronica, af en toe in de microfoon gillend als een #Nazgûl. Live erg goed.

https://youtu.be/wVL1QNa8BfI

#LeGuessWho

4 stories that were good. I enjoyed 3 of them. Apt Pupil is not so much something one enjoys, but rather uses to inoculate oneself from ignorance that evil exists. Shawshank was addicting. The Body had characters you care about, even tho they toss off slurs. The Breathing Method is short and a bit oblong. But once it gets to Xmas, the story sinks its teeth.

I think i recom...

https://bookwyrm.social/user/Scofisticated/review/5684186/s/difficult-but-well-done#anchor-5684186
#Bookstodon @bookstodon #Books #StephenKing #Shawshank #TheBody #AptPupil #TheBreathingMethod

Back to the cool artwork. Fantastic collaboration album.....
#TheBody And #BigBrave – Leaving None But Small Birds cd on #ThrillJockey 2021

http://thebody.bandcamp.com/album/leaving-none-but-small-birds

Big|Brave- A Chaos of Flowers Review

By Dear Hollow

In respect to last year’s excellent Nature Morte, A Chaos of Flowers feels like fallout. While tracks like “Carvers, Ferriers, and Knaves” and “The Fable of Trusting” offered tension and devastation in ways that set brute force at just another place at the crooked wooden table, Big|Brave offer an even more subdued album – a direct response to its predecessor, and an even more spiritual successor to their collaboration with The Body, Leaving None But Small Birds. Americana is a specter that haunts every movement of A Chaos of Flowers, leaving a trail of footprints through crunchy leaves as metamorphic rain falls upon tired Appalachia. In short, Big|Brave offers a place, humid and cold, rooted in founding members Robin Wattie and Matthieu Ball’s acoustic folk-oriented beginnings.

The Montreal trio has always offered what they coin “massive minimalism,” and A Chaos of Flowers represents its most minimalist offering. Big|Brave does away with earthshaking, mountainous compositions of drone riffs in favor of an evocative, simmering, and otherworldly experience. In ways that recall Portal’s dichotomy of Avow and Hagbulbia, A Chaos of Flower’s vibe is more about feeling than punishment, channeling the poetry of renowned thinkers and writers as well as original lyrics, portraying the struggle of life in Robin Wattie’s tormented wails and whispery croons. A retraction of its predecessor’s punishment, A Chaos of Flowers finds Big|Brave acknowledging its folk roots in a subdued noisy palette that is nonetheless meditative and populated by voices of whispering pines.

Big|Brave does not intend punishment. Each track features minimal percussion, driven by swaths of noise and gentle guitar. Original lyrics find themselves in only “Canon: In Canon” and “Quotidian: Solemnity,” the other tracks featuring poetry from Emily Dickinson, E. Pauline Johnson, Renee Vivien, and other female writers from traditionally marginalized communities. In the past, although Wattie’s vocals have always featured their own spotlight, listeners could simply focus on the mountainous riffs – A Chaos of Flowers is rawer, more subdued, and focused on storytelling through the lens of the marginalized. The emphasis on poetry and prose contrasts the trio’s more upfront lyrics that have dominated past albums, in that it confronts uncomfortable experiences and existential contemplation rather than explicit calls for change. Big|Brave attacks listeners with its words, not its riffs.

Bluesy folk and Americana dominate the chord progressions, while gentle guitar in “Moonset” and “Canon: In Canon” guide the proceedings. Beneath the crushing noise of “Not Speaking of the Ways” and “I Felt a Funeral” lies the remains of a southern rock song, lamented in the shades of the pines, while the spidery leads of “Chanson Pour Mon Ombre” and “Theft” lend themselves to the fingers of atmosphere atop drone’s calloused hands. Big|Brave excels in creating a place, piece by piece, with Wattie’s vocals the guide to surviving the Appalachian winter. A Chaos of Flowers feels like the light on the icy grass blades after the first hard frost of spring that was Nature Morte, chilling and more disconcerting than the knowledge of the cold. Distortion taints the light throughout, as “I Felt a Funeral” and “Theft” offer plaintive vulnerability twisted under hopeless lyrics.

