Arvo Pärt – De Profundis – Tõnu Kaljuste

#AlteNeueMusik #ArvoPärt #DeProfundis #Hören #TõnuKaljuste

Suunnattomassa romahduksessa Ruoholahti ja puolet Jätkäsaaresta katosivat pohjattomaan kuiluun.
#Helsinki #DeProfundis

Depravity – Bestial Possession Review

By Kenstrosity

Since the release of Evil Upheaval in early 2018, I fell head over heels for Aussie death metal quintet Depravity. Evil Upheaval always going to be a difficult debut to follow, but Grand Malevolence did its very best and largely matched the debut’s sheer heft and vicious energy. Five long years spans the gap between then and now, with third salvo Bestial Possession, threatening to pummel me into dust. Little does Depravity know how badly I want it.

As if in smug answer to my “pummel me harder” challenge, Bestial Possession penetrates every pore of my body with wild abandon and zero concern for my internal organs. What I knew and loved from the brutal Evil Upheaval and the twisted Grand Malevolence coalesces here, forming a new evolution of Depravity’s sound that is at once devilishly cunning and fabulously infectious. A mangled amalgam of Cannibal Corpse bloodthirst, Immolation muscularity, and early Morbid Angel velocity, Depravity’s sound is familiar but instantly recognizable. The trick there is twofold. Firstly, Jamie Kay’s addicting vocal cadence and tonal attributes1 provide a singular voice that sets Depravity apart from the crowd. Secondly, guitarists Lynton Cessford and Jarrod Curley exhibit an uncanny ability to splice, fold, and connect tightly packed riffs together through kinky time signatures that snap my spine as easily as they trip me up (“Eunuch Maker,” “Blinding Oblivion”).

With these simple, but wildly effective, songwriting techniques—massaged by the smoothest transitions Depravity’s penned thus far—Bestial Possession quickly becomes a force to be reckoned with. Right off the bat, opening assault “Engulfed in Agony” launches the record with a devastating riffset; jaunty, subtly melodic, and bounding with verve. Oodles of arpeggiated scales and wriggling oscillations traversed by the lead guitars cohere beautifully with Louis Rando’s ballistic percussion and Ainsley Watkins’ clunky bass rumbles (“Call to the Fallen,” “Awful Mangulation”), forging a complex web of wizardry that stops just short of earning a “tech-death” badge but nonetheless ensures maximum stimulation. As a way to create balance and protect songwriting dynamics in every selection, Depravity explore a great variety of tempos and textures around Bestial Possession’s denser phrases. Grounding those variations to the band’s core mission of destruction, a palpable sense of groove tailor-made to incite ravenous pit activity also compels heads to bang with great intensity, as evidenced by turbo-bangers “Rot in the Pit,” “Aligned with Satan,” and “Legacy.”

There may be those who argue that the level of accessibility Depravity achieved with such brutal fare as this works against them, but I argue the opposite is true. Bands like Cannibal Corpse, De Profundis and even younger acts like Atrae Bilis expertly toy the line between accessibility and deadliness, and with Bestial Possession, Depravity earn their place in that elite category of death. This third installment in Depravity’s catalog is dense, brutally fast, and relentless. But it’s also refined, concise, and streamlined compared to their previous works. It’s loud, too, which holds it back from even higher acclaim, but its meaty guitar tones and well-balanced mix helps recover some ground on the production front. The only other nitpick I can muster against Bestial Possession is that, despite the incredible variety and scalpel-precise execution on hand, sometimes its strongest and most memorable cuts (“Eunuch Maker,” “Call to the Fallen,” “Rot in the Pit,” “Blinding Oblivion”) overshadow its album mates a touch too strongly. For some, that might create a minor bump in the road. Still, it’s unlikely to diminish the listening experience in any meaningful way.

As the dust settles and the flames of Depravity’s tear across the death metal landscape recede, Bestial Possession towers above many of 2025’s myriad releases. Even with my analytical eye in high gear, rooting for flaws and scrounging for blemishes, Depravity secured their rightful place as one of my absolute favorite meat-and-potatoes death metal acts active today, with Bestial Possession slotting at the top of their discography. It once more begs the question: how will they follow this up? To that I say, “Who gives a fuck?!” and smash the replay button to smithereens.

