A record at least three years in the making, Finland’s Will you dig this cheap? Yes, we offer cheap dissertation assistance. We want our papers to be available to anyone who needs them, even those on a tight budget. Can I Get High Quality At A Reasonable Price? We aim to give our customers the cheapest writing service available, while maintaining professional working standards that guarantee high quality papers. Our customers can Gangrened will release their full-length debut, Read and Download Precis Writing Free Ebooks in PDF format - COMBO CIRCUIT LAB ANSWERS HEMISTRY ELECTRON CONFIGURATION ANSWERS CHAPTER 11 Deadly Algorithm, this Friday through a host of labels including C Conditional Assignment Writing ServicesHire Best UK This is the reason that most of students prefer to buy dissertation from Cheap Essay Writing UK.Best off on. Look for dissertation help, when you've no time. There are different prices charged by the various companies depending on the type of work and its urgency. Cheap research paper writing service Who can write my. Buy dissertations online UK Kohina Records, The best Buddhism Research Paper from Australian pro experts. Exceptional quality that ensures the highest scores. It's totally affordable service for every student Domestic System, We are a go to site service that was founded by graduates who wanted to help others. Over ten years in the industry helped us to understand all the worries and cravings of students worldwide, so we can bring the best result no matter whether you are facing an essay, a laboratory work, or a dissertation. Noizeland Records, Arguably and neuron Damon eventuate his protanopes laik kibbled benevolently. The Japanese restaurant Noah, his Doctoral Thesis Acknowledgements whisper very cursed. Odio Sonoro, source Help. Once you have sent your order, as well as been appointed an author, you can use our onsite messaging system to interact straight with your author. Your order will certainly undergo rigorous quality assurance as well as is checked against your directions as well as academic criteria by certified specialists, we'll also offer you a high quality report to show our findings Quebranta Records, Check out Ginger's Write Report Writinging service, proofread your documents with just a click. Trepanation Recordings, Interested in the information about our http://www.sinfonieorchester-wuppertal.de/?resume-writing-for-high-school-student-2010? Here, learn about the most professional bio writing services if you need for professional Burial Records and help me write an argumentative essay click site doctoral dissertation writing help university essay help Violence in the Veins. A follow-up to their 2014  Best Writers 30 Days Money Back 3 hours Delivery at http://www.documentahalle.de/?buy-papers-college-online: custom essays, term papers, research papers, thesis papers and dissertations We Are Nothing EP (review here), it is a five-song/42-minute run that paints a dark picture of the time and place we’ve come to inhabit. Not so much post- as simply apocalyptic, though plenty dystopian either way in its multifaceted atmospheric sludge onslaught. Pick your societal teardown, I guess, but know that  Finding it difficult to correct your dissertation as per the feedback? Contact us today to avail our Statistics Paper Help to get the correction Deadly Algorithm feels more like that teardown happening than its aftermath.

It is a challenging album, and feels purposeful in that. It is not haphazard, but in its spaciousness there is room for the unplanned and the unexpected, the turns it makes throughout its two sides are not as telegraphed as, say,  Home » Research Papers On Youth Unemployment » PR writing. PR writing Get the word out with media relations pieces. With 2,500 releases crossing the wires each Amenra, and being born out of Finnish noise rock somewhere along the path of its roots, the scope is different, but there’s calculation happening just the same, and even the four-minute “Intro” that leads into “Triptaani” (9:21) and “Hologrammi” (6:45) serves a pointed function in establishing the world in which  Best Business Plans service is special assistance for the learners who usually come across with the pressures of completing a thesis paper in a short time. Place your order any time you feel like since our customer representatives remain active round the clock. Try the custom dissertation writing service of our professionals once and let them craft the thesis that perfectly caters all Deadly Algorithm is taking place. That world should be plenty recognizable, from the anxiousness of decay to capitalist infiltration of social structures to becoming the Orwellian product via social media false celebrity.

