Way of life
#Ataraxia
Ja, genau:
"Für diejenigen, denen die #Kultivierung der stoischen #Gelassenheit zu anstrengend ist, gibt es sogar eine Liste mit 7 Prompts für #ChatGPT, die eine #Abkürzung zur #Ataraxía verspricht."
https://54books.de/die-roemischen-kaiser-von-linkedin-das-elend-der-zeitgenoessischen-begeisterung-fuer-die-stoa/?utm_source=firefox-newtab-de-de
Autumn Tears – Crown of the Clairvoyant Review
By Twelve
One of the interesting things about writing for a heavy metal blog is the quantity—and quality—of non-metal recommendations that show up. I’ve already gone out of my way to review many a (dark/neo) folk album that’s wandered through; the conscious decision to send these our way suggests there is something here for the metal fan. But an almost fully neo-classical album is, I think, a new one,1 and its mere presence was enough to intrigue me. Autumn Tears is an international act headed by lyricist, pianist, and composer Ted Tringo that has historically ventured through gothix, classical, and darkwave waters. Since 1996, the project has ventured through many forms, but Crown of the Clairvoyant promises something new for the Tringo’s tenth full-length: an ambitious, fully neoclassical journey featuring no fewer than forty-three musicians. Metal or no metal, how do you pass that up?
I mean, if you’re a heavy metal fan who likes heavy metal, I suppose you might pass it up—though Crown of the Clairvoyant shares a grandiose and somewhat mournful theme with gothic and symphonic metal, Autumn Tears are far from a heavy group. The aforementioned forty-three musicians include a fairly light strings section, a well-stacked horns group, some woodwinds, and a few standard miscellaneous instruments—harp, oud, and piano, for example—but nearly half of the listed musicians in Crown of the Clairvoyant’s extensive credits are singers, most of them part of the Autumn Tears choir. Indeed, choral vocals are dominant throughout Crown of the Clairvoyant, a nice counterbalance to the lead singing, which is typically female soprano. This all gives Crown of the Clairvoyant a strongly organic feel; its instrumentation feels like a deliberate step away from darkwave—though the influence is still felt—and towards something altogether fresher, cleaner, and lighter.
Unlike metal-inspired orchestral projects like Blind Guardian’s Twilight Orchestra, Autumn Tears do not reach for mighty crescendos; instead, they write songs that are more like movements, guiding the listener through moments that come about organically. “The Knell of my Birth-Hymn” opens with a flurry of cello before rising and swelling to joyful heights, choirs and singers layering atop each other, swept along by a beautiful string performance. There is no particular structure for the verses, nor chorus, nor interlude; the song simply goes where it needs to, and this is a recurring idea throughout Crown of the Clairvoyant. Not that there’s no repetition or structure; most songs work within a particular theme. “Martyrdom – Catharsis (Where Gods Go to Die)” is a grandiose song dominated by the increasingly powerful verses between its refrain (not to mention a powerful organ performance). Similarly, “The Light That Shapes Us” allows the horns and woodwinds to act in tandem with the choirs to create a “chorus,” even as the lead vocals follow new and interesting paths.2 Over a mere thirty-eight minutes, Autumn Tears cover a lot of ground by allowing each song to walk its own general path.
If there’s a drawback to Crown of the Clairvoyant, it’s the other side of that coin: Crown of the Clairvoyant covers a lot of ground across a lot of songs that are written very organically. This means that some tracks are prone to wandering, and some feel like they just pass by, with no idea strong enough to make an impression. “Ancestral Premonition” is one such song, with many, many extended passages and vocal arrangements that linger too long on the same idea. Francesca Nicoli’s (Ataraxia) dramatic guest vocals3 add much to the song thematically, but her immediate, intense approach feels mismatched to the quiet wandering instrumentation. “Lunar Coronation” is the longest song at six minutes, but it feels like it never quite decides on a clear theme or idea. While the entirety of Crown of the Clairvoyant is intricate, clever, and, at minimum, pretty, its memorability feels a bit hit-or-miss as a result.
The first time I listened to Crown of the Clairvoyant, I was on an airplane over the Atlantic Ocean, half-awake and seated between two infants who evidently liked flying even less than me.4 This is not the right way to experience it. You can immerse yourself in Autumn Tears, even if you do prefer your music heavier. Some moments are stronger than others—but the whole is beautiful, and I would recommend trying Crown of the Clairvoyant and seeing how it feels. I’m not in love, but I am absolutely impressed.
Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: The Circle Music
Websites: autumntears.bandcamp.com | facebook.com/TheTrueAutumnTears
Releases Worldwide: September 22nd, 2025
#2025 #30 #Ataraxia #AutumnTears #BlindGuardianTwilightOrchestra #CrownOfTheClairvoyant #Darkwave #InternationalMetal #Neoclassical #Nightwish #Review #Reviews #Sep25 #TheCircleMusic
🇬🇧 37 tabs with music I still have to listen to in my 'Bandcamp' browser tab group.
The Infinity Ring - 'Ataraxia'
Dark folk music with a vocalist who sounds like Leonard Cohen and musically reminds me of Nick Cave & The Bad Seeds. The band also flirts with influences from no-wave, black metal, drone and noise. The resulting combination definitely works very well.
https://theinfinityring.bandcamp.com/album/ataraxia
#bandcamp #thingstolistento #TheInfinityRing #Ataraxia #darkfolk #goth #alternative #Boston #USA
Wait! Patiently enter today. Because nothing can be forced. I know that's pretty hard sometimes.
Or familiarize yourself with old Stoikers. Not in the sense of insensitivity, but of what used to be called ataraxia: a quiet flow of the stream of life.
As far as friendships are concerned: starting to actively seek them out would not be particularly helpful in my experience. However, it seems very important to me to make contacts. And one day, individual contacts can turn into friendships. This is an epiphenomenon. This cannot be forced.
This is anything but easy, it takes strength and the hope for tomorrow often seems very low.
But there are billions of people out there. It is important to find the few with whom we want to familiarize ourselves.
Ataraxia unveil new single 'Breath of Soundrops' for Saturno Butto tribute compilation #Ataraxia #SaturnoButto
https://www.side-line.com/ataraxia-breath-of-soundrops-saturno-butto/
The Infinity Ring – Ataraxia Review
By Dolphin Whisperer
The heart of heavy metal music lives in attitude, one of extreme emotions—sadness, anger, exuberance, catharsis. And in increasing trend, modern practitioners often conjure that spirit through atmosphere, which allows metal-adjacent spaces like goth rock and darkwave to strike a chord with those who typically fall for weepy music of crying guitars and mournful vocals. New England-based The Infinity Ring harbors some of these dark sounds that attract lovers of the downtrodden—twangy and folky guitar refrains, post-rock-like swells in intensity and volume—all wrapped up in a smoky and gravel-filled vocal delivery. So even though Ataraxia isn’t metal,1 despite finding home in oft-metal label Profound Lore, its sorrowful swagger threatens to stimulate the same shout and simmer all the same.
With a gothic allure and a somber, neofolk-y expression, Ataraxia carves a path down weeping corridors with a stinging chamber folk ambience and swelling post-rock trajectory. Most importantly, though, The Infinity Ring’s narrative finds the comfort of low, crackling fire on a chilly night in the gravely mic antics of band leader and guitarist Cameron Moretti. His gruff croon and low distortion twang bring to mind the noir character of Nick Cave with the patience and weathered exhale of late Leonard Cohen works. And a sense of intimacy pervades his brooding incantations, with high gain recordings providing a crackle and tickle—a comfort similar to what some find in ASMR recordings. But though the timbre and dripping legato of Moretti’s poetry may wrap like a scratchy blanket on a cold night, its words often ring more harrowing and downcast.
Whether you fall prey to Moretti’s somber lull will still fall in line with whether the stripped and screaming chamber instrumentation provides an interesting enough base. From Ataraxia’s wistful introduction of violin swirling in post-crescendo denouement (“Obsidian”) to its close through the understated swell of fragile piano guidance and drowning string ambience (“The Archway”), the focus of hazy backings and hypnotic refrains drives the primary tether. It takes until the first drum rolls of “Elysium,” about ten minutes into the album, before a sense of classic swinging movement takes hold, and even the lilting rhythmic framework sways against a post-rock guitar gathering, distant clanging bells, and bowed crescendo. And while The Infinity Ring again finds this kind of tempo-pushing jog in “The Drum,” a majority of Ataraxia exists in a chamber-adjacent space that prizes the exploration of atmosphere and texture.
Yet, for an album that exists in this compositionally softer realm, Ataraxia plays less with intense dynamics and more with a focused loudness. As a vocal-forward affair, Moretti’s reverberating croons and scowls take center stage, their higher presence sitting above the fog of acoustic plonks and muted chamber underlays. Whether it’s against the plonky lead of piano (“Nightingale,” “The Archway”), across a Wovenhand-esque strum and kick and rim clack strut (“Hymn,” “The Drum”), or amidst a looping fuzz and minimalist progression (“Revenge,” “The Window”), bassy, breath-heavy murmurings ripple and pulse and pull along these distant soundscapes. Silence as a setup, like an inhale, still finds a place in the quiet-to-calamitous post-rock aura that The Infinity Ring wears at base. But also, like breath, a natural rise and fall defines Ataraxia’s pace, its closing message of “The Archway” embodying that swift, tidal tempo.
