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Since my sore back won't let me shovel snow ...
I turned some of last summer's Jostaberry harvest into jam.
Now the jars are popping reassuringly as they seal.
Got to do something 😉. -
Since my sore back won't let me shovel snow ...
I turned some of last summer's Jostaberry harvest into jam.
Now the jars are popping reassuringly as they seal.
Got to do something 😉. -
Since my sore back won't let me shovel snow ...
I turned some of last summer's Jostaberry harvest into jam.
Now the jars are popping reassuringly as they seal.
Got to do something 😉. -
Since my sore back won't let me shovel snow ...
I turned some of last summer's Jostaberry harvest into jam.
Now the jars are popping reassuringly as they seal.
Got to do something 😉. -
Book Review: George’s Marvellous Medicine by Roald Dahl
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Roald Dahl’s classic children’s novel, George’s Marvellous Medicine.
Click the image to find the bookGeorge’s Marvellous Medicine was published in 1981 by Puffin Books and is 96 pages long.
The Plot
George, tired of his grandma’s constant nagging, grumpy mood and mean-spirited comments, decides to make his own medicine to replace the one she takes regularly. His concoction, made from an outrageous blend of household items that range from shampoo to animal pills, sets off a series of fantastical events, transforming Grandma in unexpected and hilarious ways.Characters
George Kranky
George is a resourceful and inventive child who invents a special mixture, or medicine, hoping to teach his mean and grumpy grandma a lesson. Despite his mischievous nature, George has a good heart and only wants to help his family. His determination and quick thinking make him a lovable protagonist that readers will root for throughout the book.Grandma
Grandma is a cantankerous old lady and serves as the book’s antagonist. She has a foul temper and is incredibly demanding, making life difficult for poor George. She is stubborn and ungrateful, constantly belittling him and calling him a liar. However, although her character has no redeeming qualities, she does add humour to the story with her exaggerated behaviour and outrageous reactions to George’s antics.Mr Kranky and Mrs Kranky
Mrs Kranky, at first deeply cares for Grandma, not wanting her to come to harm, but when Grandma finally shrinks away, she feels relieved and that a burden has been lifted from her.Mr Kranky sees a business opportunity in George’s medicine when he witnesses its effects on the farm animals and attempts to recreate it, hoping to sell it to other farmers, while showing no regard for the consequences.
Writing Style
Dahl’s writing style is characteristically playful, vividly descriptive, and effortlessly humorous. His prose is rhythmic, making it especially enjoyable to read aloud. His knack for capturing the imagination of young readers while entertaining adults with subtle satire remains unmatched.His characters, particularly George and Grandma, are painted in bold strokes with clear personalities, allowing readers to easily cheer for the underdog and recoil from the villain.
Illustrations
Quentin Blake’s iconic illustrations are an inseparable part of Dahl’s storytelling. Each illustration complements the text, bringing the characters and their exaggerated mannerisms to life. Blake’s unique, sketch-like style captures the whimsy and chaos of the story perfectly.Final Thoughts
Overall, George’s Marvellous Medicine stands out as a wonderfully entertaining read for children and adults alike, brilliantly showcasing Roald Dahl’s mastery in creating stories that are both captivatingly funny and gently provocative.Whether you’re rereading this classic as an adult or reading it for the first time, it’s impossible not to be captivated by George’s Marvellous Medicine. It’s not just a book—it’s a bottle of laughter, a pinch of chaos, and a spoonful of childhood nostalgia.
Thank you, as ever, for reading my review!
Until next time,
George
© 2026 GLT
#Blake #bookReview #GeorgeSMarvellousMedicine #magic #review #RoaldDahl -
Book Review: George’s Marvellous Medicine by Roald Dahl
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Roald Dahl’s classic children’s novel, George’s Marvellous Medicine.
Click the image to find the bookGeorge’s Marvellous Medicine was published in 1981 by Puffin Books and is 96 pages long.
The Plot
George, tired of his grandma’s constant nagging, grumpy mood and mean-spirited comments, decides to make his own medicine to replace the one she takes regularly. His concoction, made from an outrageous blend of household items that range from shampoo to animal pills, sets off a series of fantastical events, transforming Grandma in unexpected and hilarious ways.Characters
George Kranky
George is a resourceful and inventive child who invents a special mixture, or medicine, hoping to teach his mean and grumpy grandma a lesson. Despite his mischievous nature, George has a good heart and only wants to help his family. His determination and quick thinking make him a lovable protagonist that readers will root for throughout the book.Grandma
Grandma is a cantankerous old lady and serves as the book’s antagonist. She has a foul temper and is incredibly demanding, making life difficult for poor George. She is stubborn and ungrateful, constantly belittling him and calling him a liar. However, although her character has no redeeming qualities, she does add humour to the story with her exaggerated behaviour and outrageous reactions to George’s antics.Mr Kranky and Mrs Kranky
Mrs Kranky, at first deeply cares for Grandma, not wanting her to come to harm, but when Grandma finally shrinks away, she feels relieved and that a burden has been lifted from her.Mr Kranky sees a business opportunity in George’s medicine when he witnesses its effects on the farm animals and attempts to recreate it, hoping to sell it to other farmers, while showing no regard for the consequences.
Writing Style
Dahl’s writing style is characteristically playful, vividly descriptive, and effortlessly humorous. His prose is rhythmic, making it especially enjoyable to read aloud. His knack for capturing the imagination of young readers while entertaining adults with subtle satire remains unmatched.His characters, particularly George and Grandma, are painted in bold strokes with clear personalities, allowing readers to easily cheer for the underdog and recoil from the villain.
Illustrations
Quentin Blake’s iconic illustrations are an inseparable part of Dahl’s storytelling. Each illustration complements the text, bringing the characters and their exaggerated mannerisms to life. Blake’s unique, sketch-like style captures the whimsy and chaos of the story perfectly.Final Thoughts
Overall, George’s Marvellous Medicine stands out as a wonderfully entertaining read for children and adults alike, brilliantly showcasing Roald Dahl’s mastery in creating stories that are both captivatingly funny and gently provocative.Whether you’re rereading this classic as an adult or reading it for the first time, it’s impossible not to be captivated by George’s Marvellous Medicine. It’s not just a book—it’s a bottle of laughter, a pinch of chaos, and a spoonful of childhood nostalgia.
Thank you, as ever, for reading my review!
Until next time,
George
© 2026 GLT
#Blake #bookReview #GeorgeSMarvellousMedicine #magic #review #RoaldDahl -
Book Review: George’s Marvellous Medicine by Roald Dahl
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Roald Dahl’s classic children’s novel, George’s Marvellous Medicine.
Click the image to find the bookGeorge’s Marvellous Medicine was published in 1981 by Puffin Books and is 96 pages long.
The Plot
George, tired of his grandma’s constant nagging, grumpy mood and mean-spirited comments, decides to make his own medicine to replace the one she takes regularly. His concoction, made from an outrageous blend of household items that range from shampoo to animal pills, sets off a series of fantastical events, transforming Grandma in unexpected and hilarious ways.Characters
George Kranky
George is a resourceful and inventive child who invents a special mixture, or medicine, hoping to teach his mean and grumpy grandma a lesson. Despite his mischievous nature, George has a good heart and only wants to help his family. His determination and quick thinking make him a lovable protagonist that readers will root for throughout the book.Grandma
Grandma is a cantankerous old lady and serves as the book’s antagonist. She has a foul temper and is incredibly demanding, making life difficult for poor George. She is stubborn and ungrateful, constantly belittling him and calling him a liar. However, although her character has no redeeming qualities, she does add humour to the story with her exaggerated behaviour and outrageous reactions to George’s antics.Mr Kranky and Mrs Kranky
Mrs Kranky, at first deeply cares for Grandma, not wanting her to come to harm, but when Grandma finally shrinks away, she feels relieved and that a burden has been lifted from her.Mr Kranky sees a business opportunity in George’s medicine when he witnesses its effects on the farm animals and attempts to recreate it, hoping to sell it to other farmers, while showing no regard for the consequences.
Writing Style
Dahl’s writing style is characteristically playful, vividly descriptive, and effortlessly humorous. His prose is rhythmic, making it especially enjoyable to read aloud. His knack for capturing the imagination of young readers while entertaining adults with subtle satire remains unmatched.His characters, particularly George and Grandma, are painted in bold strokes with clear personalities, allowing readers to easily cheer for the underdog and recoil from the villain.
Illustrations
Quentin Blake’s iconic illustrations are an inseparable part of Dahl’s storytelling. Each illustration complements the text, bringing the characters and their exaggerated mannerisms to life. Blake’s unique, sketch-like style captures the whimsy and chaos of the story perfectly.Final Thoughts
Overall, George’s Marvellous Medicine stands out as a wonderfully entertaining read for children and adults alike, brilliantly showcasing Roald Dahl’s mastery in creating stories that are both captivatingly funny and gently provocative.Whether you’re rereading this classic as an adult or reading it for the first time, it’s impossible not to be captivated by George’s Marvellous Medicine. It’s not just a book—it’s a bottle of laughter, a pinch of chaos, and a spoonful of childhood nostalgia.
Thank you, as ever, for reading my review!
Until next time,
George
© 2026 GLT
#Blake #bookReview #GeorgeSMarvellousMedicine #magic #review #RoaldDahl -
Book Review: George’s Marvellous Medicine by Roald Dahl
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Roald Dahl’s classic children’s novel, George’s Marvellous Medicine.
Click the image to find the bookGeorge’s Marvellous Medicine was published in 1981 by Puffin Books and is 96 pages long.
The Plot
George, tired of his grandma’s constant nagging, grumpy mood and mean-spirited comments, decides to make his own medicine to replace the one she takes regularly. His concoction, made from an outrageous blend of household items that range from shampoo to animal pills, sets off a series of fantastical events, transforming Grandma in unexpected and hilarious ways.Characters
George Kranky
George is a resourceful and inventive child who invents a special mixture, or medicine, hoping to teach his mean and grumpy grandma a lesson. Despite his mischievous nature, George has a good heart and only wants to help his family. His determination and quick thinking make him a lovable protagonist that readers will root for throughout the book.Grandma
Grandma is a cantankerous old lady and serves as the book’s antagonist. She has a foul temper and is incredibly demanding, making life difficult for poor George. She is stubborn and ungrateful, constantly belittling him and calling him a liar. However, although her character has no redeeming qualities, she does add humour to the story with her exaggerated behaviour and outrageous reactions to George’s antics.Mr Kranky and Mrs Kranky
Mrs Kranky, at first deeply cares for Grandma, not wanting her to come to harm, but when Grandma finally shrinks away, she feels relieved and that a burden has been lifted from her.Mr Kranky sees a business opportunity in George’s medicine when he witnesses its effects on the farm animals and attempts to recreate it, hoping to sell it to other farmers, while showing no regard for the consequences.
Writing Style
Dahl’s writing style is characteristically playful, vividly descriptive, and effortlessly humorous. His prose is rhythmic, making it especially enjoyable to read aloud. His knack for capturing the imagination of young readers while entertaining adults with subtle satire remains unmatched.His characters, particularly George and Grandma, are painted in bold strokes with clear personalities, allowing readers to easily cheer for the underdog and recoil from the villain.
Illustrations
Quentin Blake’s iconic illustrations are an inseparable part of Dahl’s storytelling. Each illustration complements the text, bringing the characters and their exaggerated mannerisms to life. Blake’s unique, sketch-like style captures the whimsy and chaos of the story perfectly.Final Thoughts
Overall, George’s Marvellous Medicine stands out as a wonderfully entertaining read for children and adults alike, brilliantly showcasing Roald Dahl’s mastery in creating stories that are both captivatingly funny and gently provocative.Whether you’re rereading this classic as an adult or reading it for the first time, it’s impossible not to be captivated by George’s Marvellous Medicine. It’s not just a book—it’s a bottle of laughter, a pinch of chaos, and a spoonful of childhood nostalgia.
Thank you, as ever, for reading my review!
Until next time,
George
© 2026 GLT
#Blake #bookReview #GeorgeSMarvellousMedicine #magic #review #RoaldDahl -
Spring temperatures, sunshine melting the snow, large puddles on the road mirroring the trees.
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Can & Can'tankerous is the fifty-ninth book in the #harlan_ellison directory. It collects stories from later in Ellison's career, from the 2000s through the mid-2010s. It's interesting to see Ellison mention Kanye West and Uber.
A standout story is Incognita, Inc., which might be the ultimate "magic-shoppe" story. It is a must-read for fantasy/magical realism writers.
https://www.ndhfilms.com/other/ellison/index.php#cantankerous
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High water levels in the Serpent River, and the snow is still deep.
The tiny black dot in the sky is a Turkey Vulture, quite a few around now, slowly drifting northward. -
High water levels in the Serpent River, and the snow is still deep.
The tiny black dot in the sky is a Turkey Vulture, quite a few around now, slowly drifting northward. -
High water levels in the Serpent River, and the snow is still deep.
The tiny black dot in the sky is a Turkey Vulture, quite a few around now, slowly drifting northward. -
High water levels in the Serpent River, and the snow is still deep.
The tiny black dot in the sky is a Turkey Vulture, quite a few around now, slowly drifting northward. -
AngryMetalGuy.com’s Aggregated Top 20 Albums o’ 2024
By El Cuervo
Here we are. The culmination of not just two weeks of hardcore listing,1 but twelve months of hardcore metalling. The AngryMetalGuy.com Aggregated Top 20 Albums o’ 2024 represents the cream of the crop, or more accurately, the cream of a small corner of a field containing some crops. Using the unrestrained power of manual data entry and a mighty spreadsheet, our wonderful little website compiles our numerous year-end ranking articles and the dozens of metal albums therein into one final, dreadful ranking.2
What tidings of 2024? The clearest message is one of death. No fewer than nine of the top ten awards, and all of the top seven, constitute death metal or death metal adjacency. Whether tunneling through the trenches (Kanonenfieber), slicing through a human abattoir (Aborted), staggering through disquieted exhaustion (Pyyrhon), or indulging in a spot of deicide (Ulcerate), this article demonstrates the many faces that death metal wore in 2024. So tight was its cadaverous stranglehold that I considered limiting this list to just the top ten to emphasize the power of death metal over the last twelve months. However, I’m unashamed to admit that the presence of a few of my own top ten albums over the #11-20 slots influenced my decision to extend it. A byproduct of this selfish maneuver is that a few other subgenres get a nod in what should be something of a summary of all types of metal from the year.