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: depravityaustralia.bandcamp.com | facebook.com/Depravitydestroy
Releases Worldwide: November 21st, 2025

#2025 #40 #atraeBilis #australianMetal #bestialPossession #brutalDeathMetal #cannibalCorpse #deProfundis #deathMetal #depravity #immolation #morbidAngel #nov25 #review #reviews #transcendingObscurityRecords

DE PROFUNDIS
mit Jens Harzer am Berliner Ensemble wurde gestern in der 3Sat Kulturzeit vorgestellt...
👇
https://www.3sat.de/kultur/kulturzeit/theatertipp-de-profundis-berlin-100.html

@blnensemble @3sat #BerlinerEnsemble #Berlin #Theater #Schauspiel #3Sat #BE #JensHarzer #DeProfundis #Kulturzeit #BerlinerEnsemble

Cristobal #Morales: Requiem a 5 & Officium defunctorum
#DeProfundis dir Eamonn Dougan
"Cristóbal de Morales’s five-voice Missa pro defunctis is steeped in a grandeur and solemnity which resonate powerfully with the listener, especially in a large-scale account such as that recorded here by De Profundis. The Requiem is preceded by a selection of motets which address last things in an affecting Office for the Dead."
#Hyperion Streaming https://www.hyperion-streaming.co.uk/release/cda68467/

Changeling – Changeling Review

By Dolphin Whisperer

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 Obscura and Ingurgitating Oblivion, and as a performer/engineer. And now, with Changeling, 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 Wagner tuba to marimba to an Andy LaRocque (King Diamond, ex-Illwill) wailing solo—Changeling shows its mutable form forged of virtuosity, novelty, and adventure.

Looking to the past to create a history-laced work with a fresh trajectory holds a foundational pillar throughout Changeling. Consumers of Geldschläger’s past—whether they’ve realized he was part of it or otherwise1—will notice signature shred motifs and Cynic-imbued urgencies that pass through shades of Akróasis (“Instant Results,” “Falling in Circles”),2 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 (Shape of Dreams) piano and strings and Jan Ferdinand’s (Ingurgitating Oblivion) vibraphonic emissions holding necessary weight against primary contributors like the chameleonic Morean (Alkaloid) on word and voice and virtuoso Arran McSporran (Vipassi, ex-De Profundis) on dancing bass. In the spirit of true collaboration, the resulting Changeling 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.

A unifying voice of fretboard bombast holds tight the flow that whips Changeling through its fiery, deathly roots and its experimental crawl and swell. Though progressive and technical death metal begin to define early numbers, Changeling holds loose to genre conventions and pairs playful string ensembles (“Falling in Circles”), rhythm-warping oud tuplets (“World? What World?”), and tabla-guided choirs (“Changeling”). Of course, dissonance in excess and avant-garde-isms can often pose heavy barriers to long-term enjoyment. And though Changeling 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 Changeling in masterful songcraft—every song idea cradled and decorated with mischievous flair.

In sequence, Changeling 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, Changeling’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 Yes-via-Princess Mononoke of dreamlike orchestration (“Abdication”). With every piece finding a return and final hurrah in the throes of “Anathema,” Changeling’s lengthy run feels justified so long as you can give it proper time and space.

And even if you can’t carve an hour to explore Changeling’s enriched and engorged elaborations, the questions that Changeling 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 Devin Townsend-y “wall of sound,” Changeling 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 Changeling wears any flaws it may have with an empowering and intoxicating flamboyance.

Rating: 4.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Season of Mist | Bandcamp
Websites: thefountainhead.de | changelingofficial.bandcamp.com | instagram.com/changeling.official
Releases Worldwide: April 25th, 2025

#2025 #45 #Alkaloid #Apr25 #Changeling #Cynic #DeProfundis #DevinTownsend #GermanMetal #IngurgitatingOblivion #Obscura #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeasonOfMist #ShapeOfDreams #SymphonicDeathMetal #TechnicalDeathMetal #Vipassi #Yes

Marta siempre había sido una docente un poco peculiar, extremadamente excéntrica para algunos, elegantemente ecléctica según ella misma. No obstante, aquella furiosa riada nada tenía que ver con el "ser", la ontología, o Schopenhauer. A cada palabra, su prosa se volvía más críptica, hizo delgada cara se enrojecía más.

