Search
394 results for “canyakker”
-
Lazy Caturday Reads
By Brian Laing
Good Morning!!
After Daknikat’s comprehensive post yesterday, it’s hard to imagine there could be any more news to report on today, but I’ve found a few things.
There were two notable deaths yesterday, pioneering blogger Kevin Drum and former Senator Alan Simpson, half of Simpson-Bowles, who created what came to be known as the “Cat Food Commission.”
The New York Times: Kevin Drum, Influential Early Political Blogger, Dies at 66.
Kevin Drum, who gave up his day job in software marketing to write online about politics, policy and his cats, quickly becoming a key figure in the vanguard of center-left bloggers during the genre’s heyday in the early 2000s, died on March 7. He was 66.
His wife, Marian Drum, announced the death on his website but did not say where he died or cite a cause.
Mr. Drum, who lived in Irvine, Calif., had been diagnosed with multiple myeloma in 2014 and had recently developed pneumonia. He blogged about those personal challenges openly and with the same insight that he brought to issues like health care policy and urban planning.
He spent most of his life in Orange County, Calif., which distinguished him from the majority of early big-name bloggers, many of whom hailed from the Washington-Boston corridor or from academic enclaves.
Mr. Drum began blogging in 2002 and quickly developed a large nationwide following. He helped shape what became known as the liberal blogosphere, populated by a broad amalgam of left-of-center thinkers who emphasized policy debates over political horse races.
His curiosity was broad, and he wrote on a variety of subjects from a variety of perspectives — sometimes casually observational, sometimes rigorously analytical — in a way that set him apart from the assorted camps that defined the blogosphere, including academics, politicos and ideologues.
Four years after that, Mr. Drum moved to Mother Jones, where he wrote not just blog posts but also extensive reported pieces for the magazine.
Most notable was a deep dive in 2013 into the theory that the crime wave of the late 20th century was driven in large part by childhood exposure to lead in gasoline and paint, a key factor in the development of behavioral problems and, in turn, delinquency. As lead was phased out, health outcomes improved and crime rates dropped.
“He was just able to unpack very complicated — particularly economically complicated — stories in an immensely readable way,” said Clara Jeffery, the editor in chief of Mother Jones.
The New York Times: Alan K. Simpson, a Folksy Republican Force in the Senate, Dies at 93.
Alan K. Simpson, a plain-spoken former Republican senator from Wyoming who championed immigration reforms and conservative candidates for the Supreme Court while fighting running battles with women’s groups, environmentalists and the press, died on Friday in hospice in Cody, Wyo. He was 93.
He had been struggling to recover from a broken hip that he sustained in December, according to a statement from his family and the Buffalo Bill Center of the West, a group of museums of which he was a board member for 56 years. The statement said his recovery had been hindered by complications of a case of frostbite to his left foot that he endured about five years ago and that required the amputation of his left leg below the knee.
By Matt Cauley
Folksy, irreverent and sometimes cantankerous, a gaunt, 6-foot-7 beanpole with a ranch hand’s soft drawl, Mr. Simpson was a three-term senator, from 1979 to 1997, whom school children and tourists in the gallery sometimes took for a Mr. Smith-goes-to-Washington oddball, especially during his occasional rants against “bug-eyed zealots” and “super-greenies,” as he liked to call environmental lobbyists.
The son of a former Wyoming governor and United States senator, Mr. Simpson had been a hell-raiser as a teenager. He and some friends shot up mailboxes, killed a cow with rifles and set fire to an abandoned federal property. He punched a police officer who arrested him. While no one had been seriously hurt, he faced prison. But he was put on probation for two years and paid restitution….
Mr. Simpson had love-hate relationships with the press. Many journalists liked his earthy humor and easy accessibility. But his language could be coarse and his tone contemptuous when he attacked the news media, sometimes singling out reporters by name. He crossed a line when he accused Peter Arnett of CNN of being an enemy “sympathizer” for his reporting from Iraq during the Persian Gulf war, and wrongly accused him of bias in the Vietnam War because he had married a Vietnamese woman.
His political positions sometimes seemed contradictory, or perhaps personal. He supported abortion rights and right-wing nominees to the United States Supreme Court who might overturn Roe v. Wade. And partly out of a friendship forged when he was a 12-year-old Boy Scout, he called on the nation to apologize to Japanese Americans who were interned as potential security risks during World War II.
Read more at the NYT if you’re interested. Frankly, I thought he was a horrible person, but what do I know?
Daknikat covered the Republicans’ horrific continuing resolution yesterday. Of course it pass with Democratic help.
HuffPost: Here Are The Democrats Who Advanced A GOP Bill To Avoid A Government Shutdown.
In the end, nine senators who caucus with Democrats joined with Senate Minority Leader Chuck Schumer (N.Y.) in voting to advance legislation to avoid a government shutdown, essentially giving up Democratic leverage over President Donald Trump for the foreseeable future.
Their support meant the bill was able to break the 60-vote threshold to avoid a filibuster, 62-38….
“The off-ramp is in the hands of Donald Trump and Elon Musk and DOGE. We could be in a shutdown for six months or nine months,” Schumer told The New York Times earlier on Friday, arguing a shutdown would be far too unpredictable.
Internal party critics have said Schumer gave up a rare moment of leverage far too easily, misplaying his hand after an often-fractious House Republican Caucus passed a party-line spending bill with Trump’s blessing.Schumer suggested he was willing to face withering criticism from moderate House members to angry progressive activists: “I’ll take some of the bullets.”
These nine senators are likely to share in Schumer’s political suffering, though none of them are an obvious target for an immediate primary challenge.
- Sen. John Fetterman (D-Pa.): The party’s leading contrarian at the moment, Fetterman has repeatedly said he will never vote for a government shutdown under any circumstances. He’s not up for reelection until 2028.
- Sen. Catherine Cortez Masto (D-Nev.): Cortez Masto said her vote was not an “easy decision,” but she was refusing to “hand [Trump and Musk] a shutdown where they would have free reign to cause more chaos and harm.” She’s not up for reelection until 2028.
- Sen. Dick Durbin (D-Ill.): Durbin, the No. 2 Democrat in the party’s Senate leadership, is up for reelection in 2026 but is widely expected to retire.
- Sen. Angus King (I-Maine): King’s state is heavily reliant on government funds, and he said in a statement posted to his Facebook page giving Musk and Trump power would be a “significantly greater danger to the country than the continuing resolution with all of its faults.” King is not up for reelection until 2030.
- Sen. Brian Schatz (D-Hawaii): Schatz is known to have leadership ambitions, and taking this vote may show he’s willing to take a political hit for the rest of the caucus. Hawaii is also heavily reliant on federal employees. “Given the number of federal workers in Hawai‘i, mass furloughs would be deeply painful for people across the state,” he said in a statement. Schatz is up for reelection in 2028.
- Sens. Maggie Hassan and Jeanne Shaheen (D-N.H.): The Granite State duo are both moderates, and Shaheen is set to retire rather than run for reelection in 2026. Hassan is up for reelection in 2028. “Allowing the federal government to shut down with this President in charge is too dangerous to risk,” Hassan said in a statement.
- Sen. Gary Peters (D-Mich.): Peters has already announced his plan to retire in 2026. He said a shutdown under Trump would be “catastrophic”
- Sen. Kirsten Gillibrand (D-N.Y.): A close ally of her fellow New Yorker, Gillibrand is also the chair of the Democratic Senatorial Campaign Committee this cycle. She’s not up for reelection until 2030.
I thought Schumer had some good arguments; but when we are facing a takeover by a dictator, it seems to me the Democrats should fight tooth and nail.
The Daily Beast: Dem Civil War Erupts With ‘Screaming’ and Primary Threats Behind Closed Doors.
Schumer’s politically dicey decision—ahead of a midnight Friday shutdown deadline—has infuriated Democrats to the point some are suggesting he step aside as leader. He explained on the Senate floor late Friday afternoon that his decision was “a Hobson’s choice,” conjuring images of a chainsaw-wielding Elon Musk.
”I believe that allowing Donald Trump to take even more power via a government shutdown is a far worse option,” he said. “The shutdown would allow DOGE to shift into overdrive. It would give Donald Trump and DOGE the keys to the city, the state and the country. And that is a far worse alternative.”
Vintage Lady with White Cat, by Sharyn Bursic
“Next question,” House Democratic leader Hakeem Jeffries answered Friday afternoon when a reporter asked if it was time for new leadership in the Senate. Jeffries said House Democrats are “strongly opposed to the partisan funding bill” that Schumer says he now supports.
Former Speaker Nancy Pelosi repudiated Schumer’s choice earlier in the day, saying, “I salute Leader Hakeem Jeffries for his courageous rejection of this false choice, and I am proud of my colleagues in the House Democratic Caucus for their overwhelming vote against this bill.”
Rep. Alexandria Ocasio-Cortez said Schumer’s “unthinkable” acquiesce was a “betrayal,” adding she was “texting, calling, sending carrier pigeons” to Senate Democrats to beg them to not follow suit.
Democratic lawmakers are so “infuriated” with Schumer that some have spoken to Ocasio-Cortez, a New York progressive, about running against him in a Senate primary race, according to CNN, which noted even “centrists” are “so mad” at Schumer they are “ready to write checks for AOC for Senate” come 2028 when he is up for re-election.
Daknikat wrote quite a bit about the Democrats’ anger yesterday. They were even angrier, if possible, after the bill passed. Schumer should retire anyway. We have to get rid of these old fossils.
Remember the days when the Bush administration was disappearing people they decided were terrorists? It looks like Trump is going to follow a similar playbook. I just hope it doesn’t involve torture. The Trump gang are coming down hard on Columbia and other elite universities about protests against the Israel war on Gaza. As you know, they have basically disappeared former Columbia student and protest leader Mahmood Kahlil.