Big|Brave submit an odd release with A Chaos of Flowers, as its existence relies on its predecessor – nuclear winter after the war of many casualties. As such, it does not do well to stand alone, and interlude “A Song for Marie, Part III” feels unnecessary while some tracks don’t feel cohesive with the whole. However, it’s composed intelligently, as the two original pieces are the closest to the trio’s avant-drone sound as we get, serving as respective climaxes to the meditation of the surrounding poetry. Somehow, like Reverend Kristin Michael Hayter’s stripped-down debut last year, Big|Brave’s vulnerability feels even more stark than its riff-dominated past. Its existence relies on another recording, so it likely won’t make many lists this year, but it serves as an intriguing companion piece to one of last year’s best offerings. A challenging book of poetry to proudly display on your shelves.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: STREAM
Label: Thrill Jockey Records
Websites: bigbrave.ca | facebook.com/bigbravemusic
Releases Worldwide: April 19th, 2024

#2024 #35 #AChaosOfFlowers #Americana #Apr24 #BigBrave #CanadianMetal #DroneMetal #Folk #GothicAmericana #Noise #Portal #ReverendKristinMichaelHayter #Review #Reviews #TheBody

Big|Brave- A Chaos of Flowers Review

By Dear Hollow

In respect to last year’s excellent Nature Morte, A Chaos of Flowers feels like fallout. While tracks like “Carvers, Ferriers, and Knaves” and “The Fable of Trusting” offered tension and devastation in ways that set brute force at just another place at the crooked wooden table, Big|Brave offer an even more subdued album – a direct response to its predecessor, and an even more spiritual successor to their collaboration with The Body, Leaving None But Small Birds. Americana is a specter that haunts every movement of A Chaos of Flowers, leaving a trail of footprints through crunchy leaves as metamorphic rain falls upon tired Appalachia. In short, Big|Brave offers a place, humid and cold, rooted in founding members Robin Wattie and Matthieu Ball’s acoustic folk-oriented beginnings.

The Montreal trio has always offered what they coin “massive minimalism,” and A Chaos of Flowers represents its most minimalist offering. Big|Brave does away with earthshaking, mountainous compositions of drone riffs in favor of an evocative, simmering, and otherworldly experience. In ways that recall Portal’s dichotomy of Avow and Hagbulbia, A Chaos of Flower’s vibe is more about feeling than punishment, channeling the poetry of renowned thinkers and writers as well as original lyrics, portraying the struggle of life in Robin Wattie’s tormented wails and whispery croons. A retraction of its predecessor’s punishment, A Chaos of Flowers finds Big|Brave acknowledging its folk roots in a subdued noisy palette that is nonetheless meditative and populated by voices of whispering pines.

Big|Brave does not intend punishment. Each track features minimal percussion, driven by swaths of noise and gentle guitar. Original lyrics find themselves in only “Canon: In Canon” and “Quotidian: Solemnity,” the other tracks featuring poetry from Emily Dickinson, E. Pauline Johnson, Renee Vivien, and other female writers from traditionally marginalized communities. In the past, although Wattie’s vocals have always featured their own spotlight, listeners could simply focus on the mountainous riffs – A Chaos of Flowers is rawer, more subdued, and focused on storytelling through the lens of the marginalized. The emphasis on poetry and prose contrasts the trio’s more upfront lyrics that have dominated past albums, in that it confronts uncomfortable experiences and existential contemplation rather than explicit calls for change. Big|Brave attacks listeners with its words, not its riffs.

