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Category: On the Periphery
In On the Periphery
Artist: Stromstad
Album: New Devoted Human
Label: Malignant Records
01. Inherent Resurrection
02. Fever Wave Dream Function
03. Blood Consciousness
04. Nattsvermer
05. Reluctant Traveller (feat. Grutle Kjellson of Enslaved)
06. Exchanging Eyes
07. New Devoted Human
08. Kosto
Stromstad is a collaborative project between Jasse Tuukki and Toni Myöhänen of STROM.ec and Kristoffer Oustad. STROM.ec of Finland have been spreading their variety of industrialized darkness to the world since their debut on Freak Animal Records, back in 2000. Since then, they have continued to make a name for themselves through such labels as Annihilvs, Malignant and it's sub-label Black Plague. The Norwegian artist, Kristoffer Oustad, known for work under his own name, and also as part of the Kristoffer Nyströms Orkester with Peter Nyström, has proven his dynamic set of abilities as a high caliber dark ambient producer.
We got a morsel of Oustad's taste for the heavier and grittier cousin of dark ambient, death industrial on his contributions to the latest, and highly recommended, Tumult by Shock Frontier (reviewed here), which released just prior to New Devoted Human, also on Malignant Records. STROM.ec have stayed consistently heavier throughout their career, having little room for the more reserved dark ambient sections that we hear throughout New Devoted Human.
So, when we get both projects together, STROM.ec and Kristoffer Oustad, the outcome is not entirely surprising in its style, but what is more surprising is the sense of fluidity and comfort these artists seem to have working together. The chemistry is what makes New Devoted Human such a gem for the small but passionate international community that follows this sort of music. Malignant Records saw it coming, which led them to the choice of giving the Stromstad debut a vinyl edition, which is something they've been doing more frequently, but still quite selectively.
There are tracks where the two different styles come together perfectly in a single track, through a whirlwind of noise and emotion. Tracks like "New Devoted Human" with its distorted guitars, industrial drum sections, and enraged screams, blend perfectly with Oustad's more reserved and delicate dark ambient undertones. Early in this track, we can hear that dark ambient element lingering in the background, behind the much thicker noises of the STROM.ec guys. As the track progresses these dark ambient elements slowly, and almost subconsciously, move to the forefront. The track takes on a sort of violent narrative, as we move from the viciousness of the beginning sections into this wall of subtle darkness, a sort of uneasy calm as the dust settles just after a city is besieged.
Other tracks, like "Inherent Resurrection" and "Blood Consciousness", keep the energy at maximum throughout their duration. Electronics blaring and angry vocals dictated, Stromstad give us the perfect example of a sort of post-industrial metal band. Yet, the meshing of varied genres can go even further afield at times, like on the chorus section of "Blood Consciousness" which features a dubstep-like component that is incredibly unlikely, but fits beautifully.
Intermingled with these high-energy tracks are dark ambient soundscapes which help the listener to paint a picture of this imagined future, which is as technologically advanced as it is apocalyptically devastated. The listener can get a sense of a future which took A.I., military-grade weaponry, and robotics to their darkest ends, creating a war-torn planet, upon which human life is no longer so cherished; a place where greed and technology come together, achieving the worst possible outcomes. "Nattsvermer" is one such track, where the perfectly executed dark ambient elements take prominence above a tapestry of industrial noises which lie in the background. Another is the closer, "Kosto", which is the most reserved track on New Devoted Human, using gentle waves of synth to create an almost serene atmosphere, which helps the album to end on a more philosophical than apocalyptic note.
New Devoted Human is certainly a unique experience. This is something that will find a wide and unlikely set of fans. While I've focused on a few of the more prominent genre elements presented here, listeners will likely find a number of other genre influences which will enrich their personal experiences with the album all the more. I would foremost recommend this release to listeners that find the more dynamic releases on Malignant Records to their liking. For fans of a more strict definition of dark ambient, this will be a bit too heavy, but with that said, I think it is still worth giving it a try, they really have found a nice chemistry here, which doesn't take any one element to too great an extreme.
Written by: Michael Barnett
Nhor – Wildflowers: Winter – Review on the Periphery
By Maxwell Heilman
Artist: Nhor
Album: Wildflowers: Winter
01. Bereft
02. Murmurations Above Me
03. Owls Through Snowfall
04. Wreaths of Hoarfrost
05. The Moon Belongs To All and None
06. The Leave No Trace
"I now come to think of Autumn as a knife that was thrust into Summer," Nhor says about the cold months creeping upon him. Indeed, the holiday season often seems detached from the underlying significance of the winter, something English artist Nhor has set out to rectify with the final release in his season-themed piano ambient EP cycle called Wildflowers. His skeletal arrangements filter out the shopping blitzes and overpriced decor, allowing Winter to epitomize the shrouding of the past in an enveloping sheet of white.
The spacious notes beginning "Bereft" take shape into a dreary depiction of a landscape suddenly monochromatized. Fall's mad dash of preparation comes to an end, leaving frigid silence in its wake. The song's dynamic swells and perfect sound panning creates a lens of muffled solitude by which to view the crystallized snow statuettes winter brings in its wake.
Though destructive blizzards may come to mind when thinking of this time, Nhor spotlights quiet dialogues the season harbors for those who listen. Embellished by wandering leads, the swirling modulations and uplifting chimes of "Murmurations Above Me" evoke sweeping flurries reverting natural changes, as though they never occurred.
What happened before temperatures dropped? Who can tell just by looking at a snow bank? As "They Leave no Trace" illustrates with its drifting melancholy and passionate melody, the true nature of the world becomes blurred in its hibernation. Those without resilience retreat to whatever warmth they can find as Nhor's intimate drama depicts natures impervious dis-invitation to all but the most resilient. Of course, this frosty blight hardly drives out all life.
"Owls Through Snowfall" uses staggered arpeggiations and volume jumps to eloquently depict its namesake, proving yet again the seemingly boundless musicality Nhor brings to his compositions. While artists like Goldmund have a more phonetically complex take on piano ambient, few artists embody the term "a lot with a little" to Nhor's degree. Winter shows no cracks in the glass castle of perfectly-placed chords and moving lines, providing exactly what is needed and allowing emotion to carry it.
Nhor's ability to direct the listener's attention to overlooked occurrences over seasonal phenomena never ceases to amaze, and "Wreaths of Hoarfrost" brings new light to his attention to detail. A stark melodic line gives the perfect soundtrack to one of this season's most beautiful byproducts, woven into light-treading chords. "The space between notes has become so fragile," Nhor says, in conscious protection of the fragile artwork created by freezing temperatures. In the midst of these new elements, a familiar character also shifts.
It came as a comforting voice in the heavens, then became the envy of the night and the forbearer of coming darkness, now "The Moon Belongs to All and None." A balladic lament to the absent heavenly body, this fleeting hymn emphasizes the loss of vibrancy and vitality winter represents to places not pacified with Christmas lights and veracious consumerism. The moon's presence remains, but perception of the silvery celestite is beholden to no one. "Will the whole Earth slip away into a cold, lifeless end," Nhor wonders. "Or is there something more beyond that veil?"
Will the whole Earth slip away into a cold, lifeless end, or is there something more beyond that veil?
The bleak overtones accompanying winter are consistently perceived throughout this EP, but the concluding track "Mercy" cleverly concludes the EP by hinting at Spring with its start-stoppy rhythm, thoughtful use of silence and inconspicuously added voices. The blanquette of winter is revealed to be but the passing of a year, and the coming of spring will see a world reborn into the next cycle.
As the EP, and Wildflowers, comes to a close, its true significance manifests. Seasonal changes become a compassionate cornerstone even as they continually uproot. When seen from the broad perspective Nhor stakes out within his minimal homestead of piano soliloquies, Wildflowers provokes a newfound sense of wonder towards the seasons. "I would flood the starlit forests with my song," Nhor says, reaffirming the maps to placidity his musical explorations draw.
Written by: Maxwell Heilman
Artist: Bell Witch
Album: Mirror Reaper
Label: Profound Lore Records
01. Mirror Reaper
Seattle duo Bell Witch have generated considerable buzz with their engrossing take on funeral doom since releasing their demo in 2011. The unexpected death of founding drummer Adrien Guerra left the project's future in doubt, but songwriter and bassist Dylan Desmond enlisted Jesse Shreibman (whose live work for Wrekmeister Harmonies speaks for itself) and the two began writing and debuting material while on tour. These live sessions would become a magnanimous 84-minute eulogy to the band's fallen member wrapped in a gorgeously orchestrated ode to the mystifying dread experienced as life ebbs away.
Mirror Reaper is funeral doom at its deepest and most morose, but the massive song isn't just impressive for its length. Patience, intuition, and musicality raise it to a league of its own. Using the dreary minimalism on which the band built their reputation, save the addition of a foot organ, Bell Witch's attention to detail both in production and execution becomes even more apparent.
In spite of its daunting duration, Mirror Reaper functions surprisingly well as a song. Its two movements, (which together form the phrase "As Above, So Below") remain connected through melodic motifs, yet profoundly distinct in their effect. Bell Witch likens the album's structure to that of its namesake, as its second half is an altered reflection of the first — bringing Mirror Reaper to life in its fascination with death. It goes farther than inviting listeners to stare into the abyss, but embodies the tragic epiphanies one has on the brink of oblivion.
Though his growls don't have the ghostly timbre Guerra had (the latter of which actually appears as a fitful farewell), Shreibman's guttural rumbling sounds at home against Desmond's singing. Desmond himself actually shows off more of his bass facility than on previous outings, bringing a virtuosity to the funeral doom template not often heard. His willingness to cut loose brings tremendous majesty to the arrival point in the middle of the track, but the most transcendent passage of this record begins during the intimate serenade in "So."
Desmond's harmonic instincts have always set Bell Witch apart from the funeral doom crowd (especially considering it all comes from his voice and six-string bass), but the way his voice commingles with his instrument on Mirror Reaper in the aforementioned passage is nothing short of spectacular.
