🇺🇦 #NowPlaying on #KEXP's #SeekAndDestroy Sodom: 🎵 Deathlike Silence #Sodom ▶️ 🪄 Automagic 🔊 show 📻 playlist on Spotify ▶️ Song on #Spotify:

Deathlike Silence

Eben im Kalender von https://ostwestfalenmetal.wordpress.com ergänzt, dass #FrankBlackfire (#Sodom #Kreator etc. pp.) im Dezember in #Bielefeld spielen wird. 🤘

Ich würd' ja schon für Pandorium dort aufschlagen...

#Konzert #ThrashMetal #Metal

Biolence – Violent Obliteration Review

By Spicie Forrest

Prior to my initiation ritual and early in my tenure as a volunteer whipping post, one of my jailers here at AMG saw fit to offer encouragement. “It gets better,” Dolphin Whisperer said. “Okay, but have you looked around recently?” I asked. He shrugged and replied, “not really. I’ve got a newborn. The Dolphlet takes up a lot of effort.” My cell door clanged shut as he left. Alone in the dark, I would wait nearly two months for the affirmation I sought in that moment. It would come in the form of Violent Obliteration, the third full-length from Biolence, a death/thrash four-piece from Vila Nova de Gaia, Portugal. With no Dolphlets to mind, it seems Biolence has looked around recently, and they are none too stoked.

My cell door opens to admit a dark figure silhouetted by guttering torchlight. A new promo drops to my feet. The door closes again. I queue up my next assignment, and I’m greeted by ambient sirens, gunfire, and marching instrumentals (“Intro”). I’m not given much time to process as a wordless howl tears through me and the music begins in earnest (“Pit of Degradation”). Guitarist David1 and bassist Daniel Marage work in tandem, their execution effortlessly concentric and complementary (“Heavy Artillery,” “World’s Plague”). Marage delivers basslines heavy enough to intimidate Giles Corey, while David threatens to remove twitching appendages with riffs like chop saws (“Extermination through Mutation”). As I’m thus welded to the floor, vocalist/guitarist César screams, growls, and bellows the horrors of a species actively culling itself and destroying its own planet.

These deathrashers aren’t the first I’ve ever heard, but they are some of the most competent. Front to back, Violent Obliteration exudes confidence and prowess. Whether channeling Sanguisugabogg to slam the food industry’s casual biological warfare (“Extermination through Mutation”) or Dark Angel to pronounce humanity’s death sentence (“Humanity Executioner”), Biolence has the chops to succeed at everything they attempt. New drummer Miguel Sousa elevates the rest of the band like he’s a got a personal vendetta. A psychotic conductor, he bends tempo and vibe to his will (“F.U.B.A.R.”), and with surgical hooks and fills, underscores every curse César screams (“Pit of Degradation,” “50 Caliber Freedom”). When César’s rage eclipses language, the lead guitar takes over, lamenting war’s futility (“Heavy Artillery,” “Glory of Savagery”) and religious corruption (“World’s Plague”) with mournful, bluesy solos. Marage’s bass rattles my chest, and when his 90s twang punches through the murk, it embodies a human absurdity both violent and dystopian (“Pit of Degradation,” “Violent Obliteration”). Totally in sync, this is a band with vision, skill, and passion.

But there are moments when I lose the plot. Violent Obliteration is indeed a dynamic and enthralling ride, but in their excitement, Biolence occasionally smashes incongruous elements together. “Extermination through Mutation” features a searing Sodom-infused lead with fantastic backing instrumentals, but sandwiched between slabs of slam death, it’s jarring and out of place. Sections of “Violent Obliteration” and “50 Caliber Freedom” suffer similarly. A few solos feel rudderless or drop the clutch (“Glory of Savagery,” “Violent Obliteration”), and the ambient interlude of “Heavy Artillery” languishes overlong. The album’s bookends—“Intro” and “Outro”—don’t warrant their collective runtime, with “Outro” feeling especially frustrating next to such a strongly concluded penultimate track (“F.U.B.A.R.”). Save for a few exceptions, Biolence excels in isolation; the components of individual tracks just don’t always fit together.

