REVIEW: Mendacium, "Decimating Titans" [EP]

By: Conor O’Dea

Album Type: EP

Date Released: 09/02/2018

Label: Redefining Darkness Records

“The entire EP is unrelenting and relentlessly riff-dense, at once brutal, joyous and, dare I say it, punishingly fun. Highly-caffeinated and intelligent death-encrusted black metal; recommended wholeheartedly. I can only hope that there is a full-length in Mendacium's future!”

“Decimating Titans” CS//DD track listing:

1. Decimating Titans
2. An Invocation for Bloodshed
3. Eviscerate
4. Make No Grave in My Name

The Review:

Daniel Jackson is a man of prodigious talent, possessed of an expansive and deep musical vocabulary. His project Void Ritual presents a melodic and grandly atmospheric approach to black metal; there are bold and sweeping passages of sorrow and mourning, of victory and triumph throughout the battlefields and icy wastes conjured in the skald-worthy sagas of “Holodomor” and “Heretical Wisdom”. This is not to suggest that Void Ritual is in any way lacking in savagery; it is rather a filtered savagery that uses war as one of many compositional features along its complex musical topography.

This dilution of violence in Void Ritual is inverted into pure warlike alchemical distillation in the new EP by Daniel's other musical project Mendacium, aptly entitled “Decimating Titans”.  For me, the double entendre of decimation wrought by the Titans as well as that wrought upon them by the revolt of their offspring are both gratifyingly scored by this short and devastating 4-track album. Blistering must be one of the most overused words in metal reviews, but damn it, I am not sure there is a better way to describe the opening and unrelenting full-clip salvo of the opening (and title) track here. Almost instantly bursting into onslaught, this song feels like the autobiographical account of endless slaughter, each verse punctuated by a chorus that can only be likened to the gloating over the corpses of enemies. 

“Invocation to Bloodshed” bears a deeply magickal resonance in its structure, evoking whorls of high theurgic energies, complete with preparatory chants and refrains, line by line moving the spell towards its final, devastating release at 3:11. The next track, “Eviscerate”, may, in fact, be an account of the bloodletting unleashed by the ritual of the second track: it cuts a bloody swathe through its 4 minute path, an unforgiving barrier of spinning blades that leaves no living being alive in its wake. “Make No Grave in My Name” functions as an excellent tombstone to this blood-soaked metal mausoleum and reminds me, for obvious reasons, of Robert E. Howard's short story “Dig Me No Grave”: "Then, even as we cried out in horror, it was gone and our dazed gaze met only the shuddering walls and blazing roof which crumpled into the flames with an earth-shaking roar."

The entire EP is unrelenting and relentlessly riff-dense, at once brutal, joyous and, dare I say it, punishingly fun. Highly-caffeinated and intelligent death-encrusted black metal; recommended wholeheartedly. I can only hope that there is a full-length in Mendacium's future!

“Decimating Titans” is available here

Band info: bandcamp || facebook

THE CULT OF THE OBSCURE: Gideon Falls #1 by Jeff Lemire, Andrea Sorrentino & Dave Stewart

By: Mark Ambrose

Title: Gideon Falls #1

Author: Jeff Lemire

Artist: Andrea Sorrentino

Colors: Dave Stewart

Lettering: Steve Wands

Publisher: Image Comics

Date Released: 07/03/2018

The Review:
   

Jeff Lemire has become Canada’s own modern equivalent of Alan Moore, albeit less cantankerous.  Splitting output between the big two (most notably on Marvel’s heralded “Moon Knight”) and independent publishers, the writer/artist has equal facility with reality grounded dramatic fare (the essential “Essex County” trilogy), vast sci-fi epics (“Descender”) and superheroes both mainstream and esoteric (his key work in the “Valiant Universe”).  With “Gideon Falls”, his newest creator-owned project at indie behemoth Image Comics, Lemire invokes the creeping dread of his best efforts to tell his first “all out” horror tale.

