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Experimental/Post Metal
Buy GORDIAN KNOT Music
1. Arsis (1:59)
2. Muttersprache (6:26)
3. A Shaman's Whisper (6:33)
4. Fischer's Gambit (5:43)
5. Grace (Live *) (8:27)
6. Some Brighter Thing (7:34)
7. The Brook The Ocean (4:06)
8. Singing Deep Mountain (9:00)
* Recorded in concert at Beall Concert Hall, Eugene, Oregon.
Bonus track on 2002 Japan edition:
9. Surround Me (4:06)
- Jason Göbel / guitar (2-4,6,8,9)
- Sean Malone / bass (1,2,4,6-9), Chapman stick (2,3,5,8), guitar & keyboards (2-4,6-8), e-bow (2,6,8), loops (2,4,7), Echoplex (5), vocals (8), arranger & co-producer
- Bill Bruford / slit drum (3), drums (6-8)
- Sonia Lynn / additional vocals (8)
- Steve Hackett / guitar (2,6,8)
- Paul Masvidal / guitar (3)
- Jim Matheos / steel- (4,6,8) & nylon-string (4) acoustic guitars
- Sean Reinert / drums (3,4), electronic drums (2,9)
Artwork: Travis Smith
CD Avalon - MICP 10343 (2002, Japan) With a bonus track
CD Sensory - SR 3016 (2003, US)
Buy GORDIAN KNOT Emergent Music
THE LASER'S EDGE 2017 $6.11 (used)
Emergent (+Bonus) by Gordian Knot (2002-12-18)
Marquee $106.36
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GORDIAN KNOT Emergent ratings distribution
GORDIAN KNOT Emergent reviews
Review by Dan Bobrowski
Gordian Knot is Sean Malone. This is his second baby and it is a more mature twin to the first. Malone's compositions are instrumental and heavily influenced by King Crimson. Somewhere on the hallowed ground between Lark's Tongues and Thrak. Some metal elements mixed with fusion and pulled together with a prog sensibility. Guests include; Bill Bruford, Steve Hackett, icons of the genre with guitarsist Jim Matheos (Fates Warning and OSI), Jason Gobel and Paul Masvidal. Drummer Sean Reinert supplies some bombast to spark the project along. Bruford is in fine form on this one. The Brook the Ocean plays off a moment in time from Bill's past. The more sonically spare moments are the best, Fischer's Gambit (re-created from Sean's solo album, CORTLANDT) and Some Brighter Thing. Malone is a force to be reckonned with in his solo bass pieces, Arsis and Grace (live).
This is a worthy effort in the instrumental realm, hard enough to keep metal fans listening and diverse enough to intrigue prog nerds. Sean Malone is a name which we'll be hearing more about, me thinks?
Posted Tuesday, November 18, 2003 | Review this album | Report (Review #17498)
Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
Techno-prog impeccably played by masters but soulless and aimless. Too many of thes albums appear nowadays and especially with the Trey Gunn crowd . They are all excellent musician but this mental masturbation and premature ejaculation music. No offence meant to anybody as this only reflects my opinion and nothing else, but I always wondered how anyone could listen to such technical music without being bothered by the lack of soul.
Give it another Halfstar;-)
Posted Friday, February 27, 2004 | Review this album | Report (Review #17501)
Review by lor68
Well if you're into the style of "Liquid Tension Experiment" or prefer other bands closer to such RIO music, you can appreciate this work very much..if not, it's better you choose other styles, such as for example those ones into the discography by "A Triggering Myth" or that one by "Niacin", the fusion prog band!! The instrumental section concerning the guitar's interplay, reminds me of the job performed by Trey Gunn with Robert Fripp, inside the best line-up of King Crimson in the nineties!It's a special modern art rock, even though the hypnotic music passages sometimes become tiring..it depends on your tastes naturally and -also in this case- I don't want to affect your opinion!
Posted Friday, April 9, 2004 | Review this album | Report (Review #17504)
Review by Muzikman
Sean Malone is the driving force and creative genius behind the ultra talented group GORDIAN KNOT. With the band's latest release "Emergent" their heady lineup pumps out tracks of hard driving progressive rock and jazz-rock fusion to satisfy every type of progressive music lover's taste buds.
Malone and many others including Steve HACKETT (GENESIS, GTR) and Bill BRUFORD (YES, KING CRIMSON, and GENESIS), add their many talents and experience to the seemingly endless ongoing development of each composition on this CD. The eight tracks of elating prog-rock come packaged with tight grooves, complicated rhythms, and odd timing and quick changes. To make the circle of events complete, all-inclusive sonics and engineering balance out the perfection of sound you will hear on each track. The discerning and sophisticated listener may be challenged to listen to this CD several times to pick apart all of the complexities found in every song.
"Emergent" indeed, this is one band you should stand up and take notice of now. Remember the name prog heads, GORDIAN KNOT.
Review by Cesar Inca
"Emergent", Sean Malone's second Gordian Knot venture, displays a more increased sense of sonic power in comparison with the excellent debut album: this time things tend to come out more aggressive, patently rougher on many passages, yet keeping an amazing level of distinction and polished exquisiteness in every inch of every single sound. After the mysteriously Spartan intro 'Arsis', two robust numbers titled 'Muttersprache' and 'A Shaman's Whisper' come to the fore, filling the atmosphere with ballsy playing cleverly coordinated in a well-adjusted equilibrium between all performers: the main motifs are given enough room to leave their signature on the listener's mind loud and clear, while the solos provided by Malone's partners (maestro Hackett is one of them, as well as lifelong friend Jason Göbel) create their respective spaces while preserving the individual tracks' spirits. 'Fischer's Gambit' finds Malone ands friends exploring more introspective realms: prog metal guitarist Jim Matheos (Fates Warning, O.S.I.) displays his subtle sensibility on classical guitar for good effect, properly conveying the melancholic aura inherent to the theme. The introspective vibe keeps going with this Stick-only rendition of 'Grace' [originally part of the debut album's repertoire], whose melodic magic provides an ethereal landscape for mental relaxation. 'Some Brighter Thing' brings back some of the metallic brightness that was instilled in tracks 2 & 3, albeit on a slower tempo and with a more sustained cadence. As in 'Muttersprache', Hackett displays his edgy facet while Bill Bruford lays a precise foundation in one of his last rock-oriented interventions during this millennium. Bruford's jazzy side (his favourite) is given room in 'The Brook The River', a jam jointly constructed by him and Malone, who doubles on bass and keyboards: this piece should have been longer, since it showed interesting hints to the Canterbury stuff. All guitarists join the party for the 9-minute closing track 'Singing Deep Mountain'. For this occasion, the ensemble explores the realms of fusion in a most pleasant way: Bill Bruford's drumming is kept subtle as on track 6, while Matheos, Hackett and Göbel share alternately the spotlight with a couple of Malone's stick solos. The air of candid spirituality brought out by the main motif is appropriately refurbished by the use of sheer energy by all participants in a compact communion that makes the sounds flow smoothly and organically. Way back then, in 2003, I was quite impressed by this album since listen one, and eventually I set my mind to regard it as the best prog release for that year: my feelings remain the same so far, and therefore, I still regard it as a prog masterpiece or our times.
Posted Sunday, October 30, 2005 | Review this album | Report (Review #54061)
Very technical and very yawn-inducing, Gordian Knot's second album is a nearly identical mix of the quite ambience and gutless metal instrumentals as the first. The listener may be occasionally impressed by the player's ability to create some excellent sonic landscapes and effects, but it is more than likely that they won't remember it enough to want to hear it again. The first album is really all one seeking this kind of instrumental music needs; the second is for serious fans of the musicians' only.
Posted Wednesday, August 1, 2007 | Review this album | Report (Review #131204)
GORDIAN KNOT's debut supassed my expectations by a considerable margin, so I was ready this time for their follow-up "Emergent". Well not ready enough apparently as this blew my expectations right out of the water. Jim Matheos from FATES WARNING and Steve Hackett guest on lead guitar. In the liner notes Sean Malone (band leader and former CYNIC member) thanks them both "For taking things above and beyond expectations." Bill Bruford guests on drums while former CYNIC members Jason Gobel, Steve Masvidal and Sean Rienert also contribute to this recording.
"Arsis" is all about Sean and his bass going solo. Much like the debut record which featured Sean on keys going solo for the first track. This is very laid back. "Muttersprache" is more like it ! Very heavy drums from Rienert and to open as Malone's bass throbs and Grobel grinds away over top on his guitar. Nice. It settles as keys come in. Back to heaviness as Gobel continues to amaze with his soloing. It settles again after 2 1/2 minutes as Hackett comes in. Kicks back in before 4 1/2 minutes as Malone gets on his stick 5 minutes in and then his keys as it calms down again. Hackett's back 5 1/2 minutes in with some aggressive playing at first before settling in to the end of the song. "A Shaman's Whisper" is the first time since 1993 I understand that these 4 former CYNIC players have played on the same track. This one is heavy as Malone plays his stick for almost 2 minutes. Great sound ! Gobel and Masvidal take turns the rest of the way on lead guitar. Beautiful,emotional music. "Ficher's Gambit" is dark and restrained with a lot of bottom end. Matheos plays his nylon and steel string guitars on this one.The keys from Malone are a nice touch as well. Gobel comes in after 4 minutes on guitar. "Grace (Live)" is pretty amazing considering it's just Malone on stick and echoplex. An emotional track that gets darker before 6 minutes. Quite emotional 7 minutes in as well.
"Some Brighter Thing" opens calmly enough but a powerful soundscape with Bruford on drums comes in fast. Heavy riffs, and check out Malone on stick. Love that sound. Gobel comes in soloing for a minute.Nice. It gets very heavy until Malone's back on the stick before 3 1/2 minutes as themes are repeated. Check out Hackett 4 1/2 minutes in as he's making some incredible noises come out of his guitar. We're seeing Hackett like never before on this album. Matheos takes over for him before 5 minutes and he sounds awesome as usual. Emotional ending once again. "The Brook The Ocean" is the duo of malone and Bruford and no one else. I love the intro with the guitar, drums and keys. It all stops as we get a bass solo from Malone. The dark jazz flavoured intro is back with keys again. Some complex drumming follows. Nice Bill ! It ends as it began. "Singing Deep Mountains" features TOOL-like drumming from Bruford as guitar comes in tastefully. Matheos arrives a minute in grinding away. This is amazing ! Gobel takes over on lead guitar 2 minutes in. Keys come in and even some female vocal melodies that are so uplifting. Some stick 4 minutes in. Hackett comes in soloing before 5 1/2 minutes. This is incredible as Steve really impresses. It gets heavier 6 1/2 minutes in as Hackett bears down with an absolutely scorching solo. This is Hackett !? My God ! Female vocal melodies are back with keys before Malone ends the song with some beautiful stick.
There is no doubt in my mind that this is a 5 star record. I'm completey humbled at how emotional, atmospheric, dynamic, beautiful and complex it is.
Posted Sunday, July 13, 2008 | Review this album | Report (Review #176763)
Review by Gatot
Updated on Oct 4, 2008
A Review by Rizal B. Prasetijo (my best friend in prog)
Compared to its self debut title album (please refer to my previous posting: Gordian Knot's Gordian Knot), I found that the band attempts to push the possible boundary that musicians could achieve in combining the jazz fusion and progressive rock/metal, the two different and sometimes contradict genres, in its second album. And, as you could hear it later on, particularly on the second and third tracks - Muttersprache and A Shaman's Whisper -, Gordian Knot amazingly achieves its objective. There are also a number of changes in its personnel. While the band keeps retaining Sean Malone (guitar, bass, keyboard) as its brain and Sean Reinert (drummer), it lets go its two previous guitarists - Ron Jarzombek and Glenn Snelwar. The two guest stars - Trey Gunn and John Myung - are also not present in the second album. As a result, Gordian Knot invites two new guitarists - Jason Göbel and Jim Matheos - to join in. They also invite Steve Hackett (ex Genesis' guitarist, known as one of few guitarists pioneered the tapping technique in early 70s) and Bill Bruford (ex King Crimson and Yes' drummer). If you are a death metal fan, you'll also notice that all ex-Cynic members (Messrs. Göbel, Malone, Matheos, and Reinert) involve in the making of Gordian Knot's Emergent. Finally, before I am releasing my two cents opinion on the album, I would like to show my special gratitudes to Didit Suryadi (who first told me about this amazing band) as well as to Tatan Taufik (who ordered the album for me). Jazakumullaah khairan katsira (May Allaah reward all your good deeds).