P.2

#continuaesterelato
#deprofundis

Continúa el relato añadiendo una marca de orden P.1, P.2, P.3... y no olvides las etiquetas.

La profesora de Metafísica garabateaba caóticamente en la pizarra. Un frenesí febril se había apoderado de ella y, más que escribir, acuchillaba el tablero con la tiza.

¡Aquello no era posible!

P.1

#continuaesterelato
#deprofundis

Continúa el relato añadiendo una marca de orden P.1, P.2, P.3... y no olvides las etiquetas.

Stuck in the Filter: August and September 2024

By Kenstrosity

I am a stubborn bitch. I work my underlings hard, and I won’t let up until they dig up shiny goodies for me to share with the general public. Share might be a generous term. Foist upon is probably more accurate…

In any case, despite some pretty intense setbacks on my end, I still managed to collect enough material for a two-month spread. HUZZAH! REJOICE! Now get the hell away from me and listen to some of our very cool and good tunes.

Kenstrosity’s Turgid Truncheons

Tenue // Arcos, bóvedas, pórticos [August 1st, 2024 – Self-Release]

Spanish post-black/crust/screamo quartet Tenue earned my favor with their debut record, Anábasis, back in 2018. Equal parts vicious, introspective, and strangely uplifting, that record changed what I thought I could expect from anything bearing the screamo tag. By integrating ascendant black metal tremolos within post-punk structures and crusty attitude, Tenue established a sound that not only opened horizons for me taste-wise but also brought me a great deal of emotional catharsis on its own merit. Follow-up Arcos, bóvedas, pórticos deepens that relationship. Utilizing a wider atmospheric palette (“Distracción”), a shift towards epic song lengths (“Inquietude, and a greater variety of instrumentation (observe the beautiful horns on long-form opener “Inquietude”), and a bluesier swagger than previous material exhibited (“Letargo”), Tenue’s second salvo showcases a musical versatility I wasn’t expecting to complement the bleeding-heart emotional depth I knew would return. This expansion of scale and skillset sets the record apart from almost anything else I’ve heard this year. Even though one or two moments struggle to stick long-term (“Enfoque”), Arcos, bóvedas, pórticos represents an affecting, creative, and ridiculously engaging addition to my listening schedule. And for the low low price of NYP, it ought to be a part of yours as well.

Open Flesh Wound // Vile Putrefaction [August 28th, 2024 – Inherited Suffering Records]

Thicc, muggy slam with a million pick scrapes. Who could ask for anything more? Not I, and so it is with great pleasure that I introduce to my AMG fam Pennsylvania’s very own Open Flesh Wound and their debut LP Vile Putrefaction. Essentially the result of Analepsy’s and Devourment‘s carnal lovemaking, Vile Putrefaction is a nasty, slammy, brutal expulsion of chunky upchuck. Only those with the most caved-in craniums will appreciate the scraping swamp-ass riffs showcased on such slammers as “Smashed in Liquids” and “Cinder Block to the Forehead,” or the groove-laden thuggery of death-focused tracks like the title track, “Fermented Intestinal Blockage” and “Body Baggie.” Vile Putrefaction’s molasses-like production is an absolute boon to this sound as well, with just enough gloss to provide a deliciously moist texture which imparts an unlikely clarity to especially gruesome details in “Stoma Necrosis” and “Skin Like Jelly.” It’s dumb as hell, and isn’t doing anything new, but is an overdose of good, dirty fun. Simple as.

