#tuatha-de-danann — Public Fediverse posts

Cliodhna

Also known as Clidna, Clionadh, Cliona, & transliterated to English as Cleena.

In Irish mythology, she’s a queen of the Banshees of the Tuatha De Danann. Cliodhna of Carrigcleena is the potent banshee that rules as queen over the sioga (fairies) of South Munster, or Desmond.

In some Irish myths, Cliodhna is a goddess of love & beauty, & the patron of County Cork. She’s said to have 3 brightly colored birds who eat apples from an otherworldly tree & whose sweet song heals sickness. She had her palace in the heart of a pile of rocks, 5 miles (8 km) from Mallow, which is still commonly known by the name of Carrig-Cleena. Numerous legends about her are told among the Munster peasantry, who considered her their benefactor.

In general, it’s been observed that Cliodhna is especially associated with old Irish families of Munster. Cliodhna has long been associated with the lands that had been the territory of the Ui-FIdgheinte (O’Donovans & O’Collins) during their period of influence (circa 373-977). Or were later associated with what had been the Ui-FIdgheinte territory (MacCarthy’s & FitzGeralds).

Cliodhna is also associated with the MacCarthy dynasty of Desmond, who adopted her as their fairy woman, & the O’Keeffes & FitzGerald dynasty, with whom she had amorous affairs.

Surviving traditions of Cliodhna in narrative & poetry associate her with the O’Keeffes & O’Donovans. The latter, originally from Ui Fidgenti in North Munster with its own traditions, where their original goddess was Mongfind, later moved south to Carbery on Cuan Dor Harbor. Cliodhna’s traditional abode was on the South Munster coast, & she then features in poetry associated with them. The O’Keeffe narrative tradition is more extensive & Cliodhna has other Desmond associations too.

This legend is recorded in Acallam no Senorach (“Colloquy of the Ancients”), the longest-surviving work of medieval Irish literature. During the time of the Fianna, Ciabham of the Curling Hair, son of the King of Ulster. Fianna were small warrior-hunter bands in Gaelic Ireland during the Iron Age & early Middle Ages.

Ciabham decided to leave Ireland by currach (boat). But encounter great white waves as big as mountains. He was saved from the sea by a rider on a dark grey horse with a golden bridle. They then reached Tir Tairgire (“the land of promise”), an otherworldly land ruled by Manannan, their king.

Ciabham is entertained at a feast within Manannan’s city. The chief druid, Gebann, had a daughter named Cleena of the Fair Hair. When she fell in love with him & agreed to leave with him the next day. Together they sailed to Teite’s Strand in Ireland. Ciabhan went on shore to hunt & left Cleena in the boat. The people of Manannan pursued them in ships.

1 of them treacherously played music, which caused Cleena to fall asleep. Then a great wave came & swept her away. The place was then Tonn Chliodha (“Cliodna’s Wave”), which is near Glandore Harbor. Whether or not she drowned depends on the version being told.

The Book of Lismore tells that Tiegue was the son & heir of Cain, the king of West Munster. During a raid by an enemy from a faraway land, many people were abducted & enslaved. Tiegue & his warriors set out to rescue them. After rowing for 9 weeks (that’s 2 months & 1 week), they arrived in a strange land called Inis Derglocha (Red Ioch Island).

There, Tiegue meets several luminaries from Ireland’s mythical past. The final person they encounter introduces herself as “Cleena Fairhead, daughter of Genann Mac Treon of the Tuatha de Denann, sweetheart of Eochaid Redweapon’s son Ciabhan the curling locks; for now some time I am in this island, & from me ‘Cleena’s Wave’ in the borders of Munster is denominated.”

She gives them 3 birds to guide them & provide music, as well as an emerald cup that transforms water into wine. She warns that if Tiegue is parted from the cup, he’ll die soon after. Tiegue & his warriors depart the island,& after rescuing their kinsmen, they return home victorious.

In the early 8th century, in Feur-magh-Feine (now Fermoy), there lived Draoi Fuadh, the last of the Druids. He assisted the King of Munster by summoning a great storm to drive back their enemies. As a reward for his service, the king granted the Druid the title of Prince of Fermoy.

