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JdeBP<p><span class="h-card" translate="no"><a href="https://mastodon.decentralised.social/@wezm" class="u-url mention" rel="nofollow noopener" target="_blank">@<span>wezm</span></a></span> <span class="h-card" translate="no"><a href="https://mastodon.social/@toomanysecrets" class="u-url mention" rel="nofollow noopener" target="_blank">@<span>toomanysecrets</span></a></span> <span class="h-card" translate="no"><a href="https://mastodon.online/@WindOfChange" class="u-url mention" rel="nofollow noopener" target="_blank">@<span>WindOfChange</span></a></span> </p><p>And repeated on <a href="https://tty0.social/tags/HackerNews" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>HackerNews</span></a> six times in the past 8 years, as you can see. My vague memory served me correctly. I had seen it multiple times. It was not a hallucination. (-:</p><p><a href="https://tty0.social/tags/FreeBSD" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>FreeBSD</span></a> was inspired by that very post, also about 8 years ago.</p><p><a href="https://github.com/freebsd/freebsd-src/commit/dadfd1ed33e4ca779998ddeca7d5b0bb30098543" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">github.com/freebsd/freebsd-src</span><span class="invisible">/commit/dadfd1ed33e4ca779998ddeca7d5b0bb30098543</span></a></p><p><a href="https://tty0.social/tags/yes" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>yes</span></a></p>
sntxSarcasm
JdeBP<p><span class="h-card" translate="no"><a href="https://mastodon.social/@toomanysecrets" class="u-url mention" rel="nofollow noopener" target="_blank">@<span>toomanysecrets</span></a></span> </p><p>It's probably a rite of passage in becoming a software engineer to understand this.</p><p>I have a vague recollection of an explainer for this that comes up on <a href="https://tty0.social/tags/HackerNews" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>HackerNews</span></a> every few years.</p><p>Interestingly, only <a href="https://tty0.social/tags/OpenBSD" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>OpenBSD</span></a> retains the full flaws of the original. <a href="https://tty0.social/tags/NetBSD" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NetBSD</span></a> and <a href="https://tty0.social/tags/DragonFlyBSD" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>DragonFlyBSD</span></a> both add error checking, and <a href="https://tty0.social/tags/FreeBSD" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>FreeBSD</span></a> and <a href="https://tty0.social/tags/GhostBSD" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>GhostBSD</span></a> do the modern avoiding stdio and its rampant buffer rewriting thing.</p><p><a href="https://tty0.social/tags/yes" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>yes</span></a> <span class="h-card" translate="no"><a href="https://mastodon.online/@WindOfChange" class="u-url mention" rel="nofollow noopener" target="_blank">@<span>WindOfChange</span></a></span></p>
Variety<p>‘Yes’ Review: Nadav Lapid’s Blistering Attack on Israeli Nationalism is an Effectively Blunt Instrument<br><a href="https://mastodon.social/tags/Variety" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Variety</span></a> <a href="https://mastodon.social/tags/News" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>News</span></a> <a href="https://mastodon.social/tags/Reviews" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Reviews</span></a> <a href="https://mastodon.social/tags/CannesFilmFestival" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>CannesFilmFestival</span></a> <a href="https://mastodon.social/tags/NadavLapid" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NadavLapid</span></a> <a href="https://mastodon.social/tags/Yes" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Yes</span></a></p><p><a href="https://variety.com/2025/film/news/yes-review-1236405799/" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">variety.com/2025/film/news/yes</span><span class="invisible">-review-1236405799/</span></a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/changeling-changeling-review/" rel="nofollow noopener" target="_blank">Changeling – Changeling Review</a></p><p><i>By Dolphin Whisperer</i></p><p>Creation, evaluation, iteration—art lives and transforms an untold number of times before its flesh lays bare for a