JON NÖDVEIDT (DISSECTION) WITH STUART ANSTIS (CRADLE OF FILTH) & ASTENNU (DIMMU BORGIR) (1997)
Backstage on the “Gods of Darkness” tour with Dissection and Dimmu Borgir, circa 1997. Stuart Anstis is on the left, Jon Nödtveidt is in the middle and Astennu is on the right.
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REPULSIVE RECORDS Cool to find this on Facebook. I was the store owner, and had it between 2005-2010. ...
READ THE WHOLE STORY HERE: https://defendersofoldschoolmetal.blogspot.com/2025/05/repulsive-records-2005-2010.html
😁 Souris ! La banane !
→ https://danstonchat.com/quote/%f0%9f%98%81-souris-la-banane.html
eska: Franchement, je suis sur que 80% des gens ne travaille pas dans ce qu’ils voulaient faire initialement, ou dans ce quoi ils ont fait leurs études
CherryWingNLR: Techniquement, j’ai finit par travailler dans ce que je voulais en étant petit, sur un hasard total ^^
Magus: Je voulais être vétérinaire. Puis en SVT on a disséqué une souris. Mon estomac ma subtilement fait comprendre de changer d’idée
eska: Nous on avait disséqué une banane
eska: C’est moins sensationnel
🎸 Ah, "Nevermind," the album where we all pretended to be #music connoisseurs while actually just nodding along to distorted noise. Fast forward to 2025, and we're still dissecting #grunge like it's Beethoven's 9th—because who wouldn't want to waste time on major chords? 🎤🔍
https://farina00.github.io/essays/nevermind/ #Nevermind #Dissection #MusicConnoisseurs #MajorChords #HackerNews #ngated
By Mark Z.
As a U.S. government employee, I’ve spent way too much time lately thinking about RIFs and not enough time thinking about riffs. Fortunately, Finland’s Urn is here to change that. Helmed by vocalist, bassist, and former guitarist Jarno Hämäläinen (a.k.a. “Sulphur”), this black/thrash troupe raised hell throughout the 2000s via albums like 666 Megatons and Dawn of the Devastation, both of which blasted with reckless abandon and hit with all the subtlety of a hand grenade. After years of silence following 2008’s Soul Destroyers, the group returned with a revamped lineup and more melodic sound on 2017’s The Burning, resulting in a rousing collection of blackened thrash anthems that was bogged down a bit by songwriting that often felt too cut-and-paste. With 2019’s Iron Will of Power, another revamped lineup helped Sulphur better combine the group’s newfound melodic tendencies and more raucous sensibilities, making for a career-high that sounded like the forgotten little brother of Deströyer 666. On their sixth album, Demon Steel, Urn returns after six years to continue down that same path, mixing the black/thrash of yore with melodies even a folk metal fan could enjoy. But have they taken things too far?
FUKK NO! Rather, Demon Steel is one of those rare late-career albums that shows an extreme band maturing into something more complex, interesting, and catchy, all while still remaining vicious enough to satisfy those poser-crushers in our midst. The basic sound here largely remains the same: frantic and rushing guitars combined with fast and pummeling drums, tossed together with snarled vocals and a sense of epic fury. The soaring melodies that often appeared in the choruses of Iron Will remain; yet here, the addition of a second guitarist has allowed Urn to craft compositions that are more intricate than ever. Early highlight “Are You Friends With Your Demons” proves that it needs neither a question mark nor a decent title to succeed, commanding attention with the layered guitars of its chorus and the supreme melody that appears after that refrain’s second and third iteration.
And fortunately, plenty of the other nine tracks are just as strong. “Heir of Tyrants,” “Burning Blood’s Curse,” and “Ruthless Paranoia” offer perhaps the best example of Urn’s heightened maturity, as each song combines fierce riffing worthy of Aura Noir with sugary lead guitars that could have appeared on a Children of Bodom album. Turning the throttle further into overdrive, “Iron Star” and “Turbulence of Misanthropy” charge forward on bouts of galloping, heavy-as-fuck riffs that sound like Iron Maiden dipped in molten steel, with the latter even offering some melodic black metal moments that recall Dissection. Even the album’s introduction, “Retribution of the Dead,” is a winner, creating an effective buildup with immense chords, pounding drums, and snarls of “Rise!”