The album is begun by Arsis, an almost two minute bass solo, displaying Sean Malone's adroitness on the fretless bass guitar and his veneration (in my opinion) to Jaco Pastorious (one of the greatest jazz bassists). For your information, Arsis (and thesis) is a phrase in musical composition, where a point being inverted, that is, it rises in one part, and falls in another, or vice versa. Furthermore, if you are an audiophilist, the track could also be used to examine whether your sound system is able to properly deliver the sub 500Hz notes or not.
Opened up by spacey atmospheric keyboard followed quickly by heavy metal staccato guitar riffs, Muttersprache (6:23, German for "mother tongue") is Gordian Knot's declaration to the musical industry that jazz fusion and progressive rock/metal can be intermingled seamlessly at even their extreme points. The composition is essentially built on the metal ambiance, but incorporating jazz chords and dissonant intervals to form a stunning mixture of these two different and contradict genres. The interplay among guitarists - started by Jason Göbel's glissando semiquaver metal guitar liners, followed by Steve Hackett's jazzy solo guitar, then Sean Malone's jazzy tunes on Chapman Stick - are absolutely ear dropping. You should also pay attention to Steve Hackett's jazzy notes using the heavy metal as the background at the end of the song. What a taunting and great musical experiment. In an attempt to further appreciate this striking piece, I would encourage you to browse Sean Malone's blog (http://smgk.blogspot.com/2006_02_01_archive.html), in which he told you the history behind the writing of the composition.
The third track, A Shaman's Whisper (6:30), essentially follows the foundation of Muttersprache. However, Messrs. Göbel (guitarist), Malone (bassist and keyboard), Reinert (drummer), Snelwar (guitarist appearing on Gordian Knot's debut album) takes the composition into a further extreme. As a result, the song is jazzier in sound than the previous track, while also being heavier. How could these gifted musicians create such extraordinary and tricky composition? The knack is to let all guitarists - begun by Sean Malone, then, Jason Göbel, then Paul Maldival, then back to Jason Gobel, back again to Paul Maldival - play jazz/jazz rock liners (with the exception of Paul Maldival's roaring semiquaver metal notes in the middle of song), while the musical background is painted by heavy metal color, sometimes even by syncopated heavy metal guitar riffs. Don't also forget to pay attention to Bill Bruford's distinctive jazzy syncopated slit drumming and Sean Reinert forceful and expressive rock drumming in this stunning composition. Finally, it is also interesting to note that, based on Sean Malone's blog spot, the song (originally titled Whispers at Gesthemane) was actually written during the Gordian Knot's debut album. The bridge section of the composition became an entirely new composition, titled Code/Anticode, appeared on the first Gordian Knot album (again, please see my previous posting Gordian Knot's Gordian Knot).
Marked by forceful Sean Reinhart's drum beats and Sean Malone's dissonant keyboard chords, Fischer's Gambit (5:38) quickly reminds me on how stunning and shocking the Robert "Bobby" Fischer's opening moves (knows as Fischer's Gambit) are (please refer to http://en.wikipedia.org/wiki/Bobby_Fischer#Contributions_to_chess for further details). Sean Malone swinging dark keyboard personifies trepidation experienced by Fischer's opponents in predicting and reacting to his gambit, while Jim Matheos' solo acoustic guitar, created Spanish and tropical seaside senses, symbolizes Fischer's contentment in putting his opponent into difficulties. What a mind boggling composition! Here, Gordian Knot is able to describe two opposing feelings - nervousness and indulgence - seamlessly in one solid song.
The next track, Grace (the live version, 8:24), is a bolder and richer version of a soothing and relaxing of Grace, appeared as the last track on Gordian Knot's debut album, in my view. Using the Chapman Stick and Echoplex, Sean Malone ingeniously creates so much layers of soundscape, flourish, and atmosphere, you'd think there are a number of musicians appeared on the stage. However, the composition never really goes anywhere, and isn't supposed to. This is the weakest song in the entire album in my opinion.
Opened up by twenty second soft piano, I see Some Brighter Thing (7:28) is a softer variation of A Shaman's Whisper. Jason Göbel's staccato metal guitar riffs quickly take over the scene and act as an intro for Sean Malone's glissando crotchet, quaver, and semiquaver Chapman Stick liners for almost 60 seconds. Here lies the difference between A Shaman's Whisper and Some Brighter Thing. The former composition put all guitarists on jazz/jazz rock mode, while painted the background by metal riffs. The latter song alternates the object and the background. It started with Jason Göbel, followed by Sean Malone on solo jazz/jazz rock notes and uses the metal ambiance as the background. Then, suddenly at 3:58", marked by stunning syncopated and hocketing Sean Malone's piano, Bill Bruford drumming, and Jason Göbel's guitar riffs for slightly over 30 seconds, the order is reversed. Steve Hackett plays a solo heavy rock guitar, followed by Jim Matheos on a similar mode, but the background turns into jazz/jazz rock ambiance. The composition is closed by jazzy/jazz rock ambiance.
Marked by Bill Bruford's intense drumming and Sean Malone's forceful piano chords for 20 seconds, The Brook The Ocean (4:00) is a collegial work of two talented musicians sharing their magic chemistries in the progressive jazz corridor. Sean Malone's solo dissonance bass liners, which again reminding me to Jaco Pastorius' transcendent bass notes, snare my metal cone speakers for the next 70 seconds (Beware: You won't be able to enjoy this interlude if your sound system could not properly generate sub 500Hz liners). Then, both Messrs. Bruford and Malone come together for almost 60 seconds. At 2:35, Bill Bruford puts forward his distinctive forceful, highly precise, polyrhythmic solo drumming for 70 seconds, and the composition is closed by the return of Sean Malone's keyboard and bass with a dazzling violence. The intensity of these musicians clearly imitates the unpredictable and strength of sea waves in its nature.
The last track, Singing Deep Mountain (8:57), is built on a progressive jazz foundation, but incorporating heavy rock liners and a number of augmenting guitar cannon in its body. Opened up with steady rhythm bass and drumming for about 16 seconds, Jim Matheos' syncopated jazz guitar notes are met with Jason Göbel syncopated rock guitar riffs for almost 70 seconds. Then, gradually, Jason Göbel takes over with his heavy rock guitar liners. At 2:55, the insertion of uplifting melodies makes the composition becoming somewhat brighter and lighter. Sean Malone's jazzy Chapman Stick further accentuates the ambiance. However, the song gradually turns darker and heavier, though still retaining its jazzy nuances, at 5:02. This is apparently a prelude for Steve Hackett's solo jazz rock guitar, lasting for 20 seconds. As the composition becoming further darker and heavier, Steve Hackett finally unleashes his roaring and dense heavy rock liners, which are accompanied by Sean Malone's somewhat metal bass sound, at 6:22 for slightly over 30 seconds. Interestingly, while the rock/metal ambiance gains momentum, Bill Bruford is keeping his jazz drum beats intact. Gradually, as the song becomes brighter and lighter again, wordless vocal melodies (quite electronically processed so they barely sound like vocals) takes the scene for almost 80 seconds. At 8:15", the composition slows and fades out, giving you a pleasure ending. It is interesting to note that if you read Sean Malone's blog, he realized afterwards that the ending of the song is a resemblance to the end of Yes' "And You And I".
I would never be hesitant to recommend Gordian Knot's Emergent to any progressive rock, metal, and jazz followers as hearing the album would open your musical horizon what the mixture of these genres could do. Happy listening!
Best regards, Rizal B. Prasetijo
Notes: We have conducted a series of regular ProgRing (Progressive Gathering) down here in Jakarta to discuss about recent issues in progressive music. Rizal has been very vocal in promoting how great Sean Malone's Gordian Knot is in the recent progring to the audience. In fact, we just met last night and he was still enthusiastic talking about Gordian Knot. Keep on proggin' .., Rizal!
A Review by Gatot
I heard the Gordian Knot name quite long time ago from metal heads in my country and I though the band was a pure metal band until last progressive gathering (ProgRing) on end of May 08. Yeah, we have committed to have a regular prog gathering among those prog heads in Jakarta at least once in a month. One of the attendees mentioned Gordian Knot as a terrific prog band led by a bass player Sean Malone. So since that prog gathering I chased the album and found this "Emergent" which happens to be the band (project?) second release. One of the chief reasons was the big names like Bill Bruford (Yes, King Crimson, UK, Genesis, Earth Work, etc), Steve Hackett (Genesis), Jim Matheos (Fates Warning). It creates high curiosity to me really. And, yes! Finally I got one of the albums. Yeaaaaahhh ...!!! Let's enjoy the journey with Gordian Knot music ...
Not an egoistic composer ., bravo Malone!
My prog colleague is right, this is definitely an excellent album! I understand from a little research I have done that Sean Malone is basically a composer. Yes, he is! More to it, I need to add that he is not a kind of "egoistic" composers who force the musical instrument capability into their music dominantly. Sorry to say, I have to tell you that John Petrucci, Steve Vai and Joe Satriani are examples of composers who always put their instrument (guitar) as dominant factor to their music - that's why I have never adored their music. They are better called "musician" not "composer". You might compare with Steve Hacket who always positions himself as a true composer: creating music by emphasizing holistic approach in songwriting, putting instruments on what is best for the music. He does not force every song must be guitar dominated arrangement. That's why I like almost all Hackett solo albums because he is a true composer not just a musician.
Sean Malone is in the same position as Steve Hackett. He has adopted holistic approach in songwriting by considering what best for the message in the music he is trying to articulate and not necessarily from instruments where he is mastering with. The result is a well rounded composition featuring multi instruments. Of course there are spaces where he demonstrates his great bass playing but it does not hamper the whole music. The opening track "Arsis" (1:59), for example, it's a great place for him to demonstrate his love and mastery in bass guitar. I do enjoy this ambient bass guitar solo and as far as I remember I have never heard any album that opens with bass guitar solo.
In other tracks like "Muttersprache" (6:26) and "A Shaman's Whisper" (6:33) he lets guitar makes the lead to the music while he plays normal bass guitar playing. In fact, in "Muttersprache", I can see a nice combination of prog met riffs accompanying guitar playing in the vein of King Crimson's Fripp. It's really a grandiose track right after overture. Sean has applied different time signatures and many style changes in the music. Sometimes you can hear keyboard playing in the vein of ELP but this time accompanied by King Crimson's drummer Bill Bruford. Oh man .. can you imagine that? Well, I suggest you purchase the album, so that you can proof yourself on what I mean here. If you are not happy, I think you might not be a prog head. This track is really greeeaaaaat.!!!
"A Shaman's Whisper" (6:33) starts with metal riffs followed beautifully with musical break that features percussion. Guitar solo then takes the lead backed by musical riffs containing guitar, bass and drum. It's another guitar-based composition. "Fischer's Gambit" (5:43) brings the music to slower tempo with bass guitar serves as beat keeper accompanying electric piano solo in jazz style. The acoustic guitar solo performed is excellent. On "Grace (Live)" (8:27) the major instruments used are guitar solo in improvisation mode.
