Sunday, 20 November 2011

Raising Their Temple

Release: 'IHVH' (2011)

As an arena of expression, extreme music has always walked the fine line between genuine artistic merit and a ridiculed circus of often unaware self-abasement. In particular, black metal has regularly had to bear the brunt of merciless, though astute, parodies and more often, annoyingly ill-informed pop culture references that feed unashamedly off the genre's headline grabbing activities during its toddler stages.

Interestingly, contemporary (and mostly 'orthodox') black metal acts, in an expectedly confrontational manner, have tapped into these earliest, controversial rumblings and re-opened the credibility debate once more, while more established acts such as Dimmu Borgir and Satyricon are busy selling 'official' underwear and appealing to post-emo fanbases.

Today, 'real' black metal operates in a realm of almost primordial levels of seriousness: a return to "No Mosh, No Core, No Trends, No Fun", perhaps. Either way, it is most definitely encouraging some of the greatest material the genre has ever produced.

Following their 2005 demo, Rêx Mündi seemingly disappeared into the nether recesses of the underground, as the 77 limited copies of their first opus quickly became a hard-to-find gem of twisting melodies and informed occultism.

Sharing the demo's title, 'IHVH', this full-length is a veritable reward to all patient enough to have awaited another release from Rêx Mündi, and who were giddy from the instant dedicated French extreme sounds label, Debemur Morti Productions, revealed details concerning the record, along with tantalising samples.

'IHVH' is a thoroughly arresting concoction of dense atmosphere and accomplished song writing. Examining Qabalistic philosophy, the occult, metaphysics and laced with haunting chants, while often balancing on the cusp resting betwixt intricate melody and metal abrasiveness, it is an exercise in suitable variation and utimately presents an act well practiced in the black metal arts.

At points, Rêx Mündi demonstrate an approach and structure similar to their fellow countrymen, Merrimack, but their changing rhythmic patterns and willingness to inject some typically metal toe-tapping (and 'moshable') sections sets them aside from the majority of the contemporary black metal milieu. The impressively executed percussion possesses a satisfyingly punchy emittance that sits well over the main instrument mix without sounding disconnected in the process.

The record is also veined with several surprisingly thrashy, though refreshing, moments. The beginning of "The Flesh Begat" chugs forward into some excellently blasted black metal that then effortlessly merges into a slightly doomy section, sounding momentarily like a Hammer Horror film's soundtrack.

Debemur Morti Productions' fingerprints are all over this album. A label that clearly delights in perfecting layout and design (probably much to the joy of the bands it fosters), the accompanying booklet is rendered in the style of an ancient magical text, complete with embossed band logo and sigil, all presented in lustrous gold ink on a black background.

While it is a little more 'upbeat' and seemingly less shy of its headbanging heritage, 'IHVH' remains a serious, devoted release. Though more 'metal' than the most recent Blut Aus Nord output, for example, Rêx Mündi are essentially channelling the very same energies and posing the same questions to the heavens, mankind and the uncharted planes.

Rating: 80%

Also submitted to under the username 'torchia', 19 November, 2011.

Wednesday, 2 November 2011

Of Silence and Exsanguination

Release: 'Death and the Black Work' (2008)

Approaching a US black metal release is regulary and alarmingly different to the way releases from bands in other countries can be absorbed.

The 'underground metal media' have often painted USBM as either a palid clone of its European forbear or an entity in itself, with no tangible ties to the resurgent atavism that gave birth to black metal in late 20th century northern Europe.

It is this contentious diatribe, perhaps, that colours the view of USBM's likely (and deserved) audience. Yet, many acts, Nightbringer among them, have continuously challenged the "only European BM is real" camp with material of such strength that it leaves even some of the most established acts, a few involved in the genre's earliest activity, in the shade.

'Death and the Black Work' is a heavy record, not purely in musical terms, but in a fashion that allows it truly weigh down on the listener. It is an impenetrable mass of clammy, dusty atmosphere, a wall of blackened, dissonant sounds and a rumbling presence that is unavoidable and uniquely unnerving for the duration of its playtime.

Initially, Nightbringer appear to sound much like a less-polished Setherial, employing intriguingly varied blast-beat patterns and meandering, competing melodies that crawl in and out of a dense fume of foreboding energies and harsh static.