Bluesy folk and Americana dominate the chord progressions, while gentle guitar in “Moonset” and “Canon: In Canon” guide the proceedings. Beneath the crushing noise of “Not Speaking of the Ways” and “I Felt a Funeral” lies the remains of a southern rock song, lamented in the shades of the pines, while the spidery leads of “Chanson Pour Mon Ombre” and “Theft” lend themselves to the fingers of atmosphere atop drone’s calloused hands. Big|Brave excels in creating a place, piece by piece, with Wattie’s vocals the guide to surviving the Appalachian winter. A Chaos of Flowers feels like the light on the icy grass blades after the first hard frost of spring that was Nature Morte, chilling and more disconcerting than the knowledge of the cold. Distortion taints the light throughout, as “I Felt a Funeral” and “Theft” offer plaintive vulnerability twisted under hopeless lyrics.

Big|Brave submit an odd release with A Chaos of Flowers, as its existence relies on its predecessor – nuclear winter after the war of many casualties. As such, it does not do well to stand alone, and interlude “A Song for Marie, Part III” feels unnecessary while some tracks don’t feel cohesive with the whole. However, it’s composed intelligently, as the two original pieces are the closest to the trio’s avant-drone sound as we get, serving as respective climaxes to the meditation of the surrounding poetry. Somehow, like Reverend Kristin Michael Hayter’s stripped-down debut last year, Big|Brave’s vulnerability feels even more stark than its riff-dominated past. Its existence relies on another recording, so it likely won’t make many lists this year, but it serves as an intriguing companion piece to one of last year’s best offerings. A challenging book of poetry to proudly display on your shelves.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: STREAM
Label: Thrill Jockey Records
Websites: bigbrave.ca | facebook.com/bigbravemusic
Releases Worldwide: April 19th, 2024

#2024 #35 #AChaosOfFlowers #Americana #Apr24 #BigBrave #CanadianMetal #DroneMetal #Folk #GothicAmericana #Noise #Portal #ReverendKristinMichaelHayter #Review #Reviews #TheBody

Big|Brave- A Chaos of Flowers Review

By Dear Hollow

In respect to last year’s excellent Nature Morte, A Chaos of Flowers feels like fallout. While tracks like “Carvers, Ferriers, and Knaves” and “The Fable of Trusting” offered tension and devastation in ways that set brute force at just another place at the crooked wooden table, Big|Brave offer an even more subdued album – a direct response to its predecessor, and an even more spiritual successor to their collaboration with The Body, Leaving None But Small Birds. Americana is a specter that haunts every movement of A Chaos of Flowers, leaving a trail of footprints through crunchy leaves as metamorphic rain falls upon tired Appalachia. In short, Big|Brave offers a place, humid and cold, rooted in founding members Robin Wattie and Matthieu Ball’s acoustic folk-oriented beginnings.

The Montreal trio has always offered what they coin “massive minimalism,” and A Chaos of Flowers represents its most minimalist offering. Big|Brave does away with earthshaking, mountainous compositions of drone riffs in favor of an evocative, simmering, and otherworldly experience. In ways that recall Portal’s dichotomy of Avow and Hagbulbia, A Chaos of Flower’s vibe is more about feeling than punishment, channeling the poetry of renowned thinkers and writers as well as original lyrics, portraying the struggle of life in Robin Wattie’s tormented wails and whispery croons. A retraction of its predecessor’s punishment, A Chaos of Flowers finds Big|Brave acknowledging its folk roots in a subdued noisy palette that is nonetheless meditative and populated by voices of whispering pines.

Big|Brave does not intend punishment. Each track features minimal percussion, driven by swaths of noise and gentle guitar. Original lyrics find themselves in only “Canon: In Canon” and “Quotidian: Solemnity,” the other tracks featuring poetry from Emily Dickinson, E. Pauline Johnson, Renee Vivien, and other female writers from traditionally marginalized communities. In the past, although Wattie’s vocals have always featured their own spotlight, listeners could simply focus on the mountainous riffs – A Chaos of Flowers is rawer, more subdued, and focused on storytelling through the lens of the marginalized. The emphasis on poetry and prose contrasts the trio’s more upfront lyrics that have dominated past albums, in that it confronts uncomfortable experiences and existential contemplation rather than explicit calls for change. Big|Brave attacks listeners with its words, not its riffs.