The Druid had 2 accomplished & beautiful daughters: Cleena (the oldest), who could transform creatures into any form she pleased & was titled “the queen of the fairies.” The younger daughter was called Aoivil (Aibel) & was her inseparable companion.

Caiov (O’Keefe) was a prince accomplished in mind & body, who inherited a neighboring territory. He was in the Druid’s palace & liked to join in, in which he was often victorious. This attracted the admiration of the Druid & his daughters.

Both sisters fell in love with O’Keeffe. Cleena expressed her love openly & discussions began with her dad about their marriage. Aoivil secretly fell in love & worked to gain his affection with her innocent arts. Caiov fell deeply in love with Aoivil. But Cleena quickly discovered this.

Because of her jealousy, Cleena called on the oldest of her nurses to curse her innocent sister. Aoivil was stricken with sickness & loss of her beauty. Cleena pretended to help her with a powerful sleep mixture, which caused Aoivil’s apparent death. Aoivil was laid in a coffin & displayed before the Druid & his wife, who were filled with profound sorrow.

She was then laid to rest in a tomb under the palace. Cleena & the nurse entered the tomb by a secret entrance & moved the still unconscious Aoivil to the cave at Castlecor (5 miles/8 km northeast of Kanturk). When revived, Aoivil was told she would be imprisoned there until she forgot about Caiov. Cleena, seeing it may be impossible to make Aoivil forget, & in a fit of jealousy, she transformed Aoivil into a beautiful white cat.

Cleena magically changed the cave into a palace. So her sister may bear her suffering more easily. The cave at Castlecor was said to be filled with treasures of gold & silver, watched over by a white cat that sat on a throne. Cleena told Aoivi that fallen in battle with the Danes. But Aoivil remained in love with him. For the space of 1 week a year at midsummer, Aoivil transformed back to her true form.

Visitors to the cave sometimes saw the cast residing in the Palace surrounded by treasure. But were forced out by a mighty wind or invisible force. When Caiov heard of her supposed death, he was filled with sorrow. The Druid & his wife were overcome with grief & brought to an untimely grave.

After due time, Caiov & Cleena were married with much rejoicing. Together, they had 3 kids & lived in happiness. However, the old nurse fell dangerously ill & her conscience forced her to confess everything to Caiov. The prince went to Cleena, but she refused to release her sister.

Cleena admitted she was unable to return her sister to her true form as she had lost her precious wand. (Total Harry Potter vibes!) This caused an irreconcilable division between Caiov & Cleena & after some time she retired to her fairy palace at Carrigcleena.

Caiov would often come to ask forgiveness & for the release of Aoivil. Cleena remained unable to lift the enchantment. But it’s said that if 1 were to come who truly loved Aoivil more than her treasures, the enchantment would be lifted. Cleena still visits Aoivil & while Aoivil briefly resumes her human form, the sisters are happy together.

In the legend of Ellen O’Brien & Fitz-Gerald, Fitz-Gerald was a youthful chieftain who lived by the banks of the Shannon, County Limerick. He was widely known to be brave, hospitable, & generous. As well as an accomplished harp player.

Ellen O’Brien was the only daughter of a chief whose power had crumbled under the Saxon invasion. Fitz-Gerald loved her & stole her heart with his harp playing. Cleena also desired Fitz-Gerald & resolved to bring him to her unseen hall. On a festival day, a dark cloud came down, enveloped Fitz-Gerald & carried him away.

For months, no trace of him could be found & it was generally believed he was taken by enchantment. None felt greater sorrow than Ellen O’Brien, who sought the help of a wizard who lived in Kerry, who communed with beings from the other world.

The wizard told her that Fitz-Gerald had been taken to Cleena’s favorite residence at Carrigcleena. Ellen travelled to that place & pleaded to die at the foot of the rock if she was denied. Cleena was moved & afterward had many happy kids.

In 1736, the wedding of John Fitzjames (Fitzgerald) & Isabel Butler was held. As the wedding was nearing the end, John dropped dead at Isabel’s feet. All in attendance were shocked. It was believed he’d been transported in spirit to Fairyland.