ABC News: White House allegedly asked for updates on arrest of activist Mahmoud Khalil, his attorney says.
Mahmoud Khalil — the pro-Palestinian activist and green card holder detained by Immigration and Customs Enforcement this week — said he overheard federal agents say that the White House was asking for an update on his detention, his attorneys said.
“He was surrounded by many DHS agents, or people he believed to be DHS agents, and he believes that he saw or heard, during a call, one of them say that the White House wants an update on what’s going on,” Samah Sisay, a staff attorney at the Center for Constitutional Rights who is representing Khalil, said at a press conference Friday.
“We have every reason to believe, as we allege in the petition, that many people within the executive branch of the government were involved, including the White House,” Sisay said.
Khalil took part in student protests at Columbia University calling for the institution to divest and cut ties with Israel, and he participated in negotiations with university administration.
“His one and only goal was to get Columbia University to divest from its complicity with Israeli government crimes in Gaza and the West Bank,” said Ramzi Kassem, the director of CLEAR, a group representing Khalil….
The Trump administration has claimed that Khalil distributed “pro-Hamas propaganda fliers with the logo of Hamas,” without providing evidence.
The First Amendment is dead, apparently.
AP: The Justice Department is investigating whether Columbia University hid students sought by the US.
The U.S. Justice Department is investigating whether Columbia University concealed “illegal aliens” on its campus, one of its top officials said Friday, as the Trump administration intensified its campaign to deport foreigners who participated in pro-Palestinian demonstrations at the school last year.
Agents with the Department of Homeland Security searched two university residences with a warrant Thursday evening. No one was arrested and it was unclear whom the authorities were searching for, but by Friday afternoon U.S. officials had announced developments related to two people they had pursued in connection with the demonstrations.
A Columbia doctoral student from India whose visa was revoked by the Trump administration fled the U.S. on an airliner. And a Palestinian woman who had been arrested during the protests at the university last April was arrested by federal immigration authorities in Newark, New Jersey, on charges that she overstayed an expired visa.
Deputy Attorney General Todd Blanche, speaking at the Justice Department, said it was all part of the president’s “mission to end antisemitism in this country.”
What a bunch of bullshit.
“Just last night, we worked with the Department of Homeland Security to execute search warrants from an investigation into Columbia University for harboring and concealing illegal aliens on its campus,” Blanche said. “That investigation is ongoing, and we are also looking at whether Columbia’s handling of earlier incidents violated civil rights laws and included terrorism crimes.”
Blanche didn’t say what evidence agents had of wrongdoing by the university. It was unclear whether he was accusing the school itself of “terrorism crimes” or saying that people involved in the protests had committed such crimes.
Girl with a Cat, by Zakir Ahmedov
The Boston Globe has a scary immigration story today: R.I. doctor prevented from returning to US after visiting her parents in Lebanon.
A Rhode Island doctor who had traveled to Lebanon to see her parents was prevented from re-entering the United States at Boston’s Logan International Airport on Thursday evening, her lawyer and a colleague said.
Dr. Rasha Alawieh, 34, who lives in Providence, has been working at Brown Medicine’s Division of Kidney Disease & Hypertension since last July, and she been part of the transplant service at Rhode Island Hospital, according to Dr. George Bayliss, the organ transplant division’s medical director. She has been studying and working in the United States for about six years, he said Friday.
The US consulate in Lebanon had issued her an H-1B visa, which is given to people in specialty occupations requiring expertise. The visa was valid through mid-2027, said Thomas S. Brown, an attorney representing her and Brown Medicine.
Alawieh was detained when she returned to Logan airport, and family members are afraid that she is about to be deported to Lebanon, he said.
“We are at a loss as to why this happened,” Brown said. “I don’t know if it’s a byproduct of the Trump crackdown on immigration. I don’t know if it’s a travel ban or some other issue.”
He said her phone has been seized and he has not been able to contact Alawieh.
Bayliss said a lawyer filed a petition with the US District Court in Massachusetts, and Judge Leo T. Sorokin issued an order saying Alawieh should not be moved outside of Massachusetts without 48 hours notice. But he said that message apparently did not reach immigration officials in time, and a plane carrying Alawieh left for Paris.
“This is outrageous,” Bayliss said in an interview. “This is a person who is legally entitled to be in the U.S., who is stopped from re-entering the country for reasons no one knows. It’s depriving her patients of a good physician.”
This is a creepy story from The Guardian: Pro-Israel group says it has ‘deportation list’ and has sent ‘thousands’ of names to Trump officials.
A far-right group that claimed credit for the arrest of a Palestinian activist and permanent US resident who the Trump administration is seeking to deport claims it has submitted “thousands of names” for similar treatment.
Betar US is one of a number of rightwing, pro-Israel groups that are supporting the administration’s efforts to deport international students involved in university pro-Palestinian protests, an effort that escalated this week with the arrest of Mahmoud Khalil, an activist who recently completed his graduate studies at Columbia University.
This week, Donald Trump said Khalil’s arrest was just “the first of many to come”. Betar US quickly claimed credit on social media for providing Khalil’s name to the government.
Betar, which has been labelled an extremist group by the Anti-Defamation League (ADL), a Jewish advocacy group, said on Monday that it had “been working on deportations and will continue to do so”, and warned that the effort would extend beyond immigrants. “Expect naturalized citizens to start being picked up within the month,” the group’s post on X read. (It is very difficult to revoke US citizenship, though Trump has indicated an intention to try.)
The group has compiled a so-called “deportation list” naming individuals it believes are in the US on visas and have participated in pro-Palestinian protests, claiming these individuals “terrorize America”.
A Betar spokesperson, Daniel Levy, said in a statement to the Guardian that Betar submitted “thousands of names” of students and faculty they believe to be on visas from institutions like Columbia, the University of Pennsylvania, UCLA, Syracuse University and others to representatives of the Trump administration.
By Martin Pierce
Here’s another immigration horror story from The Milwaukee Journal Sentinel: Milwaukee-area woman deported to Laos though she’s never been there, doesn’t speak the language.
A Hmong American woman who has lived in the Milwaukee area since she was 8 months old was deported last week to Laos, a country she has never visited, and says she is stranded in a rooming house surrounded by military guards.
Ma Yang, 37, a mother of five, said she does not speak the Lao language, has no family or friends in the country and that the military is holding all her documents. She was born in Thailand, the daughter of Hmong refugees after the Vietnam War, and she was a legal permanent U.S. resident until she pleaded guilty to taking part in a marijuana trafficking operation.
“The United States sent me back to die,” she said. “I don’t even know where to go. I don’t even know what to do.”
As President Donald Trump pushes the mass deportation of immigrants, Yang believes she is one of the first Hmong Americans to be deported to Laos in recent years. As of November, the U.S. considered Laos an “uncooperative” country that accepted few, if any, deportees. Zero people were deported to Laos in the last fiscal year, according to federal data.
Once she arrived in the Laotian capital of Vientiane on March 6, she said she was questioned by military authorities then sent to a rooming house, where guards did not allow her to leave or contact anyone for five days. She paced in circles around the compound and ate food the guards gave her.
A few days ago, she was taken to buy a cellphone and withdraw cash. She could finally reach out to her partner of 16 years, Michael Bub of South Milwaukee, a U.S. citizen. The military official in charge of her situation — she does not know his rank or title — then said she could leave if she wanted. But she is scared to venture out.
Trump is apparently planning a new travel ban. The New York Times: Draft List for New Travel Ban Proposes Trump Target 43 Countries.
The Trump administration is considering targeting the citizens of as many as 43 countries as part of a new ban on travel to the United States that would be broader than the restrictions imposed during President Trump’s first term, according to officials familiar with the matter.
A draft list of recommendations developed by diplomatic and security officials suggests a “red” list of 11 countries whose citizens would be flatly barred from entering the United States. They are Afghanistan, Bhutan, Cuba, Iran, Libya, North Korea, Somalia, Sudan, Syria, Venezuela and Yemen, the officials said….
The officials, who spoke on the condition of anonymity to discuss the sensitive internal deliberations, cautioned that the list had been developed by the State Department several weeks ago, and that changes were likely by the time it reached the White House.
Citizens on that list would also be subjected to mandatory in-person interviews in order to receive a visa. It included Belarus, Eritrea, Haiti, Laos, Myanmar, Pakistan, Russia, Sierra Leone, South Sudan and Turkmenistan.
See the full draft list of countries at the link. I can’t reproduce it here.
This is getting too long, but I need to touch on Trump’s speech at the “justice department” yesterday. The speech was supposed to be about fentanyl.
Mary Sauer, Figure with Black Cat
Hugo Lowell at The Guardian: Trump vents fury about his criminal cases in extraordinary speech at DoJ.
Taking over the justice department headquarters for what amounted to a political event, Donald Trump railed against the criminal cases he defeated by virtue of returning to the presidency in an extraordinary victory lap the department has perhaps never before seen.
The event was billed as a policy address for the administration to tout its focus on combating illegal immigration and drug trafficking, but the majority of the president’s freewheeling remarks focused instead on his personal grievances with the department.
Trump spoke from a specially constructed stage in the great hall of the main justice building, backed with blue velvet curtains that underscored the theatrics and symbolism of Trump cementing his control over the justice department, which had tried and failed to hold him to account.
The choice of venue carried additional resonance about how Trump has fully implemented his agenda at the justice department, doing away with the longstanding tradition of independence from partisan politics and instead turning it into an extension of the White House.
The great hall has historically been used for major law enforcement announcements by the justice department and its senior leaders, and when presidents have delivered speeches at the building, the remarks have been of a national security or non-political stripe.
In Trump’s hourlong speech, he repeatedly strayed from his prepared remarks to assail the criminal cases against him, various lawyers and former prosecutors by name and accused the Biden administration of trying to destroy him, declaring Joe Biden the head of a crime family.