Interestingly, 2024 saw significantly less consistency across the aggregated favorites, as our writers allocated many fewer voting points across the top ten. Paradoxically, and despite the ubiquity of one subgenre in this aggregation, this indicates a broader spread of taste across the many releases cited in the season’s rankings – at least compared with prior years.3 I prefer this outcome to one of bandwagon-hoppers and hat-tippers, where our staff is compelled to include records popular across our central bloc.
I want to grant one final call-out for those records picked by at least five people but that were suppressed through low rankings such that they failed to reach this aggregation. 2024’s highlights include The Vision Bleak, Spectral Wound, Madder Mortem, and Sleepytime Gorilla Museum.4
–El Cuervo
#20. Nemedian Chronicles // The Savage Sword – “There is also a distinctly epic, cinematic quality that hearkens back to Bal-Sagoth’s overwrought storytelling. Between the propulsive riffs and sweeping melodies, I’m immediately absorbed into the experience with every listen” (Eldritch Elitist).
#19. Opeth // The Last Will and Testament – “From the sophisticated compositions to the entertaining story, and the exemplary instrumentation to the immaculate production, its knotty harmonization of death metal with progressive rock has the aura of perfection” (El Cuervo).
#18. Replicant // Infinite Mortality – “Hardcore-tinged technical death metal for fans of the discordant and the unorthodox, Infinite Mortality is supremely memorable not just for its sound, but for its infallible, hook-laden construction” (Kenstrosity).
#17. Dissimulator // Lower Form Resistance – “The exemplary instrumentation, chaotic energy, and technological feel make Lower Form Resistance sound like Voivod reinvented for the 2020s. In a sub-genre so preoccupied with rehashing old ideas – I do not accept that thrash metal must sound like 1986 – Dissimulator thrives by looking forward” (El Cuervo).
#16. Selbst // Despondency Chord Progressions – “While it’s ‘merely’ black metal, its gorgeous melodies and shrilling tremolos showcase the genre at its finest… The most heart-rending record of 2024, Despondency Chord Progressions showcases the paralyzing power of music” (Maddog).
#15. Hell:on // Shaman – “Hell:on’s mix of death metal, throat-singing, ritualistic rhythms, and Eastern instrumentation makes me feel like I’m trapped within some infernal combination of a death metal concert and a Witcher III boss fight… No other album felt as spiritually dense to me in a year where I’ve fought to find my own personal peace” (Holdeneye).
#14. In Vain // Solemn – “The infinitely versatile vocal performances across the board are my favorite aspect, but Solemn ticks nearly every other box on my metal wishlist too. Catchy yet complex guitar lines, horn sections, a dreamy saxophone solo, string orchestrations… In Vain has perfected their sound” (Killjoy).
#13. Huntsmen // The Dry Land – “Every track is a journey in and of itself, and the diversity is immense. The Dry Land has become one of those albums where I can’t put it on without finishing it entirely; I’ll just keep going ‘Oh yes the next song has these awesome mournful vocals’ or ‘Ah here comes that mindblowing transition.’” (GardensTale).
#12. Hamferð // Men Guðs hond er sterk – “Men Guðs hond er sterk is tight, it’s heavy—though not as heavy as its predecessor—but more importantly it’s complete and brilliant and my Record o’ the Year for 2024’” (Angry Metal Guy).
#11. Meer // Wheels within Wheels – “Wheels within Wheels is my new go-to album when things are bad—it is melancholic and angry, but also optimistic and hopeful, a delicate yet gorgeous balance that speaks to me… It’s like a hand outstretched, a friend with an ear always ready to listen.” (Twelve).
#10. Defeated Sanity // Chronicles of Lunacy – [#3, #6, #6, #8, #9, #HM, #HM] – Only just nudging into the top ten by virtue of its seven list placements, Chronicles of Lunacy by Defeated Sanity is the standard-bearer for the death metal onslaught that follows. Forging a singular path that’s both punishingly technical and punishingly brutal, Ferox comments that “it takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.” Not only unique but uniquely consistent, Dolphin Whisperer likens the band to “an apex predator in the brutal death metal world. Defeated Sanity’s appearance arouses not questions of competency but rather calculations of the carnage wrought… Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect.” Not all music can proclaim success through violence but Chronicles of Lunacy makes this its goal.
#9. Brodequin // Harbinger of Woe – [#1, #1, #3, #4, #HM] – 2024 was an exciting time for Knoxville’s Brodequin, just as it was for the latest class of AMG n00bs. No fewer than two of our most promising suckers graduates picked Harbinger of Woe as their album o’ the year.5 Alekhines Gun eloquently describes how it’s a “glorious return for one of the brutal death forerunners… an artistic triumph, a masterclass in riff-craft and song assembly with the sole purpose of flattening the listener into eardrum-flavored toothpaste.” Tyme likewise highlights the guitars, emphasizing that “each brutal riff after riff after riff sated my thirst for emotional release this year and so I hail them, Brodequin, and their riffs.” And though Holdeneye doesn’t focus on the riffs, he nonetheless acknowledges Brodequin’s energizing impact: “Harbinger of Woe’s 30-minute runtime is so bludgeoning that my watch sometimes registers my listening sessions as cardio.” It was never so easy to get fit.
#8. Fellowship // The Skies above Eternity – [#1, #3, #3, #7, #8, #9] – I absolutely love the colorful, cheery presence of Fellowship among the burly death metal otherwise crushing this top ten. I even went to the (low) effort of generating this image to best visualize this association. The Skies above Eternity continues to offer some of the most uplifting and heartfelt power metal ever conceived. Noting its “fantastic songs and endearingly honest positivity,” Sentynel concludes that “there was pretty much no chance The Skies above Eternity wasn’t going to land high up my list.” Clinching his top spot, Eldritch Elitist reckons that the record “excels through consistency and conciseness. The band’s trademark earnestness, vulnerability, and impeccable sense of melodic craft can be felt in every second of the experience. This album may be a 4.0 in my brain, but it’s a 4.5 in my heart and a 5.0 in my soul.” You like joy right?6
#7. Iotunn // Kinship – [#1, #3, #4, #4, #8, #ish, #HM] – Dissatisfied with just one Angry Metal aggregated listing, the stand-out Iotunn return three years after their debut with an offering of progressive, melodic death metal. Kenstrosity takes a wide view over the album’s assets, being “the gorgeous compositions, ascendant guitar work, ridiculous replay value, and stellar vocals.” Despite these qualities, GardensTale recognizes that not all of these tracks were created equal. He opines that the lengthy closer is disappointing, but “the songwriting on the best couple of tracks here is simply unparalleled. ‘Mistland,’ ‘The Coming End’ and especially ‘Earth to Sky’ are just massive in a way few bands ever achieve.” Awarding his album o’ the year, Doom et Al rejects the criticism that Kinship is too long; “the songs are exactly as long as they need to be… The result is ethereal, complex, spiritually satisfying prog-death.”
#6. Pyrrhon // Exhaust – [#1, #1, #4, #4, #7, #HM] – The mighty Kronos may be dormant but his legacy remains through reverence for Pyrrhon. Exhaust boasts an “off-the-deep-end brand of experimental death metal” that is “mellifluous and disgusting, rifftastic and immersive” (Maddog). It’s an arcane, impenetrable sort of music, with Dolphin Whisperer articulating this better than I ever could: “Exhaust demands attention from its initial irony-laced lift-off to its closing brutalist clock-out, swinging skronk-enabled splatters and ache-addled vituperation around every faded line and pothole in its death metal architecture.” Both he and Felagund awarded it their album o’ the year, though the latter focused on its potent theme: “on an album that thoroughly explores the universal theme of exhaustion, be it physical, mental, social, or economic, Pyrrhon’s brand of noise-tinged death metal feels like the ideal tool with which to scrawl their livid manifesto.” There are few acts as inspired as this one.
#5. Devenial Verdict // Blessing of Despair – [#3, #4, #4, #4, #4, #6] – Despite failing to win a list placement higher than #3, Devenial Verdict hit our aggregated list with their immense Blessing of Despair. What type of death metal does it brandish? Carcharodon writes “I enjoy the stomping thuggery of Devenial Verdict’s dissonant death well enough [but] it’s the sudden mood swings into what Thus Spoke described as ‘lethally graceful restraint’ that really hooked me.” Accordingly, Cherd admires the “thoughtful transitions and atmospherics… It’s just that Blessing of Despair HAZ THE RIFFS, including my favorite death metal riff of the year.” It’s this blend of heavy and light that best characterizes Blessing of Despair; “the slick mixture of mournful melody and menacing, barked growls; neck-snapping flicks of cymbal, and those resonant, aggressive chord progressions make for—almost—my favorite take on death metal” (Thus Spoke). You’ll struggle to hear more dynamic death metal this year.
#4. Aborted // Vault of Horrors – [#2, #2, #3, #4, #6, #6] – If the last couple of entries in this article experiment with death metal’s musical extremity, then Aborted have always taken a markedly simpler approach. “Blood-drenched, gore-soaked, and happily grindy, Aborted are in a league all their own… The music [builds] a menacing atmosphere that pervades only the stickiest of grindhouse theaters (Felagund). Endorsing the horror, Dear Hollow comments that “Vault of Horrors kicks serious ass. Ripping tempos, bludgeoning riffs, and an unhinged technicality align for an album deserving of the act’s reputation.” Relentless riffs and a hellish host of guest vocalists help each track to stand apart, and even the cantakerous Dr. A.N. Grier agrees that “with tracks like “Dreadbringer,” “The Golgothan,” and “Malevolent Haze,” this new release offers some incredible depth and relentless brutality.” If you like gory, grindy death metal you need look no further than Aborted.
#3. Noxis // Violence Inherent in the System – [#1, #2, #2, #5, #6, #6, #10, #HM] – Perhaps the greatest surprise of the year was the interminably brutal but interminably intriguing Violence Inherent in the System by debutants, Noxis. Maddog characterizes it as a “remarkable blend of old and new. The album’s stomping riffs and popping snare drum root it in 1990s brutal death metal. Conversely, its exuberantly grimy bass tone, its proggy rhythms, and its surprise woodwind extravaganza feel unabashedly modern.” This dichotomy of styles is developed further by Saunders: “raw and unclean, technical and brutal, thrashy and proggy, sharp and refined, Noxis blaze their way craftily through memorable, riff-infested wastelands with unbridled aggression, speed, and finesse.” Capping his list with this album, Ferox concludes that the varied tools result in songs that are all “a wild ride that alternately crushes, challenges, and tickles… and somehow they do with zero pretension and abundant commitment to brutality.”7
#2. Kanonenfieber // Die Urkatastrophe – [#1, #2, #3, #6, #6, #6, #7, #9, #9] – Kanonenfieber enjoys the great honor of being AMG.com’s only 5.0 rating in 2024 on the incomparable Die Urkatastrophe. Despite the fact that He “would not necessarily have chosen to listen to [it], Die Urkatastrophe is a powerful album that walks the line between black and death metal [and like] so many of the best albums is both thematically coherent and full of individual standout moments” (Angry Metal Guy). And while Sentynel is normally averse to particularly brutal metal, “the craft [of an incredible vocal performance, sharp melodic writing and a weighty story] drew me in anyway.” However, no one loved Die Urkatastrophe like Carcharodon, so I’ll let him finish this: “It has everything and is more than I dared hope for as a follow-up to my beloved Menschenmühle… It is brutal, vicious [and] anthemic [but] it is the storytelling that elevates this record to the next level.”
#1. Ulcerate // Cutting the Throat of God – [#1, #2, #2, #3, #4, #4, #5, #7, #8, #HM] — Collecting the most top five list selections, Cutting the Throat of God comfortably out-muscled its competition as AMG.com’s favorite album o’ the year. Both Dear Hollow and Cherd cite Ulcerate’s newfound humanity on this record as one of its key qualities. The former writes that it constitutes “the vicious and the ethereal blended into unspoken horror, with meditations ranging from the frantic to the morbid,” while the latter opines that “there [is] something warmer and more human to what I had previously considered a rather detached style… [it’s’] like dream-walking through a hedge maze.” But it’s our resident Ulcerate fangirl that best loved the record so she will conclude this piece: “Distilling the tension and the turmoil into tidal forces of incredible rhythm, and dark, brilliant melody with Cutting the Throat of God, Ulcerate reach transcendence… This is atmospheric death metal perfected” (Thus Spoke).
#2024 #Aborted #Brodequin #DefeatedSanity #DevenialVerdict #Dissimulator #Fellowship #Hamferð #HellOn #Huntsmen #InVain #Iotunn #Kanonenfieber #Meer #NemedianChronicles #Noxis #Opeth #Pyrrhon #Replicant #Selbst #Ulcerate
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AngryMetalGuy.com’s Aggregated Top 20 Albums o’ 2024
By El Cuervo
Here we are. The culmination of not just two weeks of hardcore listing,1 but twelve months of hardcore metalling. The AngryMetalGuy.com Aggregated Top 20 Albums o’ 2024 represents the cream of the crop, or more accurately, the cream of a small corner of a field containing some crops. Using the unrestrained power of manual data entry and a mighty spreadsheet, our wonderful little website compiles our numerous year-end ranking articles and the dozens of metal albums therein into one final, dreadful ranking.2
What tidings of 2024? The clearest message is one of death. No fewer than nine of the top ten awards, and all of the top seven, constitute death metal or death metal adjacency. Whether tunneling through the trenches (Kanonenfieber), slicing through a human abattoir (Aborted), staggering through disquieted exhaustion (Pyyrhon), or indulging in a spot of deicide (Ulcerate), this article demonstrates the many faces that death metal wore in 2024. So tight was its cadaverous stranglehold that I considered limiting this list to just the top ten to emphasize the power of death metal over the last twelve months. However, I’m unashamed to admit that the presence of a few of my own top ten albums over the #11-20 slots influenced my decision to extend it. A byproduct of this selfish maneuver is that a few other subgenres get a nod in what should be something of a summary of all types of metal from the year.