Friends & associates of the couple attempted to make contact with fairies to try to bring him back. Caitileen Dubh Keating & her daughter Caitileen Oge went to Carrigcleena to contact Cleena. They covered their clothes in tar & rolled themselves in feathers of different colors.

They saw Cleena face-to-face & they demanded the return of John. But Cleena firmly refused, saying she would keep him for herself. While there are several versions of the story, Robert D. Joyce’s poem has a happy ending with Cleena releasing the groom named Gerald Fitzgerald, Earl of Desmond. In 1 version, Caitileen Oge was the bride.

The most traditional story of the Blarney Stone involves Cliodhna. Cormac Laidir MacCarthy, the builder of Blarney Castle, being involved in a lawsuit, appealed to Cliodhna for her assistance. She told him to kiss the 1st stone he found in the morning on his way to court, & he did so, with the result that he pleaded his case with great eloquence & won.

Thus the Blarney Stone is said to impart “the ability to deceive without offending.” He then incorporated it into the parapet of the castle. To be fair, Cliodhna doesn’t get credit for all the blarney of the MacCarthys. Queen Elizabeth I noted in frustration that she couldn’t effect a negotiation with Cormac MacCarthy, whose seat was Blarney Castle, as everything he said was ‘Blarney, as he says he doesn’t mean.”

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Sorry, but I can’t resist: It was in the month of May that I sat down to review the newest album by the British folk-rockers Albion, titled It Was In The Month of May I.1 This gaggle of self-declared whippersnappers blew this reviewer away with their 2024 album Lakesongs of Elbid. What started as an unassuming filter piece grew on me more and more to the point it made my (and my co-conspirator Killjoy’s) end-of-year list. Albion’s timeless, joyful folk-rock music has enjoyed constant rotations in the Hugebeard tower since then, and so a new album has been a hotly anticipated affair. Now that it’s in our hands, has Albion continued their trend for quality?

For those unfamiliar with Albion, they play a flute-heavy, wistful sort of progressive folk-rock that draws an obvious comparison to Jethro Tull and reminds me a great deal of Big Big Train. For those a little more familiar, it’s worth mentioning that It Was In The Month of May has somewhat toned down the already limited metal crunch that graced Lakesongs of Elbid. Rest assured, this is no criticism, as this album remains energetic and adventurous in all the right ways. The opening prelude, “Mis Mai,” followed by the first true foray into the album’s essence, “The Green Knight,” demonstrate Albion’s sonic strengths right out of the gates. “Mis Mai” highlights the dulcet pipes of Joe Parrish-James as he lathers the song’s Welsh lyrics in decadent velvet, while “The Green Knight” starts the album in usual Albion fashion with grandiose flute melodies explored atop galloping guitar strumming.

What I love about Albion’s music, and what they maintain in It Was In The Month of May, is a sense of effortlessness. The music is fun, it’s accessible, it’s breezy, it’s comfortably warm and full of well-crafted little moments so crisp and yet so obvious it almost makes you wonder how no one else thought of it first. The pub-rock verse of “Down With The Hero” and the epic call-and-response between the flutes and guitars in the middle of “Calan Mai” come especially to mind. In the album’s longer songs, Albion are quite eager to just let the music run free through the meadow in spacious explorations of riffs and solos, but it never feels aimless. The melodies of “The Green Knight” and “Eldest” in particular see the guitars and flutes bounce merrily along in an endless up-and-down like the rolling hills stretching before you as you prepare for adventure. The closer, “Calan Mai,” is the longest at ten minutes, but even at its most unrestrained, the song’s melodies wield graceful finality in a way that always feels satisfying.

It Was In The Month of May is almost 20 minutes shorter than its predecessor, Lakesongs, which makes for an overall cleaner listening experience. However, the album’s pacing does waver a little by over-saturating the latter half with lower-energy tunes. I really quite love “Hymn to Elbereth,” as it has this gently twisting nature to it that happily makes me think of Glass Hammer, but it’s misplaced between the otherwise pleasantly acoustic “She Is The River” and the ballad “Cherry Hill,” making for an overly languid sequence of songs. “Cherry Hill” in particular leans a bit too heavily on chorus repetition for its six-minute runtime. Still, the album ends on the right note with “Calan Mai,” and there are no other noteworthy structural issues or damaging patterns affecting the album. However, I simply must mention the “la-da-da’s” and “doo-do-do’s” in the chorus of “Down With The Hero.” I don’t mind vocalizations at all and they work perfectly well as little interstitial passages like in “Eldest,” but I find it to be a heavily misguided choice for them to carry the chorus of the album’s most upbeat song.