However, the release's earliest tracks unfortunately blend into one long exercise in distortion, drumkit pummeling and a mixture of croaked and shrieked vocals. It is listenable and musically proficient, but nothing new or in any way terribly interesting. Only later, in the album's middle and closing tracks, does Nightbringer's aptitude for creating some quite magical black metal show its face.

Offerings such as, "Of Silence and Exsanguination", with its tense, ambient intro and echoing percussion calls to mind those comparisons that have been drawn between Nightbringer and the mighty Deathspell Omega. Such declarations are possibly a little ambitious, but like Deathspell Omega, Nightbringer are adept at incorporating doom and sludge/doom elements into their otherwise 'heads down', claustrophobic black metal barrage.

As a debut full-length, 'Death and the Black Work' is confident, occultist black metal from a band now surrounded by a certain mysticism and zealous following. As is often the case, the hype that can be created around bands and projects needs to be pushed aside for a period of time in order to truly appreciate what the band was originally attempting.

This piece of black metal art is most notable for its masterfully crafted atmosphere, this being what truly grants the release (and the band) its own identity among a plethora of acts all essentially doing the same thing.

Rating: 60%

Also submitted to under the username 'torchia', 2 November, 2011.


Monday, 24 October 2011

Every Knee Shall Bow

Release: 'Perdition Discipline' (2010)

Jaded popular humour may often deride Canada as the United States of America's straight-laced, boring cousin, but in the arena of extreme music, Canada has no problem holding its head high.

Able to boast endlessly seminal acts such as Blasphemy, Conqueror and Revenge, the implacable Canadian zeal for sonic intensity is one many undergrounds worldwide could only ever wish for.

Deepening the footprints left by all too short-lived acts like Ouroboros, Rites of Thy Degringolade and currently 'on-hold' Gloria Diaboli, Pestkreuz have floated to the top of the often stagnant and derivative traditional/'orthodox' black metal murk.

'Perdition Discipline' is one of those incredibly comfortable and proficient self-released demos that boast the aroma of well-cooked concepts and unshakeable focus; this is a band and demo with an unnervingly tangible determination.

This offering's four tracks present a heady mixture of early Satyricon and 'Devilry'-era Funeral Mist, with just enough tempo variation mercifully avoiding breaking the flow of the release. Some sections may appear predictable, but there are a sufficient number of unfolding melodies throughout the demo that work to keep the listener engaged. Typically frenzied, yet creative and interesting, tremolo picking abounds, weaving in and out of consistently strong percussion and an impressive, decipherable vocal performance.

Declarations such as, "Pestkreuz exists solely to spread the Gospel of Plague ... [to] shake the uninitiated from their cosmic illusions, and elevate the adept towards the fruits of Gnosis", may seem commonplace to contemporary black metal followers, but Pestkreuz succeed in bounding over that cusp that leaves a lot of black metal in the lamentable realm of sincerity versus self-parody.

Suitably dark, religious imagery has been deftly manipulated and inverted for the release's accompanying artwork; a ghoul-like Christ bids us follow him into damnation, a hangman's noose draped over each open palm, as winged serpents adorn the cornices.

Though but a morsel compared to the feast that Pestkreuz would surely offer on a full-length release, 'Perdition Discipline' is a fresh and arresting presentation of black metal, one that adheres to the genre's sensibilities and traditions but also adds fuel to its sardonic existence.

Rating: 70%

Also submitted to under the username 'torchia', 24 October, 2011.


Thursday, 20 October 2011

Jesus Saves

Release: 'Maranatha' (2009)

Mortuus/Arioch’s job of dragging Marduk from a state of apparent apathy back to black metal heavyweight status was no easy task. It seemed as if the band had become a parody of itself and disconcertingly, black metal; a succession of lacklustre, soulless releases told of nothing but sluggishness and a total lack of inspiration.

Inevitably, Arioch’s incorporation into the act breathed new life into its wearied lungs and powerful, serious material was subsequently vomited forth. Gone was the fist-fucking and pseudo-Nazi chic and in was medieval religious imagery and theistic Satanist overtones: the regular diet of Arioch’s endlessly impressive and seminal project, Funeral Mist.