Interestingly, 2024 saw significantly less consistency across the aggregated favorites, as our writers allocated many fewer voting points across the top ten. Paradoxically, and despite the ubiquity of one subgenre in this aggregation, this indicates a broader spread of taste across the many releases cited in the season’s rankings – at least compared with prior years.3 I prefer this outcome to one of bandwagon-hoppers and hat-tippers, where our staff is compelled to include records popular across our central bloc.
I want to grant one final call-out for those records picked by at least five people but that were suppressed through low rankings such that they failed to reach this aggregation. 2024’s highlights include The Vision Bleak, Spectral Wound, Madder Mortem, and Sleepytime Gorilla Museum.4
–El Cuervo
#20. Nemedian Chronicles // The Savage Sword – “There is also a distinctly epic, cinematic quality that hearkens back to Bal-Sagoth’s overwrought storytelling. Between the propulsive riffs and sweeping melodies, I’m immediately absorbed into the experience with every listen” (Eldritch Elitist).
#19. Opeth // The Last Will and Testament – “From the sophisticated compositions to the entertaining story, and the exemplary instrumentation to the immaculate production, its knotty harmonization of death metal with progressive rock has the aura of perfection” (El Cuervo).
#18. Replicant // Infinite Mortality – “Hardcore-tinged technical death metal for fans of the discordant and the unorthodox, Infinite Mortality is supremely memorable not just for its sound, but for its infallible, hook-laden construction” (Kenstrosity).
#17. Dissimulator // Lower Form Resistance – “The exemplary instrumentation, chaotic energy, and technological feel make Lower Form Resistance sound like Voivod reinvented for the 2020s. In a sub-genre so preoccupied with rehashing old ideas – I do not accept that thrash metal must sound like 1986 – Dissimulator thrives by looking forward” (El Cuervo).
#16. Selbst // Despondency Chord Progressions – “While it’s ‘merely’ black metal, its gorgeous melodies and shrilling tremolos showcase the genre at its finest… The most heart-rending record of 2024, Despondency Chord Progressions showcases the paralyzing power of music” (Maddog).
#15. Hell:on // Shaman – “Hell:on’s mix of death metal, throat-singing, ritualistic rhythms, and Eastern instrumentation makes me feel like I’m trapped within some infernal combination of a death metal concert and a Witcher III boss fight… No other album felt as spiritually dense to me in a year where I’ve fought to find my own personal peace” (Holdeneye).
#14. In Vain // Solemn – “The infinitely versatile vocal performances across the board are my favorite aspect, but Solemn ticks nearly every other box on my metal wishlist too. Catchy yet complex guitar lines, horn sections, a dreamy saxophone solo, string orchestrations… In Vain has perfected their sound” (Killjoy).
#13. Huntsmen // The Dry Land – “Every track is a journey in and of itself, and the diversity is immense. The Dry Land has become one of those albums where I can’t put it on without finishing it entirely; I’ll just keep going ‘Oh yes the next song has these awesome mournful vocals’ or ‘Ah here comes that mindblowing transition.’” (GardensTale).
#12. Hamferð // Men Guðs hond er sterk – “Men Guðs hond er sterk is tight, it’s heavy—though not as heavy as its predecessor—but more importantly it’s complete and brilliant and my Record o’ the Year for 2024’” (Angry Metal Guy).
#11. Meer // Wheels within Wheels – “Wheels within Wheels is my new go-to album when things are bad—it is melancholic and angry, but also optimistic and hopeful, a delicate yet gorgeous balance that speaks to me… It’s like a hand outstretched, a friend with an ear always ready to listen.” (Twelve).
#10. Defeated Sanity // Chronicles of Lunacy – [#3, #6, #6, #8, #9, #HM, #HM] – Only just nudging into the top ten by virtue of its seven list placements, Chronicles of Lunacy by Defeated Sanity is the standard-bearer for the death metal onslaught that follows. Forging a singular path that’s both punishingly technical and punishingly brutal, Ferox comments that “it takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.” Not only unique but uniquely consistent, Dolphin Whisperer likens the band to “an apex predator in the brutal death metal world. Defeated Sanity’s appearance arouses not questions of competency but rather calculations of the carnage wrought… Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect.” Not all music can proclaim success through violence but Chronicles of Lunacy makes this its goal.
#9. Brodequin // Harbinger of Woe – [#1, #1, #3, #4, #HM] – 2024 was an exciting time for Knoxville’s Brodequin, just as it was for the latest class of AMG n00bs. No fewer than two of our most promising suckers graduates picked Harbinger of Woe as their album o’ the year.5 Alekhines Gun eloquently describes how it’s a “glorious return for one of the brutal death forerunners… an artistic triumph, a masterclass in riff-craft and song assembly with the sole purpose of flattening the listener into eardrum-flavored toothpaste.” Tyme likewise highlights the guitars, emphasizing that “each brutal riff after riff after riff sated my thirst for emotional release this year and so I hail them, Brodequin, and their riffs.” And though Holdeneye doesn’t focus on the riffs, he nonetheless acknowledges Brodequin’s energizing impact: “Harbinger of Woe’s 30-minute runtime is so bludgeoning that my watch sometimes registers my listening sessions as cardio.” It was never so easy to get fit.
#8. Fellowship // The Skies above Eternity – [#1, #3, #3, #7, #8, #9] – I absolutely love the colorful, cheery presence of Fellowship among the burly death metal otherwise crushing this top ten. I even went to the (low) effort of generating this image to best visualize this association. The Skies above Eternity continues to offer some of the most uplifting and heartfelt power metal ever conceived. Noting its “fantastic songs and endearingly honest positivity,” Sentynel concludes that “there was pretty much no chance The Skies above Eternity wasn’t going to land high up my list.” Clinching his top spot, Eldritch Elitist reckons that the record “excels through consistency and conciseness. The band’s trademark earnestness, vulnerability, and impeccable sense of melodic craft can be felt in every second of the experience. This album may be a 4.0 in my brain, but it’s a 4.5 in my heart and a 5.0 in my soul.” You like joy right?6
#7. Iotunn // Kinship – [#1, #3, #4, #4, #8, #ish, #HM] – Dissatisfied with just one Angry Metal aggregated listing, the stand-out Iotunn return three years after their debut with an offering of progressive, melodic death metal. Kenstrosity takes a wide view over the album’s assets, being “the gorgeous compositions, ascendant guitar work, ridiculous replay value, and stellar vocals.” Despite these qualities, GardensTale recognizes that not all of these tracks were created equal. He opines that the lengthy closer is disappointing, but “the songwriting on the best couple of tracks here is simply unparalleled. ‘Mistland,’ ‘The Coming End’ and especially ‘Earth to Sky’ are just massive in a way few bands ever achieve.” Awarding his album o’ the year, Doom et Al rejects the criticism that Kinship is too long; “the songs are exactly as long as they need to be… The result is ethereal, complex, spiritually satisfying prog-death.”
#6. Pyrrhon // Exhaust – [#1, #1, #4, #4, #7, #HM] – The mighty Kronos may be dormant but his legacy remains through reverence for Pyrrhon. Exhaust boasts an “off-the-deep-end brand of experimental death metal” that is “mellifluous and disgusting, rifftastic and immersive” (Maddog). It’s an arcane, impenetrable sort of music, with Dolphin Whisperer articulating this better than I ever could: “Exhaust demands attention from its initial irony-laced lift-off to its closing brutalist clock-out, swinging skronk-enabled splatters and ache-addled vituperation around every faded line and pothole in its death metal architecture.” Both he and Felagund awarded it their album o’ the year, though the latter focused on its potent theme: “on an album that thoroughly explores the universal theme of exhaustion, be it physical, mental, social, or economic, Pyrrhon’s brand of noise-tinged death metal feels like the ideal tool with which to scrawl their livid manifesto.” There are few acts as inspired as this one.
#5. Devenial Verdict // Blessing of Despair – [#3, #4, #4, #4, #4, #6] – Despite failing to win a list placement higher than #3, Devenial Verdict hit our aggregated list with their immense Blessing of Despair. What type of death metal does it brandish? Carcharodon writes “I enjoy the stomping thuggery of Devenial Verdict’s dissonant death well enough [but] it’s the sudden mood swings into what Thus Spoke described as ‘lethally graceful restraint’ that really hooked me.” Accordingly, Cherd admires the “thoughtful transitions and atmospherics… It’s just that Blessing of Despair HAZ THE RIFFS, including my favorite death metal riff of the year.” It’s this blend of heavy and light that best characterizes Blessing of Despair; “the slick mixture of mournful melody and menacing, barked growls; neck-snapping flicks of cymbal, and those resonant, aggressive chord progressions make for—almost—my favorite take on death metal” (Thus Spoke). You’ll struggle to hear more dynamic death metal this year.
#4. Aborted // Vault of Horrors – [#2, #2, #3, #4, #6, #6] – If the last couple of entries in this article experiment with death metal’s musical extremity, then Aborted have always taken a markedly simpler approach. “Blood-drenched, gore-soaked, and happily grindy, Aborted are in a league all their own… The music [builds] a menacing atmosphere that pervades only the stickiest of grindhouse theaters (Felagund). Endorsing the horror, Dear Hollow comments that “Vault of Horrors kicks serious ass. Ripping tempos, bludgeoning riffs, and an unhinged technicality align for an album deserving of the act’s reputation.” Relentless riffs and a hellish host of guest vocalists help each track to stand apart, and even the cantakerous Dr. A.N. Grier agrees that “with tracks like “Dreadbringer,” “The Golgothan,” and “Malevolent Haze,” this new release offers some incredible depth and relentless brutality.” If you like gory, grindy death metal you need look no further than Aborted.
#3. Noxis // Violence Inherent in the System – [#1, #2, #2, #5, #6, #6, #10, #HM] – Perhaps the greatest surprise of the year was the interminably brutal but interminably intriguing Violence Inherent in the System by debutants, Noxis. Maddog characterizes it as a “remarkable blend of old and new. The album’s stomping riffs and popping snare drum root it in 1990s brutal death metal. Conversely, its exuberantly grimy bass tone, its proggy rhythms, and its surprise woodwind extravaganza feel unabashedly modern.” This dichotomy of styles is developed further by Saunders: “raw and unclean, technical and brutal, thrashy and proggy, sharp and refined, Noxis blaze their way craftily through memorable, riff-infested wastelands with unbridled aggression, speed, and finesse.” Capping his list with this album, Ferox concludes that the varied tools result in songs that are all “a wild ride that alternately crushes, challenges, and tickles… and somehow they do with zero pretension and abundant commitment to brutality.”7
#2. Kanonenfieber // Die Urkatastrophe – [#1, #2, #3, #6, #6, #6, #7, #9, #9] – Kanonenfieber enjoys the great honor of being AMG.com’s only 5.0 rating in 2024 on the incomparable Die Urkatastrophe. Despite the fact that He “would not necessarily have chosen to listen to [it], Die Urkatastrophe is a powerful album that walks the line between black and death metal [and like] so many of the best albums is both thematically coherent and full of individual standout moments” (Angry Metal Guy). And while Sentynel is normally averse to particularly brutal metal, “the craft [of an incredible vocal performance, sharp melodic writing and a weighty story] drew me in anyway.” However, no one loved Die Urkatastrophe like Carcharodon, so I’ll let him finish this: “It has everything and is more than I dared hope for as a follow-up to my beloved Menschenmühle… It is brutal, vicious [and] anthemic [but] it is the storytelling that elevates this record to the next level.”
#1. Ulcerate // Cutting the Throat of God – [#1, #2, #2, #3, #4, #4, #5, #7, #8, #HM] — Collecting the most top five list selections, Cutting the Throat of God comfortably out-muscled its competition as AMG.com’s favorite album o’ the year. Both Dear Hollow and Cherd cite Ulcerate’s newfound humanity on this record as one of its key qualities. The former writes that it constitutes “the vicious and the ethereal blended into unspoken horror, with meditations ranging from the frantic to the morbid,” while the latter opines that “there [is] something warmer and more human to what I had previously considered a rather detached style… [it’s’] like dream-walking through a hedge maze.” But it’s our resident Ulcerate fangirl that best loved the record so she will conclude this piece: “Distilling the tension and the turmoil into tidal forces of incredible rhythm, and dark, brilliant melody with Cutting the Throat of God, Ulcerate reach transcendence… This is atmospheric death metal perfected” (Thus Spoke).
#2024 #Aborted #Brodequin #DefeatedSanity #DevenialVerdict #Dissimulator #Fellowship #Hamferð #HellOn #Huntsmen #InVain #Iotunn #Kanonenfieber #Meer #NemedianChronicles #Noxis #Opeth #Pyrrhon #Replicant #Selbst #Ulcerate
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AngryMetalGuy.com’s Aggregated Top 20 Albums o’ 2024
By El Cuervo
Here we are. The culmination of not just two weeks of hardcore listing,1 but twelve months of hardcore metalling. The AngryMetalGuy.com Aggregated Top 20 Albums o’ 2024 represents the cream of the crop, or more accurately, the cream of a small corner of a field containing some crops. Using the unrestrained power of manual data entry and a mighty spreadsheet, our wonderful little website compiles our numerous year-end ranking articles and the dozens of metal albums therein into one final, dreadful ranking.2
What tidings of 2024? The clearest message is one of death. No fewer than nine of the top ten awards, and all of the top seven, constitute death metal or death metal adjacency. Whether tunneling through the trenches (Kanonenfieber), slicing through a human abattoir (Aborted), staggering through disquieted exhaustion (Pyyrhon), or indulging in a spot of deicide (Ulcerate), this article demonstrates the many faces that death metal wore in 2024. So tight was its cadaverous stranglehold that I considered limiting this list to just the top ten to emphasize the power of death metal over the last twelve months. However, I’m unashamed to admit that the presence of a few of my own top ten albums over the #11-20 slots influenced my decision to extend it. A byproduct of this selfish maneuver is that a few other subgenres get a nod in what should be something of a summary of all types of metal from the year.