It Was In The Month of May is warm, adventurous, inviting, and once again, and I simply cannot stress this enough, extraordinarily British. While this album never gripped me quite like Lakesongs of Elbid did, the final word on this review is nevertheless one of eager positivity. Albion is a band I tend to think of no matter the musical flavor I’m looking for, and It Was In The Month of May only furthers that trend. This is music that is just so pleasant to listen to, no matter the day, and there are some damn good bangers to be found here for any fan of folk, British rock, or prog.

Rating: Good!
DR: 8 | Format Reviewed: FLAC
Label: Self-Release
Websites: official | facebook | bandcamp
Releases Worldwide: May 26th, 2026

Killjoy

In the year 2021, I unexpectedly became acquainted with the debut EP of a very special folk rock group from England. The potential that Albion showed on Pryderi was immediately obvious, and I longed for more. My wish was granted in 2024 by the whopping 70-minute full-length debut Lakesongs of Elbid, for which my esteemed colleague (and now review partner), Mystikus Hugebeard, wrote a splendid filter piece. Albion has wasted no time since then, here to regale our ears again with cheery tunes. It Was in the Month of May seeks to honor the magical time of year when spring sunsets and will soon cede to warmer temperatures.

Albion’s music is wholesome for the soul, whispering to the part of human consciousness that yearns for carefree meadows and being in nature. They primarily achieve this through the exquisite pairing of flute and guitars (both acoustic and electric). This, of course, invites comparisons to Jethro Tull,2 although Albion perhaps hews a bit closer to folk music. Take, for example, the beautiful acoustic guitar fingerpicking and Welsh singing3 in “Mis Mai.” Further, Albion plays a more modernized style of rock than Jethro Tull. “Down with the Hero” is a rousing, ultra-catchy pub rock number and the guitarwork in “The Green Knight” is elaborate, sounding like a slightly slower and proggier Dark Forest. The way that Albion harmoniously blends the old with the new is genuinely refreshing.

It Was in the Month of May similarly succeeds in striking a balance between humble and epic. In both the quiet and upbeat moments, there is an air of unassuming regality. Therefore, it makes perfect sense that Albion composed a pair of songs about Tolkien’s characters Tom Bombadil and his wife, Goldberry. “Eldest (Tom Bombadil)” contains gorgeous guitar and flute swells evoking endless verdant hillsides, as well as a Celtic folk-influenced jig reminiscent of Tuatha de Danann or Braia. “She Is the River (Goldberry)” is entirely acoustic and percussion-less (save for hand claps), with sunny guitar strumming and pleasantly poetic lyrics. Continuing with Tolkien subject matters, “Hymn to Elbereth” features vocal harmonization by Joe and Rhiannon Parrish-James which is as fair as the elves who Frodo, Sam, and Pippin overheard singing these very words in The Fellowship of the Ring. Rhiannon adds her voice to Joe’s at various other times throughout the record, and I would love to hear her take center stage in the future.

Overall, It Was in the Month of May is sharper and more focused than its predecessor. As much as I loved Lakesongs of Elbid, opening with a 9-and-a-half minute instrumental track didn’t help it find its footing. “The Green Knight,” the first full song here, isn’t much shorter but its structure is more disciplined, never wavering from its gallant, galloping theme. The other 8+ minute songs, “Eldest (Tom Bombadil)” and “Calan Mai,” also mostly justify their lengths, although the latter feels a bit meandering towards the end. But the larger issue with “Calan Mai” has to do with the track that precedes it. “Cherry Hill (Maya II)” hits like a lullaby, which might have been okay if it were 3 minutes instead of 6, so it ends up stifling the momentum leading into the ornate concluding track. I do appreciate that, with a total runtime of 52 minutes, It Was in the Month of May is easier to listen to in one sitting.

