And that is just within 2.5 years of evolution. So far basically none of the variant-proof monoclonals has survived. One should not place too much hope on exploiting “vulnerabilities”, conserved epitopes, etc. The ab6 monoclonal they are focusing on should be destroyed by the newer Omicron variants (notice how Epsilon escapes it the most, then Delta). This is a pre-Omicron paper (note the initial submission date - December 7 2021) that was then somehow adapted to include some Omicron data, and in the end became a bit of a jumbled mess. SARS-CoV-2 variants of concern: spike protein mutational analysis and epitope for broad neutralization Nature. ‘Life hates surprises’: Can an ambitious theory unify biology, neuroscience and psychology? Scroll (David L)Ĭovid lockdown has affected each of us in our own unique little ways. Spine-like floating platform harnesses water wave energy YankoDesign (Kevin W) Wave created by Tonga volcano eruption reached 90 meters-nine times taller than 2011 Japan tsunami PhysOrg (David L)Īlgorithms Can Now Mimic Any Artist.
New Zealand: Seal breaks into marine biologist’s home BBCĪrtist Reimagines Cats as Royalty in Traditional Portraits of People My Modern Met (David L)įreya the walrus: Did she have to be euthanised? BBC (David L) Hallelujah and Leonard Cohen’s ‘secret chord’ Financial Times Those comments will also be removed if we encounter them. Using the comments section to complain about moderation decisions/tripwires earns that commenter troll points. We do not have the bandwidth to investigate and reply. Please do not write us to ask why a comment has not appeared. Also, before further stressing our already stressed moderators, read our site policies: To prevent having to resort to the nuclear option of shutting comments down entirely until more sanity prevails, as we did during the 2015 Greek bailout negotiations and shortly after the 2020 election, we are going to be ruthless about moderating and blacklisting offenders. We have written site Policies and those who comment have accepted those terms. Low-value, link-free pom pom-wavers will be summarily whacked.Īnd for those who are new here, this is not a mere polite request. None of us need more cheerleading and link-free repetition of memes there are platforms for that. We hope readers will collaborate in mitigating the fog of war - both real fog and stage fog - in comments.
This album could garner Attrition a whole new generation of mopey and misunderstood fans.Lambert and I, and many readers, agree that Ukraine has prompted the worst informational environment ever.
Elsewhere, the beatless and gratuitously creepy "What Shall I Sing?" comes across as mannered and clichéd (right down to the ominously tinkling piano tritones), but most of the music collected here is unusual both for its boundary-stretching approach to the darkwave/industrial tradition and for its attractive and often complex textures. Elsewhere, as on the stiffly funky "To the Devil!," those beats and those growling vocals get a bit more traditionally abrasive, but there is another extreme to Attrition's sound as well, and it's nearly classical: a track from Etude (a one-off project with Paris opera orchestra member Franck Dematteis) draws explicitly on classical traditions, and would have succeeded better with a more skillful singer. Knowing that about them, newcomers may be surprised by the decorous and almost gentle tone of much of this music: although "Acid Tongue" features the kind of relentlessly marching four-beats-to-the-bar rhythm and gutturally muttered vocal style that has characterized industrial music since the early days of Ministry and Front 242, the beats are wielded softly and the lyrics intoned quietly. They paved the way for similarly inclined artists like Black Tape for a Blue Girl and Covenant, while helping to define the nascent sound of industrial music from their home base in Coventry, England in the early '80s. At the time of this collection's release in 2010, darkwave pioneers Attrition had been on the scene for 30 years, having recorded alongside everyone from Crass to Siouxsie and the Banshees along the way, as well as producing 15 or so full-length albums of their own.
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