On "Some Brighter Thing" (7:34), Sean Malone demonstrates his bass guitar mastery through thick and dynamic bass lines with nice syncopation, combined beautifully by Bruford unique snare sounds. This track reminds me to Bruford's "One of A Kind" album, musically. The guitar solo is quite complex but mixed thinly. "The Brook The Ocean" (4:06) demonstrates again the unique snare sound of Bill Bruford followed by bass guitar solo that reminds me to Yes's "Heart of The Sunrise" at the beginning. What follows is a dynamic solo which reminds me to Jaco Pastorius bass playing style. When Bruford enters his drumming, it reminds me to his "Sahara of Snow". Wow! I do enjoy this track especially on the combined bass guitar work by Malone and drumming by Bruford. It's fabulous!
The concluding track "Singing Deep Mountain" is the longest track (9:00) in this album. It starts mellow and ambient with bass guitar followed excellently with killing Bruford drum beats and great Hackett guitar solo in thin sound. The double guitar solo is really great. There are segments with acoustic guitar that enrich the whole textures of the music. The later part of this song contains vocal work in ambient mode.
Overall, I respect highly this album as an excellent album. I tend to give this album with a five star rating (masterpiece) but I just want to make sure the "hallo effect" is gone later. For the time being I'd rather put this album as an excellent addition to any prog music collection. I might revise this rating later with more spins. Highly recommended, 4 stars plus. Keep on proggin' ..!
Peace on earth and mercy mild - GW (i-Rock! Music Community)
Posted Tuesday, July 15, 2008 | Review this album | Report (Review #176946)
Review by snobb
Second album of great bassist Sean Malone project Gordian Knot continues excellent musical ideas, started at their debut. Shortly, it is a technicaly and melodicaly perfect mix between jazz fusion and progressive metal. Instrumental album consists of melted technique, jazzy arrangements and metal heaviness. Differently from their debut, big part of team is changed, we have two new great musicians on board: Bill Bruford and Steve Hackett!
I like that kind of music and I believe that we have there something what will give a birth of new generation progresive rock in XXI century. Not boring symphonic citates or mainstream neo- prog cliches are included at all. Not heavy metal stereotypes / machismo, not indie/brit-pop traces ( in a kind of Porcupine Tree of last years) presented . Just very professional elements from fusion and prog-metal, without tons of dated and boring prog rock atributes. Yes, sound isn't very soulful, but not very cold as well. You hear cool warmless in their music, and it's a real music of the first decade of XXI century! In comparance with debut ( and I believe because of line-up changes) music is a bit far from King Crimsonian influence, little slower and even warmer.
I believe, that this album could be interesting to listen for wide circle of modern prog lovers, starting from heavy prog fans, till Zappa's maniacs. Must have for Cynic/Sean Malone fans.
Posted Thursday, November 12, 2009 | Review this album | Report (Review #250077)
Review by Negoba
Very Solid Prog / Jazz / Metal Fusion
I had listened to Gordian Knot on internet radio quite a few times, left a little underwhelmed, and finally bought EMERGENT during my Cynic craze phase. Again, coming off the phenomenal band that was Cynic, Gordian Knot was a bit of a letdown. However, as I'd bought the album on CD, it remained in my car for awhile and I got a number of listens all the way through the album. Slowly, I began listening to the album on its own merits rather than in comparison to its parent band. The impression that resulted was that this is a very solid piece of instrumental metal fusion, a genre I've been listening to for over 20 years.
Most metal fusion is an excuse for guitar soloing, and this one has that in great abundance. However, the beauty is that the soloing comes from a number of very contrasting players. The first is bandleader and bassist Sean Malone, who provides the usual jazzy acrobatics on bass, but also plays the multi-string tap instrument, the Chapman stick. Several of the "guitar solos" are actually the Stick. One of the nicest moments on the album is the live "Grace" which is simply Malone with the Stick and a loop pedal. By the end, he has built a beautiful stack of layers which include complex chordal beds, bass foundation, and nimble soloing that sounds more like Windham Hill than death metal.
Other contributors are Cynic alumni Jason Gobel and Paul Masdival who give nice performances with a more metallic tinge. Better are the moments from Fates Warning axeslinger Jim Matheos, who provides classical and acoustic work. The primary guitarist, however, is Steve Hackett, whose role is almost completely textural. His solos, if one would call them that, are exercises in timbre, long sustained notes slipping into each other in a way only his fingers find. It is Hackett's work, along with jazzmeister Bill Bruford, that take this a step up from the usual instrumental shred and make it into a real fusion album.
Most of the sounds here are much mellower than typical metal, but much crunchier than most jazz fans are going to enjoy. The result is a strangely modern flavor that works perfectly for the purpose I was using it, car music for an aging metalhead. The songs themselves aren't terribly evocative, or have a melodic identity. They're more like impressionistic color washes, a mix of flavors without a central main course.
Though I award this only a 3 star rating, this is an album that has a place in my discography, one that I reach for when I'm in the right mood. But it's not essential, it's not Cynic, but simply solid modern fusion. If you're already into instrumental metal, this is probably worth checking out. Otherwise, sample it, you might like it.
Posted Wednesday, January 6, 2010 | Review this album | Report (Review #259655)
Review by Tapfret
SPECIAL COLLABORATOR Eclectic & C/JRF Prog Team
Losing the name game
Sub-genre:Experimental/Post Metal
For Fans of: The first Gordian Knot, late Brand X
Vocal Style:Choral background in closing piece only
Guitar Style: Varying styles both acoustic and electric.
Keyboard Style:Some piano
Percussion Style:Standard rock kit with slit drums & congas
Bass Style:Primarily come from the low end of Malone's Chapman stick with the occasional picked electric fretless bass.
Other Instruments: Chapman Stick
You are not likely to enjoy this album if: you are expecting some monumental growth via the prog all-star lineup.
Summary: The months leading up to the release of Emergent, the bands label website included a rather embarrassing amount of advertising for the new guest lineup that included prog legends Bill Bruford and Steve Hackett. The remaining players made up almost the entire lineup of Cynic. This marketing emphasis should have been a warning sign similar to a novel at the supermarket checkout on which the cover has the author's name larger than the book title. It is not as though the music is poor by any stretch. It just sounds like a rehash of the first self titled Gordian Knot release. The exception is that there are no exclusively mellow songs, save for the live version of Grace. There is also The Brook the Ocean which has a much more traditional Jazz/Rock Fusion sound than any of the debut album. Unfortunately, it comes across as more of an accommodation to the guest percussionist than something unique to the project. The sound mix is almost identical to the debut.
Final Score: The music is good enough that someone hearing this album prior to the debut album might feel it is the stronger of the two. But simple chronology makes Emergent a less important album in the scheme of Progressive Metal/Fusion than Gordian Knot. The star power that Bruford and Hackett bring do nothing other than create a résumé entry for Malone. It is my hope that he realizes his ability as a musician/composer stands on its own without such non-sense. The album is good but not great; welcome but not essential. 3 stars.
Posted Tuesday, September 28, 2010 | Review this album | Report (Review #300814)
Review by b_olariu
Second album Emergent issued in 2003 by this discret band Gordian Knot even featuring well known musicians from prog field is a fairly good offer but in places lacks some soul. Some top notch musicians here, besides the head of the band Sean Malone ex Cynic we have some respected and outstanding musicians like Steve Hackett, Bill Bruford, Sean Reinert ex Death and Paul Masvidal aswell from Death fame, Jim Matheos from Fates warning ,so big line up, but what about the music. Well, the music is quite experimental jazz fusion with progressive metal elements added in the mix, the result is ok, but some passages are aimless IMO. The musicianship is excellent like on Muttersprache by far the best tune from the album, the rest are ok nothing more nothing less. Technical playing , but with aimless arrangements. 3 stars.
Posted Monday, February 18, 2013 | Review this album | Report (Review #915156)
This album is for a very special and particular public: open-minded progressive rock fans that don't mind if an album has a jazzy sound and world music influences. I consider myself as a very open-minded person and that's why I gave this album several tries. It is not easy to get an approach to t ... (read more)
Report this review (#381397) | Posted by kluseba | Sunday, January 16, 2011 | Review Permanlink
Sean Malone is among the most charismatic fretless bass guitarists and most essentially a great musician who loves to experiment. Gordian Knot is basically Malone's personal band. The line-up in "Emergent" is once again all-star, consisting of Malone's present (Paul Masvidal, Sean Reinert ) an ... (read more)
Report this review (#300049) | Posted by DeKay | Wednesday, September 22, 2010 | Review Permanlink
This is an album basicly written by Sean Malone. Sean Malone, known as a member from Cynic, great Tech Death Metal band, made with this project another kind of music. The metal has almost gone and it left an instrumental music made by great musicians. I don't like the term "music for musicians" ... (read more)
Report this review (#278426) | Posted by Priamus | Sunday, April 18, 2010 | Review Permanlink
After the sensational debut of SEAN MALONE'S GORDIAN KNOT,people was asking about the fact how soon a second album will come,better said how fast it will be released?!And this second one EMERGENT called came with major surprises and ,let's be fair,it's much better structured and inspired than ... (read more)
Report this review (#262455) | Posted by Ovidiu | Monday, January 25, 2010 | Review Permanlink
Emergent opens with a bass solo, a slow beautiful piece that sets the mark both thematically and emotionally for the rest of the album. I've heard people claim that Sean Malone's(the mastermind behind Gordian Knot and bass virtuoso of Cynic) works are "soulless" but I can't for the life of me und ... (read more)
Report this review (#252465) | Posted by Lezaza | Tuesday, November 24, 2009 | Review Permanlink
After the amazing debut album Sean Malone decides to impress us even more. The only member who has remained in the line-up (and of course Sean Malone) is Cynic's drummer Sean Reinert. As you may know, Sean Malone was part of Cynic two in their Focus period and the two guitarists from Cynic, Ja ... (read more)
Report this review (#101069) | Posted by sularetal | Thursday, November 30, 2006 | Review Permanlink
Second album from Gordian Knot is excellent. Sean Malone join together Bruford and Hackett talents achieve a great album. First, Malone with jazzistical influences mixed Bruford percussion take the hell to earth. Steve Hackett maestro with classical guitar compositions and sounds put the seed ... (read more)
Report this review (#44123) | Posted by Queno | Wednesday, August 24, 2005 | Review Permanlink
without a doubt this album is a real masterpiece.listen carrefuly and several time and this album show you that is not only a music but an experience.thanks to this band i discover a new music, an intrigate musique technical but melodic.the composition are amazing. ... (read more)
Report this review (#35708) | Posted by | Wednesday, June 8, 2005 | Review Permanlink
By far the best of the two Gordian albums! Lots of great interplay between the guitarists and the composers have worked harder with the compositions and arrangements this time, prouction is also far better. There are some references to Liquid Tension in both composition and arrangement. I like the b ... (read more)
Report this review (#17503) | Posted by Hammar | Thursday, April 1, 2004 | Review Permanlink
A misunderstood album, great ambient sounds and the ability of Malone to compose make his fellows musicians like the sounds and get involved with them. To me is a surprise to hear the cleaningness of the performances and the "battle" of malone and Bruford in "the broke the ocean" is to be noticed by ... (read more)
Report this review (#17502) | Posted by | Thursday, April 1, 2004 | Review Permanlink
Post a review of GORDIAN KNOT "Emergent"