“The case against me was bullshit,” Trump said with fury, in the building where the charges were approved.
But he heaped praise on his defense lawyers Todd Blanche and Emil Bove, whom he elevated to in effect run the justice department as the deputy attorney general and the principal associate deputy attorney general respectively, as well as the department’s chief of staff, Chad Mizelle….
Trump offered notable praise for the US district judge Aileen Cannon, who dismissed his criminal case on charges of mishandling classified documents, over decades of legal precedent. Trump claimed criticism of her made her angry, although he also said he had never spoken to her.
“She was brilliant,” Trump said of Cannon, “the absolute model of what a judge should be.”
Liam Reilly at CNN: Trump baselessly accuses news media of ‘illegal’ behavior and corruption in DOJ speech.
President Donald Trump launched some of his harshest attacks yet on the media on Friday, using a speech at the Department of Justice to baselessly accuse outlets including CNN of illegal and corrupt behavior.
In his Friday speech, Trump praised Florida district court Judge Aileen Cannon, whom he appointed in 2020 and who sided with him in January, blocking the DOJ from sharing a report on Trump’s alleged mishandling of classified documents with members of Congress.
But Trump claimed news publishers had gone after Cannon because of the January ruling, alleging “they do it all the time with judges” and that they “will write whatever these people say,” without offering proof.
“The Washington Post, The Wall Street Journal and MSDNC, and the fake news, CNN and ABC, CBS and NBC, they’ll write whatever they say,” Trump said. “And what do you do to get rid of it? You convict Trump.”
“It’s totally illegal what they do,” Trump continued, addressing DOJ employees. “I just hope you can all watch for it, but it’s totally illegal.”
While Trump did not immediately clarify who “they” are, he later claimed that CNN and MSNBC are “political arms of the Democrat Party.”
“In my opinion, they’re really corrupt,” Trump said.
He’s doing everything in the dictator’s playbook, folks.
That’s it for me. What’s on your mind today?
#AlanSimpson #ColumbiaUniversity #DonaldTrump #governmentShutdown #HouseContinuingResolution2025 #immigration #JusticeDepartment #KevinDrum #MaYang #MahmoudKhalil #RashaAlawieh #travelBan
-
Lazy Caturday Reads
By Brian Laing
Good Morning!!
After Daknikat’s comprehensive post yesterday, it’s hard to imagine there could be any more news to report on today, but I’ve found a few things.
There were two notable deaths yesterday, pioneering blogger Kevin Drum and former Senator Alan Simpson, half of Simpson-Bowles, who created what came to be known as the “Cat Food Commission.”
The New York Times: Kevin Drum, Influential Early Political Blogger, Dies at 66.
Kevin Drum, who gave up his day job in software marketing to write online about politics, policy and his cats, quickly becoming a key figure in the vanguard of center-left bloggers during the genre’s heyday in the early 2000s, died on March 7. He was 66.
His wife, Marian Drum, announced the death on his website but did not say where he died or cite a cause.
Mr. Drum, who lived in Irvine, Calif., had been diagnosed with multiple myeloma in 2014 and had recently developed pneumonia. He blogged about those personal challenges openly and with the same insight that he brought to issues like health care policy and urban planning.
He spent most of his life in Orange County, Calif., which distinguished him from the majority of early big-name bloggers, many of whom hailed from the Washington-Boston corridor or from academic enclaves.
Mr. Drum began blogging in 2002 and quickly developed a large nationwide following. He helped shape what became known as the liberal blogosphere, populated by a broad amalgam of left-of-center thinkers who emphasized policy debates over political horse races.
His curiosity was broad, and he wrote on a variety of subjects from a variety of perspectives — sometimes casually observational, sometimes rigorously analytical — in a way that set him apart from the assorted camps that defined the blogosphere, including academics, politicos and ideologues.
Four years after that, Mr. Drum moved to Mother Jones, where he wrote not just blog posts but also extensive reported pieces for the magazine.
Most notable was a deep dive in 2013 into the theory that the crime wave of the late 20th century was driven in large part by childhood exposure to lead in gasoline and paint, a key factor in the development of behavioral problems and, in turn, delinquency. As lead was phased out, health outcomes improved and crime rates dropped.
“He was just able to unpack very complicated — particularly economically complicated — stories in an immensely readable way,” said Clara Jeffery, the editor in chief of Mother Jones.
The New York Times: Alan K. Simpson, a Folksy Republican Force in the Senate, Dies at 93.
Alan K. Simpson, a plain-spoken former Republican senator from Wyoming who championed immigration reforms and conservative candidates for the Supreme Court while fighting running battles with women’s groups, environmentalists and the press, died on Friday in hospice in Cody, Wyo. He was 93.
He had been struggling to recover from a broken hip that he sustained in December, according to a statement from his family and the Buffalo Bill Center of the West, a group of museums of which he was a board member for 56 years. The statement said his recovery had been hindered by complications of a case of frostbite to his left foot that he endured about five years ago and that required the amputation of his left leg below the knee.
By Matt Cauley
Folksy, irreverent and sometimes cantankerous, a gaunt, 6-foot-7 beanpole with a ranch hand’s soft drawl, Mr. Simpson was a three-term senator, from 1979 to 1997, whom school children and tourists in the gallery sometimes took for a Mr. Smith-goes-to-Washington oddball, especially during his occasional rants against “bug-eyed zealots” and “super-greenies,” as he liked to call environmental lobbyists.
The son of a former Wyoming governor and United States senator, Mr. Simpson had been a hell-raiser as a teenager. He and some friends shot up mailboxes, killed a cow with rifles and set fire to an abandoned federal property. He punched a police officer who arrested him. While no one had been seriously hurt, he faced prison. But he was put on probation for two years and paid restitution….
Mr. Simpson had love-hate relationships with the press. Many journalists liked his earthy humor and easy accessibility. But his language could be coarse and his tone contemptuous when he attacked the news media, sometimes singling out reporters by name. He crossed a line when he accused Peter Arnett of CNN of being an enemy “sympathizer” for his reporting from Iraq during the Persian Gulf war, and wrongly accused him of bias in the Vietnam War because he had married a Vietnamese woman.
His political positions sometimes seemed contradictory, or perhaps personal. He supported abortion rights and right-wing nominees to the United States Supreme Court who might overturn Roe v. Wade. And partly out of a friendship forged when he was a 12-year-old Boy Scout, he called on the nation to apologize to Japanese Americans who were interned as potential security risks during World War II.
Read more at the NYT if you’re interested. Frankly, I thought he was a horrible person, but what do I know?
Daknikat covered the Republicans’ horrific continuing resolution yesterday. Of course it pass with Democratic help.
HuffPost: Here Are The Democrats Who Advanced A GOP Bill To Avoid A Government Shutdown.
In the end, nine senators who caucus with Democrats joined with Senate Minority Leader Chuck Schumer (N.Y.) in voting to advance legislation to avoid a government shutdown, essentially giving up Democratic leverage over President Donald Trump for the foreseeable future.
Their support meant the bill was able to break the 60-vote threshold to avoid a filibuster, 62-38….
“The off-ramp is in the hands of Donald Trump and Elon Musk and DOGE. We could be in a shutdown for six months or nine months,” Schumer told The New York Times earlier on Friday, arguing a shutdown would be far too unpredictable.
Internal party critics have said Schumer gave up a rare moment of leverage far too easily, misplaying his hand after an often-fractious House Republican Caucus passed a party-line spending bill with Trump’s blessing.Schumer suggested he was willing to face withering criticism from moderate House members to angry progressive activists: “I’ll take some of the bullets.”
These nine senators are likely to share in Schumer’s political suffering, though none of them are an obvious target for an immediate primary challenge.
- Sen. John Fetterman (D-Pa.): The party’s leading contrarian at the moment, Fetterman has repeatedly said he will never vote for a government shutdown under any circumstances. He’s not up for reelection until 2028.
- Sen. Catherine Cortez Masto (D-Nev.): Cortez Masto said her vote was not an “easy decision,” but she was refusing to “hand [Trump and Musk] a shutdown where they would have free reign to cause more chaos and harm.” She’s not up for reelection until 2028.
- Sen. Dick Durbin (D-Ill.): Durbin, the No. 2 Democrat in the party’s Senate leadership, is up for reelection in 2026 but is widely expected to retire.
- Sen. Angus King (I-Maine): King’s state is heavily reliant on government funds, and he said in a statement posted to his Facebook page giving Musk and Trump power would be a “significantly greater danger to the country than the continuing resolution with all of its faults.” King is not up for reelection until 2030.
- Sen. Brian Schatz (D-Hawaii): Schatz is known to have leadership ambitions, and taking this vote may show he’s willing to take a political hit for the rest of the caucus. Hawaii is also heavily reliant on federal employees. “Given the number of federal workers in Hawai‘i, mass furloughs would be deeply painful for people across the state,” he said in a statement. Schatz is up for reelection in 2028.
- Sens. Maggie Hassan and Jeanne Shaheen (D-N.H.): The Granite State duo are both moderates, and Shaheen is set to retire rather than run for reelection in 2026. Hassan is up for reelection in 2028. “Allowing the federal government to shut down with this President in charge is too dangerous to risk,” Hassan said in a statement.
- Sen. Gary Peters (D-Mich.): Peters has already announced his plan to retire in 2026. He said a shutdown under Trump would be “catastrophic”
- Sen. Kirsten Gillibrand (D-N.Y.): A close ally of her fellow New Yorker, Gillibrand is also the chair of the Democratic Senatorial Campaign Committee this cycle. She’s not up for reelection until 2030.
I thought Schumer had some good arguments; but when we are facing a takeover by a dictator, it seems to me the Democrats should fight tooth and nail.
The Daily Beast: Dem Civil War Erupts With ‘Screaming’ and Primary Threats Behind Closed Doors.
