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[09:15] Veerkracht in tijden van dictatuur: I'm Still Here is een bijzonder rake film

De winnaar van de Oscar voor beste internationale film bij de recente uitreikingen, I'm Still Here (Ik ben er nog), is een spannend familiedrama dat zich afspeelt tijdens de militaire dictatuur van Brazilië. De film is gebaseerd op het waargebeurde verhaal van een vrouw die haar gezin een veilig thuis biedt onder een tirannieke overheid.

frieschdagblad.nl/cultuur/Veer

#Oscar #I'mStillHere #Brazilië

Friesch Dagblad · Veerkracht in tijden van dictatuur: I'm Still Here is een bijzonder rake filmBy Piet Halma

[19:18] Oscarwinnaar Walter Salles: ‘Onder Bolsonaro werd 4 jaar lang geen interessante speelfilm gemaakt in Brazilië’

Walter Salles, regisseur I’m Still Here won de Oscar voor beste internationale film. Het is de kroon op het werk van regisseur, miljardair en autoracer Walter Salles, die met de film voor de tweede keer een renaissance van de Braziliaanse film inleidt.

dvhn.nl/cultuur/film/Oscarwinn

#WalterSalles #I’m #Oscar #tweede

[19:22] Oscarwinnaar Walter Salles: ‘Onder Bolsonaro werd 4 jaar lang geen interessante speelfilm gemaakt in Brazilië’

Walter Salles, regisseur I’m Still Here won de Oscar voor beste internationale film. Het is de kroon op het werk van regisseur, miljardair en autoracer Walter Salles, die met de film voor de tweede keer een renaissance van de Braziliaanse film inleidt.

lc.nl/cultuur/film/Oscarwinnaa

#WalterSalles #I’m #Oscar #tweede

Ruinous Power – EXTREME DANGER: Prototype Weaponry Review

By Kenstrosity

As I get older, I grow ever more tired of labels. Yes, it’s helpful to have a baseline frame of reference for what something is, but lately, I find myself abandoning these kinds of single-use terms in favor of something more substantial and descriptive. So, when Canada’s Ruinous Power entered my review rotation, I allowed myself more room than ever before to interpret what they craft outside of the multitudinous boxes in which they could fit. A newer outfit comprised by members of Egregore and Mitochondrion (among many other bands) in 2021, Ruinous Power incubated their debut record EXTREME DANGER: Prototype Weaponry until its inevitable escape from the confines of twisted minds into meatspace, where it corrupts all who would encounter it.

Based on the lore and aesthetics of the Warhammer 40k franchise, Prototype Weaponry takes what on the surface sounds like blackened death metal, endows it with a raucous thrall of thrash, and imbues within it an eerie, synth-woven atmosphere. Comparisons to both Mitochondrion and Egregore are apt, placing Ruinous Power comfortably inside that family tree of skronked-up up blackened death pedigree. However, that extra dose of mutated thrash allows a twist of The Outer Limits Voivod to pulse beneath the skin, while Ulthar‘s unearthly, necrotic limb hovers just over Ruinous Power’s writhing flesh. Juggling long-form excursions into the murky abyss with violent expulsions of a much more expeditious nature, Ruinous Power embodies Prototype Weaponry with a restless, anxious energy and equips it with lethal armaments liable to destroy us all.

Prototype Weaponry wields those armaments with aplomb despite its unpredictable nature, expertly balancing impenetrable discordance with highly accessible rhythms and infectious repetition. Ten-minute opening epic “But What of Sacred Mars?” takes tumbling, scraping riffs in stride, sticking the landing with a proggy companion motif that ripples with lean power. Pumping that momentum for five minutes, this track takes its rest and allows a bass-led, Mare Cognitum-esque second act to immerse the listener with lush instrumental developments. In doing this, Ruinous Power prepare the listener for what’s to come, and what’s to come is unchecked destruction. “The Long Game,” “Kneel,” and album highlight “+++ Engine Kill +++” represent Prototype Weaponry’s most vicious salvos. All three toss the listener clear across a dystopian battlefield with tearing leads evoking a sooty and scrawled Portal-ish visage (“The Long Game”), relentless riffs that refuse to adhere to either death metal or thrash metal conventions while still inheriting many of their physical traits (“Kneel,” “+++ Engine Kill +++”), and an uncanny sense of melody that defies Ruinous Power’s inhuman lust for aural obliteration (“The Long Game”). So as to not deprive the listener of a cohesive experience, Ruinous Power stitches these divergent anatomies together with strange, but never unfamiliar, connective tissue in such a way that transitions between seemingly incompatible segments provide the context necessary to justify their positioning at every joint.