dissecting audience. Thus, the album runs on a path of turns sharp, around, back again—whatever it takes—before the artist declares it enough. Tom Geldschläger has worn many musical lives, both under his given moniker and “Fountainhead” with acclaimed acts like <strong>Obscura</strong> and <strong>Ingurgitating Oblivion</strong>, and as a performer/engineer. And now, with <strong>Changeling</strong>, Geldschläger seeks to express a culmination of his works, partnerships, and curiosities in a grand exploration of his unique fretless guitar stylings amongst progressive, orchestral, and deathly conjurings. In the credits alone—over thirty performers with credits ranging from <a href="https://en.wikipedia.org/wiki/Wagner_tuba" rel="nofollow noopener" target="_blank">Wagner tuba</a> to marimba to an Andy LaRocque (<strong>King Diamond</strong>, ex-<a href="https://www.angrymetalguy.com/yer-metal-is-olde-illwill-evilution/" rel="nofollow noopener" target="_blank"><strong>Illwill</strong></a>) wailing solo—<em>Changeling</em> shows its mutable form forged of virtuosity, novelty, and adventure.</p><p>Looking to the past to create a history-laced work with a fresh trajectory holds a foundational pillar throughout <em>Changeling</em>. Consumers of Geldschläger’s past—whether they’ve realized he was part of it or otherwise<a href="https://www.angrymetalguy.com/changeling-changeling-review/#fn-215605-1" rel="nofollow noopener" target="_blank">1</a>—will notice signature shred motifs and <strong>Cynic</strong>-imbued urgencies that pass through shades of <a href="https://www.angrymetalguy.com/obscura-akroasis-review/" rel="nofollow noopener" target="_blank"><em>Akróasis</em></a> (“Instant Results,” “Falling in Circles”),<a href="https://www.angrymetalguy.com/changeling-changeling-review/#fn-215605-2" rel="nofollow noopener" target="_blank">2</a> with the epic conclusion of “Anathema” holding as a spiritual successor to “Weltseele.” Geldschläger has also accumulated a talented Rolodex along the way, with minor identities like Matthias Preisinger’s (<strong>Shape of Dreams</strong>) piano and strings and Jan Ferdinand’s (<strong>Ingurgitating Oblivion</strong>) vibraphonic emissions holding necessary weight against primary contributors like the chameleonic Morean (<strong>Alkaloid</strong>) on word and voice and virtuoso Arran McSporran (<strong>Vipassi</strong>, ex-<strong>De Profundis</strong>) on dancing bass. In the spirit of true collaboration, the resulting <strong>Changeling</strong> wears progressive music, and its own associated acts, in a vision that screams and scurries and soars into the fade of a thunderous drum strike.</p><p></p><p>A unifying voice of fretboard bombast holds tight the flow that whips <em>Changeling</em> through its fiery, deathly roots and its experimental crawl and swell. Though progressive and technical death metal begin to define early numbers, <strong>Changeling</strong> holds loose to genre conventions and pairs playful string ensembles (“Falling in Circles”), rhythm-warping <a href="https://en.wikipedia.org/wiki/Oud" rel="nofollow noopener" target="_blank">oud</a> tuplets (“World? What World?”), and <a href="https://en.wikipedia.org/wiki/Tabla" rel="nofollow noopener" target="_blank">tabla</a>-guided choirs (“Changeling”). Of course, dissonance in excess and avant-garde-isms can often pose heavy barriers to long-term enjoyment. And though <strong>Changeling</strong> dabbles plenty in both the ghastly awe of Morean’s off-kilter and emotional vocal charisma (“Abyss” and “Abdication” hosting the greatest highlights), and alien tonal explorations (“Cathexis Interlude”), the weight of diverse riffage and stupefying power of Geldschläger’s fretless anomolies anchor <em>Changeling</em> in masterful songcraft—every song idea cradled and decorated with mischievous flair.</p><p></p><p>In sequence, <em>Changeling</em> swells from short-form shredscapades (“Instant Results,” “Falling in Circles”) to novella-length celebrations (“Anathema”)—layers of progression towards a whole. Following its escalating narrative, <em>Changeling</em>’s themes follow the spasm of psychedelic expansion (“Instant Results”) to dissociated questioning (“World? What World?”) to ego breakdown (“Abyss”) to awakening and rebirth (“Abdication,” “Anathema”). And despite this overarching cohesion, each successive track introduces a new element, whether it be as simple as the Germanic drama of deep brass (“World? What World?”), as darting as the chase of wobbly percussion (“Changeling”), or as escaping as the <strong>Yes</strong>-via-<em>Princess Mononoke</em> of dreamlike orchestration (“Abdication”). With every piece finding a return and final hurrah in the throes of “Anathema,” <em>Changeling</em>’s lengthy run feels justified so long as you can give it proper time and space.