Over open bass chords, Desmond's soft yet steady singing completes the chord's missing interval — creating beautifully flowing modulations. An evolving soundscape evoking gregorian chants as much as it does epic post-rock illuminates the plight of a soul in limbo between mortal life and what lies beyond. As vocal lines layer over each other, Shreibman's suspended cymbal swells and foot organ drones eventually cadence the song back into distorted dirge while retaining the transcendent elements — cementing Mirror Reaper as a peak for the band.
Funeral doom stands apart from metal stereotypes in that its exploration of death goes beyond something to deal or be dealt, instead exploring the philosophy behind finality and the combination of fear and serenity it entails. Since Funeral's first demo sparked the genre into existence, no band has embodied a metallic procession quite like Bell Witch. The duo have done to funeral doom what Sleep did to stoner metal with Dopesmoker — taking the genre to its limits while epitomizing its potential on a grand scale. Mirror Reaper will be remembered as a triumph for this movement, an encapsulation of its most moving attributes.
Album: Wildflowers: Autumn
Label: Prophecy
01. Where They Once Were
02. The Trees Knew Not of Me Then
03. Moonfall
04. We Set Their Bodies Free in the Cold River
05. What We Hid in the Night
06. Fire Promises Guidance
07. Fate
After establishing himself in atmospheric black metal and ambient folk circles, the UK-based multi-instrumentalist Nhor has most recently embraced a unique strand of stripped-down piano ambient music. Over the past six months, he has released two installments of Wildflowers, a quadrilogy of EPs themed after the seasons. Spring and Summer provided intimate explorations of the warmer seasons, a time of rebirth and one of plenty, but Autumn comes as a quiet overture to a period of gradual wilting and panicked preparation with retrospective undercurrents.
Live production, repetitious playing, and modulative fluidity remain central to Nhor's approach. Within this formula, "Where They Once Were" and "The Trees Knew Not of Me Then" start Autumn strong with two of the cycle's most dense compositions so far. The former's tasteful use of octaves skyrockets the dynamism of a trickling moving line, while the latter's spiraling melody and rushing feel mirrors a blustery October afternoon — all the while maintaining intimate immediacy. Nhor sounds like he's playing his piano right beside the listener, allowing the instrument's resonance to overflow to the last echoing tone.
"When the first leaves begin to fall," Nhor reminisces about autumn, "I am abruptly reminded of everything that I wished to achieve." With the vibrant colors and spurt of ecological and meteorological activity comes the inevitable realization that the lull of summer is not only temporary, but never long enough. He explores this annual epiphany through his minimalist vein, through the polarized low-end arpeggiations and cutting chimes of "We Set Their Bodies Free in the Cold River."
The waters and winds of time can suddenly feel like flash floods and gales as life hurtles towards finale, but Autumn still evokes moments of clarity as each note constructs a peaceful head-space in the midst of terrifying change. As the nebulous broken chords at the start of "What We Hid in the Night" take form, stoic understanding coincides with tragic realization.
Imparting the heavenly oracle's third appearance in Wildflowers, "Moonfall" serves as a reminder that the world's constant shifts never completely shroud the moon as an unmoving sounding board for both Nhor and the listener. The song's use of silence and note decay make it the most atmospheric track on Autumn, while its basis in high register further separates it from other cuts — emphasizing Nhor's ability to compose distinct auras by gradually dealing his hand from song to song.
Autumn confronts fall as an abrupt reminder of the transient nature of the good times summer provides, but Nhor's thoughts are never hopeless. "As the warmth of our star retreats, I am drawn closer to the fire," he says. The passionate "Fire Promises Guidance" encapsulates this enduring comfort, as its crestfallen melody imparts somber apprehension through several movements that encompass the entirety of his emotional and sonic palette. With Nhor's tearful farewell to the jubilation summer brought comes a decision to preserve warmth as winter creeps over the horizon, in the knowledge that coming hardships will fade as surely as good times. The polyphonic concluding track "Fate" comes as a whimsical ode to the inevitability of these cyclical changes, a call to live in spite of them instead of wallowing when they come.
At 23 minutes, this is the longest and most dense Wildflowers EP so far. Using stark minimalism and extreme simplicity, Nhor has again created a cohesive narrative unique to the season in question. Autumn blows with crimson leaves towards a snowy blight, pacifying the maddening race to prepare for winter through its gentle chords.
Artist: Chelsea Wolfe
Album: Hiss Spun
Label: Sargent House
01. Spun
02. 16 Psyche
03. Vex
04. Strain
05. The Culling
06. Particle Flux
07. Twin Fawn
08. Offering
09. Static Hum
10. Welt
11. Two Spirit
12. Scrape
It's been two years since Chelsea Wolfe dropped Abyss — a career-defining amalgamation of her goth-folk roots and decimating doom metal. In fact, that feet of tortured sublimity is so good that the release of Hiss Spun actually serves as a reminder of how amazing its predecessor is. Whether or not Wolfe's latest LP is her best is up for debate, but it will more than satisfy those who yearned for her to run with her doomy side.
The first three tracks on this album provide an unholy trinity of goth-doom bangers to set the tone. With Wolfe herself only contributing four guitar performances to the album, her session musicians bring a mean sound. Hiss's sauntering stoner doom dirge drives home the point that Wolfe isn't worried about subtlety this time around — relying instead on cathartic heaviness. This raw approach makes the sensual undertones of "16 Psyche" explode into sorrowful ecstasy as a dreary riff and intense dissonance ties it together, and also gives "Vex" the first guttural growls (via post-metal veteran Aaron Turner) in Wolfe's discography contrasting with Type O Negative-esque grooves, gloomy dissonance and austere keyboards.
"Strain" and "Welt," the two interludes on Hiss Spun, provide two distinct flavors of industrial murk through the former's grating sound wall and the latter's ritualistic chant. These hints at amorphous sound keep Hiss Spun with one foot in the oddball, but the more straightforward aspects of this album do come as a double-edged sword — showing the true power of Wolfe's doom metal sound, but losing a bit of her uniqueness in translation.
Wolfe's doom-folk roots manifest on "The Culling," while "Particle Flux" utilizes a propulsive crescendo akin to modern post-metal — juxtaposing her exploration styles she only flirted with before and ones she established long ago. Ironically, Hiss Spun ends up being less heavy than Abyss because of its emphasis on orthodoxical heavy music instead of strange percussion, warped synths and caustic ambience. It's less mysterious and fearful, but more visceral and exhilarating. Even so, Wolfe's gothic affectations and entrancing melodies keep her sound reminiscent of '70s occult films.
Though the song's floatacious mourning and blood-chilling build doesn't break new ground in Wolfe's style, Kurt Ballou's dissonant strains and the bombastic rhythmic accents bassist Ben Chisholm and drummer Jess Gowrie make "Twin Fawn" a perfect backdrop for Wolfe's chilling siren's song. The song's abrupt dynamic changes keep make it as surprising as it is slow-burning, streamlining crushing dynamic changes into an emotional dagger as naturally as the strange electronics and goth-wave flavors of "Offering."
The austere ponderings of "Static Hum" harken to Chelsea's weirder side with stark ritualism, introspective lyrics centered around pain and self-destruction shrouded in monotonous drudgery culminating in a passionate arrival point, setting the stage for the staggering conclusion of Hiss Spun.
Wolfe's gut-wrenching vocal performances climb to a pinnacle during these last eight minutes. Starting with wistful acoustic guitar strums and ghostly singing, the rising action of this two-track journey rises from the ground upward. "Two Spirit" strips back even farther with skeletal percussion and appreciated finger picking before noisy drones take the song to its abysmal peak.
"I want it back, I want it back. What was taken from me, I want it back," Wolfe's heartbreaking melody weaves through the most intimate and monumental passages, remaining in impenetrable misery. This allows "Scrape" to bring the final conclusion of the record through overwrought emoting. Ascending modulations, a lurching beat and gurgling synth textures quickly gain weight as Wolfe pole vaults into aural hysteria ("You, the dirty one, what you took from me. There was nothing left but hypocrisy"). Her musicality remains prevalent in this overwhelming environment, bringing the album to a magnificent close.
Wolfe's unique delivery translates into goth metal confines incredibly well, packing an emotional punch others could only dream of mustering. That being said, her sound has never sounded this conventionally doom, a byproduct of the less nuanced approach she took. This record sees her wrestle with her identity in the midst of hardship, and ultimately transcends her indignations in steadfast resolve. While Abyss remains her darkest and heaviest record, Hiss Spun stands as Chelsea Wolfe's spiritual manifesto by way of smoky riffs and pitch-black melodies.
Artist: Myrkur
Album: Mareridt
Label: Relapse Records
01. Mareridt
02. Måneblôt
03. The Serpent
04. Crown
05. Elleskudt
06. De Tre Piker
07. Funeral (ft. Chelsea Wolfe)
08. Ulvinde
09. Gladiatrix
10. Kætteren
11. Børnehjem
12. Death of Days (Bonus Track)
13. Kvindelil (Bonus Track ft. Chelsea Wolfe)
14. Løven (Bonus Track)
15. Himlen blev sort (Bonus Track)
16. Två Konungabarn (Bonus Track)
As much as many outlets have tried to push Myrkur as groundbreaking for having a female vocalist, Amalie Brunn's approach is a natural progression of black metal as a movement. The genre's aesthetic lends itself to much more than barrel-chested machismo, and its musical palette accommodates ghostly chorals as well as wraith-like shrieks.
That being said, Brunn's past work left a lot to be desired in terms of fully fleshed out ideas. The components of solid folk-inspired black metal were there, but it translates more as the result of her musing about how neat it would be to try on black metal for size rather than taking it by the reigns. While Mareridt still falls shy of Brunn's full potential, the album capitalizes on her strengths in a new and exciting way.
Five of these 11 songs aren't metal at all (Kveldssanger style, baby!). Brunn had the right idea by hyping the record around its ethereal and delicate leanings, considering the five non-metal tracks stand out the most on Mareridt. From the title track's opening "yop" onward, she emphasizes her resonance with traditional Celtic instrumentals and vocals throughout this record. This is what makes "Måneblôt" so energizing. Harmonious tremolo picking and rushing blast beats certainly maintain their presence, but the track reaches its summit when danceable string arrangements and percussion contrast and commingle with black metal elements.
"The Serpent" is arguably the weirdest track on the record. Its plodding guitar chugs and drum thuds starkly depart from Myrkur's past sound, and it emphasizes Randal Dunn's oddball production. While songs like "Crown" have a vast, yet earthy sound, the harsher elements of this record have a distant, mystical sound that may even throw off seasoned atmospheric black metal fans. For "The Serpent," this leads to moments that would ordinarily blast listener's eardrums if played by other bands, but instead levitate listeners into another headspace. This approach provides a freshness previously absent from her sound.
