<?xml version="1.0"?>
<oembed><version>1.0</version><provider_name>New Noise Magazine</provider_name><provider_url>https://newnoisemagazine.com</provider_url><author_name>Addison Herron-Wheeler</author_name><author_url>https://newnoisemagazine.com/author/addison/</author_url><title>Fear of a Queer Planet: Interview with Obsidian Kingdom Keyboardist, Judit &#x2013; New Noise Magazine</title><type>rich</type><width>600</width><height>338</height><html>&lt;blockquote class="wp-embedded-content" data-secret="7w2IC4mSrk"&gt;&lt;a href="https://newnoisemagazine.com/interviews/fear-of-a-queer-planet-interview-with-obsidian-kingdom-keyboardist-judit-2/"&gt;Fear of a Queer Planet: Interview with Obsidian Kingdom Keyboardist, Judit&lt;/a&gt;&lt;/blockquote&gt;&lt;iframe sandbox="allow-scripts" security="restricted" src="https://newnoisemagazine.com/interviews/fear-of-a-queer-planet-interview-with-obsidian-kingdom-keyboardist-judit-2/embed/#?secret=7w2IC4mSrk" width="600" height="338" title="&#x201C;Fear of a Queer Planet: Interview with Obsidian Kingdom Keyboardist, Judit&#x201D; &#x2014; New Noise Magazine" data-secret="7w2IC4mSrk" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"&gt;&lt;/iframe&gt;&lt;script&gt;
/*! This file is auto-generated */
!function(d,l){"use strict";l.querySelector&amp;&amp;d.addEventListener&amp;&amp;"undefined"!=typeof URL&amp;&amp;(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&amp;&amp;!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i&lt;o.length;i++)o[i].style.display="none";for(i=0;i&lt;a.length;i++)s=a[i],e.source===s.contentWindow&amp;&amp;(s.removeAttribute("style"),"height"===t.message?(1e3&lt;(r=parseInt(t.value,10))?r=1e3:~~r&lt;200&amp;&amp;(r=200),s.height=r):"link"===t.message&amp;&amp;(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&amp;&amp;n.host===r.host&amp;&amp;l.activeElement===s&amp;&amp;(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r&lt;s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document);
//# sourceURL=https://newnoisemagazine.com/wp-includes/js/wp-embed.min.js
&lt;/script&gt;
</html><thumbnail_url>https://newnoisemagazine.com/wp-content/uploads/2022/02/obsidian-kingdom-e1606680342923.jpg</thumbnail_url><thumbnail_width>1</thumbnail_width><thumbnail_height>1</thumbnail_height><description>Obsidian Kingdom came on the scene to shake things up in many different ways. Their music is unclassifiable, falling somewhere between sludgy doom and proggy rock, with plenty of analog keyboard influence and retro flair, and their latest record, MEAT MACHINE, out now, is a surreal, neon masterpiece. Another, often less-talked-about fact is that Obsidian [&hellip;]</description></oembed>