As a journey of serene discomfort, Ataraxia walks softly bug neglects to carry that big, bombastic stick. The Infinity Ring, sticking to a diverse sonic palette to achieve its moody goals, functions as a hard-to-quantify collective of unique and thought-out sounds. Walking in a long line of attitude-based artists like Lou Reed and Tom Waits, the path that The Infinity Ring has chosen is weird, entrancing, and, above all, rich with sonic delight. So with Ataraxia, the journey is the destination. And when the mood strikes, The Infinity Ring proves a hard act to ignore.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records | Bandcamp
Websites: theinfinityring.bandcamp.com | instagram.com/theinfinityring
Releases Worldwide: March 21st, 2025
#2025 #35 #Ataraxia #ChamberMusic #Darkwave #GothicRock #LeonardCohen #LouReed #Mar25 #NickCave #PostRock #ProfoundLoreRecords #Review #Reviews #TheInfinityRing #Wovenhand
An Tóramh – Echoes of Eternal Night Review
By Steel Druhm
Coming off the titanic ass-whipping I received from atmo-doom upstarts Structure, I stumbled concussed and confuzzled right into a funeral doom bushwhacking by the unheralded Minneapolis-based two-man project, An Tóramh.1 Formed by members of Chalice of Suffering and Goatwitch, An Tóramh play brain-pulping funerary muzak draped in existential dread and gutwrenching despair, as all things should be. Echoes of Eternal Night borrows essential talismans and reliquaries from the graves of Loss, Evoken, and Ataraxie to create an emotionally deadening experience that slowly emulsifies your skeletal structure into Laffy Taffy™. This is weighty, unrelenting stuff, with massive, earth-moving riffs offset by tragically forlorn trilling and all of it vomited upon by gurgling death vocals from the sub-sub-basement of the monstorium. It’s a recipe for a deeply immersive death reverie or a total snooze-fest, depending on the relative skill of those involved. Which side of sleepytime gorilla nap bait will Echoes fall on? Let’s kick the casket tires.
After a mood-setting but overlong intro, the prime beef gets slapped down on the meat table hard with the monolithic title track. This is 7-plus-minutes of fucking HUGE funeral doom with all boxes checked and all lights blinking red like the Chernobyl control room on April 26, 1986. It’s massively heavy, menacing, and flows like molasses mixed with wet concrete. Hideous doom riffs entwine with sadboi harmonies as cymbals crash and John Suffering wretches his internal organs out. It’s harrowing and horrible, but oddly beautiful. “Desolation” runs over nine minutes, opening with an air of hope and positivity before settling into a melancholic doom plod past the graves of empires forlorn. The Candlemassive bittersweet guitar harmonies pair well with the subterranean death croaks, and just when things seem to be drifting back toward hopefulness, the rug gets pulled and you tumble back into eternal darkness.
“Shadows of Despair” is bleak and weepy, but slowly mixes in light, airy synths and strings that remind me of the Friday Night Lights soundtrack by Explosions in the Sky. It creates a strange dichotomy of moods, but it works really well. “Sea of Sorrow” is classic sadboi, melancholic funeral doom, and it blends the sour with the sweet in just the right measures to drag you under the waves. However, some issues hold Echoes of Eternal Night back from a greater triumph. As great as the title track is, no other song captures that same magical misery. “Embrace the Shadows” is quite good, and I love the heavy sighing of the riffs and how the understated symphonic elements add a touch of grandeur and scope to the music, but it doesn’t quite ascend to the same level of masterful doom. Closer “Withering in Sorrow” is an effective piece, but the production here is way worse than on the rest of the album, with the vocals almost totally buried in a much more raw sound, and it reeks of basement demo recording hijinks. Still, the last few minutes bring a deadly Celtic Frost / Triptykon element to the riffs that turns the brain into bug jelly. At just under 50 minutes, Echoes is a very tolerable length, and though every track could be trimmed, this is funeral doom, and the dour duo make good use of the elongated run times.