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text:
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redpajama_set_name: RedPajamaCommonCrawl


Starbucks takes a stand…or does it?
Kirk A. Sykes, President of New Boston Fund's Urban Strategy America Fund was recently appointed Chairman of the Board of Directors for the Real Estate Executive Council. Following the announcement, he sat down with GlobeSt to discuss what's next for the organization. You can read Kirk's thoughts here.


The acceptance into the University of Queensland Veterinary School was a pivotal moment, defining the direction of my life ever since. Graduation occurred five years later, and in January 1993 I took my first veterinary job in Bowen, far north Queensland (FNQ to the locals up that way). I then traded the small country town lifestyle in continuous, relentless heat, for the big smoke, moving to Melbourne 2 years later. Thus I was able to enjoy the frosty, wet, changeable, unpredictable horror that is the exclusive right of the weather in that city.
After a short stint in dairy practise in Gippsland (in Traralgon near Moe and Sale) I spent 12 months at the combined specialist, general and emergency afterhours Bundoora Veterinary Clinic in Melbourne's northern suburbs, then six months at the Malvern Veterinary Hospital across the hall from the specialist Animal Eye Clinic (near Toorak in Melbourne's inner east). Despite the fantastic experience gained in Victoria, I felt it was time to see the sun again. I returned to Queensland to work briefly at the Park Ridge Animal Hospital before taking up a position at the Chermside Veterinary Hospital. (Did I mention that I really like sunshine)? I completed a Master of Veterinary Studies in 2000 through Murdoch University in Perth, WA, and after 6 years at Chermside decided that it was time to open my own clinic. On the 6th December 2001 the Warner Vet opened.
In my spare time I like to... I like to... I don't remember.