Many fans of Funeral Mist may have feared that Arioch’s commitment to an act that tours as extensively as Marduk would sound the death knell for the project and 2003’s dizzying 'Salvation' looked set to be its swansong and magnum opus, a label it already deserved from the moment it was put to physical format, either way. However, with the announcement of 'Maranatha', the prodigal return of Funeral Mist after at least six years of silence, eager audiences poised themselves to level criticism at a release that it was believed could never better, or even match, 'Salvation'.

From the outset, 'Maranatha' is thoroughly arresting and undeniably powerful material. Even more emphasis is placed on Arioch’s inimitable and honestly chilling vocal style: and ode to possession and incredible strain. Sections of songs and the clever use of samples, both choral and otherwise, are woven together seamlessly, particularly noticeable and used to devastating effect on the track, “A New Light”.

The music is complimented by striking artwork and visuals; the juxtaposition of sterile, benevolent Christian imagery, pornography mixed with emaciated torsos and hungry stares and the scrawled yet legible calligraphic style is almost palatable in its seemingly effortless potency. Again, like 'Salvation', 'Marantha' is lyrically faultless and arguably divinely inspired.

'Maranatha' allows the listener a little more room, a little more space to assimilate the still mostly chaotic proceedings but in doing so, loses that impenetrable molasses that made 'Salvation' so purely unhinged and memorable. Indeed, the injection of variety is a welcome one - there being slower, almost “dirge-y” tracks that offer something new, such as “White Stone”  - but this aspect could upset those who relished the “heads down” approach of its predecessor.

Though never fully managing to live up to the landmark status of 'Salvation', even in its most breathtaking moments, this release remains wholly impressive and clearly indicative of Arioch’s many talents.
This is contemporary black metal in one of its finest guises by an act that has spawned countless, and mostly inept, imitators. While Arioch has definitely brought credibility and longevity to Marduk, it is within Funeral Mist that he is obviously in his element.

Rating: 60%


Wednesday, 19 October 2011

BOOK REVIEW: On the Road - Jack Kerouac

Frenzied, effervescent and peppered with his “spontaneous prose”, Kerouac’s On the Road is occasionally akin to the rickety, death trap motorcars in which the characters crisscross the American expanse.

Moments of profound insight reveal an ideal not far from that of Catcher in the Rye’s Holden Caulfield, albeit a little more drug-fuelled and carefree than Holden would possibly have ever allowed himself to be.

Kerouac’s road is one of life and life’s journey; travelled by all, well worn and eventually unveiling a universal epiphany, even if some fail to hearken to it or simply choose to ignore it.

While both an initially carefree journey of self-discovery and experimentation, in its most tender moments, On the Road is essentially a search for identity, an undeniably American pastime. Dean Moriarty’s search for his father reveals it also as a commentary on family, or the lack thereof, and the inherent challenges faced in either scenario. The novel is a search for family or the creation of your own; every human’s pursuit of happiness, or at least marketed notions of it.

Though touted as “life-changing”, it is possibly difficult for contemporary readers to fully appreciate the impact this classic made when first published. Nonetheless, once absorbed, its memory and accompanying experience is wholly indelible.

On the Road is yet another novel that promotes America and that American sense of adventure to the foreigner – a vastness of heat, wonder and endless possibility, a horizon that never will, and seemingly cannot, end.

It revels in an adventure and attitude we all wish to embrace, but the reality of such an approach to life overall comes crumbling down in its final farewell pages.

Sal Paradise, the tag-along, becomes its true protagonist, possessing just enough of the lost Dean Moriarty, the embodiment of Beat, but none of his inherent, irreparable flaws.

Originally posted to, 1 June, 2010.


BOOK REVIEW: The Road - Cormac McCarthy

Constantly dangling the American dream and the pioneering impulse that forged the country over a precipice, McCarthy shatters “the road” as a motif of adventure and escape and moulds it into an arena of constant threat and grotesque degradation.

Bleak, thoroughly affecting and yet utterly redemptive, The Road is a celebration of the indefatigable human spirit and driving will to survive; a juxtaposition of a burning hope in an utterly hopeless, burned world.

Originally posted to, 16 May, 2010.


BOOK REVIEW: 'Salem's Lot - Stephen King

A tome that plunges the reader into the all too shallow waters of childhood fears, small-town mentality and a world-feared legend, King’s ‘Salem’s Lot is an unnervingly effective and unforgettable horror opus.

The Lot’s vampires recall their true origins as plague carriers and unclean, unholy wandering wastes, to whom only will and faith holds the doors fastened.