It Was in the Month of May is great for drifting away and forgetting one’s troubles for a while. The uplifting compositions are easy on the ears while offering bountiful details to uncover during return visits. “Cherry Hill (Maya II)” is the main thing holding it back from unqualified greatness. That said, if Albion continues refining their songcraft at this pace, the next album will surely shatter our score safety counter. So, kick back and enjoy time outside with loved ones. It Was in the Month of May is an excellent way to ring in summer in the Northern Hemisphere.

Rating: 3.5/5.0

Celtic legends claim the Tuatha Dé Danann once lived in Greece before migrating across Europe to rule Ireland. Were they mythical gods—or ancient travelers remembered in myth?
#CelticMythology #TuathaDeDanann #AncientHistory #HiddenHistory #Mythology
Reed more:https://www.ancient-origins.net/articles/tuatha-de-danann-0

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

#Celtic #FolkloreThursday: #Ogma mac Elathan, son of Delbaeth, is according to #Irish tradition the inventor of the #Ogham script. This `Son of Art` was not only extremely famous in the art of speech and poetry, but also an athletic `trénḟer`, a `power man`. In the battle of #MagTuired he fought on the side of the #TuathaDéDanann against #Bres and his #Fomorians.
Source: Helmut Birkhan `Die #Kelten`

#Celtic #MythologyMonday for #MuseumDay: „In #Irish #mythology, the #TuathaDéDanann were said to have played hurling with their enemies, the Fir Bolg, before the Battle of Moytura commenced.
According to Lady Gregory in her book, Of Gods and Fighting Men, this is what happened:
“It was on a Midsummer day they began the battle. Three times nine hurlers of the Tuatha de Danaan went out against three times nine hurlers of the Firbolgs, and they were beaten, and every one of them was killed.”
So the Fir Bolg won the game, but unfortunately for them, went on to lose the battle. In some versions, they actually played with the heads of their enemies, instead of a ball.“
Source: Ali Isaac

#MythologyMonday: The #TuathaDéDanann `refined the art of brewing until the ale of their smith and brewer #Goibniu was strong enough to endow the drinker with immortality. #Irish epics connect ale with the festival of #Samhain, when the boundaries between this world and the #Otherworld were blurred.`
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore`

The Tuatha De Danann in an Ars Magica Saga

(You'll have to forgive my diacritical mauling of the Irish tongue throughout this piece; I'm writing a piece for casual roleplaying-game-player consumption, and so won't be spending the time to ensure my written pronunciations are on point)

When I first agreed to run a game set in Hibernia (which I will be using to refer to Mythic Ireland as established in The Contested Isle, reserving the term "Ireland" for the real land and culture) I thought I had a pretty good handle on "Irish [...]

https://magica.winds.blue/2024/05/the-tuatha-de-danann-in-an-ars-magica-saga/

#Celtic #MythologyMonday: After #Lugh joined their ranks, the #TuathaDéDanann were optimistic of winning the power struggle against the Fomorians.
#Lugh led the attack in the great final battle of Mag Tuired, where he killed his grandfather #Balor of the Evil Eye. Lugh, generally recognized as a harvest god, was also a god of arts and crafts.

#FairyTaleTuesday: The #TuathaDéDanann `refined the art of brewing until the ale of their smith and brewer #Goibniu was strong enough to endow the drinker with immortality. #Irish epics connect ale with the festival of #Samhain, when the boundaries between this world and the #Otherworld were blurred.`
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore`

#LegendaryWednesday: `#Carman was said to have been one of the earliest rulers of #Ireland, a mighty but destructive sorceress whose three sons were equally distressing: darkness (Dub), wickedness (Dothur), and violence (Dian). Together they maliciously blighted Ireland’s corn until the people of the goddess #Danu, the #TuathaDéDanann, mustered sufficient magic to drive Carman’s sons from the land.`
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore`
https://twitter.com/McDonaghNikki/status/1238101988900036608?t=ch_aG-MOCVxir6YQ_ZYSiA&s=09