"Ulvide" best exemplifies Dunn's production steering these songs away from expectations. Warm, sinister modulations suddenly drop into a brittle guitar riff and half-time beat, completely changing the song's dynamic in an instant. The contrast between realistic Celtic traditionalism and otherworldly black metal becomes more jarring here. Pleasant orchestration suddenly becomes so elusive that one might not even hear certain parts at all without a solid speaker system, but his lack of accessibility allows Mareridt to transcend past confines and bring unique qualities to the table.
Although they've certainly improved this time around, Myrkur's black metal could still use more inventive structure. "Funeral" realizes the most potential in this aspect of her style, as Chelsea Wolfe's sensual elegance entangles with Brunn's elfish inflections to a gorgeous effect over an evocative collage of tumbling drums and dreary guitar chords, but "Elleskudt" is memorable more for its ornamentation rather than the solidity of its essentials. Still, Myrkur's amalgamated tracks like "Gladiatrix" fully come off much more dynamic than ever before.
While her vocal performances and ambient additions remain transfixing, this album's structure essentially apes the style Ulver perfected 12 years ago with Bergtatt. She might be well advised to look towards Ved Buens Ende's Written In Waters to see how forward-thinking playing could make her atmospheric prowess timeless.
As mentioned earlier, the true sublimity of Mareridt manifests in Brunn's traditional songs. Whether it be the echoing percussion and monolithic drones of "De Tre Piker" or the strange rhythmic backdrop of "Kaetten," Brunn's skill as a multi-instrumentalist provides a way to keep these songs believably archaic yet profoundly fantastical. The only real complaint I have about these songs is the awkward way "Børnehjem" fits into the mix. It's droning vocal reprises and witchy spoken word, though compelling, would have translated better if it melted directly into another track rather than standing as a separate idea.
Mareridt sees Myrkur improve sonically, but the room the project has to grow remains. Its distinct atmosphere and instrumentation are a beautiful testament to Brunn's upward tangent, and upping her songwriting will make her an inexorable force in black metal.
Artist: Anima Nostra
Album: Atraments
01. Composition for the Shadow Self
02. Naamah
03. Blameless
04. Tabula Smaragdina
05. Solemn Majesty
06. Anima Nostra
07. Intermezzo for the Double-Wanded One
08. Doxologia Yaldabaoth
09. The Seal
Henrik Nordvargr Björkk is one of the most active and relevant members of the post-industrial scene. His project Mz.412 put him on that map as far back as the late 1980s. Since then he has taken part in a staggering number of projects. His albums have been released by such labels as Cold Meat Industry, Cold Spring, Cyclic Law and Malignant Records to name just a few. In recent years, we've seen a some great output by a few of his "side-projects" if they can be called that, as most of his work these days, in one way or another, consists of a side-project to some other previous greatness, be it Mz.412, Pouppée Fabrikk, Nordvargr, etc.
In early 2016 Nordvargr teamed up with Margaux Renaudin to release an album entitled Anima Nostra on Cold Spring. The album consisted of music that was hard to accurately label. There were elements of death industrial, doom metal, neo-classical and dark ambient. The duo were so happy with the final product that they quickly began to work on a follow-up album, this time they named their project/band Anima Nostra. He recently released several well received albums on Malignant Records including The Secret Barbarous Names as Nordvargr and Avatars of Rape and Rage as Körperwelten, a collaboration with Lee Bartow of Theologian/Navicon Torture Technologies. So it followed that Anima Nostra would return to Malignant Records with their newest creation, Atraments.
As was the case with their debut the year before, Anima Nostra bring together an amalgamation of styles/genres that seem like they would clash, but for Anima Nostra the combination works perfectly. Atrament, a word many may not be familiar with, is defined as black fluid. A look over the beautifully crafted digi-pak gives us a literal example of this word in use. Much of the album art consists of a matte black background with a glossy black lettering. The characters are unfamiliar to me, but seem to have similarities to Urdu, ancient Sumerian and ancient Akkadian alphabets. The digi-pak comes with an 8-page booklet containing even more of these beautifully antiquated scripts.
Atraments glides between the territory of multiple genres effortlessly. The opening track, "Composition for the Shadow Self" has an ambient start, which evolves into some glacially paced doom metal style music. The guitar is distorted and only uses several chords repeatedly over industrial metallic drums which give the track an almost religious, tribal feel. Nordvargr's vocals are deep and guttural screams. "Naamah", the following track, consists of a screeching guitar feedback which drones over a plethora of drums, whispers and screams, which all provide a backdrop to Nordvargr's spoken words which are highly ritualistic. Then there are tracks like "Tabula Smaragdina" and "Solemn Majesty" which incorporate Gregorian style chants and other beautiful religious stylized sounds, such as a cathedralic organ section, which provide the perfect opposition to the other more gritty and chaotic tracks.
Atraments is far from my usual musical interests. In general, I'm not always a fan of the many varied works of Nordvargr. but I greatly enjoyed the aforementioned Körperwelten and obviously some of the works of Mz.412, so I gave this latest release an honest chance. My first impressions were a bit negative, again I'm not a huge fan of doom metal in particular. But, after the second and third playthroughs I started to really understand the project and slowly but surely fell in love with each track and the nuances and progressions that take place throughout the album. This is why I would never review an album without giving it numerous listens, first impressions can be misleading, some things, especially those that fall outside the usual genre boundaries, need time to make sense to the listener. At this point, I could say that I highly recommend Atraments to any fans of the varied output of Malignant Records. It seems that the variety of releases from the Malignant label all find their way of making sense within the frame-work of this one single album. There is the dark, the brooding, the beautiful, and the ugly, all making appearances on Atraments.
Artist: Summon
Album: Anumals
01. FR13NDS (feat. Aleister Crowley)
02. ON3WAY (feat. Sapience Christ)
03. OP3NBO0K
04. M3MO(R3)BO0T
05. SNAKE~FOOD (feat. Goldmonki)
06. SNAKE~V3NOM 666
07. SK.INK (feat. Neila)
08. VO1C35
09. A1M
10. thaMONSTA
11. COLD & FA1R (feat. Omen20012)
12. DEADUN
13. DANCE of DEAD (feat. Aleister Crowley)
Editor's Note: As the first review in the "On the Periphery" section. I should first explain a bit about this section. Dark ambient is one of my many loves in the world. The purpose of This Is Darkness is for it to be a hub. A place where dark ambient fans from around the world can find news, interviews, reviews, mixes, etc. all pertaining to things that they, as dark ambient fans, would find interesting. The second goal is to bring in new dark ambient listeners. This second goal will be possible through devoting some attention to things outside the dark ambient genre, but still very relevant to, hopefully, the majority of its fans.
This release is not dark ambient. It is not ambient at all. It is in fact a rap/hip-hop album. However, aside from the actual genre of the music, there are a lot of glaring similarities to be made. While this may not always be the case in the style and execution of the music, it is fair to say that these similarities are constant in the subject matter.
I first stumbled across the sounds of Summon probably two years ago. At this point, I honestly have no clue of exactly when and where I made the discovery. But the music sounded really unique and had that edge of darkness for which I'm always looking. As is usually my habit, I immediately began to follow the man behind the music. It became quickly apparent how many things we had in common. From musical interests like Sigur Rós, Chelsea Wolfe, CocoRosie, etc. to film directors, David Lynch in particular.
When Summon released this album last fall, I was not in a position to review it. My old stomping grounds of Terra Relicta, was not exactly the place to cover occult-themed hip-hop music. Upon founding This Is Darkness, it became possible for me to branch out in any direction which I saw fit and relevant, so here we are!
Since around 2011, Summon has been creating his form of "dark hip-hop". I'm not talking about sounds like the trap-kings Three 6 Mafia, nor is this like the artists Bones of more recent fame. It is especially unlike the clowns in ICP! Summon immediately struck me as having a sincerity and depth that went well beyond a love for horror films or some gimmick to separate him from the flock. The music flows from the soul, and it's immediately recognizable as such. While this does a lot for an artist's integrity, it often doesn't do much for their fame.
A guy in Albuquerque, New Mexico rapping about subjects such as Aleister Crowley or H.P. Lovecraft is not exactly in a position to take the hip-hop industry by storm. Yet, what Summon has done is to slowly solidify himself as the backbone of the Albuquerque music scene. Summon always features plenty of local talent in his albums and never forgets to give due credit to his fans and supporters. Along the way, he's poured his heart and soul into the running of music promotion for his local clubs.
Now, I should get specifically into the sounds of this Anumals album. As afore mentioned, Summon has a great deal of interest in the occult. The album opens with an audio clip of Aleister Crowley speaking. If there were ever a moment of question about what the kind of subject matter we would find in this album, it is immediately answered.
As we move into the following track, "ON3WAY" (feat. Sapience Christ), we get into some of the actual music. Sapience Christ sings in a very unusual and quite interesting manner throughout the track. Summon contributes the verses, which on this track show some of the similarities between his style and those of some other underground rappers such as Sole and Doseone. His lyrical flow is fast paced, yet constrained and always intelligible.
The next two tracks "OP3NBO0K" and "M3MO(R3)BO0T" are easily comparable for me to hip-hop greats Wu-Tang Clan. The production has that 70s cinematic feel to it, similar to the sounds that brought RZA to fame.
If comparisons to other artists must be made, which in the case of writing reviews I see it as necessary more often than not, Summon stays relatively consistent in his similarities between early Anticon Records artists and those of the Wu-Tang Clan. But these comparisons don't reflect an artist who is taking the style of others and attributing it to himself. He often moves from rapping to singing and back again. He is similar to some sounds of other artists at one moment, then his next verse will take on a style, totally unique to himself.
Anumals is a truly unique experience. If you hate hip-hop, I doubt you are going to be swayed. But if you do enjoy this genre or at least the occasional song within it, you should find a good bit to love about the dark/horror/occult themes on Anumals. While the sounds themselves are often far from those of dark ambient, the themes, samples, and lyrics of the music should be welcome content for dark ambient fans with an open mind.
Editor's note: With this being the first "On the Periphery" review, I would be very pleased to hear as much feedback as possible. What do you think of the concept of "On the Periphery"? Do the sounds of Summon resonate with you in any way as a dark ambient fan? Does this development make you happy or are you reading this thinking WTF?