</p><p>And even if you can’t carve an hour to explore <em>Changeling</em>’s enriched and engorged elaborations, the questions that <strong>Changeling</strong> raises with this fresh take on progressive death metal dig plenty deep, even at the song level. Just how many times does that main ostinato in “World? What World?” jump instruments? Where does one rapid-fire guitar arpeggio end and velvety bass recursion begin in “Instant Results”? Is that slippery lead intro to “Falling in Circles” a bend, a dive, a slide, or some unholy combo of all three? Does any solo compete with the triumphant stutter-to-squeal finale of “Anathema”? Sometimes the answers include a revelation that yes, in its <strong>Devin Townsend</strong>-y “wall of sound,” <em>Changeling</em> requires some loudness adjustments. And, yes, that snare packs a POW more aggressive than any other sound on the whole album. But after countless dives into its meticulous and eccentric world, it’s apparent that <strong>Changeling</strong> wears any flaws it may have with an empowering and intoxicating flamboyance.</p><p></p> <p><strong>Rating</strong>: 4.5/5.0<em><br></em><strong>DR</strong>: 6 | <strong>Format Reviewed</strong>: 320 kbps mp3<br><strong>Label</strong>: <a href="https://www.season-of-mist.com/" rel="nofollow noopener" target="_blank">Season of Mist</a> | <a href="https://seasonofmist.bandcamp.com/music" rel="nofollow noopener" target="_blank">Bandcamp</a><br><strong>Websites</strong>: <a href="http://www.thefountainhead.de/" rel="nofollow noopener" target="_blank">thefountainhead.de</a> | <a href="https://changelingofficial.bandcamp.com/music" rel="nofollow noopener" target="_blank">changelingofficial.bandcamp.com</a> | <a href="https://www.instagram.com/changeling.official" rel="nofollow noopener" target="_blank">instagram.com/changeling.official</a><br><strong>Releases Worldwide</strong>: April 25th, 2025</p><p></p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/45/" target="_blank">#45</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alkaloid/" target="_blank">#Alkaloid</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apr25/" target="_blank">#Apr25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/changeling/" target="_blank">#Changeling</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/cynic/" target="_blank">#Cynic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/de-profundis/" target="_blank">#DeProfundis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/devin-townsend/" target="_blank">#DevinTownsend</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/german-metal/" target="_blank">#GermanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ingurgitating-oblivion/" target="_blank">#IngurgitatingOblivion</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/obscura/" target="_blank">#Obscura</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-death-metal/" target="_blank">#ProgressiveDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-metal/" target="_blank">#ProgressiveMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/season-of-mist/" target="_blank">#SeasonOfMist</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/shape-of-dreams/" target="_blank">#ShapeOfDreams</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/symphonic-death-metal/" target="_blank">#SymphonicDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/vipassi/" target="_blank">#Vipassi</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/yes/" target="_blank">#Yes</a></p>