text:
home Mass Effect 3
videogame_asset Mass Effect 3
Gameplay Effects and Changes
Priority Earth Overhaul Mod
01 December 2020 9:50PM
01 September 2019 5:07PM
Orikon
OrikonTheModder
Models/Meshes
Visual Effects/Particles
Priority: Earth Overhaul Mod is a comprehensive attempt to improve Mass Effect 3's final mission in every way possible, including a vast array of restored cut content, new gameplay elements and various improvements, ranging from bug fixes all the way to whole new cutscenes -- all while being faithful to Bioware's original vision and design.
DLC requirements
DLC name
Extended Cut
Original soundtracks composed by Marcus Hedenberg may NOT be used without strict permission from Mr. Hedenberg himself.
Original soundtrack composed by Corentin Brasart also may NOT be used without strict permission from Mr. Brasart himself.
KKJiro allowed me to use and convert one of his Wwisebank from EGM, located in BioP_End001. Thanks man, you're the best.
This mod is opted-in to receive Donation Points
No translation available on the Nexus
- Fixed an issue where the Parking Door wouldn't open if the Mako got destroyed during the Mako vs. Harvester duel
- Fixed a rare issue where sound would be missing after finishing the Barricade event
- Fixed an issue where the henchmen would briefly unload/disappear after entering the Parking Door
- If a save is reloaded after the Turian room, the Hub Gunship will no longer appear back in it's place despite previously flying away
- The Earth hologram in the Command Room now spins a little faster
Hot-fix: Fixed a compatibility issue with various ending mods.
Changelog for the Ground War Update can be found here: https://drive.google.com/file/d/1tJUqHGG-qDaI6INYrH8iVdmZk5j5LsZz/view?usp=sharing
[Installer Restructuring] JAM, MEHEM and LIME patches have been merged into a single, universal patch, that ensures compatibility across the board and fixes all bugs, but as a price removes PEOM's new Anderson conversation. Vanilla/EC users or users of Vanilla/EC + ThaneMod will still get PEOM's new conversation.
[Installer Restructuring] New set of images for the Atmosphere Update, Original Conduit Run and the new Ending Mods Compatibility option. Credits to Furinax.
Fixed potential looping dialogue with the Catalyst.
Fixed a rare issue where sometimes the Parking Door wouldn't open.
Fixed an age-old issue where some War Assets would appear as duplicate throughout the game.
Mako, APC, building and skybox textures will correctly apply if you install ALOT.
Fixed issues of incompatibility with certain ending mods that was caused when I accidentally left some files in the wrong place.
Fixed all of the broken textures and missing AFC links, reducing the likelihood of any crashes.
Another larger patch, no point in wasting space so here's a Google Docs: https://docs.google.com/document/d/1hmuU2doUJvNap9LfHjJ1KrHM4GI7Z17WVkOHxyOuUdk/edit?usp=sharing
Patch is a real chonker, so here's the full changelog on Google Docs: https://drive.google.com/file/d/1QumcsWwV0Azu_7GRI4WcjSZpWJBfGqz7/view?usp=sharing
Fix for missing textures in the Conduit clouds
Fix for missing Mako/Marine textures during Conduit Run
Fixed some cases where female Alliance textures would be missing
Correction for many broken textures as a result of installing ALOT with PEOM
Fix for some cases of duplicated war assets with EGM installed
Stage is too big. Sorry, won't be posting changelogs for this one. It would take me too much time to write down all the changes for something that won't be read very often.
Changelog for final Stage 1.0 patch, which was also the release version, can be found here: https://docs.google.com/document/d/1GErFWGWtP-erSTsZYD9DxmdDHTxiNWPLOyEFvAo3AFA/edit?usp=sharing
Changelog for Patch 0.9 can be found here: https://docs.google.com/document/d/1KUxNxkHet1ZDGvI_R6oKHhDlU1fROX4HVArimqj_J9M/edit?usp=sharing
First ever patch, containing the biggest number of changes and restored content. Unfortunately, this document got lost in the Void.
Both straight donations and premium membership donations accepted
Donate premium membership
Follow the project on Twitter for latest updates: https://twitter.com/masseffect_peom
Thank you for taking the time to visit the mod page
Please carefully read the Bugs, Compatibility and FAQ section before downloading.
To avoid a "Wall of Text" effect, most sections are under a spoiler window. Expand it to view the information.
PEOM is one of the most detailed, well-crafted mods I've ever seen. - Randy M., @theElusiveEye1
PEOM finishes what Bioware started 8 years ago, by providing a satisfying finale for one of the most popular franchises in gaming culture. At the same time it strictly remains true to Bioware's initial design, established lore and the game's original script. This ensures that playing with PEOM never feels like playing with a mod or a piece of fan-fiction, but rather with an improved original experience.
Complete list of Features (spoiler-free):
Major Features:
Content Restoration: All cut content has been restored. This ranges all the way from simple radio dialogue up to entirely missing cutscene pieces. Some of it is available as an optional add-on during installation.
Updates to all major scenes: Based on cut content and the original script, there are hand-crafted additions and improvements to every cutscene, as well as deeper branching based on your choices, EMS and background.
Temporary Allies: You and your two squadmates are joined by characters such as Grunt and Kirrahe, as well as the Geth who drop down from orbit to assist you. Everyone utilizes their intended dialogue so each combat encounter feels more alive then ever before.
Hub Improvements: Better representation of your acquired allies, both large and small. Also diversified the number, ranks, appearance, gender, animations and arsenal of all soldiers in the Hub.
New Gameplay Elements: Successfully complete objectives in time, or face dire consequences. Your actions will directly impact the life or death of your forces in real time.
New Dialogue: Voice acted radio dialogue for new characters that enriches the experience. As well as radio dialogue from both Mass Effect 2 and 3 for your old and current squadmates, some of which was never heard before.
New Music: Priority: Earth now features unique and fitting music in all places, as well as four new original soundtracks that seamlessly blend into ME3. Head over to the Videos section to listen to them.
War Asset Notifications: Get notified on the status of your armies and which of your War Assets gets damaged or destroyed.
New Level Events: Witness fighters flying by, Harvesters tearing down your forces, gunships raining fire, and much, much more.
Audio Overhaul: 40+ cut SFX pieces have been restored and implemented throughout the mission, creating a far more immersive and audio rich experience.
Visual Overhaul: Major improvements in the art department, which enrich the visual level of detail while remaining true to the original vision. Things like new buildings, fire, smoke and various other particles.
Minor Features:
New Emails, Datapads and Interactable objects: Explore the expanded and solidified narrative surrounding the battle to Retake Earth, taken from Bioware's own writing.
Improved Immersion: Many changes and additions, both small and large, that up to a sense of consistency and immersion. Things like Anderson following you during the Conduit Run, city holograms consistent with the in-game design, the Reaper Destroyer being visible across the level, etc.
Improved Videos: Improvements to Sword, Hammer Landing, Hammer Assault, and Crucible Arrives cinematics -- with new scenes, music, better audio, and more variation based on player choice.
Existing Gameplay Improvements: Streamlined and improved many gameplay elements like horde modes, and re-balanced some enemy spawns for more explosive and adrenaline-pumping gameplay.
Ending Improvements: A new cutscene rendered in 3DS Max that shows your destroyed fleets over Earth in the Refusal Ending, and a teaser for Andromeda in that same ending.
If you're a new user, or don't have much experience installing mods, I strongly encourage you to use my all-in-one installer where you can choose which patches, translations, add-ons and mod versions you wish to install.
For users of Mod Manager, an identical version of the mod is located under Optional Files, which is always up to date with the latest release.
The Autosaves Collection may be downloaded and used with or without PEOM itself.
This mod is not compatible with the following mods:
Extended Final Anderson Conversation
PEOM re-created Anderson's Death Scene on it's own utilizing more advanced modding methods, resulting in a scene that not only flows and plays much better, but actually sticks to Bioware's original script. You can watch it in the Videos section and compare it for yourself.
PEOM is mostly compatible with the following mods:
BackOff
BackOff and PEOM can coexist together and will not create bugs or crash your game, regardless of any other information you may read elsewhere. You will simply not experience BackOff's changes in Priority: Earth.
PEOM is fully compatible with all other major mods, including:
Ambient Audio Overhaul Mod
Immersive Thessia Mod
Expanded Galaxy Mod
Spectre
Project Variety
Omega Hub
Miranda Mod
SP Controller Mod
etc.
For compatibility with any Ending Mod (such as MEHEM, JAM or LIME), select the corresponding patch in the mod's installer. Selecting this option will not give you PEOM's new Anderson Scene, meaning you are free to use Extended Final Anderson Conversation. If you still wish to see the new scene, you can watch it in the Videos section.
Everything is clearly explained and showcased in the installer.
[Important] (!) The cutscene where you take down the Reaper Destroyer is currently bugged. The fix is coming but it will take some time and collaboration with another mod author. In the meantime, in order to let you finish the mission and therefore the game, you will be presented with a text prompt offering to teleport you to the Conduit Run once you hit the button to launch the final set of Thannix missiles. Users who downloaded Ground War on N7 Day or the day after are urged to reinstall.
[Important] (!) ALOT users may want to reduce the LOD count during Priority: Earth.
[Technical limitation] Reloading a save created by exiting the Armor Locker, or any autosave in the Hub, will cause a crash. Don't do that. This is a technical limitations and there's little I can do about it except warn you.
1. Should I install the Original Conduit Run add-on?
A: Only if you strongly dislike the Normandy's presence during the evacuation cutscene from the Extended Cut. This add-on restores and polishes one of the "deleted scenes" first seen in the Final Hours app. Although this original cutscene does provide a viable alternative, it is subpar to the Extended Cut evacuation and far less dramatic and emotional. Regardless, it is a great choice for those who want to see their squadmates survive without the Normandy's interference. And in case your squadmates are destined to meet their doom, this add-on will still play the Extended Cut version of that outcome.
2. Can I install the mod on illegal (pirated) copies of the game?
A: No. And I have no intention of ever making that an option. PEOM is a highly-produced mod designed to blend seamlessly with the rest of the game. Such high standards mean that, in return, users are expected to at least own a legal copy of the game. I understand that Origin can sometimes cause headaches, but Mass Effect 3 is an 8 year old title which can be purchased for a very low price. And if PEOM ever catches the eye of Bioware representatives, it would look bad on the project's record if I freely distributed it to pirates.
3. Is this a beta? I heard it's a beta.
A: No. With the release of the Ground War update, Priority: Earth Overhaul Mod is in a complete state. I will continue to support the mod with compatibility patches for any future mods.
4. What installation order should I use for content mods such as EGM, ME3Recalibrated, PEOM, Spectre, etc.?