A total of 14 new jobs are to be created at Nottingham's Malt Cross after the venue received more than £1.38 million from the Heritage Lottery Fund (HLF).
It was announced at the start of the year that the former music hall on St James's Street had successfully secured the funding, which will form an integral part of a £1.7m Heritage Outreach and Engagement Project to create a major new attraction for the city.
Bringing to life two unused floors and an 11th century cave underneath the Malt Cross, the six-month renovation will result in a new state-of-the-art heritage education, tourism, arts, crafts and music centre.
Now the Malt Cross Trust, which runs the historic venue, has revealed that it has started recruiting for eight new full-time roles and six apprenticeship opportunities. This will see the current team expand by 40 per cent.
Amongst the new full-time roles being created are the positions of marketing and fundraising manager, heritage engagement worker, and music, arts and events manager.
In addition, apprenticeships will be offered in: fundraising, administration, catering, hospitality and heritage, arts and crafts. An apprenticeship in music and events will also be on offer, in conjunction with the Confetti institute of creative technologies in Nottingham.
"It's a sad fact that many charities across the UK are shrinking because of a lack of access to funds. The investment from the Heritage Lottery Fund has allowed us to buck this national trend and we now find ourselves in the position of being able to significantly expand our team.
"The apprenticeship opportunities are particularly exciting for us. We are looking forward to working with the successful young people to give them the best start possible in their careers, whilst helping them to continue to expand their skills sets.
Work on the Malt Cross renovation, which is the only surviving saloon music hall still functioning outside of London, will begin in April and is scheduled for completion in September 2014.
For full details of the full-time and apprenticeship opportunities available at the Malt Cross, visit www.maltcross.com.