#FairyTaleTuesday: `The #TuathaDéDanann sent a bard against #Carman, but he failed to stop the destructive energy of this sorceress. Then a satirist came, but he too failed. Finally the sorceress Bé Chuille cast a spell sufficient to undo Carman’s. Upon hearing that her sons had been killed, Carman died of grief.`
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore`
https://twitter.com/TheMythologyMa1/status/1358465329463242752?t=mhvENCdogdPqRFE57yIkEA&s=09

Nua-#CelticSoulJourney in #Ireland: `Despite the enmity between the #TuathaDéDanann and the mighty but destructive sorceress #Carman, a great festival was staged in her honor, called the Óenach Carman, whose site has been variously located on the Curragh in Co. #Kildare and
on the plains of the River Barrow in the same county, suggesting that she was a force to be propitiated. Similar festivals were also staged in honor of the goddesses Tailtiu and Tlachtga. As earth goddesses, they may have represented the dying vegetation that fed humanity, suggesting an ancient connection of such goddesses to the harvest season.` 
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore` 
https://twitter.com/irishspiritmag/status/1582763488744988672?t=E464EIMQHl34zv-S8-G11A&s=09

Nua-#CelticSoulJourney in #Ireland: `The #TuathaDéDanann sent a bard against #Carman, but he failed to stop the destructive energy of this sorceress. Then a satirist came, but he too failed. Finally the sorceress Bé Chuille cast a spell sufficient to undo Carman’s. Upon hearing that her sons had been killed, Carman died of grief.` 
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore` 
https://twitter.com/TheMythologyMa1/status/1358465329463242752?t=mhvENCdogdPqRFE57yIkEA&s=09

Nua-#CelticSoulJourney in #Ireland: `#Carman was said to have been one of the earliest rulers of #Ireland, a mighty but destructive sorceress whose three sons were equally distressing: darkness (Dub), wickedness (Dothur), and violence (Dian). Together they maliciously blighted Ireland’s corn until the people of the goddess #Danu, the #TuathaDéDanann, mustered sufficient magic to drive Carman’s sons from the land.` 
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore` 
https://twitter.com/McDonaghNikki/status/1238101988900036608?t=ch_aG-MOCVxir6YQ_ZYSiA&s=09
On the An Slí Charman-Trail, , County Wexford, photocredit 1. Neu-Kelte

#Celtic #MythologyMonday: The three god-doctors Diancécht and his two sons Òc-Tríal and Míach, as well as Diancécht's daughter Airmed, had cast their spells over Tobar Sláine (Well of Health), the life spring of the #TuathaDèDanann. Their magic was so powerful that the injured of the Second Battle of #Moytura and even the dead were restored in the spring.
After the spring pot was plugged by stones on the advice of the Fomórian prince Òctríallach, (creating the Heapstown Cairn/`The Cairn of Octriallach`), the Loch Luibe 'hole of herbs' formed from the spring, so called because of the herbs placed there by Diancécht.
Source: Helmut Birkhan `#Kelten`
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RT @[email protected]
#DianCécht
God of healing for the Tuatha Dé Danann and son of the Dagda according to the Dindsenchas. He was the father of Cu, Cethen and Cian. Grandfather of Lugh Lamhfada and maker of the silver arm of Nuada ...
Loved blue stones in his jewellery. https://twitter.com/dublinmacker/status/1271833770560233472

„In #Irish #mythology, the #TuathaDéDanann were said to have played hurling with their enemies, the Fir Bolg, before the Battle of Moytura commenced.
According to Lady Gregory in her book, Of Gods and Fighting Men, this is what happened: “It was on a #Midsummer day they began the battle. Three times nine hurlers of the Tuatha de Danaan went out against three times nine hurlers of the Firbolgs, and they were beaten, and every one of them was killed.”
So the Fir Bolg won the game, but unfortunately for them, went on to lose the battle. In some versions, they actually played with the heads of their enemies, instead of a ball.“
Source: Ali Isaac #Celtic #SummerSolstice

