36 years ago today
Girl power at the Bowery ⚡🔥 L7 at CBGB, March 25, 1990.

Photo by Chris Boarts Larson

#punk #punks #punkrock #womenofpunk #L7 #cbgb #history #punkrockhistory

Don’t worry, we fixed this trend! #subpop #90s #l7 #womenshistorymonth
https://www.youtube.com/shorts/c_56_RLrN_g

#youtube_subpop

36 years ago
Jennifer Finch of L7 performing in Basel, Switzerland, March 1990.

Photo by Bruno Casonato

#punk #punks #punkrock #womenofpunk #L7 #grunge #jenniferfinch #history #punkrockhistory

#hilomusical #tuneTuesday #L7

https://youtu.be/5COHP3KZuq4?si=-vTmKH1GG-ZN-kiN

#Haldern #Rees #KreisKleve #NRW

In #Haldern konnte ein Verdachtspunkt auf #Kampfmittel aus dem #ZweitenWeltkrieg bestätigt werden und wird gegen 17 Uhr durch den #Kampfmittelbeseitigungsdienst #entschärft werden.
Dafür müssen die #Anwohnerinnen und #Anwohner sowie die #Gewerbetreibenden im #Radius von 600 Metern ihre #Häuser, #Wohnungen und #Betriebe bis 16 Uhr verlassen.
Betroffen davon sind auch der anliegende #Bahnverkehr (#RE19) sowie die #L7.

https://www.stadt-rees.de/aktuell/kampfmittelfund/kampfmittelfund-03-2026-haldern/?sds=1

#Bombenfund

#MusicWomenWednesday #L7 #punkmetal #feminism #americansociety

https://l7band.bandcamp.com/track/american-society-remastered

🇺🇦 #NowPlaying on #BBC6Music's #6MusicsIndieForever

L7:
🎵 Pretend We're Dead

#L7

https://garrisdj.bandcamp.com/track/l7-pretend-were-dead-garris-beat-mix

https://open.spotify.com/track/3z5ggGtcs4t8pizW521gW9

Почему SASE не заменяет NGFW: взгляд инженера по ИБ

Привет, Хабр! Сейчас вокруг SASE в индустрии идут активные обсуждения, и может показаться, будто все традиционные решения безопасности вот-вот отправятся на свалку истории. На этом фоне всё чаще звучат вопросы о роли NGFW в современной архитектуре. Меня зовут Дмитрий Квашнин, я ведущий инженер-эксперт в компании Innostage. И в этой статье я хотел бы поделиться собственным взглядом на этот счёт. SASE и NGFW не конкуренты. Это скорее эволюционные ступени одной большой архитектуры. NGFW никуда не уходит. Он просто передает часть своих полномочий, превращаясь в ключевой элемент гибридной модели Zero Trust для защиты самого ценного. А SASE в это время решает задачи новой эпохи, где все распределено: удаленные сотрудники, филиалы и облачные сервисы.

https://habr.com/ru/companies/innostage/articles/990012/

#NGFW #межсетевой_экран #SASE #Zero_Trust #информационная_безопасность #сетевая_безопасность #архитектура_безопасности #ЦОД #L7 #ZTNA

Sometime in the 2010s, I started disliking music with too many flourishes and began seeking out stuff that was more stripped-down, unpolished, and primitive. At this time, Barbarian were the perfect find. Depending on the album, this Italian trio has referred to themselves as “Regressive Metal,” “Absolute Metal,” or, in the case of their sixth album, Reek of God, “Retrogarde Metal” (typo and all). Led by vocalist and guitarist “Borys Crossburn,” their sound is essentially early Celtic Frost if they were fronted by a guitar-wielding grizzly bear who had a bizarre penchant for the occasional Running Wild-style melody. I’ve had many a fun time cranking my stereo and greasing my ear canals to 2014’s Faith Extinguisher and 2019’s To No God Shall I Kneel, though I agree with El Cuervo that 2022’s Viperface sagged a bit in the hookiness department. After several years on Hells Headbangers Records, Mr. Crossburn and crew have now jumped ship to a new label, Dying Victims Productions, for Reek of God, their first album in four years.

Despite the shift, Barbarian seem to have lost none of their belligerence. The album’s intro, aptly titled “Warning,” is a reimagining of the intro of the same name from the 1993 Ice-T album Home Invasion, and it helpfully informs listeners that they are listening to a Barbarian LP before instructing them to take out the tape if they are offended by phrases like “may the Almighty choke on all my sins.” From there, the first proper track, “Maxima Culpa,” roars in with burly and unapologetic guitars, throttling drums, and Crossburn’s gruff roars. As before, the sound is regressive, pulling lovingly from speed metal, thrash, black metal, and even bits of classic heavy metal with its brief majestic leads. While not the most memorable cut, it’s clear this unwashed bunch still have plenty of piss and vinegar to offer. The follow-up, “Sledgehammer,” further beats this home, with its big chunky riffs and pummeling proclamation of the track title helping the song live up to its blunt moniker.

Sadly, as Reek of God continues, it starts to stink in ways that perhaps it didn’t intend. It soon becomes apparent that Viperface’s shortage of standout hooks seems to have continued on this album—only here, it’s more of an issue. Viperface still succeeded in spite of that hangup because the songs were well-developed and took interesting turns, even if not everything was the most memorable. Here, however, the band have shortened their average track length to around three minutes, and rather than use that abbreviated format to write tight, catchy bangers, the group instead almost always eschew notable refrains in favor of simply tossing together an assortment of decent, aggressive riffs they seem to have had lying around the practice room. The result feels like an album of brief speed metal vignettes that largely pass by without much note. The production only amplifies this issue, as it sounds like the guitars and vocals are fighting for space in the mix, with the guitars having a blaring tone that I don’t love.

Fortunately, there’s still some good here. The last proper track, “Retrogarde Metal” (yes, it’s actually spelled like that), finally does feature a fun shout-along refrain, and closing the album with the horror-synth instrumental “Crurifragium” was a cool touch. “Freak Magnet,” a cover of the all-female rock band L7, is also a solid cut that adds a bit of punky energy late in the runtime. I also enjoy some of the classic heavy metal licks that appear on “Cancer Cross,” though such ideas generally seem to be less prevalent on this album than on previous ones. Crossburn also delivers some nice attitude in his vocals, with at least one “UGH!” and a self-referential shoutout of “Tell them what’s up, Crossburn!” before a ripping solo.

Overall, though, it’s hard not to be a little disappointed here. By doubling down on their no-fucks-given attitude, Barbarian seems to have taken an even moar primitive and less refined approach, resulting in shorter songs that have plenty of energy but not as much that sticks to the ribs. In their best prior works, the band excelled at combining mighty riffs and melodic leads into wholly engaging compositions. Only time will tell if we’ll ever see them do that again.



Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: linktr.ee/barbarianmetal | facebook.com/barbarianmetal
Releases Worldwide: January 23rd, 2026