A: Installation order with Mass Effect 3's content mods is mostly irrelevant, with the exception of texture mods such as ALOT which must always be installed last. Large content mods are typically installed first, such as Expanded Galaxy Mod, because many other smaller mods are built against them and may auto-configure their installation depending on if the installer sees them installed.
5. Do I need to start a new playthrough?
A: No. PEOM, and all of it's features, function perfectly regardless of your playthrough's status.
6. Is PEOM lore-friendly?
Short A: Absolutely, 100%.
Long A:
PEOM is fully lore-friendly. The reason for that is because the majority of PEOM's changes stem from:
a) Content that was already in the files, which either wasn't used or was in a fragmented state and had to be put back together (e.g. radio dialogue, the new temporary squadmates, missing cutscenes, etc.)
b) New content, which was interpreted based on the script inside the files or the game's original script from 2011 (e.g. Garrus' new intro, Primarch Victus, Anderson's cutscene after taking down the Reaper Destroyer, etc.). The scripts always contain detailed descriptions of camera angles, character gestures and emotions -- so the interpretations closely match what Bioware's cinematic designers had in mind.
c) New content that aims to give better explanation, context and/or meaning to what is already happening on-screen. For instance, a health bar for the Mako during the Mako vs. Harvester duel.
There are two pieces of content which are a completely new creation, but even they are taken from the established lore. For instance, the Destiny Ascension event was created based on the fact that the DA is not seen in any of the endings. Or the new emails/holograms portraying the assaults on other cities, which are taken directly from Bioware's writing as well. Specifically, they're taken from Operation: Lodestar which in the MP Narrative was clearly meant to be a Priority: Earth tie-in.
7. Yo, I reported this problem at [insert date] but nobody has fixed it.
A: Either:
a) You failed to properly specify the location, time and nature of your problem.
b) The problem is user error and cannot be mass replicated among the majority of users.
c) This was already addressed and is not a bug or error.
8. Is PEOM a solo project or a team effort?
A: I actually get this question a lot. PEOM is 90% my solo project, with the remaining 10% going to the people who created compatibility patches, helped me fix bugs, made translations, Mgamerz who worked on patch 1.5.2 and my incredibly talented music composer (Marcus) and my 3D animator (Furinax). To see everyone who contributed to the project, please check out the Special Thanks section below.
9. Any tips or recommendations?
A: Yes! Lower your game brightness to -2 or -3. London is meant to be a night mission, which is visible in pretty much all pre-rendered cutscenes, but the gameplay doesn't really reflect that. Unfortunately, lowering a level's brightness is well beyond my capabilities (trust me, I really tried). But you can lower your game's overall brightness to make the mission more immersive. In fact, I personally play the entirety of the game with -2 brightness. I feel like the default brightness just doesn't suit the game that much.
10. Why aren't there more separate uploads for language translations?
A: PEOM already contains subtitle translations for most languages in it's installer and Mod Manager versions, but I will only authorize separate uploads if the translator localized the audio too, which is possible via a tool in ME3Explorer 4.0 and above. So far, the only language which has been both translated and localized is Autoola's German version.
11. When is update/version X coming out?
A: I can never know that definitively. Modding is quite an unpredictable process -- there are hundreds of moving pieces at once. Many things can go right and many things can unexpectedly go wrong. This, combined with my tendency for perfectionism and the fact that modding is not my biggest priority, means that I can only give vague predictions based on far off I am in development. Even those predictions are often wrong because of the things I just mentioned.
Other Recommended Mods
If you're new to modding ME3, this is a list of the 13 most highly-produced and most lore-friendly mods created so far.
I personally guarantee you that none of mods from this list feel like "fan-fiction edits" or contain subjective and personal changes. Each of them brings vast improvements in their respected areas, and allow you to remaster and bring Mass Effect 3 into the current generation of games.
Combined together, these mods elevate ME3 into one of the best and most well-designed gaming experiences you can have.
It's quite a bold statement, but I fully stand by it and I invite everyone to try them out and see for themselves.
ALOT - Vanilla-friendly, and exhaustive graphical overhaul mod for ME3
ALOV - Upscales all pre-rendered cinematics using neural network technology
 Expanded Galaxy Mod - Adds a huge number of changes to improve the gameplay of Mass Effect 3
Spectre Expansion Mod - Vastly improves and expands Spectre and Shadow Broker Terminals
Bonus Power Pack - Adds several powers from Multiplayer for greater player choice.
ME3Recalibrated - An "Unofficial Patch" in style of the "Unofficial Patch for Skyrim"
Immersive Thessia Mod - Gives Thessia the "warzone" and adrenaline-pumping vibe which the mission lacks.
Ambient Audio Overhaul Mod - Restores ambient audio that was either cut or too quiet for most missions in ME3.
Miranda Mod - Restored Miranda's presence on the Normandy after a certain mission
Omega Hub - Adds a new Hub after a certain mission.
SinglePlayer Native Controller Support - Support for controllers in singleplayer with native controller UI's and scaling for TV/4K
Interface Scaling Mod - Scales up the interface for use on high resolution displays and TVs. Makes ME3 on 4K a pleasure to use again
No Instant Power Casting for Henchmen - Self-explanatory, makes combat more immersive
George Szilagy - Major Kirrahe
Marcus Hedenberg - Reaper Destroyer
Samantha Bodnar - "Hub Radio Girl"
Rosie Alldred - Rose Mainer
"Red" - Captain Hart
"Quarters" - Mako Pilot
Corentin Brasart - "The Assault Begins" [Link to portfolio]
Marcus Hedenberg - "Doesn't Look Like Home Anymore", "The Crucible Arrives", "Destroyer Terminated" [Link to portfolio]
Soundtracks can be listened to in the Videos section.
Special Thanks / Additional Credits
This mod wouldn't have gotten anywhere without the amazing support of my mentors (Giftfish and Kinkojiro), other modders, and several incredibly talented and kind people. Proper credits are due.
Giftfish/moho25: For everything. From my baby steps all the way to my most complex problems, Giftfish has been there for me. Her endless patience, support and understanding, altruism and her ability to teach have been solely responsible for getting me this far, and without her this mod likely wouldn't even exist.
Kinkojiro: For offering me technical support, troubleshooting, working on the PEOM/EGM compatibility, always jumping in to prevent some big disaster and offer a solution, and being a loyal and mature friend who I could always rely on. Solely responsible for solving some of my hardest bugs. I've known you for 5 years and it has been a pleasure to be your friend. You're the man.
Mgamerz: For his dedication to developing the modding toolset. For countless technical support, fulfilling our requests in toolset development, teaching me pretty much all I know about Pathing in ME3, providing endless entertainment with his iconic laugh, and especially for caring about the user experience above all else. I really need to make a compilation of him laughing.
Update: Special thanks for volunteering to temporarily pick up PEOM's development and finish patch 1.5.2.
SirCxyrtyx: SirCxyrtyx is a true Paragon through and through. After returning to the modding scene to assist in the toolset's development, she has been nothing but an incredibly helpful and dedicated in making modding so much easier and fun. With request granting, quality of life improvements, and new features just on her most recent resume, SirCxyrtyx is arguably the modding scene's biggest unsung heroine.
Furinax: For his mind-blowing talent with 3DS Max which he used to create the Extended Refusal Cinematic and PEOM's animated intro, the logos you see on the mod page, voice acting, 2.0/Ground War promotional material, and artwork for the installer and AAOM. Can somebody please hire him as an animator already? Thanks.
N7Hadrorex: For being an amazing assistant during the AAOM/ITM/Ground War development period, a great video editor, providing the excellent video recordings and screenshots, and on top of that being an amazing friend and source of laughs and support during hard times.
Autoola: For being an incredible friend, working tirelessly on not only translating subtitles but also audio localizing every single piece of dialogue into German, for bringing her unique skill-set and talents to solve some of PEOM's most challenging obstacles, and also for putting up with me and being patient. She is also solely responsible for the improvements to Anderson's Death Scene in patch 1.5.2 and 1.5.3.
Audemus: For one of the pre-rendered movies, and for the incredible promotional artwork and other marketing content created for PEOM's Stage 1.5. Check out his ALOV mod series!
Seclaris: For providing the amazing screenshots and video recordings used on the ITM/AAOM mod page, as well as the backdrops for the Ground War promotional posters!
Additionally: Textures for the Turian Ghost and Female Alliance armors, as well as the models for new Earth and London hologram, created by Mellin. Translation and localization was made possible thanks to Autoola (German), Lieb38 (French), AssertingLight (Polish), Furinax (Spanish), and arodix5 (Russian).
________________________________________________________________________________________________________________________________________________________________
Legacy list:
The list below is deprecated, contains some false information, and does not reflect the actual contributions made to the project. This list was originally written for the purposes of team cohesion, in order to prevent people in the Discord server from feeling left out or unappreciated. Therefore, many of their contributions were either made up or exaggerated, as is evident by the existence of several "Lead Writers", "Lead Audio Editors", and "Lead QA's" in the same time period. People from this list who did contribute and their true contributions are listed and described in the Special Thanks section above.
Team Credits
Orikon – Project Lead
Audemus - Project's 2nd in Command, Lead Writer, Video Editing,
Installer Creation, Voice Acting, Testing, Promotional Artwork (2018 - 2019)
Mellin – Lead Artist, Meme Supply (2017 - 2019)
KaossTheory – Lead Audio Editor (2017 - 2019)
marchedenberg - Composer, Lead Audio Editor (2019)
Reynaud – Lead Writer, Voice Actor (2017 - 2019)
Furinax – 3D Animator (2017 - 2019)
Scottina123 - QA, Project Variety integration, Orikon's apprentice
Deadspear – Lead QA (2017 - 2019)
Sil/Tydeous – QA, Lead Writer (2017 - present)
BladeZero – Lead QA (2018 - present)
IceHawk - QA (2017 - 2018)
ravager - Development Assistance (present)
HughesMDflyer4 - 3D polishing (2018)
French Translation and Localization: Lieb38
Polish Translation and Localization: AssertingLight
Spanish Translation and Localization: Furinax
German Translation and Localization: Autoola
Russian Translation and Localization: arodix5
Stage 1.5 QA (May - August 2019):
Arterious, AssertingLight, Gabe8, kayyyiciii, BladeZero, Cilivization, AmCath, med103, MrInvisible, Eaglemf, Ultaro, Tavrinth the Gay, Gato Gris, SuperSugarDave, Fernando Martinez, Lieb38, alexei, glowstick, Johenheimer, Rheinance, Solo, Wisegal, GreatTreeJam, I_RubiiX, Jack x Package, Radamath77.
Voice Acting: Emilio, Quarters, Killerband4256, Red, Reynaud, Audemus, Christina_Sherman, Fairfieldfencer