For 46 furious minutes, Biolence preaches the woes of the world outside. As the ambient sounds of “Outro” fade to a close, I collect my thoughts. Biolence is a band of talented and energetic musicians, both individually and together. Occasional jarring shifts and a few other missteps aside, Violent Obliteration is an impressive album. It’s an enjoyable platter of death/thrash metal from veterans of the scene. When Steel Druhm returns for my opinion later, I’ll tell him it’s good.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Labels: Doomed Records | Raging Planet | Selvajaria Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 1st, 2025

#2025 #30 #Biolence #DarkAngel #DeathMetal #DoomedRecords #PortugueseMetal #RagingPlanet #Review #Reviews #Sanguisugabogg #SelvajariaRecords #Sep25 #Sodom #ThrashMetal #ViolentObliteration

Molinism

This is named after the 16th century Spanish Jesuit theologian Luis de Molina. It’s the thesis that God has middle knowledge, or scientia Media: the knowledge of counterfactuals, particularly counterfactuals regarding human action. It looks to reconcile the apparent tension of Divine Providence & human free will.

Molinists, following Luis de Molina’s example, present God’s knowledge in a sequence of 3 logical moments. The 1st of God’s knowledge of necessary truths or natural Knowledge. The truths are independent of God’s will & are non-contingent. This knowledge includes the full range of logical possibilities.

The 2nd is God’s free Knowledge. This type of knowledge consists of contingent truths that are dependent on God’s will, or truths, that God brings about. Free Knowledge encompasses the future of what will happen.

In between God’s natural & free knowledge is His “middle knowledge” that contains the range of possible things that would happen given certain circumstances, by which God knows what His free creatures would do in any situation. These truths that don’t have to be true. But are true without God being the primary course of them.

Molinists use Matthew 11:23 to scripturally support their case. They claim that in this example, God knows what His free creatures would choose under hypothetical would choose under hypothetical circumstances. Namely that the Sodomites would’ve responded to Jesus’ miracles still have been in existence in Jesus’ day, given that hypothetical situation.

Matthew 11:23 has what’s commonly called a counterfactual of creaturely Freedom. However, counterfactuals are to be distinguished from foreknowledge. Middle knowledge is to be distinguished from God’s knowledge of counterfactuals.

Molinists say the logical ordering of events for creation would be as follows: 1) God’s natural knowledge of necessary truths. 2) God’s middle knowledge, including counterfactuals. Then the Creation of the World. 3) God’s free knowledge, the actual ontology of the world.

Ontology is a branch of metaphysics dealing with the nature of being. The placing of God’s middle knowledge between God’s knowledge of necessary truths & God’s creative decree is crucial.

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#16thCentury #Counterfactuals #CreaturelyFreedom #DivineProvidence #Foreknowledge #FreeKnowledge #FreeWill #Jesuit #Jesus #LuisDeMolina #Matthew1123 #MiddleKnowledge #Molinism #NaturalKnowledge #Ontology #ScientiaMedia #Sodom #Sodomites #Spanish

Du Grométal pour travailler sereinement 👌
#Sodom #TheArsonist

@thomas https://song.link/y/_qHUPQV18Gg

#Sodom

Naaaaaaaaapalm in the mooorning!

Former Sodom drummer Atomic Steif has passed away:

#AtomicSteif #RIP #Sodom #SadNews

Link: https://metalinsider.net/sad-news/former-sodom-drummer-atomic-steif-has-passed-away

#TheMetalDogArticleList
#MetalInjection
Ex-SODOM Drummer ATOMIC STEIF Dead At 57

https://metalinjection.net/this-is-just-a-tribute/ex-sodom-drummer-atomic-steif-dead-at-57

#SODOM #ATOMICSTEIF #Drummer #MetalInjection #metal #music

#TheMetalDogArticleList
#BraveWords
Former SODOM Drummer ATOMIC STEIF Passes

https://bravewords.com/news/former-sodom-drummer-atomic-steif-passes/

#SODOM #ATOMICSTEIF #Former #Drummer #guitarist #BraveWords #metal #music

#TheMetalDogArticleList
#Blabbermouth
Former SODOM Drummer ATOMIC STEIF Dies

https://blabbermouth.net/news/former-sodom-drummer-atomic-steif-dies

#SODOM #ATOMICSTEIF #Former #Drummer #EP #vocalist #bassist #Blabbermouth #metal #music

Naaapalm in the mooooorning!