text:
The left has always been a plague on society…
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redpajama_set_name: RedPajamaCommonCrawl


Why Trump keeps losing in court.
The comic strip Cathy and its complicated relationship with feminism.
At least one person knew how to fill out their bracket.
Wishing Charo all the best.
How GDPR is doing, one year later.
"A Salute to TV's Most Underrated Female Characters".


These days, pretty much all new computer systems come with SSD drives in lieu of HDD drives. You'll find superlatives about them all over the specialised press – that they're quicker and conduct better and that they are the future of home pc and laptop production.
Then again, how do SSDs stand up inside the web hosting world? Could they be trustworthy enough to substitute the successful HDDs? At GESIC Computers USA, we are going to assist you much better be aware of the dissimilarities between an SSD as well as an HDD and determine which one best suits you needs.
A result of a revolutionary new solution to disk drive performance, SSD drives permit for considerably quicker file accessibility rates. With an SSD, file access times are far lower (as little as 0.1 millisecond).
The concept powering HDD drives goes all the way back to 1954. Even though it's been significantly refined through the years, it's even now can't stand up to the inventive concept driving SSD drives. Through today's HDD drives, the best data file access speed you're able to attain differs somewhere between 5 and 8 milliseconds.
The random I/O performance is extremely important for the general performance of a file storage device. We have conducted substantial testing and have established that an SSD can deal with a minimum of 6000 IO's per second.
Throughout the exact same lab tests, the HDD drives turned out to be considerably slower, with 400 IO operations managed per second. Although this may seem like a large amount, if you have an overloaded web server that hosts numerous well–liked web sites, a slow hard disk may lead to slow–loading websites.
SSD drives are created to include as fewer rotating elements as feasible. They use a similar technology to the one utilized in flash drives and are generally much more efficient compared with standard HDD drives.
SSDs provide an normal failing rate of 0.5%.
As we have documented, HDD drives rely on spinning disks. And something that makes use of plenty of moving elements for prolonged time frames is at risk from failing.
HDD drives' common rate of failure can vary between 2% and 5%.
SSDs are lacking moving parts and require almost no cooling power. They also involve very little electricity to perform – lab tests have shown that they can be operated by a normal AA battery.
As soon as they have been designed, HDDs were always really electricity–heavy products. Then when you've got a server with multiple HDD drives, this tends to boost the per month electric bill.
Typically, HDDs use up between 6 and 15 watts.
Because of SSD drives' better I/O efficiency, the leading hosting server CPU can work with data file requests faster and conserve time for other operations.
The common I/O delay for SSD drives is 1%.
By using an HDD, you need to spend time watching for the outcome of your file ask. As a result the CPU will be idle for much more time, expecting the HDD to react.
It's about time for some real–world instances. We competed a full platform backup on a hosting server using only SSDs for file storage uses. In that procedure, the typical service time for an I/O call stayed under 20 ms.
In comparison with SSD drives, HDDs feature significantly reduced service times for input/output demands. In a hosting server backup, the regular service time for any I/O call varies between 400 and 500 ms.
Yet another real–life enhancement will be the rate at which the back–up has been developed. With SSDs, a web server back up currently takes no more than 6 hours using GESIC Computers USA's web server–designed software.
On the flip side, on a server with HDD drives, an identical backup normally requires three to four times as long in order to complete. A full back up of an HDD–powered web server usually takes 20 to 24 hours.
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Q: I installed the trail version before I want to buy it. It looks wonderfull, but I was unable to make menu items inside a PHP file.
Do you have an example(tutorial) how to at deluxe menu inside a php file ?
Q: Hi I recently purchased your product Deluxe Tuner and I am having trouble with my frame pages.
There is a portion of my site that is set to produce frames and Iwas wondering if there is more information about setting links in a tree view structure to selected frame pages?
A: You can specify target parameter for each item individually.
Q: I have been mostly creating my menus by starting with a template file that has the features I need, and then modifying that file by hand (as opposed to using the Tuner program). In this case I am using data-vista-01.js.
This is perfect. But I think to myself, surely I don't need all the .js files from the Menu directory, nor do I need all the .gif files from the Images directory, so I started deleting those files one at a time, until I got to the point where Images contained only the Vista1 folder + the empty.gif file, and the Menu folder contained only dmenu.js. My menu now not working.
I'm guessing that some graphic files need to draw the top-level menu bar are missing. But which ones?
So my question is, what files do I really need? Is this something the documentation describes, and if so where?
I hope I don't have to include the full contents of the Menu and Images folder, as they are quite large.
A: Unfortunately, you should add all need images manually.
We'll try to correct it soon.
You can open your data.js file and see what images you're using in themenu and copy tese images into your folder.
There is no need to use all engine files for the menu.
Dhtml Menu Example Paste Code Files Upload What to do after creating a dhtml menu example or where to paste the code, which files to upload.
Features - Product Info - Deluxe-Tree.com Insert any HTML code inside the menu item - be it a form or a picture, a flash-object or what items were expanded/collapsed. Deluxe Tree can save items state automatically!


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Q: Indicator LED to Case - mechanical design I got a board for which I need several indicator LEDs and I cant decide on the best solution for the mechanical design of these.
The board and the casing currently have a gap of 15mm to each other.

So far I came up with the following ideas to get the indicator LED's out of the case.

a) solder the LED in through holes and bend it 90deg
b) put pad like for a SMD LED to the top and solder the LED flat to these
c) put a pad to the top and the bottom of the PCB (1.6mm PCB fits exactly to a standard 3mm LED)
d) SMD LED with light pipe
e) extend (unnecessarily) the whole PCB 15mm and use a 90deg SMD LED
So here are my questions:

*

*Did I forget any viable (or even better) solution?

*I want to make about 1000 of these. Is there a major difference in the assembly cost (I guess for example that b should be quit a struggle to solder in the right position)?

*What would be best practice in this case?

*For the 3 through hole LED solution - what is the best practice to cover / isolate the long free LED legs from each other or is this unnecessary?

A: I would consider A acceptable- B and C are prone to failure by lifting pads if something presses on the LED. Only though if the LED is at a safe voltage relative to ground, because the LED insulation may not be adequate or it may break.
D. SMT LED plus a clear plastic light pipe is good in several ways. It removes the LED mechanically and electrically from the panel, and the LED can be assembled by machine with the rest of the PCB. There are many different types- the below photo is from Digikey. You can get multiples too, stacked if you like, that use less PCB area.

Extending the PCB E. is not a bad solution either. A small lens in the panel can be used. PCB area is pretty cheap compared to hand labor and you may be able to use the 'unnecessary' area to other advantage.
There are right-angle through-hole LED holders that could be applied to the extended PCB scenario, eg. Dialight type (below again from Digikey). Some are not prohibitively expensive.

I'm not a huge fan of these things- they seem to put crummy LEDs in them and they have the other disadvantages of non-insulated LEDs plus they cost some money. There are SMT versions too.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Why inherit from unittest.TestCase? What's the motivation behind having my unit test classes inherit from unittest.TestCase, rather than object? Does it matter if I'm using Nose (or PyTest) instead of unittest?

A: If you don't inherit from unit.TestCase, the testing framework won't know that you want those classes to be test cases.  So when you try to run your tests, nothing will happen!

A: Inheriting from unittest.TestCase lets you use method like:

*

*setUp / tearDown to prepare the tests

*asssertEquals and many more assertions

When you use pytest, you can write tests directly as functions (no need to subclass anything). You can achieve the same set up / tear down pattern by using fixtures, and write assertions using the assert statement since pytest features a powerful assertion introspection.
nose also provide similar features (test functions with a with_setup decorator).


A while back I talked about the Chocolate Museum in Barcelona. It was supposed to be the introduction to a later post about what brought me there in the first place. I just never got round to that. See, they have these fabulous activities there, and being the chocolate lover that I am, I simply could not resist when I saw they were arranging something called "Speaking With Chocolate". A chocolate making workshop in English, great for locals who wanted to practice their English, or for non-Spanish speakers. (Or people like me who wanted a break from Spanish and talk & hear some English!) We were a good mix of locals, tourists and expats.
We had a workstation each with a mould for a chocolate tablet, bombon moulds, some fillings and a hat!
First, the teacher made a big portion of ganache that we would later use to fill our bombons. It was surprisingly easy and took only a couple of minutes. Then it had to cool down an hour or so in the fridge.
In the meantime, we made our chocolate tablets. There was a selection of spices and things we could add to give flavour. Chopped almonds, coconut, peanuts etc. After having chosen our preferred flavours, we paired up and headed over to the machine of deliciousness to get our chocolate. Oh My Goodness! Can I have one of these please?
I thought I'd try something new, so for my tablet, I added seasalt in one part, then some ginger to another part and pepper to a third part. My partner (as you can see in the photo) LOVED pepper in chocolate, I wasn't quite as brave as him though. He added loads!
I decorated mine with white chocolate haha!
And then it was time for the lollipops! Here we could use the wonderful fresh fruit and berries set out and white or dark chocolate however we preferred.
But we were still not done! It was time for filling our bombons with the previously made ganache. Again we could add fruit, coconut, nuts or spices.
Now we just had to make sure it was all cooled off before we could pack it, cause we got to bring all this home with us. One big tablet of chocolate, 6 ganache-filled bombons, lollipops and rocas de chocolate. Loads of chocolate!! The whole workshop was about 3 hours and included a drink at the end and well, all the chocolate to bring home. It was a GREAT way to spend a Saturday afternoon!
The activity is now called "Chocolating" and is now set up as a 2 hour activity instead of 3, so I suppose the content has changed. Anywyay, if you are interested, info can be found here.
Oh man, that is AWESOME! And all of that chocolate....YUM!
What a fun way to spend three hours! Very productive too. I did a six hour cup cake decorating and macaroon making class and it was enjoyable. Though I wish we could make the stuff ourselves, like in your case, the ganache. Were you disappointed that it was made for you ready to use? When I come and visit, can we do this together?!
Dette var dårlig gjort!! Jeg prøver å slanke meg!!! Hvordan går det med nanowrimo??
Beklager så mye :) Jeg er så innmari svak for sjokolade... Om jeg kunne leve på det, hadde jeg gjort det!
Det går fint med nanowrimo! Jeg har skrevet en god del, og hver eneste dag. Noen dager glir det bedre enn andre, men jeg holder det gående iallefall! Hva med deg? Ble det tid til det?
Jeg skriver ivei, men har ikke registrert noe på nanosidene :) Ser at jeg ikke rekker 50000, men om jeg rekker 15 er jeg kjempefornøyd og har en bra start. Spent på hva du skriver om!