Hastily-fashioned stakes, dusty crucifixes and cloves of garlic abound as the contemporary combats a menace medieval in its approach and cruelty.

King’s skill soaks through the pages as from a jagged wound bound in cloth, displaying his ability to plunge the reader into his created world by peeling away adult reason and forcing the imagination to once again witness the eyes that peer from the closet and to hear the rhythmic breathing from under the bed.

The Marsten House, perpetually looming and seemingly invincible, is a numbing representation of every old-wives' tale and local legend found the world over.

Simply excellent.

Originally posted to, 3 May, 2010.


A Reich Without End?

Release: 'Fourth Reich' (2009)

Having possibly the most unique sound among their illustrious label mates, Katharsis releases, especially since 2006’s monstrous 'VVorld VVithout End', are guaranteed to generate conversation, divide critics and not least of all, be snapped up promptly by fanatics.

Despite a shaky and maybe ill-chosen title, 'Fourth Reich' does deliver the band’s brand of typically cavernous, delay-drenched, raw and pounding black metal. Though some of that trademark claustrophobia has been loosened for this release, giving the instruments more space to breathe and allowing more variation as a result, unrelenting primitivism free of any production embellishments abounds plentifully.

The overall track structure and approach is more ambitious on this album; a great and strangely fitting guitar solo (by D. of Pagan BM outfit, Orlog) graces the final track, “Sinn Koronation”. More than ever, Katharsis appear a confident act fully aware of their talents and effortlessly display a rare mastery of the inherent hypnosis that is black metal’s atmosphere.

On 'Fourth Reich' material ranges from a mostly blast beat-filled attack to the odd mid-tempo section, the latter being, on this occasion, thankfully seldom, ensuring Katharsis stay as cacophonous as ever, albeit a little less oppressive sonically. There is nothing groundbreaking here, but this is black metal written and executed very well with moments of melodious surprise. However, an instrumental track, “Emeralde Graves”, found between the third and fourth tracks succeeds only in ruining the flow of the album and its ever-building atmosphere and could well have been omitted.

Much like Funeral Mist’s recent 'Maranatha', 'Fourth Reich' had a lot to live up to: a well-fed and by now, headstrong predecessor whose notoriety verges on “landmark album” status, not just for the band concerned but for the genre of black metal itself.
Nonetheless, 'Fourth Reich' remains a solid addition to Katharsis’s catalogue, but one that will forever tug at the robe tails of 'VVorld VVithout End'.

Rating: 70%

Originally uploaded under the username 'torchia' to, 9 June, 2009.


A Guiding Light From a Black Flame

Release: 'Black Illumination' (2009)

Ireland’s black metal output is interesting to watch, and due to the currently limited number of quality acts, thankfully easy to follow. However, it is perhaps disappointing that Ireland may never boast the level of quality black metal output that the likes of Sweden can muster.

One could argue that this is due to population, geography and/or the country’s affinity with the genre but, rather, it seems due to attitude, or a lack thereof. Despite Ireland’s bloody and definitely miserable history, coupled with a generally depressive, alcoholic air, its metal ilk seem to have never unanimously embraced real black metal.

Though far from unknown, Myrkr strikes sporadically from the greatest depths of Ireland’s “underground” and continuously levels audiences with a quality matched only by the intentionally reclusive Rebirth of Nefast, whose mastermind, Wann, lends his vocal talents to 'Black Illumination'. Wann adds an element of the unreal to Myrkr, giving some songs an almost ecclesiastical quality and teases with possible hints at the majesty that would dominate a Rebirth of Nefast full-length when one is finally seen.

Extensive (but never excessive) layering sees the upfront, cold sound of previous recordings pushed back slightly, allowing the album to comfortably tinker with dense and murky atmospherics. Even further under this blanket of twisting soundscapes, haunting chants and choral work are just audible, more evidence of Wann’s input and indelible mark on this fine recording.

Myrkr’s Gast is enviably comfortable behind a multitude of instruments and improves with every wave of a plectrum or snap of a drum kit. Most notable here is the ever-improving percussion which possesses a fitting “stripped-back” or essential approach, adding to the album’s tangible sense of decay and desperation, a constant clawing at dark, invisible, slick walls. ‘Black Illumination’ presents an endless sense of the ominous, a constantly flowing, almost ocean-like lulling sound with a truly hypnotic quality. It is introspective, knowingly obscure and a challenging and intricate listen; a magnum opus in every sense.

