UCL: Atalanta favored to edge Union SG in a tight 21:00 CET clash, as Union SG chase an upset and a draw remains a plausible outcome.
Royale Union Saint Gilloise 21.9%
Draw 28.7%
Atalanta Bergamo 49.4%
#USG
https://www.project-anime.com/1323623/ うるわし 叩いてみた UNISON SQUARE GARDEN うるわしの宵の月 #2026Winter #2026WinterAnime #2026年冬開始の新作アニメ #Anime #アニメ. #うるわしの宵の月 #新作アニメ うるわし 叩いてみた UNISON SQUARE GARDEN うるわしの宵の月 #UNISONSQUAREGARDEN #USG #ドラム #叩いてみた #Drums #うるわし #うるわしの宵の月
https://www.project-anime.com/1323487/ アザレアの風 叩いてみた UNISON SQUARE GARDEN うるわしの宵の月 #2026Winter #2026WinterAnime #2026年冬開始の新作アニメ #Anime #アニメ. #うるわしの宵の月 #新作アニメ アザレアの風 叩いてみた UNISON SQUARE GARDEN うるわしの宵の月 #UNISONSQUAREGARDEN #USG #ドラム #叩いてみた #Drums #アザレアの風 #うるわしの宵の月
Exciting UCL clash as Bayern are clear favorites vs underdogs Union SG; a draw is possible. Kickoff 21:00 CET.
FC Bayern München 71.8%
Draw 19.4%
Royale Union Saint Gilloise 8.8%
AMN Reviews: Sándor Vály – Early Works 1988-1992 (1992 / 2025; Unexplained Sounds Group)
Another unearthed gem from Unexplained Sounds Group, Early Works 1988-1992 is lo-fi sound art from Hungarian Sándor Vály. The album is a sonic representation of two emotionally-resonant times in his life.
After fleeing a military draft, living in hardship in Paris, and facing imprisonment, Vály spent seven months confined in a mental hospital. There, exposure to extreme human experiences and the Tibetan and Egyptian Books of the Dead shaped his outlook. Vály interpreted these events in Bardo Tödol I–II and SoulDrum I, using improvised equipment and instruments.
The former is a set of raw, pulsating, and throbbing drones with a minimal beat. The latter is more rhythm and mechanical-sounding, though overlaid electronics are brighter and almost buoyant. Both have an analog, hazy nature.
After meeting his future wife in 1990, Vály moved to Finland, where in 1992 he first worked with computers and began experimenting with rudimentary sound software alongside cassette mixing, effects, and piano. The emotional impact of marriage, migration, a new language and culture, parenthood, and the northern climate shaped these recordings, from which Limbus Patrum, SoulDrum II, Life-Death, and Melancholy were selected.
Limbus Patrum is by far the longest of these tracks, with an urgent static-oriented beat structure. The repeating structures slowly evolve with echoing and other effects, while Vály explores variations on simple melodies. Over time, Vály includes more abstract and harsh noises, likely real-time effects-laden manipulations. SoulDrum II is based on roiling, scratchy, loop-driven forms. This is in stark contrast to the gentle electronics of Life-Death and the haunting piano of Melancholy that is slowly morphed into white noise.
AMN Reviews: Runes Order – No Future (1993/2026; Eighth Tower Records)
No Future was released in 1993 by way of a very limited cassette run. Saved from obscurity and remastered for release on Eighth Tower Records, the album is a prescient look forward to the experimental ambient music that would begin expansion as a genre two decades later.
Previously focused on industrial / pagan ritual music, here Runes Order employs synthesizer, tape loops, and light rhythmic patterns. The lines are hazy and repetitive, yet dynamic enough to be engaging, with fluttering melodies and rough textures. Given this, it is not surprising that these pieces tend to be hypnotic, with many blending into the background when not paid attention.
Thematically, the album attempts to paint a sound collage of a post-apocalyptic landscape, echoing the existential dread of the recently-ended Cold War. While not as blatantly dark as many similarly-conceived modern efforts, No Future firmly captures an underlying vibe of dystopian aftermath. The result is a subtle tension, where unobtrusive ambient passages coexist with a sense of unease.
No Future will be released on January 26, 2026. It is another excellent rediscovery by the Unexplained Sounds Group family of labels, surfacing a release from the previous century that remains starkly relevant today, both musically and conceptually.
LA 301L- Introduction to Digital Methods in the Humanities
Thorsten Ries
TTH 9:30-11:00 am, MEZ 1.204 31105
“What if I could read patterns out of hundreds of texts, and gain new research perspectives, create new knowledge about them using digital tools? Use AI in a way that is controlled and generates new knowledge?” This course introduces digital
research methods, tools and use cases. Hands-on exploration, no prior coding experience required.
AMN Reviews: Nihil Impvlse – The Great Filter (2025; Eighth Tower Records)
Historically, every major revolution in communications technology has been followed by a period of unrest. The printing press fueled sectarian dissent, contributing to significant social friction, religious wars, and the proliferation of misinformation. Radio, and to a limited extent television, were used by fascist regimes to disseminate propaganda, ultimately playing a key role in mobilizing public support for the policies that paved the way for World War II.
