THE LAST TEN SECONDS OF LIFE The Last Ten Seconds Of Life


Somewhere between downtempo and beatdown deathcore lies the stomping grounds of The Last Ten Seconds of Life. The Pennsylvanian group strikes a compelling balance between low-and-slow breakdowns and unhinged fight riffs, with some groove metal and brutal death mixed in for good measure. Incidentally, the three years since dropping Machina Non Grata saw a more pronounced scene-wide transition from downtempo to beatdown as the cutting-edge trend. Rather than choose between one or the other, The Last Ten Seconds of Life forges their own path with their new self-titled album.

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If the bomb-blast drums, lumbering guitar chugs and 808 drops of “Invictus Unto Fire” aren’t enough clarification, then allow the following “Zapffe Isn’t Invited to the Party” and “The Sabbath” to display The Last Ten Seconds Of Life at their most violent. Guitarist Wyatt McLaughlin switching up his riffs while knowing when to circle back to primitive violence, as vocalist John Robert Centorrino balances an impressive amount of guttural lows, high screams and blood-boiling mosh calls. It’s a fairly well-trodden sound for the band, but they offer far more than monochromatic brutality.

The Last Ten Seconds Of Life

There’s something hilariously cathartic about hearing a Southern lady threatening to “bubble-wrap your heart and FedEx it to your mama” before the slam of “Guillotine Queen” hits, but the cathartic hilarity stands out largely because a lot of The Last Ten Seconds Of Life isn’t overly focused on tough guy posturing. Yes, the beefy bottom string abuse of “Sickness In Seattle” will please longtime fans, but it opens with a surprisingly distinctive and dissonant riff, not to mention a sticky hi-hat groove at the midpoint. It also seamlessly transitions to the tasteful guitar solo and moody spoken word of instrumental “Suicide Watch,” a cut that spotlights the nuanced approach taken by The Last Ten Seconds Of Life.

The clean tones gliding sound natural enough over the punishing bass groove and rap-scream flows within “Hate What You Love,” but even the 50-second ambient interlude “Wasted” is only the tip of the iceberg as far as The Last Ten Seconds Of Life throwing curveballs. The Gojiria style scream-sing melodies that start “Birth Of The Butcher” seem appropriate enough, but the clean vocals are a true shock on an otherwise viscerally aggressive album, along with the song’s fadeout of dreamy guitar chords. And then… there’s “Vampire (A Blood Ballad).”

No one could have expected an a capella vocoder intro from The Last Ten Seconds Of Life. “Vampire” exhibits the extent of these guys’ disdain for boundaries. They even recontextualize the intro melody for a doomy chorus that transitions into… wait… an acoustic serenade?? Centorrino‘s catchy, yet disconcerting singing voice works surprisingly well within the band’s devastating sonic signature, while also leading the charge into new territory. A blood ballad indeed, leaning into off-putting weirdness instead of radio-friendliness.

Though not as strange, the gloomy down section of “Altar Of Poison” features compelling chord progressions and compelling vocal melodies as well. It functions more as a contrast to the brutality than a compromise. That’s why the double-kick syncopation and emphatic riff changes can remain focal points for “Glory Be 2 Misery,” instead of just the sticky hook. There’s always a return to ultra slow caveman beatdowns to remind everyone what The Last Ten Seconds Of Life are really all about.

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It’s worth pointing out that these accessible moments feel like an extension of the band’s artistry. The singing has a very distinct timbre, to the point where it might take a few listens to understand its place in The Last Ten Seconds Of Life. It’s also a great example of “most heavy, but most melodic” done right. Grooves don’t necessarily become less menacing on “A Lesson On Self-Preservation” once singing enters the picture. The arrangement progresses from The Last Ten Seconds Of Life in all their violent glory, to mature atmospheric explorations. Perhaps this explains why it wouldn’t be impossible to trick someone into thinking the outro “Procession” is actually from a more recent Amorphis album. Those resonant leads and grand modulations aren’t at all typical for The Last Ten Seconds Of Life‘s style.

The Last Ten Seconds Of Life is the sound of a band attempting to transcend the turning of tides within their scene. Instead of jumping on board with beatdown like a lot of deathcore bands have (or blackened deathcore, for that matter), they’ve added some truly strange ornamentations to their style. The cool part is, it still sounds like The Last Ten Seconds Of Life. This is their way of writing music, and they pull it off while giving pit warriors plenty of opportunities to vent. Such an uncommon balance should be commended when it pops up in the genre.



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vivo pushes 20,000 iQOO 9 units in 10 seconds


The iQOO 9 and iQOO 9 Pro arrived earlier this month in China. They are the first vivo devices with the Snapdragon 8 Gen 1 chipset, and consumers unsurprisingly cleared the first batch in 10 seconds.

According to iQOO, income from sales exceeded CNY100 million ($15.7M/€13.8М), which means around 20,000 phones were pushed during the flash event.

vivo pushes around 20,000 iQOO 9 phones in 10 seconds

The iQOO 9 comes with 120W fast charging for the 4,700 mAh battery and the new OriginOS Ocean out of the box. Its price was set between CNY3,999 ($630) and CNY4,799 ($755), depending on the memory combination. The Pro sibling brings improved screen and cameras, but also a higher price tag – between CNY4,999 ($785) and CNY,599 ($950).


iQOO 9
iQOO 9 Pro

iQOO 9 • iQOO 9 Pro

Expectations are sales to remain strong in China, while tomorrow we are going to hear more about a global launch, starting from India.

Source (in Chinese) | Via



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Is This 38 Seconds Of New MESHUGGAH Music?


Meshuggah has made it pretty well known that they’d release a new album in 2022. That album may very well be called Immutable, and the below 38 seconds just might be our first taste of the new music! The teaser comes from a site called immutable.se, which Redditor u/nullvoid1_618 did some sleuthing to figure out is very likely tied to Meshuggah‘s label Atomic Fire.

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“So Meshuggah is now part of Atomic Fire sub label. Atomic Fire uses the subdomain ‘atomicfire-records.com’ which is on IP 85.13.150.165 A new domain ‘immutable.se’ is also on the same IP, registered in December 2021. Swedish, ‘www.im’, connections to record label website. Hmmm.”

Pending all this is true, Meshuggah is teasing either a song or record called Immutable that is due out on April 1. More as we know more!

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MEGADETH Teases 12 Seconds Of New Song “Life In Hell”


Megadeth guitarist and vocalist Dave Mustaine‘s Cameo has been an infinite well of information regarding the band’s upcoming album, and this new video is no different. Mustaine wished Megadeth fan Gabe a Merry Christmas in the video, and then proceeded to play 20 very heavy seconds of a new single called “Life In Hell.”

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The new Megadeth album is called The Sick, The Dying… And The Dead will be their first with new drummer Dirk Verbeuren (ex-Soilwork). The album will also feature a mystery bassist in place of David Ellefson, who was recently fired from the band due to a very public sex scandal. Ellefson was removed from the album and his parts were re-recorded despite his requests for that not to happen.



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