               

“Gideon Falls” splits its focus between two figures: Norton, a disturbingly devout acolyte, donned in a surgical mask, sorting through debris for some unknown purpose, and a priest, Father Wilfred.  Wilfred seems, at best, uninvested in his calling, pulling slugs from a flask as he drives to his new home and parish: “Gideon Falls”.  His predecessor, Father Tom, died under mysterious, possibly grisly circumstances, that his committed parishioner, Gene, doesn’t want to discuss.  Norton, meanwhile, expounds on the nature of evil with his therapist, Dr. Xu; he’s growing more convinced of the literal existence of the Devil.  The sympathetic, realistic doctor advises that his collection is mere garbage and a symptom of mental illness.  If Norton cannot reassert his hold on reality, she will institutionalize him… again.

               

Norton and Wilfred have converging experiences around the vision of a nightmarish location: the Black Barn.  Wilfred’s is quite visceral, while Norton’s is more tenuous – is he manifesting this dark locale?  Recalling an event already lived by the priest?  The timeline here is rather mysterious but that’s one of the best parts of a comic debut: what has already been mapped out by the team in question?  What will spiral out in the telling?  Lemire has been remarkably open in the past, responding in letters sections, enthusiastically pursuing new tangents in fictional universes (like his terror-tinged superhero story “Black Hammer”, or “Sweet Tooth” – which may be the final, underappreciated Vertigo masterpiece).  But for a first issue, “Gideon Falls” has a hell of a hook.

A great deal of the burden falls on artist Andrea Sorrentino, whose sketchy, scratchy linework conveys stress – mental and metaphysical, as the landscape around the Black Barn seems shattered.  Like fellow Canadian (and occasional collaborator) Matt Kindt, Lemire suffuses his stories with slow dread, punctuated by horrific, startling violence.  Sorrentino’s depiction of ritualistic violence on the page is shocking without hedging into schlocky splatter.  It makes me dread what could come in future installments.

               

Special mention should be made for colorist Dave Stewart, an industry unto himself.  He has been a lynchpin in Mike Mignola’s “Hellboy/B.P.R.D.” Universe, brought vivid, hallucinatory beauty to Moon & Ba’s “Daytripper”, and worked with master monster illustrator Eric Powell in his “Goon” series.  His work here evokes the great American flyover country, with muted earthtones, juxtaposed with dirty grays of Norton’s urban wasteland.  The charnel house reds splattered across the final pages are the work of a true master, and colorists will be studying at the feet of Stewart for decades to come.

               

In short, “Gideon Falls” is a great monthly comic to hop onto for SLUDGELOLRD acolytes.  Whether delving into Norton’s filthy urban decay or Father Wilfred’s profane, sacrilegious journey, this is a work that could be soundtracked to Godflesh or Sunn O))) – a droning, apocalyptic vision that could go anywhere, but will likely plumb into the darkest depths of human and demonic blasphemy.

“Gideon Falls #1” is available here

ALBUM REVIEW: Apostle of Solitude, "From Gold To Ash"

By: Richard Maw

Album Type: Full Length

Date Released: 23/02/2018

Label: Cruz Del Sur Music

“From Gold To Ash” is heavy as lead and in places just as toxic, guitars are like slabs of unyielding concrete, with the bulk of the album as dark as the blackest pitch in tone and content.  From opening instrumental “Overlord” to the closing “Grey Farewell”, Apostle of Solitude stake their claim for having recorded the best doom release of 2018.”

“From Gold To Ash” CD//DD//LP track listing:

1). Overlord

2). Ruination Be Thy Name

3). Autumn Moon

4). Keeping The Lighthouse

5). My Heart is Leaving Here

6). Monochrome (discontent)

7). Grey Farewell

The Review:

Indiana has produced some of the best metal ever in the form of The Gates of Slumber, and Apostle of Solitude continue in that fine doom tradition. Chuck Brown, the original drummer for TGOS features on guitar and vocals, keeping a nice link to the Indianapolis doom scene. This is a rumbling, raw, traditional slab of doom metal. From opening instrumental “Overlord” to the closing “Grey Farewell”, the band stake their claim for having recorded the best trad doom release of 2018.