The Flaying // Ni dieu, ni ma​î​tre [September 5th, 2024 – Self Release]

I’ve been singing Canadian melodic death metal quartet The Flaying’s praises for almost six years now. And still to this day not enough people choose to sing with me. Why? Because they wouldn’t know sickeningly fun death metal if it hacked their faces right off. That’s okay, because The Flaying do hack faces right off regardless, and it feels so good to watch the faces of those who don’t heed my call get hacked right off. Third onslaught Ni dieu, ni ma​î​tre proves that once again, The Flaying are an unstoppable force of bass wizardry, riff mastery, and hook-laden songwriting. Opener “Le nécrologiste” perfectly encapsulates The Flaying’s particularly addicting brew of Cannibal Corpse, The Black Dahlia Murder, and De Profundis influences, shaken and stirred until the resulting cocktail blooms with a flavor all its own. Technical and brutally fast, follow-up track “L’enclave” continues the deadly rampage, featuring noodly bass lines guaranteed to elicit stank face in the even most prim and proper elite. A trim twenty nine minutes, spread over ten tightly trained tracks, Ni dieu, ni ma​î​tre boasts unbeatable replay value. Highlights “Ni dieu, ni ma​î​tre,” “Les Frondes” “La forge,” and “Noyau sombre” seal the deal by providing sharp hard points and memorable landmarks to which any listener would look forward. Simply put, this record rocks my socks and further proves that I am right about The Flaying, and those who ignore my recommendation are wrong.

Dolphin Whisperer’s All-Seeing Affirmations

Eye Eater // Alienate [August 1st, 2024 – Self Release]

In a post-Ulcerate world, the modern output of atmosphere-minded death metal has grown exponentially. With ringing dissonant chords and slow post-informed builds taking center stage, bands like New Zealand’s unheralded Eye Eater borrow plenty from the Destroyers of All sound. However, while many acts would be content to dial in the space or ramp up the dissonance to try and put their own twist on this growing post-death movement, Eye Eater looks to the laser-precise melodic tones of progressive, core-borrowing names like Fallujah and Vildhjarta to carve an identity into each of Alienate’s album eight sprawling tracks. Swinging sustained brightness in one hand about the grizzly chug-crush of the other, burly bangers like “Other Planets” and “Failure Artifacts” find churning, djentrified grooves that amplify the swell of the blaring melodies that swirl above the low-end clamor. And though the main refrains of “Alienate” and “Everything You Fear and Hope For” sound like loving odes to their Kiwi Forebears, the growth into sonorous and lush-chorded peaks lands much closer to the attraction of turn of the 10s progressive death/metalcore luminaries The Contortionist had they stayed closer to their heavy-toned, hefty-voiced roots. As an anonymous act with little social presence, it’s hard to say whether Eye Eater has more cooking for the future. With their ears tuned to the recent past for inspiration, it’s easy to see how a band with this kind of melodic immediacy—still wrapped in the weight of a brooding, death metal identity—could easily play for the tops of underground charts. To those who have been following the twists and turns of both underground and accessible over the past decade or so, Eye Eater may not sound entirely novel. But Alienate’s familiarity in presence against its quality of execution and fullness of sound makes it easy to ensnare all the same.

Dissolve // Polymorphic Ways of Unconsciousness [September 20th, 2024 – Self Release]

From the sand-blasted, monochrome human escaping the floor of Polymorphic Ways’ cover to the tags of technical, progressive, death that adorn the Bandcamp tags, it’s easy to put a band like Dissolve in a box, mentally. But with the first bent guitar run that sets off “Efficiency Defiled” in a run like Judas Priest more than Spawn of Possession, it’s clear that Dissolve plays by a different set of rules than your average chug and run tech death band. Yet true to their French nature, the riffs that litter Polymorphic Ways of Unconsciousness possess a tangible groove following the footsteps of lesser-known tricksters Trepalium and Olympic titans of metal Gojira (“The Great Pessimistic,”1 “Polymorphic Ways of Unconsciousness,” “Vultures”). And while too Dissolve finds a base in the low-end trem assault of Morbid Angel (“Ignorance Will Prevail”), there’s a thrash and bark energy at play that nets a rambunctious and experimental sound recalling the warped Hetfield-ian (Metallica) scrawl of Destroy Erase Improve Meshuggah, right down to the monstrous bass tone that defines Sonny Bellonie’s (Sanctuary, ODC) growling, extended range performance. As a trio it’d be easy for guitarist Briac Turquety (Smerter, ex-Sideburn) to rely on overdubs for saturation of sound and complexity of layers—and for solo cut-ins he definitely does—but equally as often his choice to let certain chords and notes escape a thrashy muting to ring in distorted harmony against snaking bass lines. And speaking of solos, Turquety’s prowess ranges from bluesy shred (“The Great Pessimistic,” “Ropes of Madness”) to noisy, jazzy explorations (“Polymorphic…,” “Shattered Minds of Evolution”) to Satriani on Slayer whammy abuse (“Bonfire of the Vanities”)—a true treat to lovers of tasteful shred. Turquety, Bellonie, and Quentin Feron (on drums, also of Smerter) sound as if they’ve been playing together for much longer than the year that Dissolve has existed. With a debut this polished, it’s anyone’s guess as to what kind of monster will emerge from the talent that appears so effortless in assembly.