In the last 15 years, humanity has arguably endured three rapid, successive shifts in communications and one major societal upheaval. The revolutions were the simultaneous rise of smartphones and social media in the 2010s and then the widespread availability of powerful generative AI in the 2020s. The upheaval was the coronavirus pandemic, which had a deleterious impact on the mental health of a significant portion of the population. The outcome of these events so far involves empowerment of the few and profound societal fragmentation.
The Great Filter pokes at these concepts. The album’s title is a reference to a theory addressing the Fermi Paradox by positing that nearly all civilizations self-destruct before they can become interstellar. Nihil Impvlse frames the theory in terms of a self-engineered apocalypse involving accelerationism (dismantling the status quo to achieve transcendence), nihilism (fatalistic acceptance on one’s own obsolesce), and simulacra (a world full of chatbots, deepfakes, and digital misinformation). Thus, the album asks questions related to whether our current set of disruptions are what drive humanity – with access to machines more powerful than ever – from the edge of stunning technological advances to a new dark age. Or extinction.
The music of Nihil Impvlse has always been dense with ideas, and The Great Filter maintains this grounding. Each piece employs a slightly different sonic palette of building blocks that are used to represent both construction and destruction. Throughout, structures are layered upon one another and torn apart, not unlike society in the Great Filter theory.
On Trigger Mass Event, bouncing and skittering tones are slowly subsumed by electromechanical noises with static on the spectrum from hazy to harsh. Beneath this, and beneath many of the other tracks on the album, is a roiling mass of white noise that seems to represent decay of digital memories. What remains is a long, slow drone that ends with a voiceover from Carl Sagan warning about the dangers of those with power being ignorant about science and technology.
Spectral Engravings continues these themes with staccato bursts of electronic noises over gritty masses of sound and underlying drones. Lilting bell-like percussion travel with dark growling and spacious synth lines. Datacarrion exhibits percussive clusters of noise and chromatic sweeps, along with retro chirps and sequenced rhythms.
For A Cruel Eschatology takes things down a few notches in terms of tempo and volume, focusing on a slow, ominous drone that is eventually called into contrast by buzzing textures that move back and forth across the spatial domain. Catastrophe, Reprocessed finishes the album with another quiet start. A strident yet indecipherable spoken word passage atop long-held chords reflects a post-apocalyptic nightmare of isolation and doom.
The Great Filter is full of tension and abrasiveness. It is another high point for Nihil Impvlse, an artist who is quietly (or noisily in this case) building a formidable discography. The album was released November 27, 2025 by Eighth Tower Records.
Gala vs RUSG in the UCL; RUSG favored to win a tight, lively clash. Kickoff 18:45 CET.
Galatasaray Istanbul 18.7%
Draw 27.3%
Royale Union Saint Gilloise 54.0%
AMN Reviews: Various Artists – Analog 2025 (2025; Unexplained Sounds Group)
In 2016, twenty tracks from electronic and ambient artists were gathered and released as Analog 2020. Each was produced entirely with analog equipment, an intentional throwback to an earlier time. This remastered edition, aptly titled Analog 2025, includes ten of the original tracks as well as three that were previously unreleased.
Rather than presenting a linear journey, the collection highlights distinct strands within analog practice, demonstrating how voltage, patching, and physical controls can lead to different musical outcomes. The selections fall – intentionally or not – into several loose groupings: pattern-led melodic explorations, slowly intensifying drone works, and pieces that treat analog gear as a source of instability or mechanical irregularity.
Several tracks rely on repetition as an organizing device. The contribution from Anasisana opens the album with methodical sequencing and sustained tones that drift with a measured calm. Its seven-minute span allows melodic fragments to surface gradually, like watching weather systems develop. Thierry Gauthier’s piece operates in a more miniature frame. It emphasizes isolated notes and simple motifs over looping rhythmic figures, like familiar shapes rendered just slightly askew. Fastus contributes a compact piece that blends sequenced runs with broad, spacious tones.
Another group of tracks focuses on layers of chords that slowly transform. Downscope builds a steady beat into echoing drones. Oubys works with thick, pulsing layers that evolve without obvious structural markers. Lars Bröndum stretches similar materials further, shifting from buzzing into something more foreboding, with static and low, rumbling energy gradually dominating the field. Pharmakustik pushes this approach toward an electroacoustic mode reminiscent of GRM studio work: detailed, somewhat clinical, and grounded in the manipulation of signal rather as well as atmosphere.
A further set of pieces are based around instability and disjointed rhythm. Sonologyst moves through gritty oscillations and abrupt bursts of distortion, ending in feedback that feels like a system pushed to its operational edge. Simon Balestrazzi introduces voice, shaping a dense wall around a spoken text that frames the track as a speculative broadcast. The closing piece, from Vääristymä, splits beats into uneven fragments and scatters electronics rather than organizing them into a steady pattern. At a little over four minutes, it plays like a malfunctioning device that refuses to lock into predictable behavior, a fitting end for a compilation that highlights unpredictability.