Greenwood, Indiana dentists Dr. Shane and Patricia New practice a full scope of general and cosmetic dentistry with expertise ranging from porcelain veneers to crowns and bridges. They can correct a wide variety of so-called permanent cosmetic dental problems, and can literally redesign your smile.
Drs. New and staff are committed to the total oral health of each patient, including the prevention and treatment of disease, and cosmetic dentistry to maximize aesthetics. Thorough diagnosis, communicated clearly in conjunction with current information and appropriate education will empower patients to make informed decisions regarding their dental care. We will provide excellent dental care using state-of-the-art equipment in a relaxed atmosphere of mutual trust and respect.
General and cosmetic dentistry can give you a smile you're happy to show off. Modern cosmetic dentistry techniques make it easier than ever for you to have a bright, healthy smile.
Lets start on getting your smile back! Call us today with any questions.
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Dental anxiety may be mild to moderate, and often takes the form of a general sense of worry and apprehension when thinking about an upcoming procedure.


text:
Oil and gas discovery south of the Brage field in the North Sea - 31/7-1 and 31/7-1 A
Transocean Arctic (Transocean Offshore Deepwater Drilling Inc.) (Semisub)
Faroe Petroleum Norge AS, operator of production licence 740, has concluded the drilling of wildcat well 31/7-1 and appraisal well 31/7-1 A. 31/7-1 proved oil and gas and 31/7-1 A delineated the discovery. The wells were drilled 13 kilometres south of the Brage field in the North Sea. The primary exploration target for the wells was to prove and delineate petroleum in Middle Jurassic reservoir rocks (the Fensfjord formation). The secondary exploration target was also in Middle Jurassic reservoir rocks (the Brent group) and the third exploration target was in the Lower Jurassic (the Cook formation and the Statfjord group). 31/7-1 encountered a gas column of about 18 metres and an oil column of about 21 metres in sandstone in the Middle Jurassic Fensfjord formation. Reservoir quality is good. Well 31/7-1 A, which delineated the discovery, encountered a gas column of 6 metres and an oil column of 25 metres at levels equivalent to those of the discovery well. The secondary and third exploration targets were dry. Preliminary estimates indicate that the size of the discovery is between 6.8 and 12.7 million standard cubic metres (Sm3) of recoverable oil equivalents. The wells were not formation-tested, but extensive data acquisition and sampling have been carried out. The licensees will assess tie-in of the discovery to existing infrastructure on the Brage field. The wells are the first and second exploration wells in production licence 740, which was awarded in APA 2013. Well 31/7-1 was drilled to a vertical depth of 2750 metres below the sea surface, and was terminated in the Statfjord group in the Lower Jurassic. Well 31/7-1A was drilled to a vertical depth of 2270 metres below the sea surface, and was terminated in the Fensfjord formation in the Middle Jurassic. Water depth at the site is 140 metres. The wells will now be permanently plugged and abandoned. The wells were drilled by the Transocean Arctic drilling facility, which will now drill wildcat well 36/7-4 in production licence 636 in the North Sea, where ENGIE E&P Norge AS is the operator.
Source: http://www.npd.no/en/news/Exploration-drilling-results/2016/317-1-og-317-1-A/
Hurricane Energy plc, the UK-based oil and gas company focused on hydrocarbon resources in naturally fractured basement reservoirs, is pleased to announce that it has commenced the mobilisation process for the Transocean 'Sedco 712' semi-submersible drilling rig. The planne


text:
describe('Underscore mixins', function () {
  describe('ensurePath', function () {
    var noop, addFull, addPart, addArray;
    var path = ["foo", "bar", "baz"];
    noop = {foo: {bar: {baz: {}}}, qux: 1}
    addFull = {qux: 1};
    addPart = {foo: {}, qux: 1};
    addArray = {foo: {}, qux: 1};

    it('should ensure a path that already exists', function () {
      _.ensurePath(noop, path);
      return expect(noop).deep.equal({foo: {bar: {baz: {}}}, qux: 1});
    })

    it('should ensure a path that does not exist', function () {
      _.ensurePath(addFull, path);
      return expect(addFull).deep.equal({foo: {bar: {baz: {}}}, qux: 1});
    })

    it('should ensure a path that partly exists', function () {
      _.ensurePath(addPart, path);
      return expect(addPart).deep.equal({foo: {bar: {baz: {}}}, qux: 1});
    })

    it('should ensure a path that terminates in an array', function () {
      _.ensurePath(addArray, path, []);
      return expect(addArray).deep.equal({foo: {bar: {baz: []}}, qux: 1});
    })
  })

  describe('soak', function () {
    var obj = {
      nested: {
        deep: 1,
        fn: function (arg) { return arg },
        get: function (key) {
          if (key === 'passed') return true;
          return false;
        },
        getHash: function () {
          return {another: {nested: 3}};
        },
      },
    };

    it('should return null for a nonexistant path', function () {
      expect(_.soak(obj, 'nested.nope.bar')).to.be.undefined;
    })

    it('should return the correct value for a nested path', function () {
      return expect(_.soak(obj, 'nested.deep')).equal(1);
    })

    it('should call a function with the passed arg', function () {
      return expect(_.soak(obj, 'nested.fn', 2)).equal(2)
    })

    it('should call a getter', function () {
      return expect(_.soak(obj, 'nested.@passed')).true;
    })