Kingu's Music Tournaments<p>I forgot the hashtags but I cannot edit a poll... :(</p><p>So here they are: <a href="https://metalhead.club/tags/KingusMusicTournaments" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>KingusMusicTournaments</span></a><br><a href="https://metalhead.club/tags/MusicTournament" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>MusicTournament</span></a><br><a href="https://metalhead.club/tags/ProgressiveRock" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>ProgressiveRock</span></a><br><a href="https://metalhead.club/tags/KMTPoll" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>KMTPoll</span></a><br><a href="https://metalhead.club/tags/ProgRock" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>ProgRock</span></a><br><a href="https://metalhead.club/tags/Music" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Music</span></a><br><a href="https://metalhead.club/tags/PinkFloyd" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>PinkFloyd</span></a><br><a href="https://metalhead.club/tags/Yes" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Yes</span></a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/allegaeon-the-ossuary-lens-review/" rel="nofollow noopener" target="_blank">Allegaeon – The Ossuary Lens Review</a></p><p><i>By Maddog</i></p><p><strong>Allegaeon</strong>’s six albums have received tumultuous marks in these halls. After their fantastic 2010 debut <a href="https://www.angrymetalguy.com/allegaeon-fragments-of-form-and-function-review/" rel="nofollow noopener" target="_blank"><em>Fragments of Form and Function</em></a> broke the score counter, <strong>Allegaeon</strong> sank as low as a 2.0 for 2016’s <a href="https://www.angrymetalguy.com/allegaeon-proponent-for-sentience-review/" rel="nofollow noopener" target="_blank"><em>Proponent for Sentience</em></a> in the eyes of then-tadpole <span><strong>GardensTale</strong></span>. While their latest outing recovered to a more respectable <a href="https://www.angrymetalguy.com/allegaeon-damnum-review/" rel="nofollow noopener" target="_blank">score</a>, <strong>Allegaeon</strong>’s techy brand of melodeath has polarized socialites and critics alike. The band excelled with their riffier onslaughts and soaring melodies, but fell for the forbidden fruit of proggy excess. <em>The Ossuary Lens</em> showcases a leaner, meaner <strong>Allegaeon</strong>. I won’t be listening to it in a decade, but it’s a worthy soundtrack for today.</p><p><strong>Allegaeon</strong> have trimmed their bloat but not their ambitions. For the uninitiated, <strong>Allegaeon</strong>’s brand of death metal resembles a noodlier <strong>Arsis</strong>, with its melodicism matched only by its technicality. That said, <strong>Allegaeon</strong>ites will recall that these Coloradans would rather cover <strong>Yes</strong> or <strong>Rush</strong> than classic death metal. <strong>Allegaeon</strong>’s career has sometimes descended into a vulgar display of prog, combining protracted tracks with a penchant for flamenco breaks. These proggy elements live on, as <strong>Allegaeon</strong> gallops from punchy riffs to melodic leads to clean jams and back again. However, <em>The Ossuary Lens</em> displays newfound restraint. At 45 minutes, this is the band’s shortest album by a full eight minutes. <strong>Allegaeon</strong>’s escapades no longer leave a salty aftertaste, and the band’s forays into other genres no longer feel like pleas for a yardstick. <em>The Ossuary Lens</em> preserves its identity without getting lost in its own reflection.</p><p></p><p>Accordingly, <em>The Ossuary Lens</em> hits across both its bigly riffs and its creative tangents. The album’s fierier cuts are a refreshing return to form, with “The Swarm” reviving <em>Elements of the Infinite</em>’s infectious riffcraft. As hoped, these sections still ooze technicality, as guitarists Greg Burgess and Michael Stancel dominate their fretboards even in their most explosive moments. Meanwhile, <strong>Allegaeon</strong>’s genre-bending experiments feel creative but not overwrought. Most notably, “Dark Matter Dynamics” pulls a <strong>First Fragment</strong> stunt of seamlessly transitioning between jubilant strumming (courtesy of Adrian Bellue) and formidable death metal melodies. Indeed, <em>The Ossuary Lens</em> hits hardest when these forces unite. For instance, “Carried by Delusion” voyages from serene melodies to <strong>Revocation</strong> worship to blackened tremolos to upbeat bass and guitar solos to downcast crunchy riffs, eviscerating both my heartstrings and my neck. <em>The Ossuary Lens</em>’ moderation goes a long way. Rather than clobbering the listener with decades-long Spanish guitar jams, <em>The Ossuary Lens</em> presents its creative side through measured four-minute tracks. Tech, prog, melody, and home sweet death metal unite into a potent concoction.