Bluesy folk and Americana dominate the chord progressions, while gentle guitar in “Moonset” and “Canon: In Canon” guide the proceedings. Beneath the crushing noise of “Not Speaking of the Ways” and “I Felt a Funeral” lies the remains of a southern rock song, lamented in the shades of the pines, while the spidery leads of “Chanson Pour Mon Ombre” and “Theft” lend themselves to the fingers of atmosphere atop drone’s calloused hands. Big|Brave excels in creating a place, piece by piece, with Wattie’s vocals the guide to surviving the Appalachian winter. A Chaos of Flowers feels like the light on the icy grass blades after the first hard frost of spring that was Nature Morte, chilling and more disconcerting than the knowledge of the cold. Distortion taints the light throughout, as “I Felt a Funeral” and “Theft” offer plaintive vulnerability twisted under hopeless lyrics.

Big|Brave submit an odd release with A Chaos of Flowers, as its existence relies on its predecessor – nuclear winter after the war of many casualties. As such, it does not do well to stand alone, and interlude “A Song for Marie, Part III” feels unnecessary while some tracks don’t feel cohesive with the whole. However, it’s composed intelligently, as the two original pieces are the closest to the trio’s avant-drone sound as we get, serving as respective climaxes to the meditation of the surrounding poetry. Somehow, like Reverend Kristin Michael Hayter’s stripped-down debut last year, Big|Brave’s vulnerability feels even more stark than its riff-dominated past. Its existence relies on another recording, so it likely won’t make many lists this year, but it serves as an intriguing companion piece to one of last year’s best offerings. A challenging book of poetry to proudly display on your shelves.

Rating: 3.5/5.0
DR: n/a | Format Reviewed: STREAM
Label: Thrill Jockey Records
Websites: bigbrave.ca | facebook.com/bigbravemusic
Releases Worldwide: April 19th, 2024

#2024 #35 #AChaosOfFlowers #Americana #Apr24 #BigBrave #CanadianMetal #DroneMetal #Folk #GothicAmericana #Noise #Portal #ReverendKristinMichaelHayter #Review #Reviews #TheBody

Full of Hell – Coagulated Bliss Review

By Dolphin Whisperer

If you’ve been following the modern grindcore scene in any fashion over the past fifteen years, then you’ve at least heard of Maryland’s high-output, low-trend grindmongers Full of Hell. Collaborating or splitting space with everyone from tough punks Code Orange1 to Japanese static spinner Merzbow to pneumatic pulse demons The Body, Full of Hell scrapes ideas from every corner in the extreme music space to fuel the iterative process of the twenty to thirty-minute burners that are their “full-length” releases. In the truest sense, this eclectic and thirsty act follows the crack of their own whip, but when it comes to the stage that bears only Full of Hell in title, the path steers a touch more straightforward, though not quite predictable. Nevertheless, with the dial cranked to grind and a color palette that screams anti-monochromatic, does Coagulated Bliss amass all the right parts?

In many ways Coagulated Bliss is the Full of Hell we’ve come to expect, its bleeding extremities of punch-and-cackle powerviolence (“Doors to Mental Agony”), playful industrial deathgrind (“Fractured Bonds to Mecca”), drag ’em bleeding sludge (“Bleeding Horizon”), and unshackled grindcore (“Vomiting Glass”) congealing into a boisterous sonic injection. However, much like higher-treble back half of 2021’s Garden of Burning Apparitions and the whole of 2022’s Aurora Leaking from an Open Wound continued, Full of Hell has adopted a stronger penchant for groove and noise rock-infused, treble-loaded licks. No, Full of Hell does not suddenly sound like Melvins or The Jesus Lizard, but this incorporation of twangy, tasty tunes does help them come across more like the barking, manic side of Today Is the Day on a mystery bag of pills with one labeled ‘grindcore’ (“Coagulated Bliss,” “Gelding of Man”).2 And though the average BPM may render a bit lower than the most aggressive Full of Hell releases, but that doesn’t stop them from sneaking in a Discordance Axis riff or six.