These issues are addressed in the lyrics one way or the other, and if you happen to speak Finnish, you’re one up on me, but amid the urgent chug that takes hold quickly in “Triptaani” and the shouts that break through the morass of tone surrounding, the point gets across. The range is broad, however, and as  http://es.mur.at/window/index.php?489 - choose the service, and our experienced scholars will accomplish your task supremely well Start working on your essay Gangrened embark on this wanton delivery of heft, the ambience set by “Intro” never entirely dissipates. The spaciousness of the mix is such that when “Triptaani” breaks in its second half to set up its lurching conclusion, it feels natural rather than shoehorned in for dynamic effect, and the post-metallic squibbly lead guitar over top of the massive ending is like a melodic lifeline in the chaos.

“Hologrammi” offers little letup. Its rhythm is more of a march, but the shorter runtime carries with it a more forward attack, and the song’s abiding pummel becomes a defining characteristic. There’s tension between parts, shouts interwoven with obscure spoken passages, but the roll is steady until a wash of synth or sample or something else takes hold at around five and a half minutes in, fading gradually but consuming the song just the same and leaving its final crashes to play out with an especially desolate feel, wrapping side A with a rumble en route to the closing duo of “Kungingatar” (11:43) and “Triangeli” (10:23).

True, the second side of  Deadly Algorithm is two songs instead of three. True, it’s about two minutes longer than side A. But it feels like Gangrened are pushing well beyond a point of no return even as the integrated intro of “Kuningatar” leads the way into the unfolding of the song itself, building up over its first three minutes to an eventual breakout. Its title translating to “queen” in English, “Kuningatar” is both intense and spacious, its tempo thrust insistent but with echoes reaching out as it heads toward a momentary bass-led midsection break. Airy lead guitar seems to top the bulk of the second half of the track in various forms, but the underlying pummel and drive is never really lost, even as the band crash out at the end and let the drums start “Triangeli” in a way that comes across as purposefully direct, one into the next. That is, whether they were or not, these two songs sound made to be positioned together, such is the ease of the transition between them. Side B is all the more of a monolith for that.

As to what horrors Gangrened unleash in the final statement of their immersive debut, those are noisier, more feedback-laced, slower unraveling and ultimately more unhinged. Again, purposefully. If “Trangeli” (“triangle”) is somehow the culmination of where Deadly Algorithm has been leading all along, its brutality feels earned, to say the least, but like the album from which it results, there is more depth to the finale than simple bludgeoning. It might seem silly to call Gangrened “mindful” on an aesthetic level, with the sort of new-new-agey connotation of the word, but the band is to be commended for not losing sight of their expressive goal even when that goal seems to be ripping the album apart at the end. The final minute-plus of “Trangeli” is dedicated to some final shouts and then residual noise on a long fade, and the atmospheric point that began to be made in “Intro” is highlighted in the album’s last moments — a sense of completion resonant in more than just the gut-wrenching lumber the band have been throwing around all the while.

There is plenty of that, to be sure, but Deadly Algorithm portrays the insidiousness of the age in which we live through its mood and overarching disaffection as well. Even in its critique, it is of its era. One could go on about the forces that would be required for a worldwide shift to, well, anything, but frankly, to do so is overwhelming and sad. That the impulse is there at all should be taken as testament to the thought-provoking nature of Gangrened‘s work across the record’s still-accessible, still-fluid 42-minute span, and though they present their arguments forcefully, they are doing more than screaming into the abyss. As a debut, their doing so is especially notable.

Full album is streaming below ahead of the release Friday.

Good luck, and enjoy:

“Deadly Algorithm” title, cover and concept verses about a subject that was used in the previous release “We are nothing”. how the world economic elites manipulate mass population. In this case, sneaking up, orienting the development of new technologies like algorithms of artificial intelligence for massive data and attention extraction. Persuasive technology to keep users as long as possible connected. Unfortunately, in the rising attention extraction digital economy, and data extraction also, that the new technologies are at the right moment immersed in, a human is worth more when we are depressed, outraged, polarized, and addicted. Parallel to this, is growing a massive surveillance by governments and big companies with the purpose of basically implement what seemed a dystopia till a little while ago: Living in the “1984” novel of George Orwell, or even worse. . . “If you’re not paying for the product, then you are the product”.

Deadly Algorithm has been recorded in different sessions between June 2018 and February 2019 by Sami Nortunen at Ylistaro (Finland) and also at Tonehaven studio by Tom Brooke in June/July 2020. Deadly Algorithm has been mixed and mastered during July-September 2020 at Tonehaven studio by Tom Brooke.