Interestingly, 2024 saw significantly less consistency across the aggregated favorites, as our writers allocated many fewer voting points across the top ten. Paradoxically, and despite the ubiquity of one subgenre in this aggregation, this indicates a broader spread of taste across the many releases cited in the season’s rankings – at least compared with prior years.3 I prefer this outcome to one of bandwagon-hoppers and hat-tippers, where our staff is compelled to include records popular across our central bloc.
I want to grant one final call-out for those records picked by at least five people but that were suppressed through low rankings such that they failed to reach this aggregation. 2024’s highlights include The Vision Bleak, Spectral Wound, Madder Mortem, and Sleepytime Gorilla Museum.4
–El Cuervo
#20. Nemedian Chronicles // The Savage Sword – “There is also a distinctly epic, cinematic quality that hearkens back to Bal-Sagoth’s overwrought storytelling. Between the propulsive riffs and sweeping melodies, I’m immediately absorbed into the experience with every listen” (Eldritch Elitist).
#19. Opeth // The Last Will and Testament – “From the sophisticated compositions to the entertaining story, and the exemplary instrumentation to the immaculate production, its knotty harmonization of death metal with progressive rock has the aura of perfection” (El Cuervo).
#18. Replicant // Infinite Mortality – “Hardcore-tinged technical death metal for fans of the discordant and the unorthodox, Infinite Mortality is supremely memorable not just for its sound, but for its infallible, hook-laden construction” (Kenstrosity).
#17. Dissimulator // Lower Form Resistance – “The exemplary instrumentation, chaotic energy, and technological feel make Lower Form Resistance sound like Voivod reinvented for the 2020s. In a sub-genre so preoccupied with rehashing old ideas – I do not accept that thrash metal must sound like 1986 – Dissimulator thrives by looking forward” (El Cuervo).
#16. Selbst // Despondency Chord Progressions – “While it’s ‘merely’ black metal, its gorgeous melodies and shrilling tremolos showcase the genre at its finest… The most heart-rending record of 2024, Despondency Chord Progressions showcases the paralyzing power of music” (Maddog).
#15. Hell:on // Shaman – “Hell:on’s mix of death metal, throat-singing, ritualistic rhythms, and Eastern instrumentation makes me feel like I’m trapped within some infernal combination of a death metal concert and a Witcher III boss fight… No other album felt as spiritually dense to me in a year where I’ve fought to find my own personal peace” (Holdeneye).
#14. In Vain // Solemn – “The infinitely versatile vocal performances across the board are my favorite aspect, but Solemn ticks nearly every other box on my metal wishlist too. Catchy yet complex guitar lines, horn sections, a dreamy saxophone solo, string orchestrations… In Vain has perfected their sound” (Killjoy).
#13. Huntsmen // The Dry Land – “Every track is a journey in and of itself, and the diversity is immense. The Dry Land has become one of those albums where I can’t put it on without finishing it entirely; I’ll just keep going ‘Oh yes the next song has these awesome mournful vocals’ or ‘Ah here comes that mindblowing transition.’” (GardensTale).
#12. Hamferð // Men Guðs hond er sterk – “Men Guðs hond er sterk is tight, it’s heavy—though not as heavy as its predecessor—but more importantly it’s complete and brilliant and my Record o’ the Year for 2024’” (Angry Metal Guy).
#11. Meer // Wheels within Wheels – “Wheels within Wheels is my new go-to album when things are bad—it is melancholic and angry, but also optimistic and hopeful, a delicate yet gorgeous balance that speaks to me… It’s like a hand outstretched, a friend with an ear always ready to listen.” (Twelve).
#10. Defeated Sanity // Chronicles of Lunacy – [#3, #6, #6, #8, #9, #HM, #HM] – Only just nudging into the top ten by virtue of its seven list placements, Chronicles of Lunacy by Defeated Sanity is the standard-bearer for the death metal onslaught that follows. Forging a singular path that’s both punishingly technical and punishingly brutal, Ferox comments that “it takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.” Not only unique but uniquely consistent, Dolphin Whisperer likens the band to “an apex predator in the brutal death metal world. Defeated Sanity’s appearance arouses not questions of competency but rather calculations of the carnage wrought… Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect.” Not all music can proclaim success through violence but Chronicles of Lunacy makes this its goal.
#9. Brodequin // Harbinger of Woe – [#1, #1, #3, #4, #HM] – 2024 was an exciting time for Knoxville’s Brodequin, just as it was for the latest class of AMG n00bs. No fewer than two of our most promising suckers graduates picked Harbinger of Woe as their album o’ the year.5 Alekhines Gun eloquently describes how it’s a “glorious return for one of the brutal death forerunners… an artistic triumph, a masterclass in riff-craft and song assembly with the sole purpose of flattening the listener into eardrum-flavored toothpaste.” Tyme likewise highlights the guitars, emphasizing that “each brutal riff after riff after riff sated my thirst for emotional release this year and so I hail them, Brodequin, and their riffs.” And though Holdeneye doesn’t focus on the riffs, he nonetheless acknowledges Brodequin’s energizing impact: “Harbinger of Woe’s 30-minute runtime is so bludgeoning that my watch sometimes registers my listening sessions as cardio.” It was never so easy to get fit.
#8. Fellowship // The Skies above Eternity – [#1, #3, #3, #7, #8, #9] – I absolutely love the colorful, cheery presence of Fellowship among the burly death metal otherwise crushing this top ten. I even went to the (low) effort of generating this image to best visualize this association. The Skies above Eternity continues to offer some of the most uplifting and heartfelt power metal ever conceived. Noting its “fantastic songs and endearingly honest positivity,” Sentynel concludes that “there was pretty much no chance The Skies above Eternity wasn’t going to land high up my list.” Clinching his top spot, Eldritch Elitist reckons that the record “excels through consistency and conciseness. The band’s trademark earnestness, vulnerability, and impeccable sense of melodic craft can be felt in every second of the experience. This album may be a 4.0 in my brain, but it’s a 4.5 in my heart and a 5.0 in my soul.” You like joy right?6
#7. Iotunn // Kinship – [#1, #3, #4, #4, #8, #ish, #HM] – Dissatisfied with just one Angry Metal aggregated listing, the stand-out Iotunn return three years after their debut with an offering of progressive, melodic death metal. Kenstrosity takes a wide view over the album’s assets, being “the gorgeous compositions, ascendant guitar work, ridiculous replay value, and stellar vocals.” Despite these qualities, GardensTale recognizes that not all of these tracks were created equal. He opines that the lengthy closer is disappointing, but “the songwriting on the best couple of tracks here is simply unparalleled. ‘Mistland,’ ‘The Coming End’ and especially ‘Earth to Sky’ are just massive in a way few bands ever achieve.” Awarding his album o’ the year, Doom et Al rejects the criticism that Kinship is too long; “the songs are exactly as long as they need to be… The result is ethereal, complex, spiritually satisfying prog-death.”
#6. Pyrrhon // Exhaust – [#1, #1, #4, #4, #7, #HM] – The mighty Kronos may be dormant but his legacy remains through reverence for Pyrrhon. Exhaust boasts an “off-the-deep-end brand of experimental death metal” that is “mellifluous and disgusting, rifftastic and immersive” (Maddog). It’s an arcane, impenetrable sort of music, with Dolphin Whisperer articulating this better than I ever could: “Exhaust demands attention from its initial irony-laced lift-off to its closing brutalist clock-out, swinging skronk-enabled splatters and ache-addled vituperation around every faded line and pothole in its death metal architecture.” Both he and Felagund awarded it their album o’ the year, though the latter focused on its potent theme: “on an album that thoroughly explores the universal theme of exhaustion, be it physical, mental, social, or economic, Pyrrhon’s brand of noise-tinged death metal feels like the ideal tool with which to scrawl their livid manifesto.” There are few acts as inspired as this one.
#5. Devenial Verdict // Blessing of Despair – [#3, #4, #4, #4, #4, #6] – Despite failing to win a list placement higher than #3, Devenial Verdict hit our aggregated list with their immense Blessing of Despair. What type of death metal does it brandish? Carcharodon writes “I enjoy the stomping thuggery of Devenial Verdict’s dissonant death well enough [but] it’s the sudden mood swings into what Thus Spoke described as ‘lethally graceful restraint’ that really hooked me.” Accordingly, Cherd admires the “thoughtful transitions and atmospherics… It’s just that Blessing of Despair HAZ THE RIFFS, including my favorite death metal riff of the year.” It’s this blend of heavy and light that best characterizes Blessing of Despair; “the slick mixture of mournful melody and menacing, barked growls; neck-snapping flicks of cymbal, and those resonant, aggressive chord progressions make for—almost—my favorite take on death metal” (Thus Spoke). You’ll struggle to hear more dynamic death metal this year.
#4. Aborted // Vault of Horrors – [#2, #2, #3, #4, #6, #6] – If the last couple of entries in this article experiment with death metal’s musical extremity, then Aborted have always taken a markedly simpler approach. “Blood-drenched, gore-soaked, and happily grindy, Aborted are in a league all their own… The music [builds] a menacing atmosphere that pervades only the stickiest of grindhouse theaters (Felagund). Endorsing the horror, Dear Hollow comments that “Vault of Horrors kicks serious ass. Ripping tempos, bludgeoning riffs, and an unhinged technicality align for an album deserving of the act’s reputation.” Relentless riffs and a hellish host of guest vocalists help each track to stand apart, and even the cantakerous Dr. A.N. Grier agrees that “with tracks like “Dreadbringer,” “The Golgothan,” and “Malevolent Haze,” this new release offers some incredible depth and relentless brutality.” If you like gory, grindy death metal you need look no further than Aborted.
#3. Noxis // Violence Inherent in the System – [#1, #2, #2, #5, #6, #6, #10, #HM] – Perhaps the greatest surprise of the year was the interminably brutal but interminably intriguing Violence Inherent in the System by debutants, Noxis. Maddog characterizes it as a “remarkable blend of old and new. The album’s stomping riffs and popping snare drum root it in 1990s brutal death metal. Conversely, its exuberantly grimy bass tone, its proggy rhythms, and its surprise woodwind extravaganza feel unabashedly modern.” This dichotomy of styles is developed further by Saunders: “raw and unclean, technical and brutal, thrashy and proggy, sharp and refined, Noxis blaze their way craftily through memorable, riff-infested wastelands with unbridled aggression, speed, and finesse.” Capping his list with this album, Ferox concludes that the varied tools result in songs that are all “a wild ride that alternately crushes, challenges, and tickles… and somehow they do with zero pretension and abundant commitment to brutality.”7
#2. Kanonenfieber // Die Urkatastrophe – [#1, #2, #3, #6, #6, #6, #7, #9, #9] – Kanonenfieber enjoys the great honor of being AMG.com’s only 5.0 rating in 2024 on the incomparable Die Urkatastrophe. Despite the fact that He “would not necessarily have chosen to listen to [it], Die Urkatastrophe is a powerful album that walks the line between black and death metal [and like] so many of the best albums is both thematically coherent and full of individual standout moments” (Angry Metal Guy). And while Sentynel is normally averse to particularly brutal metal, “the craft [of an incredible vocal performance, sharp melodic writing and a weighty story] drew me in anyway.” However, no one loved Die Urkatastrophe like Carcharodon, so I’ll let him finish this: “It has everything and is more than I dared hope for as a follow-up to my beloved Menschenmühle… It is brutal, vicious [and] anthemic [but] it is the storytelling that elevates this record to the next level.”
#1. Ulcerate // Cutting the Throat of God – [#1, #2, #2, #3, #4, #4, #5, #7, #8, #HM] — Collecting the most top five list selections, Cutting the Throat of God comfortably out-muscled its competition as AMG.com’s favorite album o’ the year. Both Dear Hollow and Cherd cite Ulcerate’s newfound humanity on this record as one of its key qualities. The former writes that it constitutes “the vicious and the ethereal blended into unspoken horror, with meditations ranging from the frantic to the morbid,” while the latter opines that “there [is] something warmer and more human to what I had previously considered a rather detached style… [it’s’] like dream-walking through a hedge maze.” But it’s our resident Ulcerate fangirl that best loved the record so she will conclude this piece: “Distilling the tension and the turmoil into tidal forces of incredible rhythm, and dark, brilliant melody with Cutting the Throat of God, Ulcerate reach transcendence… This is atmospheric death metal perfected” (Thus Spoke).
#2024 #Aborted #Brodequin #DefeatedSanity #DevenialVerdict #Dissimulator #Fellowship #Hamferð #HellOn #Huntsmen #InVain #Iotunn #Kanonenfieber #Meer #NemedianChronicles #Noxis #Opeth #Pyrrhon #Replicant #Selbst #Ulcerate
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NECROMANIAC – Sciomancy, Malediction & Rites Abominable Review
By Tyme
Having toiled and troubled over a bubbling cauldron for the past thirteen years, London, England’s Necromaniac, is finally prepared to cast the spell of its debut album Sciomancy, Malediction & Rites Abominable.1 A multi-national coven consisting of musicians from Sweden, Spain, Greece, and Poland, Necromaniac are self-described practitioners of “morbid metal.” After 2015’s promising and well-received demo Morbid Metal dropped, in addition to 2018’s mini-EP Subterranean Death Rising, Invictus Productions signed on in 2024 to release Sciomancy, Malediction & Rites Abominable, promising listeners “A truly sinister musical journey containing nine forbidden rites steeped in witchcraft, necromancy and an overall occult and utterly macabre atmosphere.” So I wondered, is this pricking in my thumbs a sign that something wicked this way comes, or is Necromaniac‘s witchery nothing more than parlor tricks?