Schumer’s politically dicey decision—ahead of a midnight Friday shutdown deadline—has infuriated Democrats to the point some are suggesting he step aside as leader. He explained on the Senate floor late Friday afternoon that his decision was “a Hobson’s choice,” conjuring images of a chainsaw-wielding Elon Musk.
”I believe that allowing Donald Trump to take even more power via a government shutdown is a far worse option,” he said. “The shutdown would allow DOGE to shift into overdrive. It would give Donald Trump and DOGE the keys to the city, the state and the country. And that is a far worse alternative.”
Vintage Lady with White Cat, by Sharyn Bursic
“Next question,” House Democratic leader Hakeem Jeffries answered Friday afternoon when a reporter asked if it was time for new leadership in the Senate. Jeffries said House Democrats are “strongly opposed to the partisan funding bill” that Schumer says he now supports.
Former Speaker Nancy Pelosi repudiated Schumer’s choice earlier in the day, saying, “I salute Leader Hakeem Jeffries for his courageous rejection of this false choice, and I am proud of my colleagues in the House Democratic Caucus for their overwhelming vote against this bill.”
Rep. Alexandria Ocasio-Cortez said Schumer’s “unthinkable” acquiesce was a “betrayal,” adding she was “texting, calling, sending carrier pigeons” to Senate Democrats to beg them to not follow suit.
Democratic lawmakers are so “infuriated” with Schumer that some have spoken to Ocasio-Cortez, a New York progressive, about running against him in a Senate primary race, according to CNN, which noted even “centrists” are “so mad” at Schumer they are “ready to write checks for AOC for Senate” come 2028 when he is up for re-election.
Daknikat wrote quite a bit about the Democrats’ anger yesterday. They were even angrier, if possible, after the bill passed. Schumer should retire anyway. We have to get rid of these old fossils.
Remember the days when the Bush administration was disappearing people they decided were terrorists? It looks like Trump is going to follow a similar playbook. I just hope it doesn’t involve torture. The Trump gang are coming down hard on Columbia and other elite universities about protests against the Israel war on Gaza. As you know, they have basically disappeared former Columbia student and protest leader Mahmood Kahlil.
ABC News: White House allegedly asked for updates on arrest of activist Mahmoud Khalil, his attorney says.
Mahmoud Khalil — the pro-Palestinian activist and green card holder detained by Immigration and Customs Enforcement this week — said he overheard federal agents say that the White House was asking for an update on his detention, his attorneys said.
“He was surrounded by many DHS agents, or people he believed to be DHS agents, and he believes that he saw or heard, during a call, one of them say that the White House wants an update on what’s going on,” Samah Sisay, a staff attorney at the Center for Constitutional Rights who is representing Khalil, said at a press conference Friday.
“We have every reason to believe, as we allege in the petition, that many people within the executive branch of the government were involved, including the White House,” Sisay said.
Khalil took part in student protests at Columbia University calling for the institution to divest and cut ties with Israel, and he participated in negotiations with university administration.
“His one and only goal was to get Columbia University to divest from its complicity with Israeli government crimes in Gaza and the West Bank,” said Ramzi Kassem, the director of CLEAR, a group representing Khalil….
The Trump administration has claimed that Khalil distributed “pro-Hamas propaganda fliers with the logo of Hamas,” without providing evidence.
The First Amendment is dead, apparently.
AP: The Justice Department is investigating whether Columbia University hid students sought by the US.
The U.S. Justice Department is investigating whether Columbia University concealed “illegal aliens” on its campus, one of its top officials said Friday, as the Trump administration intensified its campaign to deport foreigners who participated in pro-Palestinian demonstrations at the school last year.
Agents with the Department of Homeland Security searched two university residences with a warrant Thursday evening. No one was arrested and it was unclear whom the authorities were searching for, but by Friday afternoon U.S. officials had announced developments related to two people they had pursued in connection with the demonstrations.
A Columbia doctoral student from India whose visa was revoked by the Trump administration fled the U.S. on an airliner. And a Palestinian woman who had been arrested during the protests at the university last April was arrested by federal immigration authorities in Newark, New Jersey, on charges that she overstayed an expired visa.
Deputy Attorney General Todd Blanche, speaking at the Justice Department, said it was all part of the president’s “mission to end antisemitism in this country.”
What a bunch of bullshit.
“Just last night, we worked with the Department of Homeland Security to execute search warrants from an investigation into Columbia University for harboring and concealing illegal aliens on its campus,” Blanche said. “That investigation is ongoing, and we are also looking at whether Columbia’s handling of earlier incidents violated civil rights laws and included terrorism crimes.”
Blanche didn’t say what evidence agents had of wrongdoing by the university. It was unclear whether he was accusing the school itself of “terrorism crimes” or saying that people involved in the protests had committed such crimes.
Girl with a Cat, by Zakir Ahmedov
The Boston Globe has a scary immigration story today: R.I. doctor prevented from returning to US after visiting her parents in Lebanon.
A Rhode Island doctor who had traveled to Lebanon to see her parents was prevented from re-entering the United States at Boston’s Logan International Airport on Thursday evening, her lawyer and a colleague said.
Dr. Rasha Alawieh, 34, who lives in Providence, has been working at Brown Medicine’s Division of Kidney Disease & Hypertension since last July, and she been part of the transplant service at Rhode Island Hospital, according to Dr. George Bayliss, the organ transplant division’s medical director. She has been studying and working in the United States for about six years, he said Friday.
The US consulate in Lebanon had issued her an H-1B visa, which is given to people in specialty occupations requiring expertise. The visa was valid through mid-2027, said Thomas S. Brown, an attorney representing her and Brown Medicine.
Alawieh was detained when she returned to Logan airport, and family members are afraid that she is about to be deported to Lebanon, he said.
“We are at a loss as to why this happened,” Brown said. “I don’t know if it’s a byproduct of the Trump crackdown on immigration. I don’t know if it’s a travel ban or some other issue.”
He said her phone has been seized and he has not been able to contact Alawieh.
Bayliss said a lawyer filed a petition with the US District Court in Massachusetts, and Judge Leo T. Sorokin issued an order saying Alawieh should not be moved outside of Massachusetts without 48 hours notice. But he said that message apparently did not reach immigration officials in time, and a plane carrying Alawieh left for Paris.
“This is outrageous,” Bayliss said in an interview. “This is a person who is legally entitled to be in the U.S., who is stopped from re-entering the country for reasons no one knows. It’s depriving her patients of a good physician.”
This is a creepy story from The Guardian: Pro-Israel group says it has ‘deportation list’ and has sent ‘thousands’ of names to Trump officials.
A far-right group that claimed credit for the arrest of a Palestinian activist and permanent US resident who the Trump administration is seeking to deport claims it has submitted “thousands of names” for similar treatment.
Betar US is one of a number of rightwing, pro-Israel groups that are supporting the administration’s efforts to deport international students involved in university pro-Palestinian protests, an effort that escalated this week with the arrest of Mahmoud Khalil, an activist who recently completed his graduate studies at Columbia University.
This week, Donald Trump said Khalil’s arrest was just “the first of many to come”. Betar US quickly claimed credit on social media for providing Khalil’s name to the government.
Betar, which has been labelled an extremist group by the Anti-Defamation League (ADL), a Jewish advocacy group, said on Monday that it had “been working on deportations and will continue to do so”, and warned that the effort would extend beyond immigrants. “Expect naturalized citizens to start being picked up within the month,” the group’s post on X read. (It is very difficult to revoke US citizenship, though Trump has indicated an intention to try.)
The group has compiled a so-called “deportation list” naming individuals it believes are in the US on visas and have participated in pro-Palestinian protests, claiming these individuals “terrorize America”.
A Betar spokesperson, Daniel Levy, said in a statement to the Guardian that Betar submitted “thousands of names” of students and faculty they believe to be on visas from institutions like Columbia, the University of Pennsylvania, UCLA, Syracuse University and others to representatives of the Trump administration.
By Martin Pierce
Here’s another immigration horror story from The Milwaukee Journal Sentinel: Milwaukee-area woman deported to Laos though she’s never been there, doesn’t speak the language.
A Hmong American woman who has lived in the Milwaukee area since she was 8 months old was deported last week to Laos, a country she has never visited, and says she is stranded in a rooming house surrounded by military guards.
Ma Yang, 37, a mother of five, said she does not speak the Lao language, has no family or friends in the country and that the military is holding all her documents. She was born in Thailand, the daughter of Hmong refugees after the Vietnam War, and she was a legal permanent U.S. resident until she pleaded guilty to taking part in a marijuana trafficking operation.
“The United States sent me back to die,” she said. “I don’t even know where to go. I don’t even know what to do.”
As President Donald Trump pushes the mass deportation of immigrants, Yang believes she is one of the first Hmong Americans to be deported to Laos in recent years. As of November, the U.S. considered Laos an “uncooperative” country that accepted few, if any, deportees. Zero people were deported to Laos in the last fiscal year, according to federal data.
Once she arrived in the Laotian capital of Vientiane on March 6, she said she was questioned by military authorities then sent to a rooming house, where guards did not allow her to leave or contact anyone for five days. She paced in circles around the compound and ate food the guards gave her.
A few days ago, she was taken to buy a cellphone and withdraw cash. She could finally reach out to her partner of 16 years, Michael Bub of South Milwaukee, a U.S. citizen. The military official in charge of her situation — she does not know his rank or title — then said she could leave if she wanted. But she is scared to venture out.
Trump is apparently planning a new travel ban. The New York Times: Draft List for New Travel Ban Proposes Trump Target 43 Countries.
The Trump administration is considering targeting the citizens of as many as 43 countries as part of a new ban on travel to the United States that would be broader than the restrictions imposed during President Trump’s first term, according to officials familiar with the matter.