</p><p>While each piece of <em>The Ossuary Lens</em> is impressive in isolation, the album sometimes loses my interest. One reason is its lack of climactic moments. During tracks like “Scythe” and “Wake Circling Above,” I zoned out and had to abuse the rewind button, because there weren’t enough valleys, buildups, and peaks to keep me engaged. Another reason is sequencing; while the five middle tracks from “Driftwood” through “Dark Matter Dynamics” shine, the bookends fall short. The most predictable reason is production. Despite aiming for creativity and dynamism in their songwriting, <strong>Allegaeon</strong> continues to brickwall their albums into tepid gruel. As a result, <em>The Ossuary Lens</em> often loses my focus despite its seemingly manageable length. Conversely, the album’s highlights show how it’s done. Most strikingly, “Driftwood” has colonized my brain with a soulful mix of melodeath and metalcore that recalls <strong>Venom Prison</strong>. With highs this high, it’s a shame that <em>The Ossuary Lens</em> often slips into uniformity.</p><p><strong>Allegaeon</strong> is a relatively new band, but they inspire nostalgia. I vividly recall pimply nights with the addictive <em>Fragments of Form and Function</em>. I still think that “Accelerated Evolution” and “Genocide for Praise” are two of the greatest album closers of this millennium. And the iconic 2014 <a href="https://youtu.be/ErhgZhhXPvA?si=TkFNLZl2-vXi-W8u" rel="nofollow noopener" target="_blank">music video</a> for “1.618” sealed <strong>Allegaeon</strong>’s place in my heart forever. Measured against <strong>Allegaeon</strong>’s first three albums, <em>The Ossuary Lens</em> falls short, hampered by its dearth of standout moments. Still, it isn’t a stinker. It still bangs; it still shreds; it still progs. Warts and all, it earns its keep.</p><p><strong>Rating:</strong> Good<br><strong>DR:</strong> 5 | <strong>Format Reviewed:</strong> 256 kbps mp3<br><strong>Label:</strong> <a href="https://www.metalblade.com/" rel="nofollow noopener" target="_blank">Metal Blade Records</a><br><strong>Websites:</strong> <a href="http://allegaeon.bandcamp.com" rel="nofollow noopener" target="_blank">allegaeon.bandcamp.com</a> | <a href="http://facebook.com/<strong>Allegaeon</strong>" rel="nofollow noopener" target="_blank">facebook.com/Allegaeon</a><br><strong>Releases Worldwide:</strong> April 4th, 2025</p> <p><strong><span>Iceberg</span></strong></p><p><strong>Allegaeon</strong> are something of a known quantity around here, having been nodded at by <strong><a href="https://www.angrymetalguy.com/allegaeon-fragments-of-form-and-function-review/" rel="nofollow noopener" target="_blank">Steel</a></strong>, eviscerated by <strong><a href="https://www.angrymetalguy.com/allegaeon-proponent-for-sentience-review/" rel="nofollow noopener" target="_blank">GardensTale</a></strong>, and patched up by <strong><a href="https://www.angrymetalguy.com/allegaeon-damnum-review/" rel="nofollow noopener" target="_blank">Cherd</a></strong>. The Colorado crew helmed by guitarist Greg Burgess have amassed a legion of rabid followers (who are sure to raise a ruckus in the comment section) for their signature style of Gothenburg-meets-tech-death. I’ll admit to being a fan of 2016’s <em><a href="https://www.angrymetalguy.com/allegaeon-proponent-for-sentience-review/" rel="nofollow noopener" target="_blank">Proponent for Sentience</a>,</em> one of the first reviews I read on this site, but got lost amidst the dense material of <a href="https://www.angrymetalguy.com/allegaeon-apoptosis-review/" rel="nofollow noopener" target="_blank"><em>Apoptosis</em></a> and frankly didn’t even give <a href="https://www.angrymetalguy.com/allegaeon-damnum-review/" rel="nofollow noopener" target="_blank"><em>Damnum</em></a> a shot. <strong>Allegaeon</strong>’s latest LP, <em>The Ossuary Lens</em>, sees the return of original vocalist Ezra Haynes and a much-welcomed stripped-down runtime, two intriguing changes in my book. It’s been quite a while since I’ve been excited about an <strong>Allegaeon</strong> release, can <em>The Ossuary Lens</em> be the record to change that?