An elixir of blackened death and thrash, with synth-sprigs of thyme and dashes of doomsbane thrown in for atmospheric effect, the morbidity of Necromaniac‘s metal is steeped mainly in the olde ways. Conjuring strong Hellhammer and Morbid2 vibes, there’s a rawness to the sound of the organic mix that belies the DR score you see below. Ensorcelling ‘guitarmageddon’ is Sadistik Fornicator, who laces the swirling potions of Sciomancy, Malediction & Rites Abominable with Toxic Holocaustian riffage (“Daemonomantia”) and guitar passages that sound as if they could have come straight from the cutting room floor of Slayer‘s Show No Mercy sessions (“Teraphim (Skull Sorcery)”). Combine those riffs with the potency of The One’s ‘Basstard Tremblings’ and V. Pestilencia’s ‘Apocalyptic Drumonitions,’ and the thrashily blackened death metal Necromaniac offers up is ruthlessly effective. When things shift toward the more atmospheric, however, cracks start to show and highlight the most significant battle fought within the album’s walls, which pits the strength of its metal against its more melodramatic tendencies.
With nothing to dilute its potency, the metal of Sciomancy, Malediction, & Rites Abominable is razor-sharp and capable of carrying the weight of the entire album. One quaff of the black-‘n-roll draught of riffs from “Grave Mound Oath” will have you bobbing your head and wondering what the hell ever happened to Carpathian Forest. At the same time, the swirling speeds of “Great is the Thirst of the Restless Dead” and the remorseless “Swedenborg’s Skull,” with its ebb and flow of pummeling riff work and atmospherically doomy passages, are a satisfying earworm of harrowing hocus-pocus. Atop all these infernal conflagrations float the vociferous vocalizations of C. Howler, whose grunts, growls, and menacing howls perfectly complement Necromaniac‘s morbidly sharp metal blade. If this were all we had to speak of regarding Sciomancy, Malediction & Rites Abominable, the overall perception would have been mostly positive, but there are elements left to address.
Necromaniac‘s firm forays into the strictly atmospheric fall short, cloaking those elements meant to invoke spine-chilling shivers in shrouds of theatrically overwrought melodrama instead. Other than “Caput Draconis,” with its effectively doomy guitar work and King Diamond-esque warbling3 providing an atmospherically eerie opening to the record, other attempts to tap the same vein miss the mark. Supplied by and known here only as A Corpse Without Soul, the guest vocals on “Bring Forth the Shade” and “Conjuration of St. Cyprian” are a mixture of cantankerous chuckles and over-embellished groans, whispers, and wails, combined then with the half-baked doom instrumentation and synths, create an overall effect more cringe than creepy. These tracks, in tandem with the ten-plus minutes of overly-long closer “Necromancess / Cauda Draconis,” full of meandering drawn-out doom work, make Sciomancy, Malediction & Rites Abominable feel longer than its near forty-nine-minute runtime should, negatively impacting the flow and momentum this witchy metal seance might otherwise have had.
Necromaniac‘s strength lies in the metal of its sciomantic maledictions and less in the melodrama of its abominable rites. Songs like “Grave Mound Oath,” “Teraphim (Skull Sorcery)” and “Swedenborg’s Skull” prove Necromaniac has the chops to stand tall next to other bands successfully peddling this same form of blackened death metal, but using vehicles that end up conjuring an atmosphere more mawkish than macabre costs Necromaniac most here. And while I can’t fully endorse Sciomancy, Maledictions and Rites Abominable, there’s enough meat on this bone to have me scoping Necromaniac‘s next incantation.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Invictus Productions | The Anja Offensive
Websites: necromaniac.bandcamp.com | facebook.com/necromaniacUK
Releases Worldwide: January 13, 2025#25 #2025 #BlackMetal #DeathMetal #DoomMetal #EnglishMetal #Hellhammer #InvictusProductions #Jan25 #Morbid #Necromaniac #Review #Reviews #SciomancyMaledictionsRitesAbominable #Slayer #TheANJAOffensive #ThrashMetal
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NECROMANIAC – Sciomancy, Malediction & Rites Abominable Review
By Tyme
Having toiled and troubled over a bubbling cauldron for the past thirteen years, London, England’s Necromaniac, is finally prepared to cast the spell of its debut album Sciomancy, Malediction & Rites Abominable.1 A multi-national coven consisting of musicians from Sweden, Spain, Greece, and Poland, Necromaniac are self-described practitioners of “morbid metal.” After 2015’s promising and well-received demo Morbid Metal dropped, in addition to 2018’s mini-EP Subterranean Death Rising, Invictus Productions signed on in 2024 to release Sciomancy, Malediction & Rites Abominable, promising listeners “A truly sinister musical journey containing nine forbidden rites steeped in witchcraft, necromancy and an overall occult and utterly macabre atmosphere.” So I wondered, is this pricking in my thumbs a sign that something wicked this way comes, or is Necromaniac‘s witchery nothing more than parlor tricks?
An elixir of blackened death and thrash, with synth-sprigs of thyme and dashes of doomsbane thrown in for atmospheric effect, the morbidity of Necromaniac‘s metal is steeped mainly in the olde ways. Conjuring strong Hellhammer and Morbid2 vibes, there’s a rawness to the sound of the organic mix that belies the DR score you see below. Ensorcelling ‘guitarmageddon’ is Sadistik Fornicator, who laces the swirling potions of Sciomancy, Malediction & Rites Abominable with Toxic Holocaustian riffage (“Daemonomantia”) and guitar passages that sound as if they could have come straight from the cutting room floor of Slayer‘s Show No Mercy sessions (“Teraphim (Skull Sorcery)”). Combine those riffs with the potency of The One’s ‘Basstard Tremblings’ and V. Pestilencia’s ‘Apocalyptic Drumonitions,’ and the thrashily blackened death metal Necromaniac offers up is ruthlessly effective. When things shift toward the more atmospheric, however, cracks start to show and highlight the most significant battle fought within the album’s walls, which pits the strength of its metal against its more melodramatic tendencies.
With nothing to dilute its potency, the metal of Sciomancy, Malediction, & Rites Abominable is razor-sharp and capable of carrying the weight of the entire album. One quaff of the black-‘n-roll draught of riffs from “Grave Mound Oath” will have you bobbing your head and wondering what the hell ever happened to Carpathian Forest. At the same time, the swirling speeds of “Great is the Thirst of the Restless Dead” and the remorseless “Swedenborg’s Skull,” with its ebb and flow of pummeling riff work and atmospherically doomy passages, are a satisfying earworm of harrowing hocus-pocus. Atop all these infernal conflagrations float the vociferous vocalizations of C. Howler, whose grunts, growls, and menacing howls perfectly complement Necromaniac‘s morbidly sharp metal blade. If this were all we had to speak of regarding Sciomancy, Malediction & Rites Abominable, the overall perception would have been mostly positive, but there are elements left to address.
Necromaniac‘s firm forays into the strictly atmospheric fall short, cloaking those elements meant to invoke spine-chilling shivers in shrouds of theatrically overwrought melodrama instead. Other than “Caput Draconis,” with its effectively doomy guitar work and King Diamond-esque warbling3 providing an atmospherically eerie opening to the record, other attempts to tap the same vein miss the mark. Supplied by and known here only as A Corpse Without Soul, the guest vocals on “Bring Forth the Shade” and “Conjuration of St. Cyprian” are a mixture of cantankerous chuckles and over-embellished groans, whispers, and wails, combined then with the half-baked doom instrumentation and synths, create an overall effect more cringe than creepy. These tracks, in tandem with the ten-plus minutes of overly-long closer “Necromancess / Cauda Draconis,” full of meandering drawn-out doom work, make Sciomancy, Malediction & Rites Abominable feel longer than its near forty-nine-minute runtime should, negatively impacting the flow and momentum this witchy metal seance might otherwise have had.
Necromaniac‘s strength lies in the metal of its sciomantic maledictions and less in the melodrama of its abominable rites. Songs like “Grave Mound Oath,” “Teraphim (Skull Sorcery)” and “Swedenborg’s Skull” prove Necromaniac has the chops to stand tall next to other bands successfully peddling this same form of blackened death metal, but using vehicles that end up conjuring an atmosphere more mawkish than macabre costs Necromaniac most here. And while I can’t fully endorse Sciomancy, Maledictions and Rites Abominable, there’s enough meat on this bone to have me scoping Necromaniac‘s next incantation.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Invictus Productions | The Anja Offensive
Websites: necromaniac.bandcamp.com | facebook.com/necromaniacUK
Releases Worldwide: January 13, 2025#25 #2025 #BlackMetal #DeathMetal #DoomMetal #EnglishMetal #Hellhammer #InvictusProductions #Jan25 #Morbid #Necromaniac #Review #Reviews #SciomancyMaledictionsRitesAbominable #Slayer #TheANJAOffensive #ThrashMetal
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NECROMANIAC – Sciomancy, Malediction & Rites Abominable Review
By Tyme
Having toiled and troubled over a bubbling cauldron for the past thirteen years, London, England’s Necromaniac, is finally prepared to cast the spell of its debut album Sciomancy, Malediction & Rites Abominable.1 A multi-national coven consisting of musicians from Sweden, Spain, Greece, and Poland, Necromaniac are self-described practitioners of “morbid metal.” After 2015’s promising and well-received demo Morbid Metal dropped, in addition to 2018’s mini-EP Subterranean Death Rising, Invictus Productions signed on in 2024 to release Sciomancy, Malediction & Rites Abominable, promising listeners “A truly sinister musical journey containing nine forbidden rites steeped in witchcraft, necromancy and an overall occult and utterly macabre atmosphere.” So I wondered, is this pricking in my thumbs a sign that something wicked this way comes, or is Necromaniac‘s witchery nothing more than parlor tricks?
An elixir of blackened death and thrash, with synth-sprigs of thyme and dashes of doomsbane thrown in for atmospheric effect, the morbidity of Necromaniac‘s metal is steeped mainly in the olde ways. Conjuring strong Hellhammer and Morbid2 vibes, there’s a rawness to the sound of the organic mix that belies the DR score you see below. Ensorcelling ‘guitarmageddon’ is Sadistik Fornicator, who laces the swirling potions of Sciomancy, Malediction & Rites Abominable with Toxic Holocaustian riffage (“Daemonomantia”) and guitar passages that sound as if they could have come straight from the cutting room floor of Slayer‘s Show No Mercy sessions (“Teraphim (Skull Sorcery)”). Combine those riffs with the potency of The One’s ‘Basstard Tremblings’ and V. Pestilencia’s ‘Apocalyptic Drumonitions,’ and the thrashily blackened death metal Necromaniac offers up is ruthlessly effective. When things shift toward the more atmospheric, however, cracks start to show and highlight the most significant battle fought within the album’s walls, which pits the strength of its metal against its more melodramatic tendencies.
With nothing to dilute its potency, the metal of Sciomancy, Malediction, & Rites Abominable is razor-sharp and capable of carrying the weight of the entire album. One quaff of the black-‘n-roll draught of riffs from “Grave Mound Oath” will have you bobbing your head and wondering what the hell ever happened to Carpathian Forest. At the same time, the swirling speeds of “Great is the Thirst of the Restless Dead” and the remorseless “Swedenborg’s Skull,” with its ebb and flow of pummeling riff work and atmospherically doomy passages, are a satisfying earworm of harrowing hocus-pocus. Atop all these infernal conflagrations float the vociferous vocalizations of C. Howler, whose grunts, growls, and menacing howls perfectly complement Necromaniac‘s morbidly sharp metal blade. If this were all we had to speak of regarding Sciomancy, Malediction & Rites Abominable, the overall perception would have been mostly positive, but there are elements left to address.
Necromaniac‘s firm forays into the strictly atmospheric fall short, cloaking those elements meant to invoke spine-chilling shivers in shrouds of theatrically overwrought melodrama instead. Other than “Caput Draconis,” with its effectively doomy guitar work and King Diamond-esque warbling3 providing an atmospherically eerie opening to the record, other attempts to tap the same vein miss the mark. Supplied by and known here only as A Corpse Without Soul, the guest vocals on “Bring Forth the Shade” and “Conjuration of St. Cyprian” are a mixture of cantankerous chuckles and over-embellished groans, whispers, and wails, combined then with the half-baked doom instrumentation and synths, create an overall effect more cringe than creepy. These tracks, in tandem with the ten-plus minutes of overly-long closer “Necromancess / Cauda Draconis,” full of meandering drawn-out doom work, make Sciomancy, Malediction & Rites Abominable feel longer than its near forty-nine-minute runtime should, negatively impacting the flow and momentum this witchy metal seance might otherwise have had.
Necromaniac‘s strength lies in the metal of its sciomantic maledictions and less in the melodrama of its abominable rites. Songs like “Grave Mound Oath,” “Teraphim (Skull Sorcery)” and “Swedenborg’s Skull” prove Necromaniac has the chops to stand tall next to other bands successfully peddling this same form of blackened death metal, but using vehicles that end up conjuring an atmosphere more mawkish than macabre costs Necromaniac most here. And while I can’t fully endorse Sciomancy, Maledictions and Rites Abominable, there’s enough meat on this bone to have me scoping Necromaniac‘s next incantation.
Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Invictus Productions | The Anja Offensive
Websites: necromaniac.bandcamp.com | facebook.com/necromaniacUK
Releases Worldwide: January 13, 2025#25 #2025 #BlackMetal #DeathMetal #DoomMetal #EnglishMetal #Hellhammer #InvictusProductions #Jan25 #Morbid #Necromaniac #Review #Reviews #SciomancyMaledictionsRitesAbominable #Slayer #TheANJAOffensive #ThrashMetal
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Ingurgitating Oblivion – Ontology of Nought Review
By Dear Hollow
I’ve spent over twenty hours with Ontology of Nought, trying to learn the German Ingurgitating Oblivion’s method in the madness. I’m still lost. I’m still stumbling blindly through the dead ends, the hairpin turns, the ominous spires, and the high walls that enclose its labyrinth, attempting to discover its light but knowing that it will only be by chance if I do. I cannot find a pattern, a clue, or an architectural basis anywhere. It’s blind memorization and utter void of context, and I have never been so baffled and intrigued by something calling itself death metal.
The lack of reference makes Ontology of Nought such a difficult album to score. Laced dissonance, choppy rhythms, blackened death intensity, and technical arpeggios, tied together with spoken word, a haunting atmosphere, and vicious noise, avant-garde veterans Ingurgitating Oblivion1 somehow avoids sounding like the trademarks of any of the bands who use them. Their first album in seven years consists of five tracks spanning nearly an hour and fifteen minutes, the eighteen-minute closer divided into three movements. It shifts patiently, organically, but with the intention and direction of the blind leading the blind. Ingurgitating Oblivion constructs Ontology of Nought not as a collection of highlights and riffs, but as a sonic labyrinth composed of mile-high walls, experimental twists, jagged spires, and brutal nihilism.