Far from simply an Irish black metal essential, it is plainly essential. Myrkr’s output is a paean to passion and an appreciation of black metal that resolutely goes above and beyond the call of duty time and time again. When 'Black Illumination' ceases, there is a feeling of an other-worldly experience cut short, a journey to ebony realms abruptly terminated.

Rating: 90%

Originally uploaded under the username 'torchia' to, 13 September, 2009.


Instead, Meet Us in 2005...

Release: 'Meet Us at the Southern Sign' (2009)

Progression is often a grey area within black metal: too much can be as crippling and off-putting as too little. Famously, this argument rages within the ever-divisive DARKTHRONE debate. Has a clearly seminal band turned its back on legions of fans and aspiring imitators and contemptuously morphed itself into a blackened heavy metal/punk outfit wagging a stiff middle finger in the face of all they once stood for?

Some would argue that DARKTHRONE have never changed and that punk elements can be found in their earliest offerings as a black metal band, and they’d be right, but is it their attitude, rather, that divides people.

As such, it is the waft of progression and its (de)merits that hovers around the ridiculously titled 'Meet Us At The Southern Sign' from GLORIOR BELLI, a clearly talented member of the contemporary French BM troupe and consequently, proof that talent is sometimes wasted, or at least misused.

Unleashing filthy, serious and memorable black metal on their debut full-length, 'Ô Laudate Dominvs', GLORIOR BELLI appeared agleam, like a French version of WATAIN, musically, lyrically and aesthetically. This was facsimile done correctly, for once. 2007’s follow-up, 'Manifesting the Raging Beast', stuck to the formula found on 'Ô Laudate…' but added a little “developmental” polish, all expected for a second, and possibly more comfortable, full-length.

'Meet Us…' continues the sound forged on 'Manifesting…' with obvious hints of OBSCURUS ADVOCAM, but quickly strays into unfamiliar territory that is simultaneously perplexing and strangely interesting. The incorporation of bluesy undertones, a shouted, “clean” vocal style (as opposed to the typical black metal rasp), instrumental sections and welcome tempo mixtures apparently herald a completely different direction for this band.

The track, “In Every Grief-Stricken Blues”, even wields a definite DOWN feel with vocals akin to a mixture of Phil Anselmo and Ozzy Osbourne in its opening moments. Perhaps revealed by its title, there is an overall “southern” vibe to the album’s proceedings.

Production quality is crisp and defined and while it is a richly layered and textured release, there is an overall limp sterility to it. When blues experimentation ceases, the more typical black metal tracks found on this record are sorely lacking when compared to what the band is clearly capable of, as demonstrated by their two preceding full-lengths. In fact, the actual black metal tracks presented here seem like scraps from the table of 'Manifesting…' - fillers that never quite made it.

Rating: 50%

Originally uploaded under the username 'torchia' to, 5 July, 2009.


Quality Over Quantity

Release: 'Demo MMVIII' (2008)

Though far from synonymous with the genre, Irish extreme music practitioners have produced their fair share of quality black metal, especially in the past few years. With material ranging from mediocre to magnificent, the latter unfortunately occupying the lower end of the scale, when little gems do appear, they are thoroughly and pleasantly surprising.

Moody and intentionally mysterious, FUIL NA SEANCHOILLE’s self-titled cassette tape demo floated blissfully under the radar, noticed only by those either too glued to online forums or with a vested interest in Irish-produced black metal.

With a hollowed, “blown-out” and endlessly cavernous sound, punctuated by enigmatic choked and barked vocals, FUIL NA SEANCHOILLE have taken a huge step in the right direction: their sound is fresh and interesting from the outset. Hints of melody, mostly toyed-with in the aptly gloomy bass lines, are condensed into changing song structures that never struggle to hold the listener’s attention. Here, also, is found perhaps one of the most suiting and insistent drum sounds to bind a black metal release together to date.

FUIL NA SEANCHOILLE demonstrate a great knowledge of black metal’s elemental composition with this all too short demo; its closing track, “Seancríonnacht”, flouts an effortless display of tangible atmosphere in a slower section. Slightly ruining proceedings, however, a synthesised outro adds a strata of tawdriness to what is otherwise solid fare.