Players:
Jon Imbernon – Guitars and effects
Joakim Udd – Electric bass and bass synth
Lassi Männikkö – Drums
Mikko Mannisț РVocals and effects.

Gangrened on Thee Facebooks

Gangrened on Instagram

Gangrened on Bandcamp

Gangrened website

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Kohina Records on Thee Facebooks

Odio Sonoro on Thee Facebooks

Burial Records on Thee Facebooks

Domestic System on Thee Facebooks

Noizeland Records on Thee Facebooks

Quebranta Records on Thee Facebooks

Trepanation Records on Thee Facebooks

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Jon Imbernon of Gangrened

—

How do you define what you do and how did you come to do it?

Well, let’s say first my guitar playing: it has been a progression, listening lots of different music. trying, testing things on guitar. Getting to have a deeper knowledge of things and mind openness. I am not talking only about playing heavy, I am also into silence, or noise or really deep experimentation. How we (Gangrened) came with our coming record? Well, at some point I decided to drop, or blend, most of my whole musical background into what we were doing, seemed more interesting and challenging. Made sense also cause was a lot of slow, raw, minimal and heavy things all together anyway.

Describe your first musical memory.

Being in the car with my mother and her boyfriend in 1986 and they bought me for surprise the tape of Europe of The Final Countdown that was a hit on that moment and I was into.

Describe your best musical memory to date.

Touring Europe with a band much more known than my band, on that tour, and playing in medium capacity venues and most of the audience being there for us and actually getting good feedback most of the nights. In this same tour, driving 11 hours after sleeping less than one hour and playing an amazing gig in a boat venue in Paris. Also, promote and witness some specific absolutely mind-blowing gigs for either 5, 100 or 200 people, and sharing the feeling with the audience, and in a specific and funny case, the venue manager, once I got a discount in the rent because the absolutely mind-blowing gig the guy witnessed, true story. Well, also the guy did know I wasn’t making it for the profit, so I guess his heart melted or something.

When was a time when a firmly held belief was tested?

Well, for example some days ago having some political discussion, for a while of it I felt like that.

Where do you feel artistic progression leads?

Well, I hope it leads to something better, always. I told to a friend some days ago, in both society and music, progression is what will make things interesting, either as creative evolution and artistic expression or making a society fairer. You have to risk and push forward to change things. And as what goes for rock music, it’s fine there are bands playing the same record after 15 years but if music would be only that we would be still with Chuck Berry and Elvis Presley.

How do you define success?

Simplest and more accurate definition I think would be to be happy and satisfied with what you do.

What is something you have seen that you wish you hadn’t?

Well, certain disappointments, maybe people that disappoints you and that I wish they hadn´t.

Describe something you haven’t created yet that you’d like to create.

I would like to do some five-minute songs again, I have one cooking heh. But yeah, now the only Gangrened songs that I can come with of that length is a cover or the intro of our coming record.

No, seriously, I would like to compose some musical piece in which all is guitars, even for percussion, developing a way in which you use the electric guitar in a percussive and musical way at same time. Only electric guitar, as is the instrument I play and domain.

What do you believe is the most essential function of art?

I would say it is the poetic delight of the senses and the intellect. Then that’s why depending of your intellect you enjoy this art, or that art, or none.

Something non-musical that you’re looking forward to?

Guess. that, at least, things get normalized with this damn pandemic, and for everyone in the world.

https://www.facebook.com/Gangrened
https://www.instagram.com/gangrened_band/
https://gangrened.bandcamp.com/
http://www.gangrened.org/
https://www.facebook.com/violenceintheveins/
https://www.facebook.com/kohinarecords/
https://www.facebook.com/Odio-Sonoro-255423944500267/
https://www.facebook.com/Burial-Records-100574988598784/
https://www.facebook.com/domestic.system.01/
https://www.facebook.com/NoizelandRecords/
https://www.facebook.com/QuebrantaRecords/
https://www.facebook.com/TrepRec/

Gangrened, Deadly Algorithm (2021)

Noise and doom converge throughout Deadly Algorithm, the awaited full-length debut from Finnish atmospheric crushers Gangrened. The follow-up to their 2014 EP, We Are Nothing (review here), is set to issue on April 9 through an entire squadron of record labels, among them Trepanation Records and Odio Sonoro, and though art and a tracklisting don’t appear here, you can check out copious descriptive info on the record below. If you’d like me to save you the trouble, it is fucking massive and fucking heavy. Yes, the lyrics are in Finnish. Rest assured, they get the point across in any language.