Disjointedly, Ingurgitating Oblivion recalls acts like Serocs, Coma Cluster Void, and Flourishing, a fusion of dissonant, blackened, and avant-garde death metal, sprawled together with ambiance and murky songwriting – however, Ontology of Nought is a free jazz expedition a la Sun Ra or Peter Brötzmann at heart. Opener “Uncreation’s Whirring Loom You Ply with Crippled Fingers” sets the tone with a haunting ambiance, interspersed by nearly mathcore-inspired marbled rhythms and manic drumming and featuring wild jazzy solos. The suffocating sprawl of noise and dissonance gives “To Weave the Tapestry of Nought” a dangerous grin atop its cantankerous rhythms, and the crescendos of lush ambiance, cumbersome keys, and clean vocals are downright haunting and strangely infectious. The women’s choir of “Lest I Should Perish with Travel, Effete and Weary, as My Knees Refuse to Bear Me Thither” shines through this tapestry of noise, interspersed by blackened death bomb explosions. Closer “The Barren Earth Oozes Blood, and Shakes and Moans, To Drink Her Children’s Gore” is a tour-de-force of spidery keys, unhinged drumming and sick riffs, epic solos, crawling leads, scathing noise, and crystalline ambiance, an eighteen-minute behemoth with which Ingurgitating Oblivion will test your patience and your sanity in some of the best ways, the patience of prior tracks stricken to the bone.
It’s easy to draw comparisons to Midnight Odyssey or Swallow the Sun in Ontology of Nought’s challenging runtime, but at least those atmoblack and melodeath/doom legends have shreds of consistency. Ingurgitating Oblivion shifts dramatically across each song’s ten-to-nineteen-minute track-lengths in ways that rob distinctiveness in favor of an ever-changing amorphousness, leaving memorability by the wayside. Most damning is centerpiece “The Blossoms of Your Tomorrow Shall Unfold in My Heart,” which lacks the oomph or highlight to stand out amid the crushing sea of experimentalisms and jarring shifts, compared to the haunting “To Weave…” and the actualized clarity of “Lest I Should Perish…” It’s ultimately small potatoes, however, because despite the myriad spins, I still cannot seem to wrap my head around Ontology’s shifting sands of jarring tonal and musical changes. This makes Ingurgitating Oblivion almost entirely inaccessible, requiring an obscene amount of concentration – in an inherently difficult style – for an asinine amount of time. In the spirit of free jazz, Ontology of Nought feels nearly entirely improvised, so it’s difficult to tell if its insanity is a puzzle worth solving or an empty pretentious pursuit.
When I started listening to Ingurgitating Oblivion, I was reading “The Library of Babel” by Jorge Luis Borges – and the comparisons fit. While the short story about infinite numbers of identically structured hexagons and books clashes with the insane apparent randomness coursing through Ontology of Nought, the lesson remains the same: the choice of purpose in the minute or despair in the infinite. How each listener approaches this album will differ, as the experimentalism is maddening and the runtime is extravagant. The sounds contained herein are unlike any others, with intensity, experimentalism, and organicity playing an infinite sonic game of chess worthy of both shudder and intrigue. Listen to it once – replay mileage will vary.
Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: ingurgitatingoblivion1.bandcamp.com | ingurgitating-oblivion.de | facebook.com/IngurgitatingOblivionOfficial
Releases Worldwide: September 27th, 2024#2024 #35 #AtmosphericDeathMetal #AvantGardeDeathMetal #AvantGardeMetal #BlackenedDeathMetal #ComaClusterVoid #DeathMetal #DefeatedSanity #DissonantDeathMetal #Flourishing #Fountainhead #FreeJazz #GermanMetal #IngurgitatingOblivion #Jazz #MentallyDefiled #MidnightOdyssey #OntologyOfNought #PeterBrötzmann #Review #Reviews #Sep24 #Serocs #SunRa #SwallowTheSun #TechnicalDeathMetal #WillowtipRecords
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Ingurgitating Oblivion – Ontology of Nought Review
By Dear Hollow
I’ve spent over twenty hours with Ontology of Nought, trying to learn the German Ingurgitating Oblivion’s method in the madness. I’m still lost. I’m still stumbling blindly through the dead ends, the hairpin turns, the ominous spires, and the high walls that enclose its labyrinth, attempting to discover its light but knowing that it will only be by chance if I do. I cannot find a pattern, a clue, or an architectural basis anywhere. It’s blind memorization and utter void of context, and I have never been so baffled and intrigued by something calling itself death metal.
The lack of reference makes Ontology of Nought such a difficult album to score. Laced dissonance, choppy rhythms, blackened death intensity, and technical arpeggios, tied together with spoken word, a haunting atmosphere, and vicious noise, avant-garde veterans Ingurgitating Oblivion1 somehow avoids sounding like the trademarks of any of the bands who use them. Their first album in seven years consists of five tracks spanning nearly an hour and fifteen minutes, the eighteen-minute closer divided into three movements. It shifts patiently, organically, but with the intention and direction of the blind leading the blind. Ingurgitating Oblivion constructs Ontology of Nought not as a collection of highlights and riffs, but as a sonic labyrinth composed of mile-high walls, experimental twists, jagged spires, and brutal nihilism.
Disjointedly, Ingurgitating Oblivion recalls acts like Serocs, Coma Cluster Void, and Flourishing, a fusion of dissonant, blackened, and avant-garde death metal, sprawled together with ambiance and murky songwriting – however, Ontology of Nought is a free jazz expedition a la Sun Ra or Peter Brötzmann at heart. Opener “Uncreation’s Whirring Loom You Ply with Crippled Fingers” sets the tone with a haunting ambiance, interspersed by nearly mathcore-inspired marbled rhythms and manic drumming and featuring wild jazzy solos. The suffocating sprawl of noise and dissonance gives “To Weave the Tapestry of Nought” a dangerous grin atop its cantankerous rhythms, and the crescendos of lush ambiance, cumbersome keys, and clean vocals are downright haunting and strangely infectious. The women’s choir of “Lest I Should Perish with Travel, Effete and Weary, as My Knees Refuse to Bear Me Thither” shines through this tapestry of noise, interspersed by blackened death bomb explosions. Closer “The Barren Earth Oozes Blood, and Shakes and Moans, To Drink Her Children’s Gore” is a tour-de-force of spidery keys, unhinged drumming and sick riffs, epic solos, crawling leads, scathing noise, and crystalline ambiance, an eighteen-minute behemoth with which Ingurgitating Oblivion will test your patience and your sanity in some of the best ways, the patience of prior tracks stricken to the bone.
It’s easy to draw comparisons to Midnight Odyssey or Swallow the Sun in Ontology of Nought’s challenging runtime, but at least those atmoblack and melodeath/doom legends have shreds of consistency. Ingurgitating Oblivion shifts dramatically across each song’s ten-to-nineteen-minute track-lengths in ways that rob distinctiveness in favor of an ever-changing amorphousness, leaving memorability by the wayside. Most damning is centerpiece “The Blossoms of Your Tomorrow Shall Unfold in My Heart,” which lacks the oomph or highlight to stand out amid the crushing sea of experimentalisms and jarring shifts, compared to the haunting “To Weave…” and the actualized clarity of “Lest I Should Perish…” It’s ultimately small potatoes, however, because despite the myriad spins, I still cannot seem to wrap my head around Ontology’s shifting sands of jarring tonal and musical changes. This makes Ingurgitating Oblivion almost entirely inaccessible, requiring an obscene amount of concentration – in an inherently difficult style – for an asinine amount of time. In the spirit of free jazz, Ontology of Nought feels nearly entirely improvised, so it’s difficult to tell if its insanity is a puzzle worth solving or an empty pretentious pursuit.
When I started listening to Ingurgitating Oblivion, I was reading “The Library of Babel” by Jorge Luis Borges – and the comparisons fit. While the short story about infinite numbers of identically structured hexagons and books clashes with the insane apparent randomness coursing through Ontology of Nought, the lesson remains the same: the choice of purpose in the minute or despair in the infinite. How each listener approaches this album will differ, as the experimentalism is maddening and the runtime is extravagant. The sounds contained herein are unlike any others, with intensity, experimentalism, and organicity playing an infinite sonic game of chess worthy of both shudder and intrigue. Listen to it once – replay mileage will vary.
Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: ingurgitatingoblivion1.bandcamp.com | ingurgitating-oblivion.de | facebook.com/IngurgitatingOblivionOfficial
Releases Worldwide: September 27th, 2024#2024 #35 #AtmosphericDeathMetal #AvantGardeDeathMetal #AvantGardeMetal #BlackenedDeathMetal #ComaClusterVoid #DeathMetal #DefeatedSanity #DissonantDeathMetal #Flourishing #Fountainhead #FreeJazz #GermanMetal #IngurgitatingOblivion #Jazz #MentallyDefiled #MidnightOdyssey #OntologyOfNought #PeterBrötzmann #Review #Reviews #Sep24 #Serocs #SunRa #SwallowTheSun #TechnicalDeathMetal #WillowtipRecords
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Ingurgitating Oblivion – Ontology of Nought Review
By Dear Hollow
I’ve spent over twenty hours with Ontology of Nought, trying to learn the German Ingurgitating Oblivion’s method in the madness. I’m still lost. I’m still stumbling blindly through the dead ends, the hairpin turns, the ominous spires, and the high walls that enclose its labyrinth, attempting to discover its light but knowing that it will only be by chance if I do. I cannot find a pattern, a clue, or an architectural basis anywhere. It’s blind memorization and utter void of context, and I have never been so baffled and intrigued by something calling itself death metal.
The lack of reference makes Ontology of Nought such a difficult album to score. Laced dissonance, choppy rhythms, blackened death intensity, and technical arpeggios, tied together with spoken word, a haunting atmosphere, and vicious noise, avant-garde veterans Ingurgitating Oblivion1 somehow avoids sounding like the trademarks of any of the bands who use them. Their first album in seven years consists of five tracks spanning nearly an hour and fifteen minutes, the eighteen-minute closer divided into three movements. It shifts patiently, organically, but with the intention and direction of the blind leading the blind. Ingurgitating Oblivion constructs Ontology of Nought not as a collection of highlights and riffs, but as a sonic labyrinth composed of mile-high walls, experimental twists, jagged spires, and brutal nihilism.
Disjointedly, Ingurgitating Oblivion recalls acts like Serocs, Coma Cluster Void, and Flourishing, a fusion of dissonant, blackened, and avant-garde death metal, sprawled together with ambiance and murky songwriting – however, Ontology of Nought is a free jazz expedition a la Sun Ra or Peter Brötzmann at heart. Opener “Uncreation’s Whirring Loom You Ply with Crippled Fingers” sets the tone with a haunting ambiance, interspersed by nearly mathcore-inspired marbled rhythms and manic drumming and featuring wild jazzy solos. The suffocating sprawl of noise and dissonance gives “To Weave the Tapestry of Nought” a dangerous grin atop its cantankerous rhythms, and the crescendos of lush ambiance, cumbersome keys, and clean vocals are downright haunting and strangely infectious. The women’s choir of “Lest I Should Perish with Travel, Effete and Weary, as My Knees Refuse to Bear Me Thither” shines through this tapestry of noise, interspersed by blackened death bomb explosions. Closer “The Barren Earth Oozes Blood, and Shakes and Moans, To Drink Her Children’s Gore” is a tour-de-force of spidery keys, unhinged drumming and sick riffs, epic solos, crawling leads, scathing noise, and crystalline ambiance, an eighteen-minute behemoth with which Ingurgitating Oblivion will test your patience and your sanity in some of the best ways, the patience of prior tracks stricken to the bone.
It’s easy to draw comparisons to Midnight Odyssey or Swallow the Sun in Ontology of Nought’s challenging runtime, but at least those atmoblack and melodeath/doom legends have shreds of consistency. Ingurgitating Oblivion shifts dramatically across each song’s ten-to-nineteen-minute track-lengths in ways that rob distinctiveness in favor of an ever-changing amorphousness, leaving memorability by the wayside. Most damning is centerpiece “The Blossoms of Your Tomorrow Shall Unfold in My Heart,” which lacks the oomph or highlight to stand out amid the crushing sea of experimentalisms and jarring shifts, compared to the haunting “To Weave…” and the actualized clarity of “Lest I Should Perish…” It’s ultimately small potatoes, however, because despite the myriad spins, I still cannot seem to wrap my head around Ontology’s shifting sands of jarring tonal and musical changes. This makes Ingurgitating Oblivion almost entirely inaccessible, requiring an obscene amount of concentration – in an inherently difficult style – for an asinine amount of time. In the spirit of free jazz, Ontology of Nought feels nearly entirely improvised, so it’s difficult to tell if its insanity is a puzzle worth solving or an empty pretentious pursuit.
When I started listening to Ingurgitating Oblivion, I was reading “The Library of Babel” by Jorge Luis Borges – and the comparisons fit. While the short story about infinite numbers of identically structured hexagons and books clashes with the insane apparent randomness coursing through Ontology of Nought, the lesson remains the same: the choice of purpose in the minute or despair in the infinite. How each listener approaches this album will differ, as the experimentalism is maddening and the runtime is extravagant. The sounds contained herein are unlike any others, with intensity, experimentalism, and organicity playing an infinite sonic game of chess worthy of both shudder and intrigue. Listen to it once – replay mileage will vary.
Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: ingurgitatingoblivion1.bandcamp.com | ingurgitating-oblivion.de | facebook.com/IngurgitatingOblivionOfficial
Releases Worldwide: September 27th, 2024#2024 #35 #AtmosphericDeathMetal #AvantGardeDeathMetal #AvantGardeMetal #BlackenedDeathMetal #ComaClusterVoid #DeathMetal #DefeatedSanity #DissonantDeathMetal #Flourishing #Fountainhead #FreeJazz #GermanMetal #IngurgitatingOblivion #Jazz #MentallyDefiled #MidnightOdyssey #OntologyOfNought #PeterBrötzmann #Review #Reviews #Sep24 #Serocs #SunRa #SwallowTheSun #TechnicalDeathMetal #WillowtipRecords
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CanHacker на базе Adruino (без глюков)
Итак, моя задача: подключение рулевой рейки тигуана на столе без подключения к машине. Для этого требуется имитация активности в CAN шине. Для этого требуется адаптер, позволяющий работать с программой CanHacker и, собственно, трейс CAN пакетов с автомобиля.
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How did the Warblers know that the Blackflies would be out in full force today? So many Warblers arrived: Tennessee, Nashville, Cape May, Blackburnian, and so many more. No lack of insects to complain about.
The bugs didn't bite us yet. Any day now. -
And here we go ... 🌨️🌨️🌨️
The major winter storm has arrived.
I hope the power will stay on! -
"A daily walk is good for you!" they say.
So we went into the blowing snow.. -
Elizabeth Blackadder, Cat and Irises, 2001, watercolor
Good Afternoon!!
It’s a long weekend here in Massachusetts (Indigenous Peoples Day), and I’m planning to try to relax and read something other than politics news. Lately I can’t tolerate watching cable news, but I’ve been obsessed with keeping up with everything that is happening in the presidential campaigns. I spend too much time on social media, but it’s the only way to find out what Trump is really up to, because of the legacy media’s compulsive sanewashing of Trump’s demented behavior and speech patterns.
If you use social media, you may have seen Trump’s bizarre behavior during his speech at the Detroit Economic Club. The speech was supposed to be about economics but, since Trump has no comprehension of economics, he did his usual nonsensical rambling act. The New Republic: Watch: Trump Completely Loses Train of Thought in Awkward Speech.
Donald Trump drifted in and out of coherency during an awkward, weaving speech Thursday at the Detroit Economics Club, where he ranted about tariffs and railed against government mandates on electric vehicles….
But while explaining his fears that Kamala Harris’s policies would cause domestic manufacturing to leave the United States, Trump seemingly got carried away by the tide of his own weave and swept out into a sea of complete nonsense.
“And, it’s so simple, I mean, you know. This isn’t like Elon with his rocket ships that land within 12 inches on the moon where they wanted to land,” Trump said. “Or, he gets the … engines back—that was the first I realized, I said, ‘Who the hell did that?’ I saw engines about three, four years ago. These things were coming—cylinders, no wings, no nothing—and they’re coming down very slowly, landing on a raft in the middle of the ocean someplace, with a circle, boom!”
“Reminded me of the Biden circles that he used to have, right?” Trump said, seemingly referring to President Joe Biden’s campaign events that took precautions for Covid-19, in an awkward non sequitur.
“He’d have eight circles, and he couldn’t fill ’em up. But then I heard he beat us with the popular vote. He couldn’t fill up the eight circles, I always loved those circles, they were so beautiful, so beautiful to look at,” Trump continued.
Trump claimed that Biden “used to have the press stand in those circles, cause they couldn’t get the people. And then I heard we lost, no we’re never gonna let that happen again.”
“But—” he continued. “We’ve been abused by other countries, we’ve been abused by our own politicians, really, more than other countries.”
There are more examples of Trump’s insane rambling at the TNR link. But it’s not just rambling–it’s dementia; and it seems to be getting worse all the time. He flits from tangent to tangent, because his executive functioning is failing, likely from damage to his frontal lobes. You can watch the video clip at the TNR link.
This is disgusting, but I’m going to post it anyway. Trump appeared to either break wind (or foul his diaper) at least twice during his speech in Detroit. This is something that was happening even when he was in the White House. Reporters also noticed it happening during his fraud trial. WTF?!
Trump also slammed the city of Detroit during the same speech. The Guardian: Trump insults Detroit during speech … in Detroit.
Donald Trump attacked the city of Detroit in a speech he was giving while stumping for votes in Detroit.
The former US president and Republican nominee was speaking on Thursday at the Detroit Economic Club in the city, which is the biggest city in Michigan – one of the most crucial swing states in the 2024 US election.
But Trump, whose speeches are frequently rambling and lengthy discourses rather than set piece deliveries, could not stop himself from lambasting the city in which he was speaking by pointing to Detroit’s recent history of economic decline from its heyday as the home of American car production.
As he was speaking about China being a developing nation, Trump said: “Well, we’re a developing nation too, just take a look at Detroit. Detroit’s a developing area more than most places in China.”
He later returned to the theme, warning of an economic disaster if his Democratic opponent, Kamala Harris, wins in November’s election.
“Our whole country will end up being like Detroit if she’s your president. You’re going to have a mess on your hands,” Trump said….
Democrats in the state reacted angrily to the insults and saw a chance to score political points.
Michigan governor Gretchen Whitmer posted on Twitter/X: “Detroit is the epitome of ‘grit,’ defined by winners willing to get their hands dirty to build up their city and create their communities – something Donald Trump could never understand. So keep Detroit out of your mouth. And you better believe Detroiters won’t forget this in November.”
More frightening Trump news:
Alternet reports that Trump is planning to continue and perhaps escalate his violent, racist attacks on immigration and immigrants: ‘That’s how you lose’: Trump refusing aides’ requests to tone down anti-immigrant attacks.
Former President Donald Trump is aware his rhetoric about migrants has become increasingly toxic, yet he has decided to double down on that strategy in the final weeks of the campaign cycle.
According to Rolling Stone’s Naomi Lachance and Asawin Suebsaeng, the ex-president is even rebuffing advice from his campaign team to “play it safe” as voters prepare to head to the polls on November 5. Lachance and Suebsaeng cited two unnamed sources close to Trump in their report, writing that Trump intended to “slam his foot on the gas” rather than pull back on his anti-immigrant message.
Agnes Miller Parker, Siamese Cat and Butterfly, 1950, wood engraving
“That’s how you lose,” Trump reportedly said in response to one of his aides.
The publication’s other unnamed source said the ex-president paid close attention to which lines at his rallies garnered the biggest reactions from his audiences. This includes not only his false claim that there are 13,000 undocumented immigrants freely roaming the United States who have been convicted of murder elsewhere (most of those 13,000 are currently incarcerated), but also his call to be a “dictator” on “day one” of a second term….
The former president recently demonstrated his willingness to take his condemnation of migrants to a new low on Friday night, posting a lengthy screed to X (formerly Twitter) in which he promised to use an 18th century law to round up, detain and deport immigrants. That law — the Alien Enemies Act of 1798 — would allow for the detainment of migrants without trial based solely on their country of birth. The last time that law was used was to force Japanese-Americans into detention camps during World War II.
“November 5th, 2024 will be LIBERATION DAY in America,” Trump tweeted. [W]e will put these vicious and bloodthirsty criminals in jail or kick them the hell OUT OF OUR COUNTRY.”
And you’re not safe if you’re a legal immigrant, as Trump and Vance have both made clear in their attacks on Haitians in Springfield, Ohio.
The Guardian has another excerpt from Bob Woodward’s new book: Mark Milley fears being court-martialed if Trump wins, Woodward book says.
Mark Milley, a retired US army general who was chair of the joint chiefs of staff under Donald Trump and Joe Biden, fears being recalled to uniform and court-martialed should Trump defeat Kamala Harris next month and return to power.
“He is a walking, talking advertisement of what he’s going to try to do,” Milley recently “warned former colleagues”, the veteran Washington Post reporter Bob Woodward writes in an upcoming book. “He’s saying it and it’s not just him, it’s the people around him.”
By Elizabeth Blackadder
Woodward cites Steve Bannon, Trump’s former campaign chair and White House strategist now jailed for contempt of Congress, as saying of Milley: “We’re gonna hold him accountable.”
Trump’s wish to recall and court-martial retired senior officers who criticized him in print has been reported before, including by Mark Esper, Trump’s second secretary of defense. In Woodward’s telling, in a 2020 Oval Office meeting with Milley and Esper, Trump “yelled” and “shouted” about William McRaven, a former admiral who led the 2011 raid in Pakistan in which US special forces killed Osama bin Laden, and Stanley McChrystal, the retired special forces general whose men killed another al-Qaida leader, Abu Musab al-Zarqawi, in Iraq in 2006.
Milley was able to persuade Trump to back down, Woodward writes, but fears no such guardrails will be in place if Trump is re-elected.
Woodward also describes Milley receiving “a non-stop barrage of death threats” since his retirement last year, and quotes the former general as telling him, of Trump: “No one has ever been as dangerous to this country.”
More threats of violence are coming from Trump pal Roger Stone. The Guardian: Roger Stone calls for ‘armed guards’ at polling spots in leaked video.
The longtime Donald Trump ally and friend Roger Stone said Republicans should send “armed guards” to the polls
in November to ensure a Trump victory, according to video footage by an undercover journalist.
The video, first published by Rolling Stone, shows an embittered Stone, still angry about the 2020 election and ready to fight in 2024. Stone described the former US president’s legal strategy of constant litigation to purge voter rolls in swing states.
“We gotta fight it out on a state-by-state basis,” said Stone. “We’re already in court in Wisconsin, we’re already in court in Florida.”
When the journalist, posing as a member of a rightwing voter turnout organization, pressed Stone for details on efforts to make sure Trump wins in 2024, Stone told him that the campaign has to “be ready”.
Mary Feddon, Tabby
“When they throw us out of Detroit, you go get a court order, you come in with your own armed guards, and you dispute it,” said Stone. In Detroit in 2020, there was a chaotic scene at a ballot counting center when GOP vote challengers pounded on the walls of the center and demanded to be let in.
Filmed at an August event in Jacksonville, Florida, called A Night with Roger Stone, the footage also reveals Stone’s lasting anger toward former attorney general Bill Barr, who he calls “a traitorous piece of human garbage”.
While in office, Barr acted as a staunch Trump ally, even pushing for a lighter sentence for Stone, when the operative was found guilty of witness tampering and obstruction of justice in connection with a congressional inquiry into Russian interference during the 2016 election. Barr lost favor with the former president when he declined to publicly back Trump’s false claims of a stolen election, drawing outrage from Trump’s closest allies.
“Once we get back in, he has to go to prison,” Stone exclaimed. “He has to go to prison, he’s a criminal.”
This is from the usual suspects at The New York Times (Maggie Haberman, Jonathan Swan, and Shane Goldmacher): A Frustrated Trump Lashes Out Behind Closed Doors Over Money.
Donald J. Trump took his seat at the dining table in his triplex penthouse apartment atop Trump Tower on the last Sunday in September, alongside some of the most sought-after and wealthiest figures in the Republican Party.
There was Paul Singer, the billionaire hedge fund manager who finances Republican campaigns and pro-Israel causes, and Warren Stephens, the billionaire investment banker. Joining them were Betsy DeVos, the billionaire former education secretary under Mr. Trump, and her husband, Dick, as well as the billionaire Joe Ricketts and his son Todd.
Some politicians might have taken the moment to be charming and ingratiating with the donors.
Not Mr. Trump. Over steak and baked potatoes, the former president tore through a bitter list of grievances.
He made it clear that people, including donors, needed to do more, appreciate him more and help him more.
By Miroco Machiko
He disparaged Vice President Kamala Harris as “retarded.” He complained about the number of Jews still backing Ms. Harris, saying they needed their heads examined for not supporting him despite everything he had done for the state of Israel.
At one point, Mr. Trump seemed to suggest that these donors had plenty to be grateful to him for. He boasted about how great he had been for their taxes, something that some privately noted wasn’t true for everyone in the room.
The rant, described by seven people with knowledge of the meal who spoke on the condition of anonymity to discuss private conversations, underscored a reality three weeks before Election Day: Mr. Trump’s often cantankerous mood in the final stretch. And one of the reasons for his frustration is money. He’s trailing his Democratic rival in the race for cash and has had to hustle to keep raising it.
Not only does Ms. Harris have far more money to buy ads and pay for staff after raising $1 billion in less than three months as a candidate — a sum greater than the total Mr. Trump raised all year — but she has also been freed from having to plead directly to donors anymore. She raised more than twice as much as Mr. Trump in July, August and September.
Good! Let him keep wallowing in self-pity, driving away people who could donate to his campaign.
I’ll end with something truly unbelievable: On October 16, Fox News and Trump are planning a town hall on women’s issues! From the press release:
FOX News Channel’s (FNC) Harris Faulkner will present a town hall with Republican presidential candidate former President Donald Trump focusing on issues impacting women ahead of the election and news of the day at Reid Barn in Cumming, Georgia. The event, which will be held with an audience entirely composed of women, will pre-tape on October 15th and air on October 16th on The Faulkner Focus (11 AM-12 PM/ET). FOX News has a standing invitation to Vice President Harris for a townhall event of equal stature which has been extended to her campaign multiple times since she became a candidate for president in August.
In commenting on the town hall, Faulkner said, “Women constitute the largest group of registered and active voters in the United States, so it is paramount that female voters understand where the presidential candidates stand on the issues that matter to them most. I am looking forward to providing our viewers with an opportunity to learn more about where former President Trump stands on these topics.”
Orovida Pissarro, Cat and Mouse, 1966
Faulkner joined FNC in 2005 and currently serves as the anchor of The Faulkner Focus and a founding co-host of Outnumbered. At 11 AM/ET, The Faulkner Focus features interviews with top newsmakers and analysts and is cable news’ most-watched program in the timeslot, averaging nearly 2 million viewers. Outnumbered features an ensemble of four female panelists and one male breaking down the day’s headlines from all perspectives and dominates the competition at 12 PM/ET with 1.8 million viewers. Both programs outpace broadcast program’s NBC’s TODAY Third Hour, TODAY with Hoda & Jenna, The Kelly Clarkson Show, NBC News Daily, ABC’s GMA3, CBS’ The Talk and The Drew Barrymore Show.
As the first Black woman to helm back-to-back weekday cable news programs, Faulkner has also played integral roles in FNC’s election coverage over the last several cycles. She is the lead of the network’s “Voter’s Voices” segments and recently presented a series titled, ”Families in Focus,” where she interviewed the family members of the then-presidential candidates during the 2024 primaries. Additionally, Faulkner has hosted a variety of primetime specials and townhalls focused on current events, including forums focused on policing in America, the ongoing conversation of justice in the country and education during the COVID-19 pandemic, among other topics.