https://song.link/y/_qHUPQV18Gg

#Sodom

Desaster – Kill All Idols Review

By Steel Druhm

Every 4 years or so, Germany’s rabid blackened thrash slime eaters Desaster drop a new album on the revolted masses. Their berserk take on speed borrows greatly from the original Destruction EP, Sentence of Death, and they festoon the unhinged recklessness with blackened blisters and classic heavy metal influences for a sound that slaps, slices, and shits on your floor. It’s not subtle, nor is it “thinking man’s music.” Instead, it murders the thinking part of your brain and activates the most base and perverse instincts. On odious gems like Divine Blasphemies and The Arts of Destruction, they pour all the world’s bile and crust-poo into a pressure cooker, cover the steam valve, and turn it to 12. The resulting explosion is predictable and unsurvivable. At their best, Desaster bring a level of sheer mayhem few bands can match. Will 10th album, Kill All Idols be another nuclear crematorium eruption, or has advanced age finally slowed the bloodlust of these inveterate axe murderers?

Speaking of a lack of subtlety, things open savagely with “Great Repulsive Force,” and damn if it doesn’t live up to its moniker. This is ferocious blackened thrash with absolutely no fucks given. It tries to turn your ears into gumpaste with blasting speed and subhuman vocals before sliding into a doomy mid-tempo slog, and just as you breathe a sigh of relief, the blinding speed and deathhammers are back for the attack. It’s the entire Desaster experience distilled into a 3-plus-minute toxic gummy slug. It segues seamlessly into “Emanations of the Profane,” which prominently features their penchant for slick traditional metal riffing overlaid by vocals that foam at the mouth, nostrils, and nipples. The bouncingly jaunty riffs pair well with the extreme vocal terror, and there’s a weirdly joyous vibe to the whole thing that almost conceals the hideousness of the purgatorial abominations it summons. It’s macabre yet unnaturally appealing (much like this here blog).

Other classic Desaster disasters include the rough n’ raw “Towards Oblivion,” which sounds like early 1980s Sodom grossly copulating with the prize-winning filth-hog at the Iowa State Fair as thousands of appalled spectators look on.1 The lead riff is especially tasty and sticks in the mind trap quickly. The title track sounds like classic Desaster trying to steal 664 of Bütcher’s 666 goats for a sleazy goat swap party, and the brutish, unrefined caveman thrash flies at unsafe speeds. Songs that didn’t hit hard immediately due to their reliance on milder traditional metal idioms, like “Fathomless Victory,” soon grew on me because of their cool, creepy mood. Yet not everything sticks like blood blasphemy on the church wall. The short and ugly “They are the Law” is a by-the-numbers speedster that lacks memory anchors, and penultimate track “Stellar Remnant” is too mellow for a Desaster release, even though vocalist Sataniac does his best to compel you with his lunatic theatrics. That these two cuts ride side-by-side creates a late-album valley that the interesting instrumental outro can’t recover from. At 40 minutes, Kill All Idols packs about 33 minutes of successful Bathory bathing in moldy Sodom Sauce, and that’s not a terrible ratio.

As ever, Sataniac is the star attraction of this unholy freak show. The dude is one of the most unhinged vocalists in metal, and though he must be getting up there in years, he still sounds like a complete nutter on a nut-finding expedition. Blackened snarls, proto-death roars, hysterical screams, throaty bellows; he uses them all and sometimes all in the same lyrical refrain. He always sounds like he’s being recorded from a nervous hospital, and on the best tracks, he adds to the body count. On the lesser tracks, he still stacks corpses like a remorseless corpse staker, and for his efforts, he should be canonized by the fucking Pope while alive. Left-hand man, Infernal does his best to keep pace with unending thrash and black metal leads, and when he isn’t burning up the fretboard, he’s tossing out stadium-rocking trad metal riffs. The only impediment to the album is the uneven songcraft, which drops the severed head from time to time.

Desaster will always have a special slot in the Crypt ov Steel, and there’s always grotesque fun to be found on their albums. Kill All Idols is a small step down from 2021s Churches Without Saints, and it seems their wellspring of demonic inspiration is slowly bleeding out, but the hellfire burns bright enough to score some wins. These olde hellhounds still have enough teeth to rip you open, so give this a spin and send bystanders into a terror-tizzy.

Rating: 3.0/5.0
DR: | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: total-desaster.jimdofree.com | desaster.bandcamp.com | facebook.com/666Desaster666
Releases Worldwide: August 22nd, 2025

#2025 #30 #BlackMetal #Bütcher #ChurchesWithoutSaints #Desaster #Destruction #GermanMetal #KillAllIdols #MetalBladeRecords #Review #Reviews #Sodom #TheArtsOfDestruction #ThrashMetal