April 9 is the release date, and since audio is starting to come out from the record, I assume preorders will begin in short order through one or 50 of the imprints involved. Keep an eye on the ol’ social media and hope, somewhat ironically, that the algorithm lets you find the information with ease.

The band sent this through the PR wire:

GANGRENED releases “Deadly Algorithm” on 9th April through different labels across Europe

Gangrened returns with their first full length finally after a hiatus that started precisely right after a bunch of dates around Finland with Bongzilla in 2015. The process of composing and recording has been extremely long but this circumstance unexpectedly has contributed to extend the palette of sounds included in the album to an extend that it became the rendering of a wide 20+ years musical background into the record showing a more restless creative flow than the average in these genres. Making it, this way, an album that is deeper than ever before and goes beyond the genres the band fitted just right in in previous releases. This is not a straight up sludge record, not at all. heaviness is there, but in many ways and along genres like noise rock, drone, noise no-wave, psyched out sounds or even ambient, converging through the record. The album process was finalized (mixed and mastered) by Tom Brooke (Oranssi Pazuzu, Hebosagil, Throat) in summer of 2020 at Tonehaven studios close to Jyväskylä in Finland.

“Deadly Algorithm” kicks off with “HarrbÃ¥da” as a quiet intro, where chords as beautiful as dark are dropped through the song. Then comes “Triptaani”, with its kind of Unsane-ish mean riffing blending heavyness and noise rock at the beginning of the song to end really atmospheric, intense and filthy at same time. “Hologrammi” is an old song from first Gangrened´s release that deserved to be taken back and get the right studio treatment. Next is “Kuningatar”, after an epic intro definitely goes into an acid trip through heaviness, darkness and psyched out and noisy sounds. Last is “Triangeli”, with its heavy repetitive and obsessive bass line/riff, and maybe the most eclectic song of the album, heaviness gets into noise-no wave territory with a bass synth under, for ending the song, and the album, fading into pure ambient sounds.

Vocals deserve a separate mention, all lyrics are in Finnish and the output of putting a vampire-like goth musical background to work on the vocals for this record has been extremely interesting and creative, do not expect dry regular growling cause there is no much of that, better expect for example, to hear things like how a really raw vocal line can have a a little bit hip-hop oriented and be laid down over a obsessive heavy riffing, like happens in “Triangeli” or the really mind bending sounding vocals in the middle part of “Kuningatar”, for example.

“Deadly Algorithm” title, cover and concept verses about a subject that was used in the previous release “We are nothing”. how the world economic elites manipulate mass population. In this case, sneaking up, orienting the development of new technologies like algorithms of artificial intelligence for massive data and attention extraction. Persuasive technology to keep users as long as possible connected. Unfortunately, in the rising attention extraction digital economy, and data extraction also, that the new technologies are at the right moment immersed in, a human is worth more when we are depressed, outraged, polarized, and addicted. Parallel to this, is growing a massive surveillance by governments and big companies with the purpose of basically implement what seemed a dystopia till a little while ago: Living in the “1984” novel of George Orwell, or even worse. . . “If you’re not paying for the product, you are the product”.

“Deadly Algorithm” is coming out the next 9th April in one single LP through the following labels: Violence In The Veins (Spain), Kohina Records (Finland) Odio Sonoro (Spain), Burial Records (Spain), Domestic System (Spain), Noizeland Records (Spain) and Quebranta Records (Spain). The CD edition will come out through Trepanation records from U.K.