A draft list of recommendations developed by diplomatic and security officials suggests a “red” list of 11 countries whose citizens would be flatly barred from entering the United States. They are Afghanistan, Bhutan, Cuba, Iran, Libya, North Korea, Somalia, Sudan, Syria, Venezuela and Yemen, the officials said….
The officials, who spoke on the condition of anonymity to discuss the sensitive internal deliberations, cautioned that the list had been developed by the State Department several weeks ago, and that changes were likely by the time it reached the White House.
Citizens on that list would also be subjected to mandatory in-person interviews in order to receive a visa. It included Belarus, Eritrea, Haiti, Laos, Myanmar, Pakistan, Russia, Sierra Leone, South Sudan and Turkmenistan.
See the full draft list of countries at the link. I can’t reproduce it here.
This is getting too long, but I need to touch on Trump’s speech at the “justice department” yesterday. The speech was supposed to be about fentanyl.
Mary Sauer, Figure with Black Cat
Hugo Lowell at The Guardian: Trump vents fury about his criminal cases in extraordinary speech at DoJ.
Taking over the justice department headquarters for what amounted to a political event, Donald Trump railed against the criminal cases he defeated by virtue of returning to the presidency in an extraordinary victory lap the department has perhaps never before seen.
The event was billed as a policy address for the administration to tout its focus on combating illegal immigration and drug trafficking, but the majority of the president’s freewheeling remarks focused instead on his personal grievances with the department.
Trump spoke from a specially constructed stage in the great hall of the main justice building, backed with blue velvet curtains that underscored the theatrics and symbolism of Trump cementing his control over the justice department, which had tried and failed to hold him to account.
The choice of venue carried additional resonance about how Trump has fully implemented his agenda at the justice department, doing away with the longstanding tradition of independence from partisan politics and instead turning it into an extension of the White House.
The great hall has historically been used for major law enforcement announcements by the justice department and its senior leaders, and when presidents have delivered speeches at the building, the remarks have been of a national security or non-political stripe.
In Trump’s hourlong speech, he repeatedly strayed from his prepared remarks to assail the criminal cases against him, various lawyers and former prosecutors by name and accused the Biden administration of trying to destroy him, declaring Joe Biden the head of a crime family.
“The case against me was bullshit,” Trump said with fury, in the building where the charges were approved.
But he heaped praise on his defense lawyers Todd Blanche and Emil Bove, whom he elevated to in effect run the justice department as the deputy attorney general and the principal associate deputy attorney general respectively, as well as the department’s chief of staff, Chad Mizelle….
Trump offered notable praise for the US district judge Aileen Cannon, who dismissed his criminal case on charges of mishandling classified documents, over decades of legal precedent. Trump claimed criticism of her made her angry, although he also said he had never spoken to her.
“She was brilliant,” Trump said of Cannon, “the absolute model of what a judge should be.”
Liam Reilly at CNN: Trump baselessly accuses news media of ‘illegal’ behavior and corruption in DOJ speech.
President Donald Trump launched some of his harshest attacks yet on the media on Friday, using a speech at the Department of Justice to baselessly accuse outlets including CNN of illegal and corrupt behavior.
In his Friday speech, Trump praised Florida district court Judge Aileen Cannon, whom he appointed in 2020 and who sided with him in January, blocking the DOJ from sharing a report on Trump’s alleged mishandling of classified documents with members of Congress.
But Trump claimed news publishers had gone after Cannon because of the January ruling, alleging “they do it all the time with judges” and that they “will write whatever these people say,” without offering proof.
“The Washington Post, The Wall Street Journal and MSDNC, and the fake news, CNN and ABC, CBS and NBC, they’ll write whatever they say,” Trump said. “And what do you do to get rid of it? You convict Trump.”
“It’s totally illegal what they do,” Trump continued, addressing DOJ employees. “I just hope you can all watch for it, but it’s totally illegal.”
While Trump did not immediately clarify who “they” are, he later claimed that CNN and MSNBC are “political arms of the Democrat Party.”
“In my opinion, they’re really corrupt,” Trump said.
He’s doing everything in the dictator’s playbook, folks.
That’s it for me. What’s on your mind today?
#AlanSimpson #ColumbiaUniversity #DonaldTrump #governmentShutdown #HouseContinuingResolution2025 #immigration #JusticeDepartment #KevinDrum #MaYang #MahmoudKhalil #RashaAlawieh #travelBan
-
Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Slovakia’s post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage’s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
Show 1 footnote
- Additional guitars from Kurt Ballou of Converge. ↩
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
-
Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
-
Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
-
Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
-
Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
-
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
-
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
-
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
-
Thus Spoke and Maddog’s Top Ten(ish) of 2024
By Steel Druhm
Thus Spoke
My second AMG End-of-Year piece?! Didn’t I just get here? This is my typical reaction to life’s happenings. I’m blindsided by everything. You’ll probably notice that many of the below list entries ‘snuck up on me’ in how much I liked them, compared to everything else. The fact that we’re now halfway through the 2020s makes me feel a bit nauseous. I keep telling people I ‘just moved’ into the home I bought this year, but I’ve been in it since April. And that huge milestone—for which I feel immensely grateful and privileged to have achieved this side of 30—would have solely dominated my year were it not for two other facts: 1) I was finally diagnosed with and very recently started medication for ADHD; 2) 2024 has got to have been the strongest year of the decade so far for metal. So, time to talk about the music rather than myself.
My overoptimistic prediction that Ulcerate would release new music came true,1 and there was, in general, a particular influx of excellent material from the darker, more dissonant, and extreme sides of death and black metal. This was also the year I finally reconnected with my love of doom after a long period of lukewarm engagement. But I wouldn’t have known about half of it were it not for this gig, and the amazing people I share it with. Whether it was Dear Hollow, Kenstrosity, or Mystikus Hugebeard pinging across something they thought I might like, or a particularly potent review penned by a colleague, a commenter chipping in with some gem, or the group buzz around an album I might otherwise never have considered, there’s no better place to find and discuss metal. And speaking of community, if I ever needed a confirmation that this right here is the loveliest place on the internet, the rallying response to Ken‘s plight earlier this year from staff and readers was it.2 I couldn’t ask for better company.
I said as much last year, but I’ll probably say it every year: having this opportunity is wild and I feel so blessed. To be able to send my thoughts about music into the world where people read and consider them, that’s mad. Bumping into an AMG fan in the wild was also an affirming and heartwarming experience reminding me that there are actually real people out there who know who we are; and let me say, however enthusiastic and grateful you might be for us, the feeling is mutual. So to everyone reading this, to all the folks at AMG who make it possible for me to continually wax lyrical about stuff I love (and stuff I don’t love so much) and put up with all my overrating, to all of you: thank you. Shout out also to my list buddy Maddog, whose EOY write-up is bound to be more br00tal and much less flowery than mine, and whose in-person company I continue to have the pleasure of enjoying whenever he deigns to visit our little island up here. Oh, and thank you to the original creator and to Kenstrosity for my new avatar! I asked and you delivered. And if you actually read this far down, thank you for indulging me. But now, finally, it’s list time.
#ish. Pillar of Light // Caldera – I unintentionally ended my reviewing year on a high with Pillar of Light. Or perhaps a low, if we consider mood. When a record evokes a genuine emotional response in me,3 as Caldera does, it deserves more than an Honorable Mention. So here it is. It’s one of those albums you experience that forever afterward remains tied to your particular life situation when you were first immersed, and for that reason, its longevity is increased and its impact amplified. Given how “Leaving” and “Infernal Gaze” leave me in pieces, it’s probably a good thing the misery comes down from 11 at other times. But on the next album, who knows? I’ll be ready at least.
#10. Replicant // Infinite Mortality – Much like Kenstrosity, author of the review, I have not historically been Replicant’s hugest fan. For some reason their music never stuck with me; I just didn’t get it. Infinite Mortality has been the enlightenment I needed. It’s undeniably fantastic. Brilliantly technical and ruthlessly efficient in execution, it manages to also be ridiculously groovy in a way that you wouldn’t expect from this flavor of extreme death metal. Suited, evidently, to desk sessions and gym sessions alike, given the range of play it got from me since its release, its balance of skronk and style proved why I should, long ago, have been paying attention to Replicant. Ken himself struggled to find a negative and so do I. Even interlude “SCN9A” is great, especially as it leads into monster “Pain Enduring.” Only the superlative strength of other contenders causes this to fall so low on the list.
#9. ColdCell // Age of Unreason – In a rare case of me underrating something, my review of Age of Unreason did not quite do justice to its strength. Not only have I revisited it often, but I have of late been struck ever deeper by its profundity. The honest, vulnerable lamentations on inequality (“Solidarity or Solitude”), hatred (“Discord”), and human selfishness (“Dead to the World”) go far beyond a jaded misanthropy and strike a real chord. In wrapping this up in an insidiously simple package of compelling, devastating black metal with a distinctive voice, ColdCell have made, I now recognize, a true masterpiece. Brutal in its own way, and beautiful in many more, this is a record I hardly realized had made such a strong impact on me until I saw just how many times I’d spun it. This year may have seen black metal that goes harder, or with more powerful atmospheres, but none that are as memorable as Age of Unreason.
#8. Spectral Voice // Sparagmos – What a behemoth. It’s hard to believe that—just for a little while—Sparagmos slipped my mind many months after its February release. Relistening brought it all back into horrifying clarity. This record throws a veil over the sun, stares at you with unseeing, ecstatic eyes of Dionysian worship, and forces you into terrified awe. I’m still blown away by how crushingly heavy and immersive it is; how it still manages to blindside me with sudden turns from ominous crawling into chaotic, chthonic tremolos and clustered, hideous vocals. A masterclass in patient, predatory ambush. Nothing else this year was like it, which is partially why I’ve had to return so often to its dark embrace. Every nightmarish track was at some point in the runnings for the Song of the Year playlist. In the end, only one could make it, and it is, as I said in my review, “as inexorable as death.”