</p><p><strong>Allegaeon</strong>’s style of melo-tech-death needs little introduction here, but for those of you who haven’t been following the past decade’s worth of drama, I’ll provide the CliffsNotes. Sweeping, scalar guitar riffs courtesy of Burgess and Michael Stancel form the backbone of most tracks, and the dual guitars make for an indulgent offering of solos (“Driftwood,” “Wake Circling Above”). The drums here, while dripping with modern production sheen, are compelling and energetic without being overly technical, a sincere compliment for Jeff Saltzman. <strong>Allegaeon</strong> have never strayed from highlighting their bass players, and standout moments in “Chaos Theory” and “Carried by Delusion” show Brandon Michael has as much a command of melody as he does of relentless, galloping rhythms. Ezra Haynes, of <em>Elements of the Infinite</em> fame, comes roaring back to life on <em>The Ossuary Lens</em>, employing a gritty death roar alongside commendable clean vocals on “Driftwood” and “Wake Circling Above.” The performances on <em>The Ossuary Lens</em> are everything one would come to expect from a band nearly two decades into their career, and make for a wholly engaging listening experience.</p><p></p><p><strong>Allegaeon</strong> albums tend to have similar issues holding them back, and the band have largely addressed them on <em>The Ossuary Lens</em>. First and foremost is the 45-minute runtime, a nearly 25% reduction in music from their last three records. The renewed focus on editing shines, with tracks that hit fast and get out of the way while still managing to be memorable (“The Swarm,” “Imperial”). This represents the first major improvement in <em>The Ossuary Lens</em>; <strong>Allegaeon</strong> have not only figured out that less is more, but they’ve also magnified the parts that work. Sing-along melodeath choruses lurk throughout the album (“Driftwood,” “Dies Irae”) but none so impactful as penultimate track “Wake Circling Above.” Clearly the best <strong>Insomnium</strong> track released this year, <strong>Allegaeon</strong>’s ode to all things Gothenburg is a monumental testament to what this band can do when they stop doing so much and let the music dictate the song’s course.</p><p></p><p>The hits don’t stop there. <em>The Ossuary Lens</em> takes a while to really get moving, with the first three tracks treading familiar territory. But then comes “Dies Irae,” a barnburner that incorporates the three-note musical motif for the Dies Irae text of the Requiem Mass, a nice music nerd Easter Egg that only enhances the ripping triplet-infused breakdown sitting in the song’s center. And Burgess’ requisite flamenco guitar, something sorely overused in <em>Proponent for Sentience</em>, is here condensed into the driving groove of “Dark Matter Dynamics,” a powerfully infectious rhythm ripped straight from a <strong>Rodrigo y Gabriela</strong> record, or the breath-before-the-plunge moments of the darkly harrowing “Carried by Delusion.” Whereas previous <strong>Allegaeon</strong> records were dense, academic affairs that required shoveling through noise and notes to discern, <em>The Ossuary Lens</em> presents a barebones masterclass on <strong>Allegaeon</strong>’s <em>modus operandi</em>.</p><p>This isn’t to say that <em>The Ossuary Lens</em> is infallible. Early tracks “Chaos Theory” and “Driftwood” are technically proficient, but fail to reach the emotional highs of the rest of their brethren. Final track “Scythe,” while holding some excellent verse grooves, feels underbaked after the astonishing “Wake Circling Above,” and its cropped ending leaves the album on more of a question mark than a statement. And there’s the lingering issue of the DR5 master and production, which, while not as obscene as earlier records, is still crushed and fatiguing. But overall, <em>The Ossuary Lens</em> represents a massively successful repositioning for the Coloradoans, making it one of my favorite spins of the year for its precision, refinement, and memorability. If <strong>Allegaeon</strong> continue on this trajectory, we may see their best work yet just over the horizon.