A shift like this requires smart songwriting and a production job highlighting the force of new convictions. Freed from the chains of Kurt Ballou’s (Converge) hammering soundboard touch, both the growling lows and warm, twisting highs find new space to hook with vicious intent (“Half Life of Changelings,” “Coagulated Bliss”), ironically in the manner similar to 00s Converge classics like Jane Doe or Axe to Fall. And though Dave Bland’s (Jarhead Fertilizer) kit has remained reliably savage throughout Full of Hell’s catalog, booming industrial reverb cranks the assault of the most martial tracks (“Doors to Mental Agony,” “Fractured Bonds to Mecca,” “Gelding of Men”), and the traditionally speedy numbers, murderous cymbal crashes lay littered with interjecting tom scatters and cymbal drives that drill the ears with loving precision. Whether Full of Hell is channeling Thou (“Bleeding Horizon”) or Terrorizer (“Gasping Dust”), the space and pace of each moment feels natural in its intensity, a stark contrast to the oppressive landscape in which this band has previously existed.

However more approachable it may seem, Coagulated Bliss isn’t a turn toward the accessible. If anything, this breezier distillation of Dylan Walker’s paint-stripping shrieks and gutter punk tongue-lashing puts his inimitable incantations3 at the forefront in a frighteningly catchy way. With rhythms to which you could reasonably twerk, 4 it’s easier than ever to pick up a lyrics sheet and at least try to croak (inadvisably) along to the hypnotic swing of “Doors to Mental Agony” or provide the demonic guttural accompaniment to “Schizoid Rupture.” At first, this did make Ross Dolan’s (Immolation) punchy verse contribution on “Gasping Dust” and Jacob Bannon’s (Converge) goblin garble on “Malformed Ligature” feel like slightly lesser cuts. But with time and repeat exposure, the resplendence that Full of Hell can find in this soured worldview pours through these late-album swings all the same.

As a long-time enjoyer of Full of Hell, I’ve always hoped to come across one of their records that could feel like an ‘any day’ kind of jam. These contemporary torchbearers have always seemed to scoff at the notion though, with each of their efforts brimming and bursting with a talent so raw and crushing that the zig-zag experience would come across as impressive rather than attachable. Expansive in soundscape, focused in its weird expression, and reliable in foothold to the grind, Coagulated Bliss feeds a shredded, rocking, great time effortlessly.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Closed Casket Activities | Bandcamp
Website: fullofhell.com | fullofhell.bandcamp.com | facebook.com/fullofhell
Releases Worldwide: April 26th, 2024

#2024 #40 #AmericanMetal #Apr24 #ClosedCasketActivities #CoagulatedBliss #Converge #Deathgrind #DiscordanceAxis #FullOfHell #Grind #Grindcore #IndustrialDeathgrind #JarheadFertilizer #Melvins #NoiseRock #Review #Reviews #Sludge #Terrorizer #TheBody #TheJesusLizard #TheMelvins #Thou #TodayIsTheDay #Turian

Full of Hell – Coagulated Bliss Review

By Dolphin Whisperer

If you’ve been following the modern grindcore scene in any fashion over the past fifteen years, then you’ve at least heard of Maryland’s high-output, low-trend grindmongers Full of Hell. Collaborating or splitting space with everyone from tough punks Code Orange1 to Japanese static spinner Merzbow to pneumatic pulse demons The Body, Full of Hell scrapes ideas from every corner in the extreme music space to fuel the iterative process of the twenty to thirty-minute burners that are their “full-length” releases. In the truest sense, this eclectic and thirsty act follows the crack of their own whip, but when it comes to the stage that bears only Full of Hell in title, the path steers a touch more straightforward, though not quite predictable. Nevertheless, with the dial cranked to grind and a color palette that screams anti-monochromatic, does Coagulated Bliss amass all the right parts?