Shrewdly sidestepping all the facets that usually cheapen black metal with an Irish/Celtic angle or background, FUIL NA SEANCHOILLE deftly explore the darker realms of Irish mythology and history and along with declarations and explanations on music forums concerning their art, have managed to ensure their level of seriousness is understood and appreciated.

Rating: 80%

Originally uploaded under the username 'torchia' to, 23 June, 2009.


A Tomb for Mankind

Release: 'White Tomb' (2009)

A slew of cliché-ridden reviews will undoubtedly accompany this release in the weeks and months to come as it is discovered. 'White Tomb' offers expertly blended post-rock, moments of KHANATE-like extreme doom and black metal barrages of the WOLVES IN THE THRONE ROOM variety with a brilliant appearance from Nathan Misterek of GRAVES AT SEA.

In no way intended to take away from what this band has achieved, it must be stated that 'White Tomb', partly due to the above cocktail of conversation-starting influences, is an entirely “fashionable” release and as such, very accessible - the latter actually being one of its strongest points.

This fusion of several extreme metal styles is quite in vogue of late, ruffling the feathers of purists from every metal sub-genre camp. Either way, AoP would be uncomfortable to label what they do as any one particular style, be it black metal or apocalyptic post-rock, such labels only serving to constrain and betray such a talented project. In essence, AoP are sticking true to what extreme metal purports to endorse: a shattering of musical boundaries and oft false preconceptions.

While many will surely point out a release such as this is most notable as the work of an Irish metal band, a scene which has few internationally known/recognised metal acts, it would be more fitting to mark this out as exceptional work regardless of its geographical origins and the laudable fact that being based in Ireland didn’t curb AoP’s activities and subsequent echoes in scenes miles away.

Passionate and dedicated, the time and effort that went into this are, at times, all too tangible. This is exactly the kind of release that prompts one to feel that one should be doing more with one’s existence (if you’re musically inclined), if this small band from a relatively unknown part of the world (in the grander scheme of things), can produce something of this magnitude and presence.
'White Tomb' is a hypnotic blend of musical prowess and unnervingly heartfelt proclamations of impending doom; a mournful, evocative burst of musical energy that effortlessly conjures images of collapsing cityscapes, rising, treacherous oceans and the folly of man.

A gripping, epic and truly remarkable release from a band buttressed by exhaustive touring, prestigious support slots, a loyal fan base and pure, honest hard work. AoP have built their status from scratch and are highly deserving of all the praise that is, and will be, heaped upon them.

Rating: 100%

Originally uploaded under the username 'torchia' to, 27 April, 2009.


That Devilish Essence...

Release: 'Only Death' (2006)

Something of a whispered entity in its native country, REBIRTH OF NEFAST here offer an opus of mesmerising, meticulously crafted black metal. With an obvious appreciation for the genre’s most serious aspects, both musically and ideologically, not a superfluous note or utterance is to be found on this release.

'Only Death' is comprised of three lengthy tracks that blend into one dark hymn. Within, we find a perfect balance of mid-tempo and blasting sections, of aggression and eerie catchiness. A repetitive, chanting introduction sets the mood ominously and a wholly cavernous sound is peppered with moments of haunting genius.

The music presents interesting variations on what, at first, seem like standard black metal riff structures. The percussion is steady and capable throughout with its own tone complimenting the dark recesses of the areas the guitar and bass travel to. The vocals are grumbles, howls and demented shrieks that fit neatly under the music but, suitably, are never lost.

As one of a handful of noteworthy, serious Irish black metal acts (both past and present), REBIRTH OF NEFAST have proved their worth, more than adequately.
An Irish band void of neo-pagan yearnings, quaint scenery and tales of yore, REBIRTH OF NEFAST present only an utter bleakness and are all the better for it.

Rating: 100%

Originally uploaded to Encyclopaedia Metallum: The Metal Archives under the username 'torchia', on 01 September, 2008.


PREVIOUS: Selective Humour

A previous blog of mine, containing feature pieces and reviews:


INTRO: Congregate

A long overdue, final gathering place for (some of) my articles, reviews and miscellaneous 'published-online' writings and ravings.

All content is original and can be attributed solely to the owner of this blog. If material has appeared elsewhere already, its original location and a rough upload date will be included in the instance of its re-publishing here.