Overall, there’s little to complain about here. In addition to delivering plenty of swirling solos, returning guitarist “Axeleratörr” works alongside new axeman “Pestilent Slaughter” to absolutely stuff these 44 minutes with great ideas, resulting in a record that probably contains more unique leads and riffs than the band’s first two albums combined. Sulphur once again sounds venomous and commanding, though perhaps a bit more croaky and aged than before. That doesn’t stop him from pushing himself, however, by embellishing songs like “Wings of Inferno” and “Heir of Tyrants” with powerful clean wails that make things feel extra mighty. The only real downside is that, with every track trying to be a big epic fist-raiser, things get a tad tiresome eventually. The closer, “Predator of Spiritforms,” feels a bit overshadowed by its predecessors, and while the mid-paced stomp of “Wings of Inferno” offers a bit of late-album variety, I’d still love to have just one straight-ahead rager in the second half. Fortunately, the production is great, with a clear, balanced, and powerful sound that emphasizes the crystalline leads while giving the riffs plenty of bite.
It’s been exciting to watch Urn grow from a pretty basic black/thrash band to one of the few older groups left in the style still producing worthwhile music. While I’ll always love the hammering and explosive sound of their early stuff, Demon Steel shows the band crafting songs that are more exciting, memorable, and well-written than anything they’ve done before. The result is a truly fantastic release that’s sure to please everyone from diehard Desaster fans to casual blogreaders just looking for some good fukkin music to distract themselves from all the bullshit out there today. Push play, crank that volume, and BANG YOUR FUKKIN HEADS!
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions | Bandcamp
Websites: facebook.com/urnofficial | instagram.com/urnmetal
Releases Worldwide: March 28th, 2025
#2025 #40 #AuraNoir #BlackMetal #ChildrenOfBodom #DemonSteel #Desaster #Destroyer666 #Dissection #FinnishMetal #IronMaiden #Mar25 #OsmoseProductions #Review #Reviews #ThrashMetal #Urn
🇪🇸Las láminas Lankester (LCDP-Lankester Composite Dissection Plate) es algo que he empezado a hacer recientemente. Aquí os dejo la que he creado de “Laurus nobilis” para el Jardín Botánico Atlántico de Xixón.
🍃
🇬🇧Recently, I’ve started to make some Lankester plates (LCDP-Lankester Composite Dissection Plate). Here you can see the one I did about “Laurus nobilis” for Atlantic Botanical Garden of Gijón.
#LCDP #Lankester #nature #botany #flowers #fotografia #naturaleza #plants #science #dissection
✂️ Dudeney's 120-year-old dissection puzzle solution proves optimal
https://phys.org/news/2025-03-dudeney-year-puzzle-solution-optimal.html
Kryptan – Violence, Our Power Review
By Tyme
Atmospheric black metal band Kryptan is the brainchild of multi-instrumentalist and thirty-plus-year Swedish metal scene veteran Mattias Norrman. Having spent a decade (1999-2009) as the bassist for Katatonia, Norrman is now most known for his guitar work in October Tide and Moondark. Long influenced and fascinated by black metal, however, especially the Norwegian and Swedish scenes of the nineties, Kryptan represents a passion project, providing Norrman an outlet for yet another avenue of extreme exhibition. Formed in 2020 with fellow October Tide and Moondark vocalist Alexander Högbom, Kryptan released a 2021 self-titled EP with Debemur Morti Productions. Blurbily described by new label Edged Circle Productions as ‘children of the plague and enthusiasts of the sinister,’ Kryptan prepares to offer an official statement of intent with its debut album, Violence, Our Power. Having covered Moondark‘s thirty-years-in-the-making debut album,1 I was excited to write my first review with some connective tissue on the bone, which left me with only one question: is Kryptan any good?
Kryptan‘s black metal comes draped in the heaviest of Swedish shrouds. Full of dissonantly lilting strums that float and sway among trilly leads and punk-edgy riffs (“Det är döden som krävs”), Norrman tosses in a dash of speedy Dissection (“Violence, Our Power”) here and a sprinkle of Shining (“Vägen til’ våld”) there to spice up the chalice of blood you’ll drink from during the full-on Watainic rite that is Violence, Our Power. Leave the noisome, Rabid Death’s Curse-like rawness in the basement, Kryptan wears its Sworn to the Dark heart on its sleeve, reveling in Lawless Darkness levels of sonic worship. A deftly injected dose of keyboards rounds out Kryptan‘s sonic palette, adding compelling synth-phonics without ever spilling over into complete Ihsahn-mode. And while Christian Larsson’s mix doesn’t leave much room for Norrman’s bassinations to surface,2 there’s a bottom-heavy warmth to the sound on Violence, Our Power that works, allowing Victor Parri’s capable session drum work to drive the synth-infused riffastation.