#7. Hamferð // Men Guðs hond er sterk – I’m surprised as well. Before Men Guðs hond er sterk, I had never laid ears on Hamferð and I was quite stunned to find how instantly I loved them. It’s not often an album by a band you’d previously never spent time with claims a spot on your year-end list after one listen, but this was one of those rare occasions. Something about the sorrowful, yet also soaring, melodies delivered through the interplays of resonant chords and gentle plucks, and between caustic growls and clear, ardent cleans just transports me. I feel the solemnity, the fear, and the grief in alternately forceful and graceful heaviness thanks to these intricately woven compositions and ardent performances that make the fact the lyrics are all in Faroese completely irrelevant. And Hamferð cover breadth with such ease, the slowly rolling wave of doom rising with tremolos into new intensity; and yet still controlled, still patient. The closer and it’s sample used to bother me, but I’m long past that now. In short, as the Angry Metal Guy himself said, “the record’s flow is impeccable,” and “the writing is subtle but addictive”. He’s not kidding about that last part, I really can’t stop listening to it.
#6. Föhn // Condescending – I was not prepared for what Condescending would do to me. Like any funeral doom worth its salt, it’s massive, but its presence is not smothering, it does not suffocate. Instead, it dampens the sound of anything else, so that the lugubrious chords, vocals, and fraught, lamenting refrains reverberate inside your mind, alone. This presence is redoubled by the heart-rending devastation of the compositions it centers—lyrically and musically. Bleakly beautiful, crushing doom in all its low, slow, cavernous hell leads you into an almost blissful moroseness, just in time for the veil to tear and your spirit to crumble as haunting melodies spill in from impossibly delicate sources of saxophone, synth, or ringing strings. Condescending will not leave my mind, and as broken and misty-eyed as these songs make me—”A Day After” and “Persona” especially—I’ll keep returning to experience it again and again. Maybe I can only speak for myself; maybe you’re sensing a theme wherein I like albums that make me feel sad. Whatever the case, Föhn took my breath away, and I don’t want it back.
#5. Cave Sermon // Divine Laughter – It’s pretty irresponsible of me to put this in the list at all, let alone in this position, considering how late in the day I discovered it. But I’m not really known for being ‘responsible’ around these parts, so, what the hell. What some might pigeonhole as just wonky death metal, or blackened post-hardcore—or even post-metal, as Metal Archives confusingly stamp it—is really much more complex, deep, and unique. Gripping and strange, in a way that struck me on my very first listen, Divine Laughter is responsible for me going from never having heard of Cave Sermon to being an ardent fan in one afternoon. Every listen gives me my new favorite part and uncovers more and more of its treasures. Savage and beautiful and with unnervingly easy flow, large parts of it are total perfection (“Liquid Gol, “The Paint of An Invader”). I cannot get enough. It’s so good, actually, that it’s made me feel a bit anxious about how much I’ve still missed this year, though I am very glad that this made it to my ears, even at the 11th hour. Divine Laughter is simply one of the greatest things I’ve heard in 2024, and it’s a crime that more people aren’t talking about it.
#4. Devenial Verdict // Blessing of Despair – I was waiting for Blessing of Despair since January, and as it always is with things we have high expectations for, part of me was preparing for disappointment. That preparation proved unnecessary once I finally got my hands on this in the Autumn. Devenial Verdict delivered. This time, they amped up all their unique little idiosyncrasies that made me fall in love with Ash Blind, and added a criminally heavy helping of groove. This thing is atmospheric and punchy, providing soundscapes that are just as haunting and mysterious(TM) as they are stomping and cutthroat. Either way, these riffs will make you shiver. “Garden of Eyes”! “Solus”! Ahhhh! Even “Counting Silence” and “A Curse Made Flesh,” which I initially dismissed as a little understated, have this delicious melancholic presence I just want to be immersed in 24/7. Devenial Verdict’s 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 that exists. The sole reason Blessing of Despair wasn’t my most-played album of 2024 is that I only started in September.4
#3. Selbst // Despondency Chord Progressions – Back in 2017 or so, I was struck by what at the time I considered the most gorgeous opening guitar on any song ever. It was “…Of Solitary Ramblings,” the first track on Selbst’s self-titled debut.5 From that day forward I was enamoured. The undercurrents of lamenting melodrama and a black metal interwoven with a distinctive style of flowing, weeping strums continue to make Selbst very special. But if I had thought that their depths of emotional poignancy and stirring, multi-layered compositions had been reached, Despondency Chord Progressions showed they had not. Cleans that some wrote off as unsavory, rather bring—in my opinion—a new vulnerability, and their rawness compounds the pathos of already intensely cathartic compositions. The album’s title is, as I noted, an apt descriptor for the musical themes, but really undersells the cry of grief and despair that erupts from the music with every shuddering, tremolo-shaken, surge and every plaintive, somber quietude. I stand by what I said back in April, that “[t]his is black metal at its most stirring, entrancingly beautiful, and existentially affecting.” The sheer magnitude of its impassioned peaks (“Third World Wretchedness,” “Between Seclusion and Obsession”) and the sting of its humanity (“When true Loneliness is Experienced,” “Chant of Self Confrontation”) are like nothing else in the genre.
#2. Amiensus // Reclamation [Parts 1 & 2] – Take it up in the comments if you think this is cheating; Reclamation is one work in my eyes. And what a masterpiece. Each part a gorgeous, immersive side of one breathtaking journey that is best experienced together. I remain stunned by Amiensus’ mastery of musical storytelling through a flowing, intricate soundscape—at turns triumphant (“Vermillion Fog of War,” “Sólfarið”), sorrowful (“Reverie,” “Leprosarium”), and always stirring. Everything about Reclamation is graceful, which is another part of its magic because it’s not as though Amiensus left the black metal behind. Rather they seem to have found the deepest essence of the genre’s unique propensity for raw emotional expression, and moulded its elements into what is hands-down the most beautiful thing I’ve heard at least this year. It is, as I noted in my write-up of Part 1, a distillation of pure joy, and uplifting no matter how wistful (“Sun and Moon”), or suffused with bittersweet longing (“A Consciousness Throughout Time,” “Acquiescence”). And with so much of it—albeit, a time that flashes by with thrilling speed—it’s impossible not to get lost in. “Sun and Moon” was so close to being my favorite song of 2024, and in another year, it would have been. For that matter, in another year Reclamation itself would have claimed the top spot on this list.
#1. Ulcerate // Cutting the Throat of God – What else could it have been? I worry that by this point I may have used up all of the words that are possible to describe this pinnacle of excellence. In reality, though, I’m not sure I even have the words to express it in the first place, not for lack of trying. Ulcerate have long been a behemoth in their realm within the larger world of death metal, but while distinctive, they have never settled, continually carving up the template of dissonance with varyingly-sized blades of atmosphere and melody, moving between their most barbed and chaotic (Everything is Fire) to their most somber and moody (The Destroyers of All) in just one album. Later Shrines of Paralysis—my former favorite—saw a turn back towards the urgency and aggression, but with this new harmonic undercurrent in place. With hindsight, I can see now that the deeply atmospheric, disquieting Stare into Death and Be Still marked a turning point, paving the ground for what could be their magnum opus. 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. Dire (“The Dawn is Hollow”), deadly (“Transfiguration in and Out of Worlds”), devastating (“To See Death Just Once,” “Cutting the Throat of God”). Its intricacies only continue to reveal themselves to me; helped, no doubt, by a phenomenal live performance that bewitched me anew this October. I had to upgrade this album’s score to Iconic, because it is. This is atmospheric death metal perfected, and if genre-mates weren’t already looking in Ulcerate’s direction, there’s hardly any choice now. Cutting the Throat of God represents, in the greatest form, “the savagery, authenticity, and more recently, beauty that makes this icon of the dissonant death metal world who they are.”
Honorable Mentions:
Gaerea // Coma – Despite having calmed down considerably from my previous Gaerea overhype, there’s no denying that they’ve really got something. With a new vocalist, they retain their distinctively melodramatic and intense style, while incorporating a little more vulnerability via some genuinely really lovely cleans. A great record that just wasn’t great enough for the ridiculously high standard set by this year’s fare.
Eye Eater // Alienate – I am immensely grateful for Dolphin Whisperer for bringing this to my attention. Much of this album feels like it was written specifically for me, because it uses pretty much all of my favorite things in metal. It’s atmospheric and dissonant, like Ulcerate and others in that vein; it’s kind of post-death-y, and replete with minor melodies, and a particular kind of urgency my brain associates with specific kinds of ‘-core’. I just didn’t get quite enough time with it.
Songs of the Year
“To See Death Just Once” – Ulcerate
“Sun and Moon” – Amiensus
“Solus” – Devenial Verdict
“Terminal” – Vorga
“Third World Wretchedness” – Selbst
“The Paint of an Invader” – Cave Sermon
“A Day After” – Föhn
“Ábær” – Hamferð
“Inversion” – Endonomos
“Death’s Knell Rings in Eternity” – Spectral Voice
“Leaving” – Pillar of Light
Maddog
It’s been a weird year, and this is a weird list. Last December, I lamented the emotional hollowness of 2023’s metal output. If anything, 2024 fell even flatter. My most anticipated heavyweights were competent but inconsistent (Alcest, Julie Christmas), and few albums moved me. Unfazed, death metal picked up the slack and made this year a pleasure. Led by a flurry of excellent releases from genre titans, 2024 helped rekindle my love for cantankerous death metal.
Even so, the brutality of 2024’s output shocked me. Despite my worship of Suffocation and Dying Fetus, most brutal death metal releases of the last decade haven’t gripped me. But 2024 pulled me onto the brutal train with creativity and pizzazz. Both the techy and the knuckle-dragging corners of that subgenre thrived, including several artists that didn’t make my list (like Gigan, Iniquitous Savagery, and Nile). After tending toward more emotive music and other poseur nonsense in recent years, I took a long jump back in 2024.