It's heavy as lead and in places just as toxic- “Ruination Be Thy Name” is as dark as they come. There are moments of sweetness in the interlude “Autumn Moon”, but the bulk of the album is as dark as the blackest pitch in tone and content. The guitars are like slabs of unyielding concrete and bassist Mike Naish's bass sound and playing come from a man who has hands thick with muscle. Most full length songs here are well north of the six minute mark, with “Keeping The Lighthouse” being concise at 6.23, but the likes of “My Heart Is Leaving Here” clock up close to ten minutes of playing time.

With that in mind, this is not an album for the casual doom fan; this is surely for the faithful, the aficionado- the dedicated. There is a traditional heavy metal influence here in places, both within the vocal melodies and even the riffs (just a lot slower) but really this is true doom all the way. “Monochrome (Discontent)” is a fine example- speed it up and it becomes something akin to Angel Witch. By the time of “Grey Farewell”, the mood of the album- that of grey skies, cold days and unending despairing regrets- has firmly taken hold. This is not for the faint of heart and is instead for the bravest among the doom warriors out there. It's also a brilliant record; deep and dark.

“From Gold To Ash” is available here

Band info: bandcamp || facebook

6 NEW BANDS: THE SLUDGELORD's 666 Pack Review (February 2018)

By: Nikos Mixas

Art: Joshua M. Wilkinson

Welcome to THE SLUDGELORD’s February 666 Pack Review! February is known for a couple of things, Valentines and it still being fucking wintery.  Valentines is done so gives a fuck at this point and it’s still cold as shit…but the heaviness is just ramping up at THE SLUDGELORD. Did you know that they have their own record label now???  Check it out you heathens!)!!!  Each and every month we handpick 6 review submissions and critique them by only using 6 words, then we rate them on a scale from 1 to 666! 

Check out our awesome rating scale below: 

1 – I wouldn’t even let my deaf dog listen to this. 

2 – You know those heart shaped candies?  This one says, meh…

3 – The law of averages says that you’re ending up here this month.  Better luck next time.

4 – It’s fucking freezing but your riffs are melting the polar ice caps.   

5 – Update your bio and start submitting to this summer’s festivals! 

666 - This is so good that maybe, just maybe…you could catch the eye of SLUDGELORD RECORDS one day…

Being that it’s February, the submissions are really starting to ramp up and are starting to flood our inbox.   Even though the 666 Pack Review is meant to offer humorous critique, there are no safe spaces here and your gripes will be taken with a grain of salt.  THE SLUDGELORD is a picky listener…and doesn’t care what you think of his opinions….

Argonavis, “Passing the Igneous Maw” (Canada) Rating: 2

A soundtrack for the shitty weather

Shepherds Crook, “Black Lake” (Trondheim, Norway) Rating: 3


I expect more from Norwegian bands.

Riffcoven, “Crown of Darkness” (Jundiai, Brazil) Rating: 4

 
Cocktail of Electric Wizard and speed. 

Taarna, “Sanguine Ash” (Portland, USA) Rating: 3

 
For fans of 3 chord sludge.

Dr. Sludgelove, “My Space Odyssey” (Budapest, Hungary) Rating: 5

 
Hal-9000 meets metal meets noise

Geomancer, “Khatt Al-Raml” United Kingdom   Rating: 1

Cookie Monster sings for doom band.

Band info: Argonavis || Shepherds Crook || Riffcoven || Dr Sludgelove || Geomancer || Taarna

ALBUM REVIEW: Insect Ark, "Marrow Hymns"

By: Marika Zorzi

Album Type: Full Length

Date Released: 23/02/2018

Label: Profound Lore

With “Marrow Hymns,” Insect Ark create a sound based on profound introspection and the listening experience, an intense journey through themselves. Drones, loops, echoes and layers of sounds engulf, distort and stimulate the listener’s perceptions in an attempt to reawaken a distant, lost awareness. 

“Marrow Hymns” CD//DD//LP track listing:

1). Thelema

2). Arp 9

3). In The Nest

4). Skin Walker

5). Slow Raw

6). Sea Harps

7). Tarnish

8). Windless

9). Daath

The Review:

Combining elements of horror-film soundtracks, psychedelic doom, and atmospheric noise, Insect Ark is comprised of Dana Schechter (bass, lap steel guitar, synthesizers) and Ashley Spungin (drums, synthesizers). Insect Ark’s intensely visual music weaves interludes of fragile beauty with crushing passages of swirling doom, spinning like a backwards fever dream. “Marrow Hymns” is this duo’s new album, one that exceeds all expectations.