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How does CBD interact with the endocannabinoid system?
D. Civantos - 20/08/2019
Cannabis activism
Cannabis Genetics
Cannabis Growing
Growing techniques
Trimming techniques
Biological prevention
Organic Growing
Nutrients and fertilizers
Weed Recipes
Cannabis contains 113 active compounds known as cannabinoids. CBD (cannabidiol) is the most abundant together with THC, but unlike this, it does not have any psychoactive properties, meaning it won't get you high.
CBD has in fact been found to counter the psychoactive effects of THC, including the anxiety associated with over-consumption.
Moreover, CBD provides a wealth of health benefits through its interaction with the endocannabinoid system, a complex network of cell receptors and neurotransmitters that help maintain the body's homeostasis.
Endocannabinoid systems exist in mammals, reptiles, birds, fish, and possibly, some invertebrates. Composed of cannabinoid receptors that are found throughout the body, with greatest concentrations in the central and peripheral nervous system and in the immune system, the endocannabinoid system is responsible for controlling a variety of bodily functions, including sleep, mood, temperature, immune response, perception of pain and pleasure, fertility, memory and appetite.
Whenever a health problem arises, the endocannabinoid system releases natural cannabinoids (endocannabinoids) in order to restore balance in the body. In some cases, however, the endocannabinoid system can't solve the problem on its own, which can lead to a number of chronic conditions.
How does the endocannabinoid system work?
Contrary to most bodily systems including the digestive and nervous systems, the endocannabinoid system was discovered only recently, in the early 1990s. A decade earlier, in the 1980s, the Ronald Reagan administration had invested tens of millions in studies aimed at proving that cannabis can cause brain damage and cognitive impairment. Unsurprisingly, this politically biased assumption was never confirmed, but instead the researchers involved in the project came across the endocannabinoid system.
The discovery is so new that it was named after the cannabis plant. The reason for this is because the cannabinoids that make up the endocannabinoid system are very similar to the cannabinoids that are found in hemp, cannabis and other subspecies of the plant.
In Pursuit of Happiness: Cannabinoids and Other Molecules. Part: 1
Read now »
The uniqueness of the endocannabinoid system lies in its main function. Contrary to other bodily systems, which focus on specific functions like digestion, the endocannabinoid system works to keep the balance between the remaining systems so that they can function optimally. This is known as homeostasis, a stable equilibrium within the body where everything works smoothly regardless of external conditions.
To take one example, the endocannabinoid system will keep heartbeat and body temperature within a set range regardless of whether it's cold or hot, or whether you're doing sport. Thus, if external conditions change – let's say that temperature rises – the endocannabinoid system will force the body to sweat helping it cool down. This state of equilibrium greatly contributes to a healthy body, which is largely achieved through the collaboration between the endocannabinoid system and the various systems in the body.
In Pursuit of Happiness: Cannabinoids and Other Molecules: Part 2.
The three main components of the endocannabinoid system
Endocannabinoids: Endocannabinoids are similar to the chemical compounds that are found in cannabis, such as CBD and THC, which are known as phytocannabinoids – "phyto" means "plant" in Greek. The prefix "endo", instead, means "endogenous", referring to the fact that the cannabinoids are produced in the body. So far, two main endocannabinoids have been identified: anandamide and 2-AG.
Cannabinoid receptors: Cannabinoid receptors are found on the surface of cells in the nervous system and other organs. Just like the external cannabinoids contained in cannabis, endocannabinoids have the ability to bind to cannabinoid receptors, which allows them to communicate with a number of bodily systems, resorting balance where required. The two main types of cannabinoid receptors in the body are known as CB1 and CB2.
Enzymes: Once the endocannabinoids have bound to the cannabinoid receptors and served their purpose, the enzymes in the endocannabinoid system work to break them down in order to prevent excessive build up. Each of the two main endocannabinoids is associated with a degrading enzyme: Anandamide with FAAH (fatty acid amide hydrolase) and 2-AG with MAGL (monoacylglycerol lipase).
Which bodily functions are regulated by the endocannabinoid system?
In the example before, we looked at overheating during sport, but there are a number of other bodily functions that benefit from working within a healthy range of values. Some of the functions that are regulated by the endocannabinoid system include:
Appetite and digestion
Immune function
Response to pain and pleasure
How does sleep affect the endocannabinoid system
These functions are regulated by the endocannabinoid system through communication between the cannabinoid receptors and the nervous, digestive and immune systems. Although there are others, so far research has focused on two cannabinoid receptors:
CB1 receptors, which are found in the central nervous system – brain and spinal cord nerves
CB2 receptors, which are found in the peripheral nervous system – the nerves in the rest of the body which allow the brain to communicate with different body areas – and in the digestive and immune systems
Because cannabinoid receptors are found throughout the body, the endocannabinoid system can address imbalance in the various bodily systems with a high degree of accuracy. Thus, if a swollen area is detected, it can focus on the affected area without interfering with other systems, which could lead to uncontrolled reactions.
How does CBD affect the endocannabinoid system?
Thanks to the endocannabinoid system, the cannabinoids that are found naturally in cannabis, notably CBD and THC, can bind to cannabinoid receptors and modulate physiological functions in the same way as endocannabinoids. These two cannabinoids, however, have very different ways of interacting:
- Just like the endocannabinoid anandamide, THC binds to CB1 receptors in the brain, with the difference that while anandamide has a calming effect on the brain, THC is psychoactive. FAAH enzymes have the ability to degrade anandamide but are not as effective against THC, which is why the "high" lasts longer.
- CBD, in turn, binds both to CB1 receptors in the brain and to CB2 receptors throughout the body, as a result of which it can benefit the whole body, alleviating mental conditions such as anxiety, as well as physical ailments including muscle spasms, pain and swelling.
The indirect effects of CBD on the endocannabinoid system
Besides receptors, CBD interacts with the endocannabinoid system by modifying the activity of its transport proteins and enzymes, which in turn modify the concentration of anandamide, the body's "default" endocannabinoid.
When describing the endocannabinoid system, there is a tendency to forget that besides receptors and neurotransmitters, regulating enzymes play also a big part in its functioning. In this case, the key enzyme is the above-mentioned FAAH, which degrades anandamide in a process of which CBD is an inhibitor.
Put another way, cannabidiol reduces the action of the enzyme responsible for degrading anandamide, which leads to a higher concentration of the endocannabinoid in the system. And since anandamide has a calming effect on the brain, by blocking the FAAH enzyme, CBD can be of help in treating anxiety disorders.
Why Do Some People Suffer Anxiety Attacks When Smoking Marijuana?
Rather than having a direct effect, CBD potentiates the effects of the natural elements in the endocannabinoid system. That said, it has been found that CBD is actually quite a weak inhibitor of FAAH enzymes, meaning its effects cannot be entirely, or even largely, attributed to its interaction with enzymes.
In fact, CBD plays a part in 60 different molecular pathways involving serotonin receptors, immune system receptors and TRP receptors (cell sensors that detect changes in the environment), among others. Highly versatile, the countless health-conscious consumers that use CBD regularly are proof of its usefulness.
In any case, the magnitude of the effects of CBD can be explained by its interaction with the endocannabinoid system only to some extent. As a rule, the action of CBD is mostly indirect, its main function being potentiating the effects of anandamide, the neurotransmitter occurring naturally in the endocannabinoid system.
Therefore, in order to fully understand cannabidiol's full spectrum of effects, we need to look beyond the endocannabinoid system and explore how CBD interacts with the remaining systems in the body.
D. Civantos Professional journalist and blogger, I've, for more than a decade, been the head of Nexo Contenidos, a company specialized in the cannabis world and in wide-ranging digital media. You can find me not only on Dinafem, but also on Strambotic, Cooking Ideas and many other blogs floating in the uncharted waters of the net. However, when I feel most at ease is working with cannabis, one of my biggest passions from a very young age that has now become the main focus of my work.
Can marijuana lead to addiction?
Is cannabis addictive? This is the eternal debate, a widely discussed subject that is sometimes approached in the wrong way by both supporters a…
Differences between cannabis and hemp
Cannabis and hemp are two plants that often lead to confusion. Despite belonging to the same genus, their morphological differences and the…
Cannabis types and varieties
Today it's easy to feel lost when deciding what type of marijuana variety to grow. The countless number of strains available on the market …
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How the Endocannabinoid System May Be Involved in Autism
Everything You Always Wanted to Know About Cannabinoids
An introduction to CBD, the cannabinoid in vogue
D. Civantos 14/01/2017
From Toxic Molecule to Drug of the Future: The History of CBD
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Kimberly Godwin (nascida em Panama City, Flórida) é uma jornalista, produtora e executiva estadunidense. Ela é a atual presidente da ABC News, sendo a primeira mulher negra a liderar a divisão de notícias de uma grande rede de televisão.