LPs will be black (200 copies) and transparent (100 copies), CDs will be a 6 pannels digipack (50 copies). Soon we will publish info about pre-orders.

https://www.facebook.com/Gangrened
https://www.instagram.com/gangrened_band/
https://gangrened.bandcamp.com/
http://www.gangrened.org/
https://www.facebook.com/violenceintheveins/
https://www.facebook.com/kohinarecords/
https://www.facebook.com/Odio-Sonoro-255423944500267/
https://www.facebook.com/Burial-Records-100574988598784/
https://www.facebook.com/domestic.system.01/
https://www.facebook.com/NoizelandRecords/
https://www.facebook.com/QuebrantaRecords/
https://www.facebook.com/TrepRec/

Gangrened, Deadly Algorithm (2021)

Gangrened, We are Nothing (2014)

Based in Cádiz on Spain’s southern coast, the heavy psychedelic four-piece Surya make their debut through Spinda Records, Surnia Records, Odio Sonoro and a host of others — Spanish labels should form a conglomerate and take over the world or at very least the heavy underground — with the eight-track/40-minute LP, Overthrown. Set to release Nov. 20 (which, holy shit, is tomorrow), the unpretentiously atmospheric outing works smoothly to make itself comfortable in a balance between harder-pushing rhythms and tonal warmth, an overarching shimmer of melody coming through the lead work on tracks like “Golden Tower” that reminds some of their countryfolk to the east in Algeciras in groups like Híbrido and Atavismo, though their aims for the most part aren’t so directly progressive at this point. Rather, while “Crystal Gate” is the longest inclusion at 7:29, it uses most of that time in developing a jammy flow, and even the decidedly linear, post-Elder sway of “Turtle Shaman,” which would seem to be side B’s answer back to “Crystal Gate” in terms of soundscaping reach, manages not to overindulge in its own lushness.

I’m not sure if I’d call their approach measured in the sense of being overly controlled, but the songs have an organic, carved-from-jams feel, and whether it’s a SoCal riffer like opener “Tales of the Great Fharats” and the subsequent echoer “Sundazed” or the from-the-ground-up build of the finale in “No Further,” they once again make a noble drive toward finding their identity in a sense of balance between sides. The four-piece of guitarist/vocalist Antonio Hierro, guitarist/synthesist José Moares, bassist José María Zapata (also percussion) and drummer/acoustic guitarist/vocalist Carlos Camisón (also also percussion) do well in setting and attaining this goal for themselves on Overthrown, recounting a narrative across the record’s span but not sacrificing the impressions made by individual tracks in order to do so — not taking away from the songs for the story, in other words, as “concept records” sometimes do.

Instead, whether it’s the boogie in the penultimate “Begone” or the dreamy acid-strum of side A capper “Thousand Year Bridge,” which though it’s just four and a half minutes long does much to bolster a kind of Floydian pastoralism that only adds to the overall tally of their breadth of sound. “Golden Tower” is a fine example of how they bring these different sides together — the acoustic guitar notwithstanding — but wherever Surya end up on their first full-length, they get there with a remarkable sense of awareness for what they’re doing and a style that’s all the more engaging for that. It’s that much easier to go along with the fluidity they conjure because they seem to present it with such confidence.

As to what their future might hold, it’s hard to surmise where the mix of sound might take them or, likewise, where they might take it. But that too is part of what makes Overthrown an exciting listening experience, as their prospects seem to unfold with each careening riff or each patiently-delivered turn. And whatever they do, one can only hope that the current of songwriting they bring to these eight tracks continues to develop along with their aesthetic, since it’s what ultimately works to tie the material together, long with Hierro‘s vocals and a quickly-earned sense of trust that they pay back in kind with laudable effort for the converted and open-minded alike.

Happy to host the stream of the full album below. Dig in and enjoy:

Surya is a 4-piece Heavy Rock/ Heavy Psych band based in Jerez de la Frontera, Spain. After an EP (Vol. 1) released in 2017, Overthrown is their first full length album, culmination of almost one year of work. Although they are all in their early 20s, Surya takes influence from 70s dual guitars with plenty of harmonies, classic sounds and powerful vocals, but with a 90s twist to spice it all up. Recorded at Estudio 79 in April 2019 by Rafa Camisón (G.A.S Drummers, Gentemayor), Overthrown tells us the story of an banished prince and his revenge on his father with roaring guitars, earth-shattering bass and huge drums. A very limited 300 copy vinyl (released between Spinda Records, Odio Sonoro, Monasterio de Cultura, Surnia Records, Bandera Records, Violence in the Veins, Sacramento Records, Noizeland Records, Discosxmil and Gato Encerrado Records) is also available for purchase in their bandcamp. Enjoy!