In many ways Coagulated Bliss is the Full of Hell we’ve come to expect, its bleeding extremities of punch-and-cackle powerviolence (“Doors to Mental Agony”), playful industrial deathgrind (“Fractured Bonds to Mecca”), drag ’em bleeding sludge (“Bleeding Horizon”), and unshackled grindcore (“Vomiting Glass”) congealing into a boisterous sonic injection. However, much like higher-treble back half of 2021’s Garden of Burning Apparitions and the whole of 2022’s Aurora Leaking from an Open Wound continued, Full of Hell has adopted a stronger penchant for groove and noise rock-infused, treble-loaded licks. No, Full of Hell does not suddenly sound like Melvins or The Jesus Lizard, but this incorporation of twangy, tasty tunes does help them come across more like the barking, manic side of Today Is the Day on a mystery bag of pills with one labeled ‘grindcore’ (“Coagulated Bliss,” “Gelding of Man”).2 And though the average BPM may render a bit lower than the most aggressive Full of Hell releases, but that doesn’t stop them from sneaking in a Discordance Axis riff or six.

A shift like this requires smart songwriting and a production job highlighting the force of new convictions. Freed from the chains of Kurt Ballou’s (Converge) hammering soundboard touch, both the growling lows and warm, twisting highs find new space to hook with vicious intent (“Half Life of Changelings,” “Coagulated Bliss”), ironically in the manner similar to 00s Converge classics like Jane Doe or Axe to Fall. And though Dave Bland’s (Jarhead Fertilizer) kit has remained reliably savage throughout Full of Hell’s catalog, booming industrial reverb cranks the assault of the most martial tracks (“Doors to Mental Agony,” “Fractured Bonds to Mecca,” “Gelding of Men”), and the traditionally speedy numbers, murderous cymbal crashes lay littered with interjecting tom scatters and cymbal drives that drill the ears with loving precision. Whether Full of Hell is channeling Thou (“Bleeding Horizon”) or Terrorizer (“Gasping Dust”), the space and pace of each moment feels natural in its intensity, a stark contrast to the oppressive landscape in which this band has previously existed.

However more approachable it may seem, Coagulated Bliss isn’t a turn toward the accessible. If anything, this breezier distillation of Dylan Walker’s paint-stripping shrieks and gutter punk tongue-lashing puts his inimitable incantations3 at the forefront in a frighteningly catchy way. With rhythms to which you could reasonably twerk, 4 it’s easier than ever to pick up a lyrics sheet and at least try to croak (inadvisably) along to the hypnotic swing of “Doors to Mental Agony” or provide the demonic guttural accompaniment to “Schizoid Rupture.” At first, this did make Ross Dolan’s (Immolation) punchy verse contribution on “Gasping Dust” and Jacob Bannon’s (Converge) goblin garble on “Malformed Ligature” feel like slightly lesser cuts. But with time and repeat exposure, the resplendence that Full of Hell can find in this soured worldview pours through these late-album swings all the same.

As a long-time enjoyer of Full of Hell, I’ve always hoped to come across one of their records that could feel like an ‘any day’ kind of jam. These contemporary torchbearers have always seemed to scoff at the notion though, with each of their efforts brimming and bursting with a talent so raw and crushing that the zig-zag experience would come across as impressive rather than attachable. Expansive in soundscape, focused in its weird expression, and reliable in foothold to the grind, Coagulated Bliss feeds a shredded, rocking, great time effortlessly.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Closed Casket Activities | Bandcamp
Website: fullofhell.com | fullofhell.bandcamp.com | facebook.com/fullofhell
Releases Worldwide: April 26th, 2024