Carreira
Kimberly Godwin estuou na Florida A&M University, onde obteve seu diploma de bacharel em jornalismo. Antes de ingressar na ABC, foi assistente e diretora de redação na WCBS-TV, em Nova York; ela já trabalhou na KNBC de Los Angeles, e na KXAS-TV em Dallas e Fort Worth. Também serviu como vice-presidente executiva de notícias da CBS News e produtora sênior do CBS Evening News.

Na ABC, ela é responsável pelo Good Morning America, World News Tonight, The View, 20/20 e This Week.

Prêmios e indicações
Godwin já ganhou seis Prêmio Emmy de Notícias e Documentários, dois Prêmios Edward R. Murrow, um Prêmio Alfred I. duPont–Columbia University e um prêmio Sigma Delta Chi.

Ligações externas
Kimberly Godwin (em inglês) no IMDb

Jornalistas dos Estados Unidos
Produtores de televisão dos Estados Unidos
Executivos dos Estados Unidos

redpajama_set_name: RedPajamaWikipedia


Off the Kuff: Do not mail?
We're all familiar with the national Do Not Call registry, right? Well, now some people want there to be a similar thing for snail mail.
Vermont legislator Chris Pearson had a sense that the people were with him when he proposed a bill last November to allow residents to block junk mail.
He got media attention, radio interview requests and e-mails from constituents eager to stop the credit card offers, furniture catalogs and store fliers that increasingly clog their mailboxes.
Then came the pushback from the postmasters, who told Pearson and other lawmakers that "standard" mail, the post office's name for junk mail, has become the lifeblood of the U.S. Postal Service and that jobs depend on it.
"The post office and the business groups are pretty well-organized," said Pearson, whose bill remains in a committee and has not been scheduled for a vote.
Barred by law from lobbying, the Postal Service is nonetheless trying to make its case before a growing number of state legislatures that are weighing bills to create Do Not Mail registries, similar to the popular National Do Not Call Registry.
The agency has printed 3,000 "information packets" about the economic value of standard mail, with specific data for each of the 18 states that have considered a Do Not Mail Registry. It has sent postmasters to testify before legislative committees across the nation.
"The Postal Service has come in and clobbered legislators," said Todd Paglia, executive director of ForestEthics, an environmental group that has collected 289,000 signatures on an online petition to Congress that calls for a National Do Not Mail Registry. "It's really a people-versus-special interest kind of battle."
I have a modest amount of sympathy for the Postal Service here. If my mail is like most people's, then junk mail really is their biggest part of the business, and I can't blame them for fighting to protect that business. Doesn't mean I want to see them win that fight, but I don't think they're evil for engaging it. I should also point out that as is the case with email spam, the catalog problem would largely solve itself if people simply stopped responding to them. This stuff continues to exist because it works.
Despite the Postal Service's efforts, I do think that we will have a Do Not Mail registry some day. This is an idea that's going to be very popular, and once a few states succeed in passing a law, there will be a lot of pressure on Congress to follow suit. It will likely take several years, but I believe it will happen. In the meantime, I recommend using Catalog Choice to reduce your own personal junk mail burden. And contact your state rep and Congressperson if you want to get the ball rolling on the ultimate goal.
While I too understand why the postal service wants to keep those direct mail revenues, my sympathy isn't even modest. They're a public service, not a business, and the public interest, not revenue, should be their main concern.
I recycle. I mean I RECYCLE. And thanks to "junk mail" I am robbed of precious time out of every single day I receive mail.
spot (which, for reasons of space and design is the other side of the house than the "trash".
It is simply an additional DAILY burden upon my already completely time-pressed life that I never requested and surely do not desire. And then, come pick-up day every other week, the load I need haul it to the street (or the recycle drop off if, because I do not have the time on the AM of pick up day to get it to the curb) is not simply a few billing envelopes but an entire 3 or 4 grocery bags full of absolute crap the world never asked for and that robs me of my time and FORCES ME to expend effort to discard in a socially respectful manner.
Until I can begin billing for my time wasted handling their crap, I am foursquare behind an absolute HALT to their materialworld effluent.


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.. meta::
    :author: Cask Data, Inc.
    :copyright: Copyright © 2014-2015 Cask Data, Inc.

.. _custom-dataset-exploration:

==========================
Custom Dataset Exploration
==========================

It is often useful to be able to explore a dataset in an ad-hoc manner.
This can be done using SQL if your dataset fulfills two requirements:

* it defines the schema for each record; and
* it has a method to scan its data record by record.

For CDAP datasets, this is done by implementing the ``RecordScannable`` interface.
The CDAP built-in ``KeyValueTable`` and ``ObjectMappedTable`` datasets already implement this
and can be used for ad-hoc queries.

Let's take a closer look at the ``RecordScannable`` interface.

Defining the Record Schema
--------------------------
The record schema is given by returning the Java type of each record, and CDAP will derive the record schema from
that type::

  Type getRecordType();

For example, suppose you have a class ``Entry`` defined as::

  class Entry {
    private final String key;
    private final int value;
    ...
  }

You can implement a record-scannable dataset that uses ``Entry`` as the record type::

  class MyDataset ... implements RecordScannable<Entry> {
    ...
    public Type getRecordType() {
      return Entry.class;
    }

Note that Java's ``Class`` implements ``Type`` and you can simply return ``Entry.class`` as the record type.
CDAP will use reflection to infer a SQL-style schema using the fields of the record type.

In the case of the above class ``Entry``, the schema will be::

  (key STRING, value INT)

.. _sql-limitations:

Limitations
-----------
* The record type must be a structured type, that is, a Java class with fields. This is because SQL tables require
  a structure type at the top level. This means the record type cannot be a primitive,
  collection or map type. However, these types may appear nested inside the record type.

* The record type must be that of an actual Java class, not an interface. The same applies to the types of any
  fields contained in the type. The reason is that interfaces only define methods but not fields; hence, reflection
  would not be able to derive any fields or types from the interface.

  The one exception to this rule is that Java collections such as ``List`` and ``Set`` are supported as well as
  Java ``Map``. This is possible because these interfaces are so commonly used that they deserve special handling.
  These interfaces are parameterized and require special care as described in the next section.

* The record type must not be recursive. In other words, it cannot contain any class that directly or indirectly
  contains a member of that same class. This is because a recursive type cannot be represented as a SQL schema.

* Fields of a class that are declared static or transient are ignored during schema generation. This means that the
  record type must have at least one non-transient and non-static field. For example,
  the ``java.util.Date`` class has only static and transient fields. Therefore a record type of ``Date`` is not
  supported and will result in an exception when the dataset is created.

* A dataset can only be used in ad-hoc queries if its record type is completely contained in the dataset definition.
  This means that if the record type is or contains a parameterized type, then the type parameters must be present in
  the dataset definition. The reason is that the record type must be instantiated when executing an ad-hoc query.
  If a type parameter depends on the jar file of the application that created the dataset, then this jar file is not
  available to the query execution runtime.

  For example, you cannot execute ad-hoc queries over an ``ObjectStore<MyObject>`` if the ``MyObject`` is contained in
  the application jar. However, if you define your own dataset type ``MyObjectStore`` that extends or encapsulates an
  ``ObjectStore<MyObject>``, then ``MyObject`` becomes part of the dataset definition for ``MyObjectStore``. See the
  :ref:`Purchase <examples-purchase>` application for an example.

Parameterized Types
-------------------
Suppose instead of being fixed to ``String`` and ``int``, the ``Entry`` class is generic with type parameters for both
key and value::

  class GenericEntry<KEY, VALUE> {
    private final KEY key;
    private final VALUE value;
    ...
  }

We should easily be able to implement ``RecordScannable<GenericEntry<String, Integer>>`` by defining ``getRecordType()``.
However, due to Java's runtime type erasure, returning ``GenericEntry.class`` does not convey complete information
about the record type. With reflection, CDAP can only determine the names of the two fields, but not their types.

To convey information about the type parameters, we must instead return a ``ParameterizedType``, which Java's
``Class`` does not implement. An easy way is to use Guava's ``TypeToken``::

  class MyDataset ... implements RecordScannable<GenericEntry<String, Integer>>
    public Type getRecordType() {
      return new TypeToken<GenericEntry<String, Integer>>() { }.getType();
    }

While this seems a little more complex at first sight, it is the de-facto standard way of dealing with Java type
erasure.