Obsidian Mantra // As We All Will [September 27th, 2024 – Self Release]

Sometimes, a tangled and foreboding cover sits as the biggest draw amongst a crowd of death metal albums alight with splattered zombie remains, illegible logos, and alarm-colored palettes. And in the case of Obsidian Mantra, it doesn’t hurt that lead single “Cult of Depression” possesses a devastating, hypnotic groove that recalls the once captivating technical whiplash of an early Decapitated. However, rather than wrestle with tones that incite a pure and raw violence like that cornerstone act (or similar Poldeath that has followed in its legacy like Dormant Ordeal), Obsidian Mantra uses aggressive and bass-loaded rhythmic forms to erupt in spacious and glass-toned guitar chimes to create an engrossing neck-snapping (“Slave Without a Master,” “Condemned to Oppression”). Whether we call these downcast refrains a dissonant melody or slowly resolving phrase, they grow throughout each track in a manner that calls continual reinforcement from a rhythm section that can drop into hammering blasts at a dime and a vocal presence that oscillates between vicious snarl and reverberating howl. In its most accessible numbers (“Chaos Will Consume Us All,” “Weavers of Misery”), Obsidian Mantra finds an oppressive warmth that grows to border anthemic, much in the way like beloved blackened/progressive acts like Hath do with their biggest moments. As We All Will still never quite reaches that full mountainous peak, though, opting to pursue the continual call of the groove to keep the listener coming back. Having come a long way from the Meshuggah-centered roots where Obsidian Mantra first sowed their deathly seeds, As We All Will provides 30 minutes of modern, pulsating, and venomous kick-driven pieces that will flare easy motivation for either a brutalizing pit or a mightily-thrusted iron on leg day.

Thus Spoke’s Cursed Collection

Esoctrilihum // Döth-Derniàlh [September 20th, 2024 – I, Voidhanger Records]

We complete another orbit around the Sun, and Esoctrilihum completes another album; such are the inalterable laws governing each 365.25 Earth day period in our Solar System. Possessed by some mad, restless spirit, it seems they cannot be stopped. Ever the experimenter, sole member Asthâghul now picks up an acoustic guitar, a nickelharpa, and warms up his throat for more clean vocals to further bizarre-ify his avant-garde black metal. As we travel into the cosmos for Döth-Derniàlh, Esoctrilihumisms abound in the see-sawing strings and echoes of chanted singing and throaty snarls. The addition of more acoustic elements does bring some weird delicacy to moments here and there (“Zilthuryth (Void of Zeraphaël),” “Murzaithas (Celestial Voices)”), and it adds layers of beauty in addition to those already harmonious passages. it’s striking how well these new instruments blend with the overall sound: so well, in fact, that it almost feels like Esoctrilihum hasn’t evolved at all. This isn’t even a bad thing, because Döth-Derniàlh still feels like an improvement. Past albums have always had at least sections of perfection, where the scattered clouds of self-interfering chaos or repetition blow away and the brilliant light of the moon shines strongly. Döth-Derniàlh has more of these than ever, some extending to whole, 16-minute songs (“Dy’th Eternalhys (The Mortuary Renewal),”).2 If you have it in you to listen to one (more) album over an hour long, and you don’t already know you hate Esoctrilihum, sit down with a drink, and maybe a joint, and go where Döth-Derniàlh takes you.