#2024 #40 #AmericanMetal #Apr24 #ClosedCasketActivities #CoagulatedBliss #Converge #Deathgrind #DiscordanceAxis #FullOfHell #Grind #Grindcore #IndustrialDeathgrind #JarheadFertilizer #Melvins #NoiseRock #Review #Reviews #Sludge #Terrorizer #TheBody #TheJesusLizard #TheMelvins #Thou #TodayIsTheDay #Turian

Full of Hell – Coagulated Bliss Review

By Dolphin Whisperer

If you’ve been following the modern grindcore scene in any fashion over the past fifteen years, then you’ve at least heard of Maryland’s high-output, low-trend grindmongers Full of Hell. Collaborating or splitting space with everyone from tough punks Code Orange1 to Japanese static spinner Merzbow to pneumatic pulse demons The Body, Full of Hell scrapes ideas from every corner in the extreme music space to fuel the iterative process of the twenty to thirty-minute burners that are their “full-length” releases. In the truest sense, this eclectic and thirsty act follows the crack of their own whip, but when it comes to the stage that bears only Full of Hell in title, the path steers a touch more straightforward, though not quite predictable. Nevertheless, with the dial cranked to grind and a color palette that screams anti-monochromatic, does Coagulated Bliss amass all the right parts?

In many ways Coagulated Bliss is the Full of Hell we’ve come to expect, its bleeding extremities of punch-and-cackle powerviolence (“Doors to Mental Agony”), playful industrial deathgrind (“Fractured Bonds to Mecca”), drag ’em bleeding sludge (“Bleeding Horizon”), and unshackled grindcore (“Vomiting Glass”) congealing into a boisterous sonic injection. However, much like higher-treble back half of 2021’s Garden of Burning Apparitions and the whole of 2022’s Aurora Leaking from an Open Wound continued, Full of Hell has adopted a stronger penchant for groove and noise rock-infused, treble-loaded licks. No, Full of Hell does not suddenly sound like Melvins or The Jesus Lizard, but this incorporation of twangy, tasty tunes does help them come across more like the barking, manic side of Today Is the Day on a mystery bag of pills with one labeled ‘grindcore’ (“Coagulated Bliss,” “Gelding of Man”).2 And though the average BPM may render a bit lower than the most aggressive Full of Hell releases, but that doesn’t stop them from sneaking in a Discordance Axis riff or six.

A shift like this requires smart songwriting and a production job highlighting the force of new convictions. Freed from the chains of Kurt Ballou’s (Converge) hammering soundboard touch, both the growling lows and warm, twisting highs find new space to hook with vicious intent (“Half Life of Changelings,” “Coagulated Bliss”), ironically in the manner similar to 00s Converge classics like Jane Doe or Axe to Fall. And though Dave Bland’s (Jarhead Fertilizer) kit has remained reliably savage throughout Full of Hell’s catalog, booming industrial reverb cranks the assault of the most martial tracks (“Doors to Mental Agony,” “Fractured Bonds to Mecca,” “Gelding of Men”), and the traditionally speedy numbers, murderous cymbal crashes lay littered with interjecting tom scatters and cymbal drives that drill the ears with loving precision. Whether Full of Hell is channeling Thou (“Bleeding Horizon”) or Terrorizer (“Gasping Dust”), the space and pace of each moment feels natural in its intensity, a stark contrast to the oppressive landscape in which this band has previously existed.

However more approachable it may seem, Coagulated Bliss isn’t a turn toward the accessible. If anything, this breezier distillation of Dylan Walker’s paint-stripping shrieks and gutter punk tongue-lashing puts his inimitable incantations3 at the forefront in a frighteningly catchy way. With rhythms to which you could reasonably twerk, 4 it’s easier than ever to pick up a lyrics sheet and at least try to croak (inadvisably) along to the hypnotic swing of “Doors to Mental Agony” or provide the demonic guttural accompaniment to “Schizoid Rupture.” At first, this did make Ross Dolan’s (Immolation) punchy verse contribution on “Gasping Dust” and Jacob Bannon’s (Converge) goblin garble on “Malformed Ligature” feel like slightly lesser cuts. But with time and repeat exposure, the resplendence that Full of Hell can find in this soured worldview pours through these late-album swings all the same.