</p> <p><strong>Rating:</strong> 3.5/5.0</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/35/" target="_blank">#35</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/allegaeon/" target="_blank">#Allegaeon</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/american-metal/" target="_blank">#AmericanMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apr25/" target="_blank">#Apr25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/arsis/" target="_blank">#Arsis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/death-metal/" target="_blank">#DeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/first-fragment/" target="_blank">#FirstFragment</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/insomnium/" target="_blank">#Insomnium</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melodeath/" target="_blank">#Melodeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/melodic-death-metal/" target="_blank">#MelodicDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/metal-blade/" target="_blank">#MetalBlade</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/metal-blade-records/" target="_blank">#MetalBladeRecords</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-death/" target="_blank">#ProgressiveDeath</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-death-metal/" target="_blank">#ProgressiveDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/progressive-technical-death-metal/" target="_blank">#ProgressiveTechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/revocation/" target="_blank">#Revocation</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rodrigo-y-gabriela/" target="_blank">#RodrigoYGabriela</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rush/" target="_blank">#Rush</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/technical-death-metal/" target="_blank">#TechnicalDeathMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/the-ossuary-lens/" target="_blank">#TheOssuaryLens</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/venom-prison/" target="_blank">#VenomPrison</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/yes/" target="_blank">#Yes</a></p>
Kingu's Music Tournaments<p>🎷 ROUND VIII - Phase 1 - match 1/3 </p><p> * 🅵🅸🅽🅰🅻 🆁🅾🆄🅽🅳 * </p><p>Which one is the best progressive rock album? </p><p>🎸 Yes, Close to the Edge (1972)<br>or<br>🎸 King Crimson, In the Court of the Crimson King (1969)<br> <br>➡️See pinned post on profile for the tournament rules</p><p>:mastodon: Please 𝗕𝗢𝗢𝗦𝗧 </p><p>🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING </p><p><a href="https://metalhead.club/tags/KingusMusicTournaments" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>KingusMusicTournaments</span></a> <a href="https://metalhead.club/tags/MusicTournament" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>MusicTournament</span></a> <a href="https://metalhead.club/tags/ProgressiveRock" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>ProgressiveRock</span></a> <a href="https://metalhead.club/tags/KMTPoll" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>KMTPoll</span></a> <a href="https://metalhead.club/tags/ProgRock" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>ProgRock</span></a> <a href="https://metalhead.club/tags/Music" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Music</span></a> <a href="https://metalhead.club/tags/Yes" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Yes</span></a> <a href="https://metalhead.club/tags/KingCrimson" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>KingCrimson</span></a></p>
Kingu's Music Tournaments<p>🎷 ROUND VII - Phase 1 - match 4/5 </p><p>Which one is the best progressive rock album? </p><p>🎸 Pink Floyd, Animals (1977)<br>or<br>🎸 Yes, Close to the Edge (1972)<br> <br>➡️See pinned post on profile for the tournament rules</p><p>:mastodon: Please 𝗕𝗢𝗢𝗦𝗧 </p><p>🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING </p><p><a href="https://metalhead.club/tags/KingusMusicTournaments" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>KingusMusicTournaments</span></a> <a href="https://metalhead.club/tags/MusicTournament" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>MusicTournament</span></a> <a href="https://metalhead.club/tags/ProgressiveRock" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>ProgressiveRock</span></a> <a href="https://metalhead.club/tags/KMTPoll" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>KMTPoll</span></a> <a href="https://metalhead.club/tags/ProgRock" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>ProgRock</span></a> <a href="https://metalhead.club/tags/Music" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Music</span></a> <a href="https://metalhead.club/tags/PinkFloyd" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>PinkFloyd</span></a> <a href="https://metalhead.club/tags/Yes" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Yes</span></a></p>