As if that wasn’t enough, this was a banner year for dissonance. That’s a sentence I never expected to type; even dissonant death metal’s classics tend to be hit-or-miss with me. In 2024, the skronk finally broke through, aided by many avant-garde bands drifting toward a more accessible sound. This year’s screechy screeds were cogent enough to grab my arm and unhinged enough to rip it out of its socket. It’s been a jarring but eye-opening year.
This comment from the Brodequin review doubles as a summary of my 2024 music picks:
I wonder if I, we, they or all of us have a screw loose.
Heading into 2024, I craved immersive soundscapes and misty eyes. Instead, I was met with discordant gurgling. I didn’t expect it, but I don’t regret it.
#ish. Hypoxia // Defiance – Defiance never gets old. This old-school death metal behemoth has been around for ten months and hails from a subgenre that’s infamous for monotony. And yet, like Monstrosity’s best work, it blossoms on every spin. Defiance sports 2024’s fiercest harsh vocal performance, and riffwork so potent that it could revive the Selbst baby. I don’t have anything fancy to add, so I won’t try. Defiance is a rare death metal record that’s simple, thrilling, and well-written.
#10. Dawn Treader // Bloom & Decay – The thought sometimes crosses my mind: Why does atmospheric black metal even exist? The musical possibilities abound; who would pay $8 for tremolo scales recorded in a rest stop bathroom? Records like Bloom & Decay jolt me out of my pretension. Dawn Treader’s underground gem is both a product and a peddler of overpowering emotion. Ross Connell unleashes a tirade against violence and oppression using grief-stricken guitar melodies. On the flip side, Bloom & Decay’s heavy use of major keys—my second biggest fear—blurs the line between despair and tentative hope. Most impressive is the album’s flow, which Itchymenace described better than I ever could: “The majority of Bloom & Decay is instrumental, but you hardly notice because the music has such a storytelling quality.” Bloom & Decay’s 53-minute chokehold on my heart is ineffable but unyielding.
#9. Kanonenfieber // Die Urkatastrophe – Germany’s nameless Noise has built up a remarkable CV – 7 years, 3 bands, 8 albums. While I’ve often enjoyed his music, I never fell under his spell. Die Urkatastrophe was the last straw. A pacifist tirade told through first-person WWI vignettes, Die Urkatastrophe depicts nationalist violence and its aftermath. Armed with a sharp-edged blackened death foundation and surging chorus melodies, Kanonenfieber provides rewarding fodder even for unfeeling riff addicts. However, its excellence lies in its raw emotion. Both Noise’s lyrics and his songwriting embrace a “show, don’t tell” approach that brings the album to life. As the narrator’s cavalry offensive meets with a hilltop ambush in “Gott mit der Kavallerie,” Kanonenfieber’s upbeat riffs transform into a sudden dirge followed by frantic black metal. The epic “Waffenbrüder” evokes the wide-eyed optimism of childhood friends, the pride of enlisting, the tragedy of losing a companion, and the regrets of a life wasted. Die Urkatastrophe is both a transformative album and exemplary storytelling.
#8. Defeated Sanity // Chronicles of Lunacy – Chronicles of Lunacy is essential listening for any fans of extreme metal. Its greatest triumph is its fine mix of Defeated Sanity’s signature ingredients. Chronicles excels as pure brutal death metal through punishing caveman riffs and a tasteful dose of slam. Vaughn Stoffey’s guitars elevate this to an art form using wily fretboard acrobatics and seamless jazzy breaks. Led by kit-meister Lille Gruber, Defeated Sanity’s off-kilter rhythms and heavy syncopation miraculously aid the album’s staying power rather than hindering it. Put simply, Chronicles of Lunacy is 2024’s most vivid reminder of why I love death metal. I love its unforgiving brutality; I love its dazzling technicality; I love its groove; I love its genre-bending creative expression; I love its rhythmic feats of strength; I love its intellect; I love its idiocy. In other words, I love Defeated Sanity.
#7. Ulcerate // Cutting the Throat of God – It’s a match made in heaven: Cutting the Throat of God is Ulcerate for dummies, and I’m a dummy. Ulcerate continues to march toward more accessible ground, leaving behind the merciless dissonance of Everything is Fire. Powerful melodic themes peek through the chaos and take time to shine, offering both souvenirs and footholds. Despite Cutting’s lowbrow appeal, Ulcerate’s inimitable signature remains. Unease pervades the record, and Ulcerate’s cohesive songwriting transforms it from a concept to an emotion. In Thus Spoke’s words, Jamie Saint Merat’s drums are “more body than skeleton,” using their distinctive start-stop style to guide the mood. The album’s climaxes alone justify a purchase, as hypnotic melodies and frenzied dissonance coalesce into a tsunami. In short, Cutting the Throat of God captured both my brain and my heart.
#6. Hippotraktor // Stasis – I first heard about Belgium’s Hippotraktor from an insistent coworker, long before I discovered GardensTale’s well-worded underrating. Psychonaut meets Karnivool meets The Ocean meets Meshuggah in this pounding, beautiful prog/post adventure. Stasis’ hard-won achievement is that it navigates through disparate ideas with fluidity and flair. Psychonaut-drenched sludge forms a jagged backbone that sways between meditative and explosive. Meanwhile, Hippotraktor’s mastery of melody catapults them into genre royalty. “Stasis” uses this superpower for peaceful guitar jams, “Echoes” uses it for soaring As I Lay Dying vocal lines, and “The Reckoning” uses it for haunting continuity across its eight minutes. The djenty interdjections are well-written and screwed in tight, packing a punch even for listeners with severe djent allerdjies. Stasis is a bold statement from a new band, and it’s jostled up my list posthaste.
#5. Hell:on // Shaman – Hell:on’s folk-infused take on death metal stands apart. Shaman’s diverse influences complement each other and flourish in isolation. Phrygian themes, throat singing, and driving sitars steer the album. But despite Shaman’s folk roots, it’s an excellent slab of death metal. Hell:on’s riffs recall the threatening leviathans of Nile’s Annihilation of the Wicked, while the narrative song structures feel like a roided-out Aeternam. Even among such storied company, Shaman’s melodies stand out. Over the record’s runtime, Hell:on’s guitars shred, soar, flail, and wallop, evolving smoothly and dragging the listener along. As icing on the cake, Holdeneye’s review of Shaman features the most sobering and most badass introductory story of 2024. Hell:on demanded my attention and earned it.
#4. Pyrrhon // Exhaust – I started warming up to Exhaust on my first listen, but it took a while to diagnose why. Pyrrhon’s earlier releases didn’t click with me, but Exhaust is a trailblazer and a paradox. Pyrrhon rewrites the textbook on riffs, displaying a mastery of groove even in their wildest moments. And the noisier cuts, which remind me most of Pink Floyd’s The Piper at the Gates of Dawn and The Velvet Underground, are evocative narratives rather than lifeless technical exercises. The longer pieces intersperse hypnotic buildups with furious cacophony (“Out of Gas”), while the shorter tracks are simultaneously caustic and infectious. With a thick leading bass performance and a master that highlights every detail of the drums, Exhaust grows on me with every spin. Pyrrhon’s off-the-deep-end brand of experimental death metal isn’t my usual fare, but I can’t avert my ears this time. Both mellifluous and disgusting, both rifftastic and immersive, Exhaust is singular.
#3. Selbst // Despondency Chord Progressions – My first toe dip into Selbst made a lasting impression. Shortly after Despondency Chord Progressions came out, I spun it at the office. In the final minute of the opener “La Encarnación de Todos los Miedos,” I felt the involuntary tears start to flow, and I had to nuke the music and run to the bathroom to avoid worrying my desk neighbor. This embarrassing first encounter perfectly encapsulates the album. While it’s “merely” black metal, its gorgeous melodies and shrilling tremolos showcase the genre at its finest. Alternating between meditative dirges and howling chords, Selbst conveys both muffled sobs and hysterical bawling. Selbst’s fluid compositions captivated me at once and dug their claws even deeper over the ensuing months. The most heart-rending record of 2024, Despondency Chord Progressions showcases the paralyzing power of music.
#2. Noxis // Violence Inherent in the System – Noxis’ debut is 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. Much like last year’s Ohio death metal highlight, Violence Inherent in the System succeeds by ripping throughout, whether with a vile Dying Fetus riff or with an adventurous bass melody. Although this is the longest record in my top five, its 46 minutes fly by. Boasting momentum that would make Newton blush, Noxis keeps the energy high from the barnburner “Skullcrushing Defilement” to the proggy old-school “Emanations of the Sick.” After six months of scrutinizing and adoring Violence, I still can’t fathom that this is a debut album.
#1. Wormed // Omegon – I’ve already said my piece on this, and nothing has changed. Omegon feels as thrilling, as alien, as robotic, and as human as it did in July. In a year where brutality and dissonance thrived, Wormed maxed out both dimensions. Omegon is at once a painstakingly crafted work of art, an all-consuming atmosphere, and 2024’s punchiest death metal record.
Honorable Mentions:
- Oxygen Destroyer // Guardian of the Universe – Redefining Darkness strikes again. Oxygen Destroyer’s latest death-thrash opus is a concise half hour of exhilarating riffs. The album sounds one track, but I don’t care; it gains steam as it progresses, and it lodges deeper on every listen. There’s no excuse for missing this.
- Brodequin // Harbinger of Woe – Despite its morose title, Harbinger of Woe is straightforward and riotous. Brodequin has honed a sleek archetype of brutal death metal, far from the likes of Wormed. It doesn’t aim to innovate; it just aims for high impact. It succeeds.