As a long-time enjoyer of Full of Hell, I’ve always hoped to come across one of their records that could feel like an ‘any day’ kind of jam. These contemporary torchbearers have always seemed to scoff at the notion though, with each of their efforts brimming and bursting with a talent so raw and crushing that the zig-zag experience would come across as impressive rather than attachable. Expansive in soundscape, focused in its weird expression, and reliable in foothold to the grind, Coagulated Bliss feeds a shredded, rocking, great time effortlessly.

Rating: 4.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Closed Casket Activities | Bandcamp
Website: fullofhell.com | fullofhell.bandcamp.com | facebook.com/fullofhell
Releases Worldwide: April 26th, 2024

#2024 #40 #AmericanMetal #Apr24 #ClosedCasketActivities #CoagulatedBliss #Converge #Deathgrind #DiscordanceAxis #FullOfHell #Grind #Grindcore #IndustrialDeathgrind #JarheadFertilizer #Melvins #NoiseRock #Review #Reviews #Sludge #Terrorizer #TheBody #TheJesusLizard #TheMelvins #Thou #TodayIsTheDay #Turian

automatic : little or no direct human control

autonomic : acting or occurring involuntarily

#theMind #theBody #AI_gen #ML

automatic : little or no direct human control

autonomic : acting or occurring involuntarily

#theMind #theBody #AI_gen #ML

automatic : little or no direct human control

autonomic : acting or occurring involuntarily

#theMind #theBody #AI_gen #ML

automatic : little or no direct human control

autonomic : acting or occurring involuntarily

#theMind #theBody #AI_gen #ML

automatic : little or no direct human control

autonomic : acting or occurring involuntarily

#theMind #theBody #AI_gen #ML

Brain Drain: Measuring the Energy Consumption of Our Thinking Minds

https://neurosciencenews.com/brain-energy-thinking-23147/

"Tracing oxygen consumption, the brain accounts for about 20% of the body’s energy consumption, despite only representing 2% of its weight." -- #NeuroscienceNews

#theMind #theBody #science

Brain Drain: Measuring the Energy Consumption of Our Thinking Minds

https://neurosciencenews.com/brain-energy-thinking-23147/

"Tracing oxygen consumption, the brain accounts for about 20% of the body’s energy consumption, despite only representing 2% of its weight." -- #NeuroscienceNews

#theMind #theBody #science

long overdue #introduction

Hello! Marco here, I'm a #Berlin based artist, performer and scholar focused on body, sound and technology. I've been working since the early 2000s across #mediaart #performanceart #theater #robotics and #interactivecomputermusic.

I like to write about #aesthetics #technology #criticaldisabilitystudies and #thebody.

I also play #bassmusic with #Dadub and #avantgardemetal as Leiche. And I'm a #latedeafened nerd.

Love #trees and #books, hate #capitalism and #racism.

long overdue #introduction

Hello! Marco here, I'm a #Berlin based artist, performer and scholar focused on body, sound and technology. I've been working since the early 2000s across #mediaart #performanceart #theater #robotics and #interactivecomputermusic.

I like to write about #aesthetics #technology #criticaldisabilitystudies and #thebody.

I also play #bassmusic with #Dadub and #avantgardemetal as Leiche. And I'm a #latedeafened nerd.

Love #trees and #books, hate #capitalism and #racism.

long overdue #introduction

Hello! Marco here, I'm a #Berlin based artist, performer and scholar focused on body, sound and technology. I've been working since the early 2000s across #mediaart #performanceart #theater #robotics and #interactivecomputermusic.

I like to write about #aesthetics #technology #criticaldisabilitystudies and #thebody.

I also play #bassmusic with #Dadub and #avantgardemetal as Leiche. And I'm a #latedeafened nerd.

Love #trees and #books, hate #capitalism and #racism.