In this way, Prototype Weaponry proves that Ruinous Power’s experience with the weird and wild pays dividends even when crafting more straightforward material than their more notable main projects. However, a few nagging concerns remain. Though its myriad riffs and motifs feel fresh and vital in the context of the greater metalverse, Protoype Weaponry also toys with self-plagiarism a little too closely in its album-wide microcosm. “The Descent of the Host” inherits an assortment of its constituent building blocks from the motifs introduced by “But What of Sacred Mars?” and “+++ Engine Kill +++,” and some of the arpeggiated wiggles and runs featured on “Cerebrum Malefice” feel all too familiar to those on earlier cuts like “Kneel.” On a separate note, with an album as tight as Prototype Weaponry—a mere thirty-one minutes, rounding up—instrumental interludes like the title track provide very little outside of superficial atmosphere, taking away from the whole rather than bolstering it.

As the dust clears and the bodies are counted, Prototype Weaponry stands strong and victorious, but the battle left a few weak points exposed. Not to be deterred by mere flesh wounds, Ruinous Power used their extensive past experience crafting dense, oppressive extreme metal to make a bold statement inside a more accessible framework. Thus, Prototype Weaponry earns my overall recommendation. Its riffs break necks as easily as they invite spirited imagination. Its dynamic structures immerse as readily as they immolate. Its presence enthralls as deeply as it terrifies. If that entices you even in the slightest, and you crave EXTREME DANGER, secure yourself some Prototype Weaponry today!

Rating: Very Good
DR: 8 | Format Reviewed: 192 kbps mp3
Label: I, Voidhanger Records
Website: Too Kvlt for Webz
Releases Worldwide: February 28th, 2025

#2025 #35 #BlackMetal #CanadianMetal #DeathMetal #DissonantBlackMetal #DissonantDeathMetal #Egregore #EXTREMEDANGERPrototypeWeaponry #Feb25 #I #MareCognitum #Mitochondrion #Portal #Review #Reviews #RuinousPower #ThrashMetal #Ulthar #VoidhangerRecords #Voivod

In today's #fuckshit with #mikrotik. Hardware is kinda Fire.. The way you guys do shit is weird! At the very least this shit is not for rest of us. VyOS software router didn't take this much brain power to get going. I finally got half my network moved over to it. I needed to add bridge, vlans, vlan interfaces, trunk ports in bridges, add interfaces and vlan interfaces to bridges, add interfaces to interfaces lists to allow firewalls shit, add address pools, then dhcp servers, and then add networks ( which are not vlans). I still have not set up PBR. And before you come at me with this, "do you even network bro bullshit"!! NO! I don't.. I'm not sure this fucking thing networks without you getting drugged in in a foreign country for your kidneys!!

Now don't get me wrong( or get me all the way wrong)!!! The software is a POS 🤣 It's powerful, I'm sure! You just need to kill a baby unicorn goat! Then it fucks with ya!

[08:21] Wat dacht Gerda eigenlijk toen ze in Franeker in gebed aan haar vingers rook? | column Jantien de Boer

Mijn telefoon bliepte. ‘Die Gerda Verburg moet maar goed bidden voor de natuur’, las ik. Het was I. die zich enorm opwond over een foto van oud-minister Gerda die aanzat tijdens een CDA-diner in Franeker.

lc.nl/opinie/In-gebed-aan-je-v

#DieGerdaVerburg #I. #Gerda #Franeker

Leeuwarder Courant · Wat dacht Gerda eigenlijk toen ze in Franeker in gebed aan haar vingers rook? | column Jantien de BoerBy Jantien de Boer