Anthony Copertino Jr. (Goatwitch) handles everything except vocals and does a great job across the board. His guitar work sticks closely to the original Book ov Funeral Doom, with two-ton riffs coming down hard and weepy melodic trills resounding near and far. Importantly, he knows when to drone and when to shift to a new riff, which aids the ebb and flow of the lengthy compositions. His keyboard/synth work functions as a rounding agent to smooth down the extreme edges, and he never allows them to interfere with the guitars or vocals. Drum-wise, he delivers a satisfyingly heavy, resonant thudding with dramatic cymbal work throughout.2 Meanwhile, John Suffering offers an everflowing stream of mega-deep, monstrous death roars that call to mind the immortal diSEMBOWELMENT. He doesn’t change things up much, but he’s effectively inhuman and anchors the miserable sound palette.
Echoes of Eternal Night is a very successful debut with moments of top-tier funeral doom, and no track turns into a grave collapse. The twosome behind An Tóramh know how to make this oh-so-niche genre compelling and unexpectedly listenable. If you need more unhappiness in your life, this is an album you can wallow in like a doom hog in the tears of the crestfallen. Wrestle that sadpig, poser!
Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Black Lion
Websites: antoramhblacklion.bandcamp.com | facebook.com/antoramh
Releases Worldwide: May 9th, 2025
#2025 #35 #AmericanMetal #AnTóramh #Ataraxia #BlackLionRecords #CelticFrost #ChaliceOfSuffering #diSEMBOWELMENT #DoomMetal #EchoesOfEternalNight #Evoken #FuneralDoomMetal #Loss #May25 #Review #Reviews #Triptykon
𝑳𝒊𝒕𝒆𝒓𝒂𝒓𝒚 𝑵𝒐𝒎𝒂𝒅𝒔: 𝑪𝒂𝒓𝒑𝒆 𝑨𝒍𝒍 𝑶𝒗𝒆𝒓 𝒕𝒉𝒆 𝑷𝒍𝒂𝒄𝒆 -
How far away are we from the original meaning of carpe diem? And does it matter?
https://waywordsstudio.com/podcasts/waywords_podcast/carpe-all-over-the-place/
#carpediem #seizetheday #deadpoetssociety #philosophy #epicureanism #horace #tohiscoymistress #ataraxia
“And you watch the waves
And you sing to me
As we sink”
Goddamn, I love this song 🖤
« The just man is most free from disturbance, while the unjust is full of the utmost disturbance. »
— Epicurus
🔗 · https://poligraf.tumblr.com/post/736993407296274432/the-just-man-is-most-free-from-disturbance-while
#quotes #Epicurus #justice #serenity #ataraxia #InnerPeace #virtue #morality
« By a tranquil mind I mean nothing else than a mind well ordered. »
― Marcus Aurelius
@dolagasape #ataraxia ... que hermosa palabra...
del idioma de Cervantes
« The just man is most free from disturbance, while the unjust is full of the utmost disturbance. »
— Epicurus
🔗 · https://poligraf.tumblr.com/post/736993407296274432/the-just-man-is-most-free-from-disturbance-while
#quotes #justice #Epicurus #serenity #ataraxia #InnerPeace #morality
Warum Philosophen ***löcher sind, die unsere Probleme nicht lösen werden
https://www.youtube.com/watch?v=WH3JEWEFC3k
#Theorie #Hegel #Luhmann #WasIstPhilosophie #Philosophiteheorie #Philosophiegeschichte #Ataraxia #Apatheia #Unerschütterlichkeit #Unbewegtheit #Coolness #Maskulinismus #Einordnen #Reaktionslosigkeit #NullResponsivität
🖤 Ataraxia: Un Ritual de Oscuridad y Elegancia en su Regreso a Chile 🖤
El @blondieclubcl se convirtió en el epicentro de la cultura gótica, con un espectáculo que transportó a los asistentes a otras dimensiones. 🎶✨
Sumérgete en nuestra reseña y galería de fotos de esta mágica noche en nuestra web: https://acortar.link/9IC70t
📝 @DeathHusar
📸 Francisco Ferreira
#Ataraxia #ClubBlondie #Rockaxis #GothicMusic #Neoclassical #Darkwave #Chile
🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1825587434907713960#m
🎸 ¡Ataraxia regresa a Chile! 🎶
Este sábado 17 de agosto a las 21:00 hrs, @blondieclubcl trae de vuelta a Ataraxia, la icónica banda italiana de géneros gótico y medieval. Tras casi dos décadas, regresan a Chile para presentar su "Centaurea Tour".
🎟️ Entradas disponibles en http://blondietickets.cl.
🔗 Conoce más detalles en nuestra web 👉🏼https://acortar.link/5q4S9Q
#Ataraxia #CentaureaTour #Rockaxis
🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1824280393375175139#m
Ataraxia unveils brand new 'Ignis Pater' lyric video featured on 29th album 'Centaurea' #Ataraxia
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