Complex Types
-------------
Your record type can also contain nested structures, lists, or maps, and they will be mapped to type names as defined in
the `Hive language manual <https://cwiki.apache.org/confluence/display/Hive/LanguageManual+DDL>`_. For example, if
your record type is defined as::

  class Movie {
    String title;
    int year;
    Map<String, String> cast;
    List<String> reviews;
  }

The SQL schema of the dataset would be::

  (title STRING, year INT, cast MAP<STRING, STRING>, reviews ARRAY<STRING>)

Refer to the Hive language manual for more details on schema and data types.

StructuredRecord Type
---------------------
There are times when your record type cannot be expressed as a plain old Java object. For example, you may want to write
a custom dataset whose schema may change depending on the properties it is given. In these situations, you can implement
a record-scannable dataset that uses ``StructuredRecord`` as the record type::

  class MyStructuredDataset ... implements RecordScannable<StructuredRecord> {
    ...
    public Type getRecordType() {
      return StructuredRecord.class;
    }

The ``StructuredRecord`` class is essentially a map of fields to values, with a ``Schema`` describing the fields and values::

  public class StructuredRecord {
    ...
    public Schema getSchema() { ... }

    public <T> T get(String fieldName) { ... }

Datasets that use ``StructuredRecord`` as the record type must also set the schema dataset property when they are created::

  @Override
  public void configure() {
    Schema schema = Schema.recordOf("mySchema",
      Schema.Field.of("id", Schema.of(Schema.Type.STRING)),
      Schema.Field.of("name", Schema.of(Schema.Type.STRING)),
      Schema.Field.of("age", Schema.of(Schema.Type.INT)),
      Schema.Field.of("email", Schema.of(Schema.Type.STRING))
    );
    createDataset("users", MyStructuredDataset.class,
                  DatasetProperties.builder()
                    .add(DatasetProperties.SCHEMA, schema.toString())
                    .build());

Failure to set the schema property will result in errors when enabling exploration on the dataset. The dataset will still
be created, but it will not be explorable until the schema property is set correctly through the RESTful API.
In addition, it is up to the user to ensure that the schema set in the dataset properties
matches the schema of records returned by the dataset. Schema mismatches will result in runtime errors.

The CDAP ``Table`` and ``ObjectMappedTable`` datasets implement ``RecordScannable`` in this way and can be used as references.

.. _sql-scanning-records:

Scanning Records
----------------
The second requirement for enabling SQL queries over a dataset is to provide a means of scanning the dataset record
by record. Similar to how the ``BatchReadable`` interface makes datasets readable by MapReduce programs by iterating
over pairs of key and value, ``RecordScannable`` iterates over records. You need to implement a method to partition the
dataset into splits, and an additional method to create a record scanner for each split::

      List<Split> getSplits();
      RecordScanner<RECORD> createSplitRecordScanner(Split split);

The ``RecordScanner`` is very similar to a ``SplitReader``; except that instead of ``nextKeyValue()``,
``getCurrentKey()``, and ``getCurrentValue()``, it implements ``nextRecord()`` and ``getCurrentRecord()``.

Typically, you do not implement these methods from scratch but rely on the ``BatchReadable``
implementation of the underlying Tables and datasets. For example, if your dataset is backed by a ``Table``::

  class MyDataset implements Dataset, RecordScannable<Entry> {

    private Table table;
    private static final byte[] VALUE_COLUMN = { 'c' };

    // ..
    // All other dataset methods
    // ...

    @Override
    public Type getRecordType() {
      return Entry.class;
    }

    @Override
    public List<Split> getSplits() {
      return table.getSplits();
    }

    @Override
    public RecordScanner<Entry> createSplitRecordScanner(Split split) {

      final SplitReader<byte[], Row> reader = table.createSplitReader(split);

      return new RecordScanner<Entry>() {
        @Override
        public void initialize(Split split) {
          reader.initialize(split);
        }

        @Override
        public boolean nextRecord() {
          return reader.nextKeyValue();
        }

        @Override
        public Entry getCurrentRecord()  {
          return new Entry(
            Bytes.toString(reader.getCurrentKey()),
            reader.getCurrentValue().getInt(VALUE_COLUMN));
        }

        @Override
        public void close() {
          reader.close();
        }

      }
    }
  }

While this is straightforward, it is even easier if your dataset already implements ``BatchReadable``.
In that case, you can reuse its implementation of ``getSplits()`` and implement the split record scanner
with a helper method
(``Scannables.splitRecordScanner``) already defined by CDAP. It takes a split reader and a ``RecordMaker``
that transforms a key and value, as produced by the ``BatchReadable``'s split reader,
into a record::

  @Override
  public RecordScanner<Entry> createSplitRecordScanner(Split split) {
    return Scannables.splitRecordScanner(
      table.createSplitReader(split),
      new Scannables.RecordMaker<byte[], Row, Entry>() {
        @Override
        public Entry makeRecord(byte[] key, Row row) {
          return new Entry(Bytes.toString(key), row.getInt(VALUE_COLUMN));
        }
      });
  }

Note there is an even simpler helper (``Scannables.valueRecordScanner``) that derives a split
record scanner from a split reader. For each key and value returned by the split reader it ignores the key
and returns the value. For example,
if your dataset implements ``BatchReadable<String, Employee>``, then you can implement ``RecordScannable<Employee>`` by
defining::

  @Override
  public RecordScanner<Employee> createSplitRecordScanner(Split split) {
    return Scannables.valueRecordScanner(table.createSplitReader(split));
  }

An example demonstrating an implementation of ``RecordScannable`` is included in the Cask Data Application Platform SDK in the
directory ``examples/Purchase``, namely the ``PurchaseHistoryStore``.

Writing to Datasets with SQL
----------------------------
Data can be inserted into datasets using SQL. For example, you can write to a dataset named
``ProductCatalog`` with this SQL query::

  INSERT INTO TABLE dataset_productcatalog SELECT ...

In order for a dataset to enable record insertion from SQL query, it simply has to expose a way to write records
into itself.

For CDAP datasets, this is done by implementing the ``RecordWritable`` interface.
The system dataset KeyValueTable already implements this and can be used to insert records from SQL queries.

Let's take a closer look at the ``RecordWritable`` interface.

Defining the Record Schema
..........................

Just like in the ``RecordScannable`` interface, the record schema is given by returning the Java type of each record,
using the method::

  Type getRecordType();

:ref:`The same rules <sql-limitations>` that apply to the type of the ``RecordScannable`` interface apply
to the type of the ``RecordWritable`` interface. In fact, if a dataset implements both ``RecordScannable`` and
``RecordWritable`` interfaces, they will have to use identical record types.

Writing Records
...............

To enable inserting SQL query results, a dataset needs to provide a means of writing a record into itself.
This is similar to how the ``BatchWritable`` interface makes datasets writable from MapReduce programs by providing
a way to write pairs of key and value. You need to implement the ``RecordWritable`` method::

  void write(RECORD record) throws IOException;

Continuing the *MyDataset* :ref:`example used above <sql-scanning-records>`, which showed an implementation of
``RecordScannable``, this example an implementation of a ``RecordWritable`` dataset that is backed by a ``Table``::

  class MyDataset implements Dataset, ..., RecordWritable<Entry> {

    private Table table;
    private static final byte[] VALUE_COLUMN = { 'c' };

    // ..
    // All other dataset methods
    // ...

    @Override
    public Type getRecordType() {
      return Entry.class;
    }

    @Override
    public void write(Entry record) throws IOException {
      return table.put(Bytes.toBytes(record.getKey()), VALUE_COLUMN, Bytes.toBytes(record.getValue()));
    }
  }

Note that a dataset can implement either ``RecordScannable``, ``RecordWritable``, or both.

Formulating Queries
-------------------
When creating your queries, keep these limitations in mind:

- The query syntax of CDAP is a subset of the variant of SQL that was first defined by Apache Hive.
- The SQL commands ``UPDATE`` and ``DELETE`` are not allowed on CDAP datasets.
- When addressing your datasets in queries, you need to prefix the dataset name with
  ``dataset_``. For example, if your dataset is named ``ProductCatalog``, then the
  corresponding table name is ``dataset_productcatalog``. Note that the table name is
  lower-case.
- If your dataset name contains a '.' or a '-', those characters will be converted to '_' for the Hive
  table name. For example, if your dataset is named ``my-table.name``, the corresponding Hive table
  name will be ``dataset_my_table_name``. Beware of name collisions. For example, ``my.table`` will
  use the same Hive table name as ``my_table``.

For more examples of queries, please refer to the `Hive language manual
<https://cwiki.apache.org/confluence/display/Hive/LanguageManual+DML#LanguageManualDML-InsertingdataintoHiveTablesfromqueries>`__.

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