<?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>Christopher Harrington</author_name><author_url>https://newnoisemagazine.com/author/harrington/</author_url><title>Album Review: Camel of Doom - 'Terrestrial' &#x2013; New Noise Magazine</title><type>rich</type><width>600</width><height>338</height><html>&lt;blockquote class="wp-embedded-content" data-secret="EuNEcKfsm2"&gt;&lt;a href="https://newnoisemagazine.com/reviews/review-camel-doom-terrestrial-2/"&gt;Album Review: Camel of Doom &#x2013; &#x2018;Terrestrial&#x2019;&lt;/a&gt;&lt;/blockquote&gt;&lt;iframe sandbox="allow-scripts" security="restricted" src="https://newnoisemagazine.com/reviews/review-camel-doom-terrestrial-2/embed/#?secret=EuNEcKfsm2" width="600" height="338" title="&#x201C;Album Review: Camel of Doom &#x2013; &#x2018;Terrestrial&#x2019;&#x201D; &#x2014; New Noise Magazine" data-secret="EuNEcKfsm2" 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/2022/03/Camel-of-Doom-Terrestrial-1.jpg</thumbnail_url><thumbnail_width>1</thumbnail_width><thumbnail_height>1</thumbnail_height><description>Camel of Doom Terrestrial (Solitude Productions) England&#x2019;s sand-planet sludge makers Camel of Doom invest their time into pace. Their journey relies on connection: they way they line up tensions accurately in tight quadrants. Given that their sound is extremely glacial, this is an important construct to their success. It makes the long and often extended [&hellip;]</description></oembed>