    it('should call an intermediate function', function () {
      return expect(_.soak(obj, 'nested.getHash().another.nested')).to.equal(3);
    })
  })

  describe('soakApply', function () {
    var obj = {
      nested: {
        noArgs: function () {
          return 1
        },
        fn: function (arg) { return arg },
        get: function (key) {
          if (key === 'passed') return true;
          if (key === 'subObject') return {
            method: function () {
              return 'calledSubObjectMethod'
            },
          }
          return false;
        },
        getHash: function () {
          return {another: {nested: function () {
            return 3
          }}};
        },
      },
    };

    it('should return null for a nonexistant path', function () {
      expect(_.soakApply(obj, 'nested.nope.bar')).to.be.undefined;
    })

    it('should return the correct value for a nested path with no arguments', function () {
      return expect(_.soakApply(obj, 'nested.noArgs')).equal(1);
    })

    it('should call a function with the passed arg', function () {
      return expect(_.soakApply(obj, 'nested.fn', [2])).equal(2)
    })

    it('should call a getter', function () {
      return expect(_.soakApply(obj, 'nested.@subObject.method')).equal('calledSubObjectMethod');
    })

    it('should call an intermediate function', function () {
      return expect(_.soakApply(obj, 'nested.getHash().another.nested')).to.equal(3);
    })
  })

  describe('soakCall', function () {
    var obj = {
      nested: {
        noArgs: function () {
          return 1
        },
        add: function (a, b) {
          return a + b;
        },
        fn: function (arg) { return arg },
        get: function (key) {
          if (key === 'passed') return true;
          if (key === 'subObject') return {
            method: function () {
              return 'calledSubObjectMethod'
            },
          }
          return false;
        },
        getHash: function () {
          return {another: {nested: function () {
            return 3
          }}};
        },
      },
    };

    it('should return null for a nonexistant path', function () {
      expect(_.soakCall(obj, 'nested.nope.bar')).to.be.undefined;
    })

    it('should return the correct value for a nested path with no arguments', function () {
      return expect(_.soakCall(obj, 'nested.noArgs')).equal(1);
    })

    it('should call a function with the passed arg', function () {
      return expect(_.soakCall(obj, 'nested.fn', 2)).equal(2)
    })

    it('should call a function with two passed args', function () {
      return expect(_.soakCall(obj, 'nested.add', 2, 3)).equal(5)
    })

    it('should call a getter', function () {
      return expect(_.soakCall(obj, 'nested.@subObject.method')).equal('calledSubObjectMethod');
    })

    it('should call an intermediate function', function () {
      return expect(_.soakCall(obj, 'nested.getHash().another.nested')).to.equal(3);
    })
  })

  describe('compactNullish', function () {
    it('should remove null and undefined', function () {
      return expect(_.compactNullish(['', true, undefined, false, null, 0, 1, 'foo'])).to.deep.equal(['', true, false, 0, 1, 'foo'])
    })
  })

  describe('deepClone', function () {
    var obj = {foo: ['bar']};
    it('should return a the correct data', function () {
      return expect(_.deepClone(obj)).deep.equal({foo: ['bar']});
    })

    it('should not reflect modifications after cloning', function () {
      var copy = _.deepClone(obj);
      obj.foo[0] = 'zip;'
      return expect(copy).deep.equal({foo: ['bar']});
    })
  })

  describe('concat', function () {
    it('should concat obj and arrays together', function () {
      return expect(_.concat([1, 2], 3, [4, 5])).deep.equal([1, 2, 3, 4, 5]);
    })
  })

  describe('mapBySoak', function () {
    var array = [
      {nested: {foo: 1}},
      {},
      {nested: {bar: 1}},
    ];
    it('should do soak on each element', function () {
      return expect(_.mapBySoak(array, 'nested.foo')).deep.equal([1, undefined, undefined])
    })
  })

  describe('filterBySoak', function () {
    var Ctor = BaseObject.extend({
      check: function (otherValue) {
        return otherValue === this.value; // eslint-disable-line fieldbook/no-nested-this
      },
    }).addProperties('value', 'name', 'smart');

    var arr = [
      {foo: new Ctor({value: 12, smart: true, name: 'Alice'})},
      {foo: new Ctor({value: 12, smart: false, name: 'Bob'})},
      {foo: new Ctor({value: 13, smart: true, name: 'Carlos'})},
      {foo: new Ctor({value: 12, smart: true, name: 'Debbie'})},
      {foo: new Ctor({value: 13, smart: false, name: 'Elvis'})},
    ]

    it('should handle missing member', function () {
      return expect(_.filterBySoak(arr, 'bar.check', 12)).deep.equal([]);
    })

    it('should handle missing method', function () {
      return expect(_.filterBySoak(arr, 'foo.validate', 12)).deep.equal([]);
    })

    it('should handle method call', function () {
      return expect(_.mapBySoak(_.filterBySoak(arr, 'foo.check', 12), 'foo.name')).deep.equal(['Alice', 'Bob', 'Debbie']);
    })

    it('should handle property access', function () {
      return expect(_.mapBySoak(_.filterBySoak(arr, 'foo.smart'), 'foo.name')).deep.equal(['Alice', 'Carlos', 'Debbie']);
    })
  })

  describe('bySoak methods', function () {
    var soakString = 'foo.bar.baz()'
    var makeArray = function (inputArray) {
      return inputArray.map(function (val, i) {
        return {foo: {bar: {baz: _.constant(val)}}, index: i};
      });
    }

    describe('rejectBySoak', function () {
      it('should return the correct elements', function () {
        var arr = makeArray([true, false, false, true])
        return expect(_.pluck(_.rejectBySoak(arr, soakString), 'index')).deep.equal([1, 2])
      })
    })

    describe('findBySoak', function () {
      it('should return the correct element', function () {
        var arr = makeArray([false, false, false, true])
        return expect(_.findBySoak(arr, soakString).index).equal(3);
      })
    })

    describe('findIndexBySoak', function () {
      it('should return the correct index', function () {
        var arr = makeArray([false, false, false, true])
        return expect(_.findIndexBySoak(arr, soakString)).equal(3);
      })
    })

    describe('everyBySoak', function () {
      it('should return false', function () {
        var arr = makeArray([false, false, false, true])
        return expect(_.everyBySoak(arr, soakString)).false
      })

      it('should return true', function () {
        var arr = makeArray([true, true, true, true])
        return expect(_.everyBySoak(arr, soakString)).true
      })
    })

    describe('someBySoak', function () {
      it('should return true', function () {
        var arr = makeArray([false, false, false, true])
        return expect(_.someBySoak(arr, soakString)).true
      })

      it('should return false', function () {
        var arr = makeArray([false, false, false, false])
        return expect(_.someBySoak(arr, soakString)).false
      })
    })
  })

  describe('mapMethod', function () {
    var obj = {
      bar: 2,
      meth: function (item) {
        var self = this;
        return self.bar + item; // eslint-disable-line fieldbook/no-nested-this
      },
    }

    it('shoudl call the method with correct this', function () {
      return expect(_.mapMethod([1, 2], obj, 'meth')).deep.equal([3, 4])
    })
  })

  describe('stencil', function () {
    it('should replace data correctly', function () {
      return expect('foo {{name}}'.stencil({name: 'bar'})).equal('foo bar');
    })
  })

  describe('applyMethod', function () {
    var result, obj = {
        method: function (x, y, z) {
          var self = this;
          self.x = x;
          return [y, z];
        },
      };

    before(function () {
      result = _.applyMethod(obj, 'method', [1, 2, 3]);
    })

    it('should have the side effect', function () {
      return expect(obj.x).equal(1);
    })

    it('should have the correct result', function () {
      return expect(result).deep.equal([2, 3]);
    })
  })
})

redpajama_set_name: RedPajamaGithub


Ag United :: A good excuse to eat bacon..
October is one of the best months of the year. In addition to including great things like fall weather and Halloween, it's also pork month!
It's true that bacon makes everything better, but there are lots of other cuts of pork that you can make part of your meal rotation. Roasts, ribs, and chops are easy to make once you've got a good recipe, and they are delicious. Ground pork is a product that you don't hear as much about, but is slowly becoming one of my favorites. It's as easy to use as ground beef and just as versatile. You can find lots of great recipes on the Pork Be Inspired Website.
If bacon isn't your style, or you're looking for healthier ways to include pork in your meal, six cuts of pork are considered lean by the USDA. One serving of pork tenderloin has just 120 calories! Eating protein helps also helps you feel full longer than other food options. Additionally, pork includes nutrients like zinc and iron that are important for building lean muscle.
In South Dakota we have 600 farms that raise over a million pigs each year. Thanks to the farmers and processing plants in our state, we have quality, inexpensive, local pork in abundance! New technology aids in making sure that you have quality pork on your table. Temperature controlled barns keep animals comfortable and healthy. No matter the type of pork you buy, you can be sure that farmers are just as concerned about health and quality as you are. After all, farmers use their product to feed their own family as well.
This October join us in celebrating pork month. It's a good excuse to add a little bacon to any meal.