That should be good for a laugh.
Have a nice weekend everyone!!
https://skydancingblog.com/2024/10/12/lazy-caturday-reads-trump-horrors/
#dementia #executiveFunctioning #frontalLobeDamage #immigration #incontinence #MarkMilley #Racism #RogerStone
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Elizabeth Blackadder, Cat and Irises, 2001, watercolor
Good Afternoon!!
It’s a long weekend here in Massachusetts (Indigenous Peoples Day), and I’m planning to try to relax and read something other than politics news. Lately I can’t tolerate watching cable news, but I’ve been obsessed with keeping up with everything that is happening in the presidential campaigns. I spend too much time on social media, but it’s the only way to find out what Trump is really up to, because of the legacy media’s compulsive sanewashing of Trump’s demented behavior and speech patterns.
If you use social media, you may have seen Trump’s bizarre behavior during his speech at the Detroit Economic Club. The speech was supposed to be about economics but, since Trump has no comprehension of economics, he did his usual nonsensical rambling act. The New Republic: Watch: Trump Completely Loses Train of Thought in Awkward Speech.
Donald Trump drifted in and out of coherency during an awkward, weaving speech Thursday at the Detroit Economics Club, where he ranted about tariffs and railed against government mandates on electric vehicles….
But while explaining his fears that Kamala Harris’s policies would cause domestic manufacturing to leave the United States, Trump seemingly got carried away by the tide of his own weave and swept out into a sea of complete nonsense.
“And, it’s so simple, I mean, you know. This isn’t like Elon with his rocket ships that land within 12 inches on the moon where they wanted to land,” Trump said. “Or, he gets the … engines back—that was the first I realized, I said, ‘Who the hell did that?’ I saw engines about three, four years ago. These things were coming—cylinders, no wings, no nothing—and they’re coming down very slowly, landing on a raft in the middle of the ocean someplace, with a circle, boom!”
“Reminded me of the Biden circles that he used to have, right?” Trump said, seemingly referring to President Joe Biden’s campaign events that took precautions for Covid-19, in an awkward non sequitur.
“He’d have eight circles, and he couldn’t fill ’em up. But then I heard he beat us with the popular vote. He couldn’t fill up the eight circles, I always loved those circles, they were so beautiful, so beautiful to look at,” Trump continued.
Trump claimed that Biden “used to have the press stand in those circles, cause they couldn’t get the people. And then I heard we lost, no we’re never gonna let that happen again.”
“But—” he continued. “We’ve been abused by other countries, we’ve been abused by our own politicians, really, more than other countries.”
There are more examples of Trump’s insane rambling at the TNR link. But it’s not just rambling–it’s dementia; and it seems to be getting worse all the time. He flits from tangent to tangent, because his executive functioning is failing, likely from damage to his frontal lobes. You can watch the video clip at the TNR link.
This is disgusting, but I’m going to post it anyway. Trump appeared to either break wind (or foul his diaper) at least twice during his speech in Detroit. This is something that was happening even when he was in the White House. Reporters also noticed it happening during his fraud trial. WTF?!
Trump also slammed the city of Detroit during the same speech. The Guardian: Trump insults Detroit during speech … in Detroit.
Donald Trump attacked the city of Detroit in a speech he was giving while stumping for votes in Detroit.
The former US president and Republican nominee was speaking on Thursday at the Detroit Economic Club in the city, which is the biggest city in Michigan – one of the most crucial swing states in the 2024 US election.
But Trump, whose speeches are frequently rambling and lengthy discourses rather than set piece deliveries, could not stop himself from lambasting the city in which he was speaking by pointing to Detroit’s recent history of economic decline from its heyday as the home of American car production.
As he was speaking about China being a developing nation, Trump said: “Well, we’re a developing nation too, just take a look at Detroit. Detroit’s a developing area more than most places in China.”
He later returned to the theme, warning of an economic disaster if his Democratic opponent, Kamala Harris, wins in November’s election.
“Our whole country will end up being like Detroit if she’s your president. You’re going to have a mess on your hands,” Trump said….
Democrats in the state reacted angrily to the insults and saw a chance to score political points.
Michigan governor Gretchen Whitmer posted on Twitter/X: “Detroit is the epitome of ‘grit,’ defined by winners willing to get their hands dirty to build up their city and create their communities – something Donald Trump could never understand. So keep Detroit out of your mouth. And you better believe Detroiters won’t forget this in November.”
More frightening Trump news:
Alternet reports that Trump is planning to continue and perhaps escalate his violent, racist attacks on immigration and immigrants: ‘That’s how you lose’: Trump refusing aides’ requests to tone down anti-immigrant attacks.
Former President Donald Trump is aware his rhetoric about migrants has become increasingly toxic, yet he has decided to double down on that strategy in the final weeks of the campaign cycle.
According to Rolling Stone’s Naomi Lachance and Asawin Suebsaeng, the ex-president is even rebuffing advice from his campaign team to “play it safe” as voters prepare to head to the polls on November 5. Lachance and Suebsaeng cited two unnamed sources close to Trump in their report, writing that Trump intended to “slam his foot on the gas” rather than pull back on his anti-immigrant message.
Agnes Miller Parker, Siamese Cat and Butterfly, 1950, wood engraving
“That’s how you lose,” Trump reportedly said in response to one of his aides.
The publication’s other unnamed source said the ex-president paid close attention to which lines at his rallies garnered the biggest reactions from his audiences. This includes not only his false claim that there are 13,000 undocumented immigrants freely roaming the United States who have been convicted of murder elsewhere (most of those 13,000 are currently incarcerated), but also his call to be a “dictator” on “day one” of a second term….
The former president recently demonstrated his willingness to take his condemnation of migrants to a new low on Friday night, posting a lengthy screed to X (formerly Twitter) in which he promised to use an 18th century law to round up, detain and deport immigrants. That law — the Alien Enemies Act of 1798 — would allow for the detainment of migrants without trial based solely on their country of birth. The last time that law was used was to force Japanese-Americans into detention camps during World War II.
“November 5th, 2024 will be LIBERATION DAY in America,” Trump tweeted. [W]e will put these vicious and bloodthirsty criminals in jail or kick them the hell OUT OF OUR COUNTRY.”
And you’re not safe if you’re a legal immigrant, as Trump and Vance have both made clear in their attacks on Haitians in Springfield, Ohio.
The Guardian has another excerpt from Bob Woodward’s new book: Mark Milley fears being court-martialed if Trump wins, Woodward book says.
Mark Milley, a retired US army general who was chair of the joint chiefs of staff under Donald Trump and Joe Biden, fears being recalled to uniform and court-martialed should Trump defeat Kamala Harris next month and return to power.
“He is a walking, talking advertisement of what he’s going to try to do,” Milley recently “warned former colleagues”, the veteran Washington Post reporter Bob Woodward writes in an upcoming book. “He’s saying it and it’s not just him, it’s the people around him.”
By Elizabeth Blackadder
Woodward cites Steve Bannon, Trump’s former campaign chair and White House strategist now jailed for contempt of Congress, as saying of Milley: “We’re gonna hold him accountable.”
Trump’s wish to recall and court-martial retired senior officers who criticized him in print has been reported before, including by Mark Esper, Trump’s second secretary of defense. In Woodward’s telling, in a 2020 Oval Office meeting with Milley and Esper, Trump “yelled” and “shouted” about William McRaven, a former admiral who led the 2011 raid in Pakistan in which US special forces killed Osama bin Laden, and Stanley McChrystal, the retired special forces general whose men killed another al-Qaida leader, Abu Musab al-Zarqawi, in Iraq in 2006.
Milley was able to persuade Trump to back down, Woodward writes, but fears no such guardrails will be in place if Trump is re-elected.
Woodward also describes Milley receiving “a non-stop barrage of death threats” since his retirement last year, and quotes the former general as telling him, of Trump: “No one has ever been as dangerous to this country.”
More threats of violence are coming from Trump pal Roger Stone. The Guardian: Roger Stone calls for ‘armed guards’ at polling spots in leaked video.
The longtime Donald Trump ally and friend Roger Stone said Republicans should send “armed guards” to the polls
in November to ensure a Trump victory, according to video footage by an undercover journalist.
The video, first published by Rolling Stone, shows an embittered Stone, still angry about the 2020 election and ready to fight in 2024. Stone described the former US president’s legal strategy of constant litigation to purge voter rolls in swing states.
“We gotta fight it out on a state-by-state basis,” said Stone. “We’re already in court in Wisconsin, we’re already in court in Florida.”
When the journalist, posing as a member of a rightwing voter turnout organization, pressed Stone for details on efforts to make sure Trump wins in 2024, Stone told him that the campaign has to “be ready”.
Mary Feddon, Tabby
“When they throw us out of Detroit, you go get a court order, you come in with your own armed guards, and you dispute it,” said Stone. In Detroit in 2020, there was a chaotic scene at a ballot counting center when GOP vote challengers pounded on the walls of the center and demanded to be let in.
Filmed at an August event in Jacksonville, Florida, called A Night with Roger Stone, the footage also reveals Stone’s lasting anger toward former attorney general Bill Barr, who he calls “a traitorous piece of human garbage”.
While in office, Barr acted as a staunch Trump ally, even pushing for a lighter sentence for Stone, when the operative was found guilty of witness tampering and obstruction of justice in connection with a congressional inquiry into Russian interference during the 2016 election. Barr lost favor with the former president when he declined to publicly back Trump’s false claims of a stolen election, drawing outrage from Trump’s closest allies.
“Once we get back in, he has to go to prison,” Stone exclaimed. “He has to go to prison, he’s a criminal.”
This is from the usual suspects at The New York Times (Maggie Haberman, Jonathan Swan, and Shane Goldmacher): A Frustrated Trump Lashes Out Behind Closed Doors Over Money.
Donald J. Trump took his seat at the dining table in his triplex penthouse apartment atop Trump Tower on the last Sunday in September, alongside some of the most sought-after and wealthiest figures in the Republican Party.
There was Paul Singer, the billionaire hedge fund manager who finances Republican campaigns and pro-Israel causes, and Warren Stephens, the billionaire investment banker. Joining them were Betsy DeVos, the billionaire former education secretary under Mr. Trump, and her husband, Dick, as well as the billionaire Joe Ricketts and his son Todd.
Some politicians might have taken the moment to be charming and ingratiating with the donors.
Not Mr. Trump. Over steak and baked potatoes, the former president tore through a bitter list of grievances.
He made it clear that people, including donors, needed to do more, appreciate him more and help him more.
By Miroco Machiko
He disparaged Vice President Kamala Harris as “retarded.” He complained about the number of Jews still backing Ms. Harris, saying they needed their heads examined for not supporting him despite everything he had done for the state of Israel.
At one point, Mr. Trump seemed to suggest that these donors had plenty to be grateful to him for. He boasted about how great he had been for their taxes, something that some privately noted wasn’t true for everyone in the room.
The rant, described by seven people with knowledge of the meal who spoke on the condition of anonymity to discuss private conversations, underscored a reality three weeks before Election Day: Mr. Trump’s often cantankerous mood in the final stretch. And one of the reasons for his frustration is money. He’s trailing his Democratic rival in the race for cash and has had to hustle to keep raising it.
Not only does Ms. Harris have far more money to buy ads and pay for staff after raising $1 billion in less than three months as a candidate — a sum greater than the total Mr. Trump raised all year — but she has also been freed from having to plead directly to donors anymore. She raised more than twice as much as Mr. Trump in July, August and September.
Good! Let him keep wallowing in self-pity, driving away people who could donate to his campaign.
I’ll end with something truly unbelievable: On October 16, Fox News and Trump are planning a town hall on women’s issues! From the press release:
FOX News Channel’s (FNC) Harris Faulkner will present a town hall with Republican presidential candidate former President Donald Trump focusing on issues impacting women ahead of the election and news of the day at Reid Barn in Cumming, Georgia. The event, which will be held with an audience entirely composed of women, will pre-tape on October 15th and air on October 16th on The Faulkner Focus (11 AM-12 PM/ET). FOX News has a standing invitation to Vice President Harris for a townhall event of equal stature which has been extended to her campaign multiple times since she became a candidate for president in August.
In commenting on the town hall, Faulkner said, “Women constitute the largest group of registered and active voters in the United States, so it is paramount that female voters understand where the presidential candidates stand on the issues that matter to them most. I am looking forward to providing our viewers with an opportunity to learn more about where former President Trump stands on these topics.”
Orovida Pissarro, Cat and Mouse, 1966
Faulkner joined FNC in 2005 and currently serves as the anchor of The Faulkner Focus and a founding co-host of Outnumbered. At 11 AM/ET, The Faulkner Focus features interviews with top newsmakers and analysts and is cable news’ most-watched program in the timeslot, averaging nearly 2 million viewers. Outnumbered features an ensemble of four female panelists and one male breaking down the day’s headlines from all perspectives and dominates the competition at 12 PM/ET with 1.8 million viewers. Both programs outpace broadcast program’s NBC’s TODAY Third Hour, TODAY with Hoda & Jenna, The Kelly Clarkson Show, NBC News Daily, ABC’s GMA3, CBS’ The Talk and The Drew Barrymore Show.
As the first Black woman to helm back-to-back weekday cable news programs, Faulkner has also played integral roles in FNC’s election coverage over the last several cycles. She is the lead of the network’s “Voter’s Voices” segments and recently presented a series titled, ”Families in Focus,” where she interviewed the family members of the then-presidential candidates during the 2024 primaries. Additionally, Faulkner has hosted a variety of primetime specials and townhalls focused on current events, including forums focused on policing in America, the ongoing conversation of justice in the country and education during the COVID-19 pandemic, among other topics.
That should be good for a laugh.
Have a nice weekend everyone!!
https://skydancingblog.com/2024/10/12/lazy-caturday-reads-trump-horrors/
#dementia #executiveFunctioning #frontalLobeDamage #immigration #incontinence #MarkMilley #Racism #RogerStone