Formed in 2011 by Schechter (who has also been part of bands such as Michael Gira’s Angels of Light, Bee and Flower, Zeal & Ardor, Gnaw, and Gifthorse) as a solo project, from its inception Insect Ark has been about creating work that transports, both physically and psychologically. Spungin (Taurus, Purple Rhinestone Eagle, Negative Queen) joined in 2015 to provide support on the “Portal/Well” tour, and over the following year, Insect Ark became something much greater than the sum of its parts. Both women are firmly rooted in unbounded creativity – they are DIYers, multi-instrumentalists, gearheads, and visual artists.

With “Marrow Hymns,” Insect Ark create a sound based on profound introspection and the listening experience, an intense journey through themselves. Drones, loops, echoes and layers of sounds engulf, distort and stimulate the listener’s perceptions in an attempt to reawaken a distant, lost awareness. The songs seduce and glide slowly toward darkness in a continuum interrupted by unexpected changes in direction that unveil a striking sense of melody that reaches compelling, cathartic and totally unsettling peaks of tension.

This record is a wordless song, a hypnotic voice that screams and whispers from a place deep in the furrows, from the bones, from the blood. Defying easy categorization, Insect Ark’s uncommon sound is in part the amalgamation of these two women’s passions: Schechter’s sinister bass lines and unconventional use of lap steel guitar (and her complete omission of electric guitar), and Spungin’s lucid, exacting drumming and synth work with her own hand-built analog noise pedals (Ormus Electronics).

“Marrow Hymns” is a work of rare beauty that conveys sounds and images and finds its supreme expression in songs like “Arp9”, “Skin Walker” and “Sea Harps” in which sounds seem to meet and overlap to take shape in the absurd. Although this is an instrumental album, nobody will miss the vocal element. The sounds speak on their own, immersing the listener in a 45-minute journey. Its nine tracks pursue each other in a sequence of melodies and pauses that is a constant musical quest.

This is an album to be absorbed, played and replayed, interpreted, and loved.

“Marrow Hymns” is available here (USA) and here (Europe)

Band info: Facebook || Bandcamp

ALBUM REVIEW: Lowered, "Lowered"

By: Mark Ambrose

Album Type: Full Length

Date Released: 01/02/2018 | TBC

Label: Indpendent |

Throne Records (LP)

"There’s a progressive element running through this self-titled debut, but it’s not full on prog metal, and while there are lurching, sludgy, doom inflected passages, the overall style skews closer to black metal with strong melodic overtones.  

“Lowered” DD//LP track listing

1. Semaphore

2. Unreal

3. Blame the Hunger for the Throat

4. Call of the Moon

The Review:        

               

Describing hybrid metal genres may be the ultimate cringe activity.  Whenever “gaze” or “blackened” or “symphonic” or “melodic” gets appended to some agreed upon metal genre, all the trve kvlt tryhards come out to “WELL ACTUALLY” all over the description (often throwing in a smattering of homophobic slurs).  It’s the shallow, reddit redpill subculture of modern metal, but there is a case for staking out new descriptions, especially when black, groove, and death metal have been so amalgamated that there are few “pure” modern examples that don’t consciously push for “throwback” status. 

There was a brief period where “Extreme Metal” was slapped on bands as disparate as Cradle of Filth, Napalm Death, Gojira, and Behemoth – I blame Kerrang and the other trashy UK metal mags of the era.  Frankly it sounds a little too late 90s/early 2000s limited edition Mountain Dew flavor to me.  I’ve heard the term “dark metal” bandied about recently, and maybe that’s the best modifier for a group like Lowered.  There’s a progressive element running through their self-titled debut, but it’s not full on prog metal, and while there are lurching, sludgy, doom inflected passages, the overall style skews closer to black metal with strong melodic overtones.  Regardless of how the album FITS into a glutted field, there is no doubt that Lowered is one of those rare genre mashup debuts that feels assured, distinct, and never gimmicky.