Mattias Norrman’s trachea-crushing grip on conjuring a swanky Swedish black metal sound means Violence, Our Power is an album full of highlights, and still, Alexander Högbom’s vocal performance elevates the package with voracious variety.3 Högbom manifests his inner Erik Danielsson effectively across the entire Violence, Our Powerscape, lending extra menace to the guttural growls of the chorus from “I Hope They Die” to the Kvarforthian wailings of “Vägen til’ våld,” the pain emoted in his languished shouts and howls (“The Miracle Inside” and “Purge”) is all but undeniable.
Violence, Our Power is a strong enough album that it would have held its own against anything released in the Swedish scene from 2005 to 2010. While this indicates, nearly fifteen years later, that Kryptan is not at all interested in pushing the boundaries of black metal to new heights, I give them points for executing at such a high level. From the just-enough-to-leave-me-wanting-more runtime of forty minutes to the cover art, a beautifully rendered ink illustration by German occult artist Ikosidio, Violence, Our Power is the total package and would have had me dropping cold hard cash sight unheard back in the day. My critiques, though minor, lie mainly with the unnecessary intro, “The Unheard Plea from Thousands of Broken Hands,” and the sheer derivative veneration of Watain worship on display, which could turn some listeners off.4
I was so impressed by Violence, Our Power that I wondered why it took Norrman so long to execute his black metal vision. Kryptan has not produced anything so groundbreaking as to land at the top of any year-end lists, but I’ll be damned if it’s not worth your time. Those yearning for that pre The Wild Hunt era Watain sound would be well-advised to listen to Kryptan‘s Violence, Our Power. The super catchy chorus of album closer “Let Us End This” will cling to the synapses of your brain long after the album has ended and what better way to end this review than by citing my favorite song, my eyes and ears sharply peeled for what Kryptan does next.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Edged Circle Productions | Bandcamp
Websites: kryptan.bandcamp.com | kryptan.net
Releases Worldwide: February 14, 2025
#2025 #35 #AtmosphericBlackMetal #BlackMetal #Dissection #EdgedCircleProductions #Feb25 #Kryptan #Review #Shining #SwedishMetal #ViolenceOurPower #Watain
In 2014, the fate of an 18-month old giraffe garnered international attention. Marius’ death & #dissection continues to spark debate about captive animal management in #zoos
Read my article on the sticky ethics of zoo animal euthanasia here: #Multispecies #anthropology https://rai.onlinelibrary.wiley.com/doi/full/10.1111/1467-8322.12938
📻radio, podcast🎙️ C'est la classe ! une dissection de la bourgeoisie ce mardi à 20h: Pour ce cinquième volet, nous abordons la question de l'éducation et du capital culturel. Nous nous intéresserons aux écoles des bourgeois et à la… #Bourgeoisie #Éducation #CapitalCulturel #Dissection #Sociologie
C'est la classe ! une dissecti...
Album of the Day: DISSECTION - Storm of the Light's Bane. 🌨 🐎 #metal #blackmetal #dissection 🎧: https://www.youtube.com/watch?v=bCp6N7xjH-A
First #Dissection Of The World’s Rarest #Whale Reveals They Have 9 Stomach Chambers. As well as tiny vestigial teeth in the upper jaw.
The marine mammal was a spade-toothed whale, Mesoplodon traversii, the rarest species of beaked whale with only six specimens confirmed to date, and nobody’s ever seen one alive.
The individual was named Ōnumia by Te Rūnanga o Ōtākou in honor of the area of the same name where the whale was found at the mouth of the Taiari River. https://www.iflscience.com/first-dissection-of-the-worlds-rarest-whale-reveals-they-have-9-stomach-chambers-77235
#SpadeToothed #whale reveals new discoveries:
Vestigial teeth were just one of many new discoveries made by scientists during the #dissection of the #rarestwhale in the world, Te Rūnanga o Ōtākou says.
Legendarium – For Eternal Glory Review
By Eldritch Elitist
Powerdeath. That’s the genre tag attached to Legendarium’s fifth album For Eternal Glory, and one I’d almost certainly roll my eyes at, had I not been following this curious project since its debut LP. Through arcane magics of ancient origin1, I became aware of Legendarium, the brainchild of singer, songwriter, and multi-instrumentalist Laurence Kerbov and drummer Stefano Vaccari, in its earliest stages as a charmingly amateurish blend of traditional metal and classic punk. 2022’s Death’s Hand in Yours changed their status quo, not only by amping up their power metal side and introducing death metal elements to the mix, but also by being the first Legendarium record to be legitimately good. For Eternal Glory is their logical next step. Like its predecessor, For Eternal Glory sounds like nothing else in metal. Unlike its predecessor, however, it transcends novelty status.