In a world increasingly focused on digital manipulation that often disassociates music from its underlying sources, Analog 2025 harkens back to the tactile production methods that shaped much of early electronic music. The artists, influenced by the pioneers of the 1950s and 1960s, extend that lineage. But rather than a nostalgic reconstruction, this is an acknowledgment that physical circuitry, with all its quirks, continues to shape how musicians think about structure and sound even as AI threatens to disrupt and shift creative processes. Analog 2025 documents a practice that remains vital precisely because it requires attention, touch, and a willingness to let the machine talk back in a language other than words.
Atl Madrid are the favorites in a UCL clash with Union SG; a lively night ahead at 21:00 CET.
Atlético Madrid 68.3%
Draw 21.3%
Royale Union Saint Gilloise 10.4%
Inter favored in a tight UCL duel with Union SG; Union SG chase an upset, a draw also possible. Kickoff 21:00 CEST.
Royale Union Saint Gilloise 21.0%
Draw 28.4%
Inter Mailand 50.6%
AMN Reviews: Various Artists – Codex Of Pleasure And Pain – A Sonic Tribute to Clive Barker’s Hellraiser (2025; Eighth Tower Records)
Clive Barker’s 1987 film Hellraiser exemplifies the body horror genre and questions traditional ideas of sin and punishment. Its plot centers on a puzzle box called the Lament Configuration that can only be solved by those seeking extreme sensual experiences. Once solved, the box summons demon-like Cenobites who take the solver to their alternative dimension for an eternity of torture and pleasure (the Cenobites seem to make no distinction between the two).
Upon first viewing, it may seem as if the Cenobites are punishing the solver for the sin of forbidden desires. However, Barker’s intent was that the Cenobites were giving the solver what they sought. Despite the movie’s title, the Cenobites are not from Hell and do not pass moral judgment. Instead, they operate according to and enforce an alien set of rules that stands apart from human religiosity.
Codex of Pleasure and Pain features eleven experimental ambient tracks exploring these concepts. Notable in its presentation is the consistent sound and theme across these pieces. They are largely slow-moving, dense, and texturally gritty, representing the both the universe beyond what we can perceive as well as the visceral immediacy of one’s body in the physical world.
This duality is introduced in the two opening tracks: SÍLENÍ’s Beyond the Veil of Torment representing the former with deep droning tones, and Echoes of Ecstatic Pain from Sonologyst + vÄäristymä represents the latter with echoing, static, and distant cries. Revelatory Signs from the Underworld from Philippe Blache is the longest track at just under eight minutes. He combines long-held chords and a roiling wall of sound that grows in volume and intensity.
Other tracks include Grey Frequency’s intricate dark ambience, a varied sound palette of soaring synth, loops, and echoes from 400 Lonely Things, and phoanøgramma’s haunting piano-based themes. Mario Lino Stancati’s contribution is retro and almost camp, with a circus-like take on traditional horror music instrumentation. Notably, this is the only track in which drums and percussion play a major role.
If there is a message to Hellraiser – and it is debatable to what extent there is – it is likely a warning that desire can cross over into indulgence and obsession. Damnation may be a side effect of the human condition, not merely the result of external forces, as it can also be self-inflicted.
Regardless of whether Barker’s pseudo-philosophies resonate with the listener, Codex of Pleasure and Pain is a very strong horror music compilation. The music stands on its own and provides an enjoyably chilling way to spend an hour in a dark room.
The album will be released on October 16, 2025 by Eighth Tower Records.
Union SG vs Newcastle, UCL, 18:45 UTC+02:00. A lively clash as Union SG chase an upset and Newcastle seek a win.
Royale Union Saint Gilloise 16.8%
Draw 26.3%
Newcastle United 57.0%
AMN Reviews: Oubys – Holosphere (2025; Unexplained Sounds Group)
Belgian ambient musician Oubys has been slowly evolving his oeuvre of releases for 15 years, on Unexplained Sounds Group and other labels. Holosphere is a gathering of his recent pieces appearing on Unexplained Sounds Group compilations, as well as one new track.
The sounds consist of angular (and sometimes jagged) blips and spiky tones over a layer of synth abstractions. These are accentuated by field recordings and echoing or sequenced rhythms. There is an atmospheric, science-fiction mood across the album.
To that point, Stones and Woods presents glitchy bleeps and fractured tones accompanied by synthetic chirps and pulses. The track is in no rush to get anywhere, exploring variations on this theme. Its structure and cinematic qualities are well suited to that of a video game, a medium in which different virtual locations have their own music and can be frequented for various periods of time. Similarly, though with a very different feel, Meta Video Dub evokes the tension of sinister mechanical processes near which something strange might awaken.
Holosphere was released on September 25, 2025. This one is a grower and benefits from multiple listens in order to fully appreciate its nuances. The album is strikingly like a transmission from an alien world, both unsettling and quietly mesmerizing.
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