               

Opener “Semaphore” rides on absolutely sickening low end bass tones sprawled across a doomy soundscape – it had me thinking of Celtic Frost, until the band slams into double time, chugging blackened rhythms.  Vocalist Anna Vo is an expert metal screamer – pushing her voice to extremes but remaining somewhat comprehensible.  I could make out a good deal of the words even without a lyric sheet, and that doesn’t diminish her inhuman capacity.  Most importantly, she shows dynamic range on the record, pushing out low death growls and piercing screams with aplomb.  Nate McCleary, who handles all guitars and basswork on the record, is a surprisingly virtuosic shredder, and his brief forays into tech wizardry put a unique stamp on Lowered’s sound that never feels forced.

               

Drummer Ian Makau owns the second track, “Unreal”, sprinting through marathon blast beats and throwing in little rhythmic twists that show true mastery of the kit.  The tribal shift in the mid-song bridge is a stroke of genius, while the doom coda is soul-crushing.  “Blame the Hunger for the Throat” is a slab of blackened death that continues to pummel, and is only slightly less interesting than the other tracks on the record.  Vo’s delivery is the best feature of the song – it’s a truly gut-wrenching performance.

               

“Call of the Moon” is the apotheosis of Lowered’s capacities.  McCleary’s eastern-tinged open guitar chords and shrill riffs are hypnotic, especially over Makau’s militaristic pounding.  There's a particular beauty in the guitar dynamics on this track, with soaring harmonies and deft solo work.  The abruptly sludgy bridge is a great twist on the tightly controlled black metal precision, especially as the track moves toward a stirring crescendo.  The broken-sounding coda seemed like overkill at first, but with subsequent listens I’ve found it especially stirring.  Lowered achieves a rare feat for most groups who never write tracks below the 6 minute mark: they had me clamoring for more.  I hope this debut carries them toward further output, further experimentation, and greater exposure – they’ve certainly earned it.

“Lowered” is available here

Band info: bandcamp

ALBUM REVIEW: Keiji Haino & Sumac, “American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”

By: Charlie Butler

Album Type: Full Length

Date Released: 23/02/2018

Label: Thrill Jockey

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On” demonstrates there is chemistry between Keiji Haino and Sumac that results in dark magic and although the lack of structure and orchestrated riffage is initially disorientating, once immersed in the intense atmosphere of this unpredictable ride there is no turning back. 

“American Dollar Bill...” CD//DD//LP track listing:

1). American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On

2). What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy) Pt. 1

3). I'm Over 137% A Love Junkie And Still It's Not Enough Pt. 1

4). I'm Over 137% A Love Junkie And Still It's Not Enough Pt. 2

5). What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy) Pt. 

The Review:

The jagged opening of “Image Of Control” from Sumac’s incredible “What One Becomes” LP hinted at an interest in more chaotic realms of musical expression. It’s no surprise to see they have found a kindred spirit in Keiji Haino, a veteran of free improvisation and explorer of the outer limits of noise. “American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On” documents the results of the meeting of these two sonic heavyweights for a session of unrehearsed, improvised mayhem in Tokyo.

While undoubtedly heavy, the five tracks that make up this LP sit more in Haino’s usual domain rather than Sumac’s. Coming at it as a fan of the latter, the lack of structure and orchestrated riffage is initially disorientating but once immersed in the intense atmosphere of this unpredictable ride there is no turning back.

The title track is a 20 minute rollercoaster of shifting moods where both parties bring their own distinct essence to the table. Aaron Turner provides guitar that builds from disembodied ominous chords to pillars of furious noise and back again while Brian Cook rides the shifting waves with rumbling bass. Nick Yacyshyn demonstrates his mastery of the kit continues outside of his usual style, relishing the opportunity to freak out with bursts of octopus-limbed rolls and providing more subtle accompaniment during ambient passages. The most striking element in all of this is Haino’s vocal performance. From intense muttering to impassioned barking, Haino covers a startling range of sound that encompasses inhuman squeals and howls that are particularly unsettling against the unexpected calm at the centre of the track.