At its core, Legendarium’s heart is rooted in trad / trve metal, their straightforward rhythms and legato guitar lines rooted in grounded grandiosity. You wouldn’t know it from the introductory riff of opener “A Thousand Swords” though, which claims a tremolo-happy middle ground between Ensiferum and Dissection. This track makes immediate sense of the “powerdeath” tag, one which I find sells the Legendarium experience short. For Eternal Glory is showered with shimmering keys yanked from the 90’s symphonic black metal playbook, and while the occasional blackened vibe rears its head (“Nightfall in the Deep Woods”), the keys more frequently compliment tracks that remind of Manilla Road (“Crypt Crusher”) or Viking-era Bathory (“Tomorrow We Die”). I could namedrop bands all day, but what ultimately matters is Legendarium’s miraculous cohesion. No aspect of For Eternal Glory sounds forced or out of place; everything gels, a unified vision that delights in exploring the connecting threads of countless styles of metal.
A record like For Eternal Glory only works if it manages to be more than the sum of its parts. While that certainly holds true, it inevitably feels something like a jack of all trades, master of none. The experience as a whole is engrossing and addictively catchy, but its steadfast baseline of quality means that there are no surprising standouts. The closest this record comes to throwing a wild curveball comes from the Unto Others-esque goth-pop-metal jam “My Life in Your Hands;” refreshing, but not exactly thrilling. While For Eternal Glory is far and away the superior Legendarium album to Death’s Hand in Yours, I miss the latter record’s big rhythmic and stylistic swings, resulting in odd, delightful surprises, even if they didn’t always work. It’s difficult to justify complaining about the lack of strong highlights, however, on a record with no identifiable weak links. On For Eternal Glory, consistency is king. It’s just missing a certain je ne sais quoi that would elevate it to the same tier as Legendarium’s most prestigious peers.
While my compositional nitpicks are nothing that should turn off prospective Legendarium fans, For Eternal Glory’s vocals may prove divisive. Kerbov’s harsh vocals manifest as shouty death growls, and while I love their distinctly unhinged timbre, his clean singing requires some acclimation. Kerbov’s confidence and control over his clean vocals have improved exponentially with each subsequent Legendarium release, but while his singing is a great fit for the slower, mournful “Tomorrow We Die,” his delivery on the record’s more intense cuts lack the power to be fully compelling. That being said, I find his performances on the whole to be more charming than detrimental, and really, this show is all about his string work. For Eternal Glory is one of those records where there is almost always something interesting happening with the guitars. Massive, effortlessly catchy lead riffs soar above just about every measure of this record, resulting in every single song being stuck in my head at some point during my review process.
For all of Legendarium’s genre-splicing inspirations, For Eternal Glory sometimes feels like an elevated jam session between Kerbov and Vaccari, and I absolutely mean that as a compliment. This record’s rhythmic simplicity forms the ideal platform for Legendarium’s exploratory nature to blossom. While I’d like to hear them further push the boundaries of their aesthetic, I’m also deeply impressed at how they have boiled down so many genres and influences into a formula that can only be described as the Legendarium sound. This is the first Legendarium record that I can easily recommend to basically any appreciator of traditional and melodic metal, and one which I anticipate being the ideal foundation upon which to further refine and propel their sound. And just in case the spectacular album cover did not make it immediately clear: Yes, you should buy this.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: WAV
Label: Fiadh Productions
Websites: legendarium.bandcamp.com | ampwall.com/a/legendarium | facebook.com/people/Legendarium/61559083652568
Releases Worldwide: November 8th, 2024
#2024 #35 #Bathory #Dissection #Ensiferum #FiadhProductions #ForEternalGlory #InternationalMetal #Legendarium #ManillaRoad #MelodicDeathMetal #Nov24 #PowerMetal #Review #Reviews #TraditionalMetal #UntoOthers
Kamala Harris shredding a Trump video is incredible.
https://www.youtube.com/watch?v=C0cJjpsoXBM
Must watch.
This is gooood with some nice #Dissection vibes in it 🤘#MelodicBlackMetal
https://song.link/de/i/1747969611
Spectral Wound – Songs of Blood and Mire Review
By Carcharodon
2021 seems a long time ago. So long, in fact, that I had utterly forgotten half of my year-end List. Imagine my surprise then, to discover, while checking for previous references on our auguste site, that I had listed Spectral Wound’s last outing, A Diabolic Thirst. That was as nothing, however, compared to my shock when I discovered that, not only had Deafheaven-groupie Doom_et_Al awarded it a list spot, so had avowed BM skeptic Ferrous Beuller. Perhaps this spread says something about what Spectral Wound achieved with its third record, its brand of vicious, semi-raw black metal appealing to both the ravening death metal machine Ferrous and Sunbather-apologist Doom, as well as yours truly, normally to be found luxuriating at the atmo-end of the BMverse. Can this Canadian five-piece achieve the same lightning-in-a-bottle effect with fourth record, Songs of Blood and Mire?
Pressing play the first time, I was briefly non-plussed, as I appeared to have unwittingly put on a sludge record, the first distorted notes of opener “Fevers and Suffering,” drowning in feedback, recalling nothing more than Charger. This effect lasts only moments but is, nevertheless, disarming. Then Spectral Wound rips you a new one with an altogether more familiar sound. Searing tremolos shed hoar frost in their frozen wake, as Illusory’s artillery-like percussion slams into the listener again and again. As ever, Jonah’s rasping shrieks cut like shards of glass blown upon an arctic gale, slicing into your flesh and your mind. So far, so Spectral Wound. However, there is a subtle, but marked, maturing to the band’s sound on Songs of Blood and Mire. Without losing any of the furious, visceral dark magic that tainted their previous outings, Spectral Wound now weave in, by turns, a really nasty groove, reminiscent of early Bathory (“Aristocratic Suicidal Black Metal”), as well as a Scandinavian epicness, a la Windir (“Twelve Moons in Hell”).
In some ways, Songs of Blood of Mire reminds me of what Miasmata captured on their debut, Unlight: Songs of Earth and Atrophy, as it serves up unflinchingly harsh, yet strangely melodic, black metal, channeling the likes of Dissection and Watain, as much as it does Windir and others. Raw and brutal in places, Spectral Wound are only too happy to kick down your front door, before setting fire to the splintered remnants and pissing on your doormat for good measure (“At Wine-Dark Midnight in the Mouldering Halls”). But that tells only half the story. Once inside, the band stalks your house, shambling from room to room, experimenting with different ways of smashing up your stuff. Debauched, seething, and frenetic, sometimes it feels like Spectral Wound are content to take their time, the groove of Sam’s bass giving the rest of the band space to lay leisurely waste to everything (“Less and Less Human, O Savage Spirit” and the back end of “A Coin Upon the Tongue”). At others, the band is a raging tempest, blasting through walls without hesitation, no shits given (“Fevers and Suffering” and “The Horn Marauding”).
Across its tight, 43-minute run, Songs of Blood and Mire is every bit the equal of Spectral Wound’s previous efforts. At its absolute best (“Aristocratic Suicidal Black Metal” and closer, “Twelve Moons in Hell”), it’s probably the strongest material the band has put out to date. Slightly less raw than previous efforts, there is something here of the transition made by Lamp of Murmuur between its debut and third outing, 2023’s Saturnian Bloodstorm. Whether it’s that deep seam of groove that’s now woven more firmly into Spectral Wound’s sound or little adornments, like the super fun solo dropped (either by Patrick or A.A.) around the halfway mark of “A Coin upon the Tongue,” this feels like a band confident in its songwriting, comfortable with its sound. The excellent production, which retains an organic rawness but emphasizes the details, like the keening, melodic edge to the guitars, hurts not at all.
Clearly written by the same band that conjured Infernal Decadence and A Diabolic Thirst, Songs of Blood and Mire has just a few more tricks up its ragged sleeve. Although it’s Spectral Wound’s longest outing yet (edging A Diabolic Thirst by a couple of minutes), there’s zero filler or bloat here, and the whole thing feels vital and packed with barely contained energy. My favorite Spectral Wound to date, I’m afraid that score counter is in trouble. Again.
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Profound Lore
Websites: spectralwound.bandcamp.com | facebook.com/spectralwoundcontramundi
Releases Worldwide: August 23rd, 2024
#2024 #40 #Aug24 #Bathory #BlackMetal #CanadianMetal #Dissection #LampOfMurmuur #MelodicBlackMetal #Miasmata #ProfoundLore #RawBlackMetal #Review #Reviews #SongsOfBloodAndMire #SpectralWound #Watain #Windir
#TheMetalDogArticleList #BraveWords Today In Metal History 🤘 August 13th, 2024🤘 TWISTED SISTER, DISSECTION, LYNYRD SKYNYRD, DIO, IRON MAIDEN, VARGA bravewords.com/news/today-i... #TwistedSister #Dissection #LynyrdSkynyrd #Dio #IronMaiden #Varga
#TheMetalDogArticleList
#BraveWords
Today In Metal History 🤘 August 13th, 2024🤘
TWISTED SISTER, DISSECTION, LYNYRD SKYNYRD, DIO, IRON MAIDEN, VARGA
#TwistedSister #Dissection #LynyrdSkynyrd #Dio #IronMaiden #Varga