The three god-doctors Diancécht and his two sons Òc-Tríal and Míach, as well as Diancécht's daughter Airmed, had cast their spells over Tobar Sláine (Well of Health), the life spring of the #TuathaDèDanann. Their magic was so powerful that the injured of the Second Battle of #Moytura and even the dead were restored in the spring.
After the spring pot was plugged by stones on the advice of the Fomórian prince Òctríallach, (creating the Heapstown Cairn/`The Cairn of Octriallach`), the Loch Luibe 'hole of herbs' formed from the spring, so called because of the herbs placed there by Diancécht.
Source: Helmut Birkhan `#Kelten`
https://twitter.com/dublinmacker/status/1271877134848532486
https://twitter.com/NeuKelte/status/1553502397716111360?t=3zyqWqb7CJW698SrX9uQOQ&s=09

At #Beltane, the #Milesians landed as the 6th immigrant group in #Ireland. They bowed to the #TuathaDéDanann kings and retreated 9 waves off the island to land now `officially`. The #druids now sent spells towards the #Milesians, unleashing a hurricane.
However, the mighty #druid #Amergin made sure that the wild storm collapsed.
Source: Sylvia Botheroyd `#Ireland` #Celtic #FairyTaleTuesday
https://www.youtube.com/watch?v=da_dBySD0qc
https://twitter.com/FolkloreIreland/status/1048655788514971653?s=20&t=TPS5S8Wxyk_6X4DOoWqGYw

`The #TuathaDéDanann sent a bard against #Carman, but he failed to stop the destructive energy of this sorceress. Then a satirist came, but he too failed. Finally the sorceress Bé Chuille cast a spell sufficient to undo Carman’s. Upon hearing that her sons had been killed, Carman died of grief.`
Source: P. Monaghan `Encyclopedia of #Celtic #Mythology and #Folklore`
#FairyTaleTuesday
https://twitter.com/TheMythologyMa1/status/1358465329463242752?t=mhvENCdogdPqRFE57yIkEA&s=09

At #Beltane, the #Milesians landed as the 6th immigrant group in #Ireland. They bowed to the #TuathaDéDanann kings and retreated 9 waves off the island to land now `officially`. The #druids now sent spells towards the #Milesians, unleashing a hurricane.
However, the mighty #druid #Amergin made sure that the wild storm collapsed.
Source: Sylvia Botheroyd `#Ireland`
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RT @FolkloreIreland
After claiming unity with the land by reciting 'The Song of #Amergin' - Amergin, son of Míl, sang an Invocation praising the land. Just lik…
https://twitter.com/FolkloreIreland/status/1048655788514971653

`#Carman was said to have been one of the earliest rulers of #Ireland, a mighty but destructive sorceress whose three sons were equally distressing: darkness (Dub), wickedness (Dothur), and violence (Dian). Together they maliciously blighted Ireland’s corn until the people of the goddess #Danu, the #TuathaDéDanann, mustered sufficient magic to drive Carman’s sons from the land.
The #TuathaDéDanann sent a bard against #Carman, but he failed to stop the destructive energy of this sorceress. Then a satirist came, but he too failed. Finally the sorceress Bé Chuille cast a spell sufficient to undo Carman’s. Upon hearing that her sons had been killed, Carman died of grief.
Despite the enmity between the #TuathaDéDanann and the mighty but destructive sorceress #Carman, a great festival was staged in her honor, called the Óenach Carman, whose site has been variously located on the Curragh in Co. #Kildare and on the plains of the River Barrow in the same county, suggesting that she was a force to be propitiated.`
---
RT @McDonaghNikki
Carman is a #Celtic witch goddess of #Blackmagic . With her 3 sons, Dub (darkness) Dain (violence) Dother (evil) They wreaked havoc and venge…
https://twitter.com/McDonaghNikki/status/1238101988900036608

#Nuada, king of the #TuathaDéDanann when they first came to #Ireland, lost his arm in the first battle of #MagTuired and hence, he lost the kingship. #Credne, the #Celtic bronze smith, made a prosthesis of silver, which #Diancecht so skilfully attached that #Nuada had a fully functional arm again. Hence he was called Nuada Argat-lamh, of the Silver Hand, for ever after.
Source: https://mythicalireland.com/myths-and-legends/an-irish-myth-concordance-m-z/
https://twitter.com/TheMythologyMa1/status/1358794849881894912