#2024 #Alienate #AmericanMetal #ArcosBóvedasPórticos #AsWeAllWill #AtmosphericDeathMetal #Aug24 #AvantGarde #BlackMetal #BrutalDeathMetal #CanadianMetal #CannibalCorpse #DeProfundis #DeathMetal #Decapitated #Dissolve #DormantOrdeal #DöthDerniàlh #Esoctrilihum #EyeEater #Fallujah #FrenchMetal #Gojira #GrandMagus #GrendelSSÿster #Gygax #HarcorePunk #IVoidhangerRecords #InheritedSufferingRecords #JethroTull #JudasPriest #MelodicDeathMetal #Meshuggah #Metallica #MorbidAngel #NewZealandMetal #NiDieuNiMaîTre #ObsidianMantra #ODC #OpenFleshWound #PolishMetal #PolymorphicWaysOfUnconsciousness #PostDeathMetal #PostMetal #postPunk #ProgressiveDeathMetal #ProgressiveMetal #Punk #Sanctuary #Screamo #SelfRelease #Sep24 #Sideburn #Slam #Slayer #Smerter #SpanishMetal #SpawnOfPossession #StuckInTheFilter #StuckInTheFilter2024 #TechnicalDeathMetal #Tenue #TheBlackDahliaMurder #TheContortionist #TheFlaying #ThinLizzy #Trepalium #Vildhjarta #VilePutrefaction #WishboneAsh

Wow, I'm editing a web page that is *so old* it starts with <!DOCTYPE HTML PUBLIC "-//IETF//DTD HTML//EN">

#DeProfundis

📝 5 lagunek "De Profundis" partida hasi degu! Jokoan zehar elkar bidaltzen ditugun gutunak gure Lemmy kanalean libre argitaratuko ditugu, edonork jarrai ditzan.
🐭Lemmy🐭: https://lemmy.eus/post/494827
Ikusi zuzenean pertsonaiek nola galtzen duten beraien sena!! 😰

--------------

💭 Baino zer da "De Profundis" hau!?

"Lovecraft estiloko jokoa da, non jokalariek gutunak trukatzen dituzten istorio bat elkarrekin lantzeko.

#deprofundis #lovecraft #euskara #lemmy
#RolaEuskaraz

#Fedibertso’ari galdera: 1920 inguruko egunkariak online ikusteko aukerarik ba al dago? Gipuzkoa, Donostia ingurukoak ikertzeko litzateke. Gauza baterako da… #DeProfundis

Cette semaine, comme depuis 18 ans, je participe à la rencontre annuelle de la voix de Rokugan
Une semaine de #jdr et #j2s, de piscine
Hier après-midi, j'ai rattrapé mon retard dans 2 parties de #DeProfundis en ligne, fait quelques longueurs et relu un scénario pour #RootPBTA
Hier soir, #HansaTeutonica avec @Polgara21 suivi de quelques jeux plus légers #OverlordCafe et #NichtDieBohne
Ce matin, ce sera une création d'équipage pour #ScumAndVillainy
Reste à perdre le rythme du boulot #DeboutÀ6h30

@HeyeBodo Ohne gerade an meinem Regal zu sein, fallen mir neben den bereits genannten noch #Engel, #DeProfundis, alle Spiele von der #DORP, #Ratten und #PrivateEye ein.

Kiedy śmierć po mnie przyjdzie,
zajdzie mnie od tyłu.
Bo nie odważy się spojrzeć mi w twarz.
A ja zapytam: gdzieś się szlajała, pokrako?

#wiersze #DeProfundis

Out of the depths I cry to you, O Lord. Lord, hear my voice! Let your ears be attentive to the voice of my supplications

Psalm 130:1-2

🏳️‍🌈 ✝️ #RainbowingTheBible #lgbt #queerness #bible #lgbti #Psalms #Psalm #DeProfundis

It begins... I made the first post in the online #DeProfundis game I'm taking part in with three others. Never played it before, the closest I've come to this style is when I was active on Storium a few years back. #ttrpg

A reply from Doctor Hujambo Marhaba to Mr Turner’s letter

https://oddorder.org/2019/02/25/a-reply-from-doctor-hujambo-marhaba-to-mr-turners-letter/

Wer hat #DeProfundis gespielt?
Was sind eure Erfahrungen?
#pnpde