Mad Parish – The Dust of Forever Review

By El Cuervo

Woe betide the lowly copywriter / AI bot that dared to write that a band was ‘for fans of’ Iron Maiden, Virgin Steele, Camel, Rush and Rainbow. Iron Maiden and Camel are among my favorite acts in any genre, while the latter two boast a couple of the best rock albums ever released.1 Following this description I metaphorically elbowed other staffers aside to reach the sophomore Mad Parish record entitled The Dust of Forever. It’s certainly ambitious, weaving its yarn over 71 minutes and 21 tracks, including ten that run no more than two minutes designed to tell the album’s story through atmospheric interludes. Do these Canadians execute on these ambitions?

The comparator bands are reasonably appropriate. Mad Parish’s music falls somewhere in the blurred lines between 70s hard rock, 80s heavy metal, and prog rock. It prioritizes guitar and vocal melodies, but features plenty of synths and has conceptual aspirations supported by the story-telling interludes and a comic. The guitars play some solid riffs but these are typically limited to introductions; by the time they reach the verses and choruses, they’re more forgettable. For example, “An Age of Quell” opens with proper energy and weaves its guitars with synths in a Yes-sy fashion. But the ensuing verse lead can’t match the energy and invention of the introduction. Likewise, the first riff on “Cathedron Wakes” bridges technicality with melody and later bleeds into a crisp groove. But these cool leads are ruined with computerized vocals as the song develops. Hampering the core music the most is the production. The prominent synths undercut any guitar crunch, while the vocals can be over-produced and the drums lack punch through their weak bass presence. I like the leads a lot better when they’re exposed without the synths which stray into silly far too often. Dust of Forever is substantially rock music, but it doesn’t always feel like it.

I also struggle with the sometimes unclear songwriting signposts. Songs like “Possess the Child” careen from melody to melody with little indication that you’ve moved from verse to bridge to chorus. Of course, it’s possible to pick these out if you’re listening closely but without strong melodies, it feels directionless. And while this song improves in the second half, its instrumental passage might as well not belong to this song at all because it’s melodically inconsistent with the remainder. This trait extends across the album. In particular, the ten story-telling interludes are unnecessarily distinct from the main songs. The flute on “Outerest in Irisius” is just as odd as the horns on “Hunted.” Worse are the first two “Transmission” tracks that feature intriguing snippets of music from other genres – happy folk rock and jazzy swing – but are nonetheless superfluous and strange. They don’t improve the overall quality or flow, and these interludes add 15 minutes to an album that already feels too long.

All this endorses the position that Dust of Forever lacks a musical sense of direction. Given that it has a concept and supporting comic, you would expect that it would at least trace a discernible route through its many songs and interludes. But this isn’t the case, and there’s no sense of climax towards the end of the album. The last main song is just another song enclosed by weird short tracks. Across an album this long, I at least want some sense of payoff but there’s none. However, the most damning quality of Dust of Forever is that even if it only ran for 30 minutes, it would still feel repetitive and dull. I struggle to get through just a ten-minute stint without my attention wandering elsewhere, let alone all 71 minutes. Spreading material that lazily sways from sub-par to mediocre over such a long period results in a record that proactively saps my energy and enthusiasm.

While Mad Parish may stylistically fit between the bands that form their core influences, the quality here falls far short. Dust of Forever lacks the infectious energy of Iron Maiden, the progressive levity of Camel, the technical grandeur of Rush, and the groovy boldness of Rainbow. This album isn’t totally devoid of value, but the choice fragments are buried in a deluge of other material that I cannot approve of. Picking out the positives involves cherry-picking specific guitar or vocal melodies from specific songs. This is possible but it wouldn’t tell you much about the overall quality or key characteristics of the album. Hopefully, the remainder of this review has done so.

Rating: 1.5/5.0
DR: 11 | Format Reviewed: 320 kbps mp3
Label: Self-release
Websites: madparish.com | madparish.bandcamp.com | facebook.com/madparish
Releases Worldwide: January 31st, 2024

#15 #2025 #Camel #CanadianMetal #HardRock #HeavyMetal #IronMaiden #Jan25 #MadParish #ProgressiveRock #Rainbow #Review #Reviews #Rush #SelfRelease #TheDustOfForever #VirginSteele #Yes

📻 ROUND IV - Phase 1 - match 5/19

Which one is the best progressive rock album?

🔊 King Crimson, ‘Red’ (1974)
or
🔊 Yes, 'Tales from Topographic Oceans' (1973)

➡️See pinned post on profile for the tournament rules

:mastodon: Please 𝗕𝗢𝗢𝗦𝗧

🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING

🎹 ROUND III - Phase 1 - match 28/30

Which one is the best progressive rock album?

🔊 Marillion, "Fugazi" (1984)
or
🔊 Yes, 'Tales from Topographic Oceans' (1973)

➡️See pinned post on profile for the tournament rules

:mastodon: Please 𝗕𝗢𝗢𝗦𝗧

🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING