In addition to the normal #poetry #slam Dreading Slam Runs a quick fire contest.
Entrée a #poem or #poems up to 5 lines long on a them.
For April 12 theme is “glorious “ (so pic of glorious sunshine)
Join us to watch or take part for #free at Rising Sun #arts centre RG1 2ST 19:30 ( doors 19:15)
Bixarte: ‘A palavra é minha arma e o que eu faço é para salvar vidas’
Dreading #Slam, #OpenMic #Poetry Competition returns to the Rising Sun #Arts Centre (RG1 2ST) at 7:30PM (Doors 7:15) on Sunday April 12th
#Free entry to Watch or read.
Dreading Slam is a friendly, open mic poetry competition
The winner gets the opportunity to compete in the Grand Slam in January 2027
Join the audience or take part an evening of live poetry entertainment.
In addition, the chance to read the works of any #poet (max 3 mins) outside competition
There is also a lively quick fire round of short poems this is up to 5 lines long, won by the loudest cheer April theme is “Glorious”.
If you wish to take part in the Poetry Slam, please bring 3 poems of your own work.
田中義弘 | taziku CEO / AI × Creative (@taziku_co)
Spot 로봇과 SLAM LiDAR를 활용해 현장 점검을 자동화하는 로보틱스/AI 응용을 설명한다. 붕괴 위험, 교통 통제, 가스·환기 안전 등 인적 부담이 큰 판단을 로봇이 수행하도록 하여 검사 자동화의 핵심 가치를 강조한다.
After Easter the regular #openmic events in #rdguk return
Tomorrow (wed 08 April) BoHO Night is back at Fisherman's Cottage Kenet Side For Music and #spokenword
This is Dreading #Slam host, the Legend that is Richard Stephenson performing his #poem “last dance”
Hot on the heels of my first encounter with Alice Simard’s work (Luminesce), another notch in her roster dropped into my unsuspecting lap. Canadian brutal slam/goregrind trio Onchocerciasis Esophagogastroduodenoscopy (henceforth referred to simply as OE) spawned seven years ago from a mire of gore, and Fugue Gnawed from the Scabbed God Cerebrum marks their second full expulsion. Mere seconds after slamming that play button, viscous fluids so voluminous as to mismatch the mass of the entities that expel them flood the entirety of my being, overflowing gushingly into the surrounding environs with destructive force. The general public gazes upon this outlandishly fecund release with equal parts disgust and fascination. Despite the grotesque nature of it all, though, I can’t in good conscience call the experience unpleasurable. Quite the opposite, in fact.
Brutal in the same inhuman way as known slammers Epicardiectomy and Organectomy, absurd as a lot of material coming out of the Indonesian and Chinese scenes are, and irreverently creative enough to recall the novel songwriting of Wormhole, Artificial Brain, Unhuman, and Unfathomable Ruination, OE’s style is often a delight and moreso a challenge. Alice (who is here credited under guitars, songwriting, and drum programming), Jesse Agiomamitis (vocals, lyrics1), and the mysterious The Popu (drum programming, guitars, lyrics, songwriting, synth, vocals) shine as a collaborative team, delivering a deceptively wide variety to what is typically an extremely limited stylistic palette. All 33 minutes of Fugue fall neatly in the brutal slamgrind niche, but it’s undeniably one of the wildest executions of the style. That unhinged spirit affords the ballistic percussion a sense of immediate danger that belies its impossible technicality, the monstrously toilet-tastic vocals a sense of vibrant dynamics they absolutely should not have, and the multifaceted guitar work a kaleidoscopic personality that colors the entire record in vivid detail.
Fugue Gnawed from the Scabbed God Cerebrum by Onchocerciasis Esophagogastroduodenoscopy
However, and perhaps even as a consequence of these aforementioned traits, Fugue is a trial in music appreciation. Not for the faint of heart or the frail of ear, Fugue seems to wholly reject the idea of memorability as a virtue. Certainly, in its first half, before “Gutted & Corpsed” shocks me with an almost beautiful shift from relentless assault to thoughtful transitions and subversive intricacies, Fugue is hell-bent on punishing any listener that comes close. Gnashing with serrated teeth crowding a jaw capable of crushing diamond like Nerds candy, “Conquering Divinity” through “Entombed Within the Infinite Panopticon” bullies anyone that approaches with endless slam riffs (but fast), violent scrapes (“The Fallen Lament, Paralytikus Ascends”), fucked-up lead guitar atmospheres (“Severing What Makes Me Human,” “Apotheotic Apotemnophilia”), machine-gun blasts and double-bass abuse (“Entombed Within the Inifinite Panopticon”), and unreal spans of sustained phlegmy gutturals (name a song, any song). The addition of eerie bongs and bells adds to the sinister nature of these initial songs, but only minimally aids their memorability. Yet, they are all counterintuitively enjoyable in the same manner as discovering your first kink.
Thankfully, that first prolonged salvo of abject violence only takes 13 minutes, at which time Fugue shifts. It’s hard to expect creativity and thoughtful detailing to come into play with this kind of extreme fringe music. Undeterred by that reality, OE start integrating more purposeful dissonant flourishes, effervescent leads bordering against—but never quite crossing into—melody, and a downright airy atmosphere that together recall 50% Wormhole, 50% Afterbirth (“Heaven’s Empty Halls”). More Wormhole-isms abound in conjunction with Epicardiectomy madness and Artificial Brain-ed atmosphere as “Hurt Beyond Healing” and “Forged in the Blackest Reaches of Blasphemy” pair high-detail phrasing with terrifying brutalizations. While still escaping the realm of immediacy, memorability, or accessibility, Fugue’s second act shows OE’s greater range as songwriters in such a way as to compel me to revisit with great anticipation, enthusiastic for the deeper details I might uncover.
While far from easy to love, for any number of reasons all associated with the extreme nature of its composition and its over-the-top execution, Fugue Gnawed from the Scabbed God Cerebrum is an album of rare quality in the scene of disgusting, inhuman music. Many will balk at its cartoonish gurgle vox, its total lack of subtlety in the first phase, and the relentlessness of its dense and complex instrumentation. Those who weather that storm will discover something a bit more substantial underneath. I didn’t expect to find that substance myself, but here I am. Join me, if you think you can handle it!
Rating: Good!
DR: 42 | Format Reviewed: 320 kb/s mp3
Label: Stillbirth Records
Websites: officialonchocerciasis.bandcamp.com | facebook.com/OnchoOfficial
Releases Worldwide: April 3rd, 2026
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