Parts 1 and 2 of “What have I Done? (I Was Reeling In Something White and I Became Able to do Anything I Made a Hole Imprisoned Time Within it Created Friction Stopped Listening to Warnings Ceased Fixing my Errors Made the Impossible Possible? Turned Sadness Into Joy)” are slabs of full tilt insanity with each player thrashing their instrument to within an inch of its life. Each one breaks down into a stuttering groove that threatens to coerce into a riff but collapses back into noise-ridden uncertainty once more.

Part 1 of “I'm Over 137% A Love Junkie and Still It's Not Enough Pt. I” is the closest this record comes to a standard track. Haino and Sumac create a warped lullaby that sits somewhere between a jazzy shuffle and a slowcore lament. The bizarre vocals complete the otherworldly feel, as if the players were providing the music behind the red curtains in the Black Lodge. Part 2 erupts into a pummelling racket that comes across like broken grindcore before falling back into the weird ambience of Part 1.

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On” demonstrates there is a strange chemistry between Keiji Haino and Sumac that results in dark magic. Hopefully another meeting is on the cards soon to see how far they can push into the beyond.

“American Dollar Bill - Keep Facing Sideways, You're Too Hideous To Look At Face On”

is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Demonomancy, "Poisoned Atonement"

 By: Ernesto Aguilar

Album Type: Full Length

Date Released: 23/02/2018

Label: Invictus Productions

"Stylistically, "Poisoned Atonement" is a ferocious comeback. Many bands serving up a caustic, grimy brand of metal have risen up in the last few years. Demonomancy can certainly lay claim to being one of the innovators. The group provides some of the more explosive and consistent metal tracks so far this year."

"Poisoned Atonement" CD//DD track listing

1. Intro - Revelation 21.8

2. Fiery Herald Unbound (The Victorious Predator)

3. Archaic Remnants of the Numinous

4. The Day of the Lord

5. Poisoned Atonement (Purged in Molten Gold)

6. The Last Hymn to Eschaton

7. Fathomless Region of Total Eclipse

8. Nefarious Spawn of Methodical Chaos

The Review:

Fire up "Archaic Remnants of the Numinous" and it becomes quite clear that primitive/black metal trio Demonomancy have been putting in work for quite awhile, more than decade to be exact. There is simply a proficiency and brutality that you get from band members who have been playing together awhile that new performers just do not give you. Across its latest album, "Poisoned Atonement," the group provides some of the more explosive and consistent metal tracks so far this year.

What makes "Poisoned Atonement" such a solid return is the overall songwriting as well as the density of these compositions. Demonomancy always strikes a sinister energy -- it did on 2013's "Throne of Demonic Proselytism" and the band has over its career. When it released what was effectively the preview song, "Archaic Remnants of the Numinous," last year, it seemed like the group was going for an even more gritty, guttural approach; the sound is harsher and more distorted, and sparks memories of original black metal fury in many ways. "Poisoned Atonement" continues that tone last year's single began, but only gets dimmer and more lethal.

Demonomancy employs slow, effective builds on a few occasions. "Fathomless Region of Total Eclipse" is a rumbling, effects-rich cut that creates a nightmare vibe. The trio goes right for the throat with "Nefarious Spawn of Methodical Chaos," with its noise-laden crashing guitars and buried vocals. "The Day of the Lord" is probably the most conventional song, with elements of hardcore complementing the black metal brew, though it too remains elusive for casual listeners. Every track dials up the tension as the album surges.

For fans of the band – that 10 years together has seen prodigious output, which has included two EPs and a full length in 2013, though it has been of quality – there is a lot to like about the new album. Stylistically, "Poisoned Atonement" is a ferocious comeback. Many bands serving up a caustic, grimy brand of metal have risen up in the last few years. Demonomancy can certainly lay claim to being one of the innovators. The sound is unbowed and nimble as ever on cuts like "Fiery Herald Unbound (The Victorious Predator)," with an impressive vocal delivery and buzzsaw soundtrack. If this is a version of metal you are familiar with, it may not win you over should you be skeptical to it. For fans of acts like Primitive Man and Mastiff, what Demonomancy does is sure to please.

"Poisoned Atonement" is available here:

Band info: bandcamp || facebook