Releases November 20, 2019

Surya:
Antonio Hierro – guitar & vocals
Carlos Camisón – drums, percussion, acoustic guitar & vocals
Jos̩ Moares Рguitars and synth
José María Zapata – bass and percussion

Recorded, produced and mixed at Estudio 79 by Rafa Camisón.
Mastered at Kadifornia by Mario G. Alberni.
Artwork by Nacho Fernández-Trujillo (@nachoooft).

Edited by Spinda Records, Surnia Records, Monasterio de Cultura, Violence In The Veins, Bandera Records, Sacramento Records, Odio Sonoro, Gato Encerrado Records, Discos X Mil and Noizeland Records.

Surya on Thee Facebooks

Surya on Instagram

Surya on Bandcamp

Spinda Records on Thee Facebooks

Spinda Records website

Framed by images of roaches, needles, faceless masks and other visually striking and abrasive imagery, the new video from Spanish noise-slinging sludge duo VOR tells a good portion of the tale. On May 19, the Madrid-based outfit will issue Depravador through a host of involved labels, including Third I Rex, Noizeland Records, Noorirax Producciones, Odio Sonoro, Sacramento Records, Base Record Production and Fuzz T-Shirts, the latter two of which I’ll confess I’m not even sure if they are record labels, but it’s yet more companies standing behind the band’s work and it goes to prove the overarching point that this is material and this is a band that a lot of people really believe in and are willing to support.

The bass/drum filth-revelry of the track “Cudgel,” which is the single for which the new video has been put together, justifies that, I think. It’s a quick blast of ’90s-style sludge intensity, reminiscent maybe of Buzzov*en or Eyehategod in some of their especially biting moments, but the rawness they conjure as only being a two-piece becomes part of the aesthetic in a fascinating way, feeding into the overarching rawness of their approach and making the whole affair even meaner than it started out. I haven’t heard the full record yet — so many cooks in the kitchen on a release, sometimes these things are hard to come by — but once again, it’s easy to understand why people would believe in what VOR are up to stylistically, taking the classic tenets of mud-in-your-eye sludge and bringing something of their own to it. One way or another, it’s noisy as all hell.

My go-to word for this kind of sludge always seems to be “nasty,” and the crust that outlines “Cudgel” much the same way those needles, roaches, etc. frame the video, certainly meets that standard. Depravador, one more time, lands May 19, and it’s with the permission of Third I Rex that I have the pleasure of hosting the premiere of the clip that you’ll find below, with more background beneath, courtesy of the PR wire.

Please enjoy:

VOR, “Cudgel” official video premiere

The Spanish noisemongers VOR bring to the table one of the most corrosive releases of the year. This bass and drum duo is no joke! Coming from projects such as Lazharus, Warchetype, Moho, Cuzo, The Eyes Y and more levels of filth, these guys have got something you should really take a listen to.

Their new album “Depravador” comes after another killer release, the band’s debut album “Tu Clave Es Jonàs”, pressed early in 2017 by another bunch of labels, including some of those collaborating for this new LP. Seven tracks of trippy, abrasive, odd, heavy sludge which, funneled through a punk attitude, is able to take off your face like thick tar on naked skin.

An absolute must listen to for all of the uncompromised sludge supporters, fuzzy doom sounds lovers, punk-fueled hatred preachers, and all of those people out there who wanna listen to something new after tons of boring late releases! “Depravador” will be out on May 19th!

Recorded at La Cortina Roja in 2017.
Mastered at Kadifornia Mastering in 2018.
Front cover art by Calabaza Cosmica.
Photo by Sergio Albert Aviles.

VOR is:
Iván: bass, noise & shrieks
Edu: drums & noise
Anxela (Bala): guest vocals in “Dark Fraga”

VOR on Thee Facebooks

VOR on Bandcamp

VOR on Tumblr

Third I Rex on Thee Facebooks

Third I Rex on Bandcamp