- Kryptos // Decimator – India’s heavy metal kings dealt me an irreplaceable shot of adrenaline. Decimator is Kryptos’ most melodically inspired work to date, an absolute scorcher, and the most viscerally satisfying production job of 2024.
- Necrowretch // Swords of Dajjal – Somehow, despite competition from In Aphelion and Necrophobic themselves, Necrowretch churned out the best Necrophobic album of 2024.
Songs o’ the Year:
- Julie Christmas – “The Lighthouse”
- Hippotraktor – “The Reckoning”
- Kanonenfieber – “Waffenbrüder”
- Hypoxia – “Scorched and Skinned”
- Kryptos – “Fall to the Spectre’s Gaze”
- Wormed – “Protogod”
- Alcest – “Améthyste”
- Defeated Sanity – “Heredity Violated”
- Andy Gillion – “Acceptance”
- Selbst – “La Encarnación de Todos los Miedos”
- Pyrrhon – “Out of Gas”
- Ulcerate – “Cutting the Throat of God”
- Noxis – “Abstemious, Pious Writ of Life”
- Keygen Church – “La Chiave del mio Amor”
#2024 #Amiensus #BlogPost #Brodequin #CaveSermon #ColdCell #DawnTreader #DefeatedSanity #DevenialVerdict #EyeEater #Föhn #Gaerea #Hamferð #HellOn #Hippotraktor #Hypoxia #Kanonenfeiber #Kryptos #Necrowretch #Noxis #OxygenDestroyer #PillarOfLight #Pyrrhon #Replicant #Selbst #SpectralVoice #ThusSpokeAndMaddogSTopTenIshOf2024 #Ulcerate #Wormed
-
Thus Spoke and Maddog’s Top Ten(ish) of 2024
By Steel Druhm
Thus Spoke
My second AMG End-of-Year piece?! Didn’t I just get here? This is my typical reaction to life’s happenings. I’m blindsided by everything. You’ll probably notice that many of the below list entries ‘snuck up on me’ in how much I liked them, compared to everything else. The fact that we’re now halfway through the 2020s makes me feel a bit nauseous. I keep telling people I ‘just moved’ into the home I bought this year, but I’ve been in it since April. And that huge milestone—for which I feel immensely grateful and privileged to have achieved this side of 30—would have solely dominated my year were it not for two other facts: 1) I was finally diagnosed with and very recently started medication for ADHD; 2) 2024 has got to have been the strongest year of the decade so far for metal. So, time to talk about the music rather than myself.
My overoptimistic prediction that Ulcerate would release new music came true,1 and there was, in general, a particular influx of excellent material from the darker, more dissonant, and extreme sides of death and black metal. This was also the year I finally reconnected with my love of doom after a long period of lukewarm engagement. But I wouldn’t have known about half of it were it not for this gig, and the amazing people I share it with. Whether it was Dear Hollow, Kenstrosity, or Mystikus Hugebeard pinging across something they thought I might like, or a particularly potent review penned by a colleague, a commenter chipping in with some gem, or the group buzz around an album I might otherwise never have considered, there’s no better place to find and discuss metal. And speaking of community, if I ever needed a confirmation that this right here is the loveliest place on the internet, the rallying response to Ken‘s plight earlier this year from staff and readers was it.2 I couldn’t ask for better company.
I said as much last year, but I’ll probably say it every year: having this opportunity is wild and I feel so blessed. To be able to send my thoughts about music into the world where people read and consider them, that’s mad. Bumping into an AMG fan in the wild was also an affirming and heartwarming experience reminding me that there are actually real people out there who know who we are; and let me say, however enthusiastic and grateful you might be for us, the feeling is mutual. So to everyone reading this, to all the folks at AMG who make it possible for me to continually wax lyrical about stuff I love (and stuff I don’t love so much) and put up with all my overrating, to all of you: thank you. Shout out also to my list buddy Maddog, whose EOY write-up is bound to be more br00tal and much less flowery than mine, and whose in-person company I continue to have the pleasure of enjoying whenever he deigns to visit our little island up here. Oh, and thank you to the original creator and to Kenstrosity for my new avatar! I asked and you delivered. And if you actually read this far down, thank you for indulging me. But now, finally, it’s list time.
#ish. Pillar of Light // Caldera – I unintentionally ended my reviewing year on a high with Pillar of Light. Or perhaps a low, if we consider mood. When a record evokes a genuine emotional response in me,3 as Caldera does, it deserves more than an Honorable Mention. So here it is. It’s one of those albums you experience that forever afterward remains tied to your particular life situation when you were first immersed, and for that reason, its longevity is increased and its impact amplified. Given how “Leaving” and “Infernal Gaze” leave me in pieces, it’s probably a good thing the misery comes down from 11 at other times. But on the next album, who knows? I’ll be ready at least.
#10. Replicant // Infinite Mortality – Much like Kenstrosity, author of the review, I have not historically been Replicant’s hugest fan. For some reason their music never stuck with me; I just didn’t get it. Infinite Mortality has been the enlightenment I needed. It’s undeniably fantastic. Brilliantly technical and ruthlessly efficient in execution, it manages to also be ridiculously groovy in a way that you wouldn’t expect from this flavor of extreme death metal. Suited, evidently, to desk sessions and gym sessions alike, given the range of play it got from me since its release, its balance of skronk and style proved why I should, long ago, have been paying attention to Replicant. Ken himself struggled to find a negative and so do I. Even interlude “SCN9A” is great, especially as it leads into monster “Pain Enduring.” Only the superlative strength of other contenders causes this to fall so low on the list.
#9. ColdCell // Age of Unreason – In a rare case of me underrating something, my review of Age of Unreason did not quite do justice to its strength. Not only have I revisited it often, but I have of late been struck ever deeper by its profundity. The honest, vulnerable lamentations on inequality (“Solidarity or Solitude”), hatred (“Discord”), and human selfishness (“Dead to the World”) go far beyond a jaded misanthropy and strike a real chord. In wrapping this up in an insidiously simple package of compelling, devastating black metal with a distinctive voice, ColdCell have made, I now recognize, a true masterpiece. Brutal in its own way, and beautiful in many more, this is a record I hardly realized had made such a strong impact on me until I saw just how many times I’d spun it. This year may have seen black metal that goes harder, or with more powerful atmospheres, but none that are as memorable as Age of Unreason.
#8. Spectral Voice // Sparagmos – What a behemoth. It’s hard to believe that—just for a little while—Sparagmos slipped my mind many months after its February release. Relistening brought it all back into horrifying clarity. This record throws a veil over the sun, stares at you with unseeing, ecstatic eyes of Dionysian worship, and forces you into terrified awe. I’m still blown away by how crushingly heavy and immersive it is; how it still manages to blindside me with sudden turns from ominous crawling into chaotic, chthonic tremolos and clustered, hideous vocals. A masterclass in patient, predatory ambush. Nothing else this year was like it, which is partially why I’ve had to return so often to its dark embrace. Every nightmarish track was at some point in the runnings for the Song of the Year playlist. In the end, only one could make it, and it is, as I said in my review, “as inexorable as death.”
#7. Hamferð // Men Guðs hond er sterk – I’m surprised as well. Before Men Guðs hond er sterk, I had never laid ears on Hamferð and I was quite stunned to find how instantly I loved them. It’s not often an album by a band you’d previously never spent time with claims a spot on your year-end list after one listen, but this was one of those rare occasions. Something about the sorrowful, yet also soaring, melodies delivered through the interplays of resonant chords and gentle plucks, and between caustic growls and clear, ardent cleans just transports me. I feel the solemnity, the fear, and the grief in alternately forceful and graceful heaviness thanks to these intricately woven compositions and ardent performances that make the fact the lyrics are all in Faroese completely irrelevant. And Hamferð cover breadth with such ease, the slowly rolling wave of doom rising with tremolos into new intensity; and yet still controlled, still patient. The closer and it’s sample used to bother me, but I’m long past that now. In short, as the Angry Metal Guy himself said, “the record’s flow is impeccable,” and “the writing is subtle but addictive”. He’s not kidding about that last part, I really can’t stop listening to it.
#6. Föhn // Condescending – I was not prepared for what Condescending would do to me. Like any funeral doom worth its salt, it’s massive, but its presence is not smothering, it does not suffocate. Instead, it dampens the sound of anything else, so that the lugubrious chords, vocals, and fraught, lamenting refrains reverberate inside your mind, alone. This presence is redoubled by the heart-rending devastation of the compositions it centers—lyrically and musically. Bleakly beautiful, crushing doom in all its low, slow, cavernous hell leads you into an almost blissful moroseness, just in time for the veil to tear and your spirit to crumble as haunting melodies spill in from impossibly delicate sources of saxophone, synth, or ringing strings. Condescending will not leave my mind, and as broken and misty-eyed as these songs make me—”A Day After” and “Persona” especially—I’ll keep returning to experience it again and again. Maybe I can only speak for myself; maybe you’re sensing a theme wherein I like albums that make me feel sad. Whatever the case, Föhn took my breath away, and I don’t want it back.
#5. Cave Sermon // Divine Laughter – It’s pretty irresponsible of me to put this in the list at all, let alone in this position, considering how late in the day I discovered it. But I’m not really known for being ‘responsible’ around these parts, so, what the hell. What some might pigeonhole as just wonky death metal, or blackened post-hardcore—or even post-metal, as Metal Archives confusingly stamp it—is really much more complex, deep, and unique. Gripping and strange, in a way that struck me on my very first listen, Divine Laughter is responsible for me going from never having heard of Cave Sermon to being an ardent fan in one afternoon. Every listen gives me my new favorite part and uncovers more and more of its treasures. Savage and beautiful and with unnervingly easy flow, large parts of it are total perfection (“Liquid Gol, “The Paint of An Invader”). I cannot get enough. It’s so good, actually, that it’s made me feel a bit anxious about how much I’ve still missed this year, though I am very glad that this made it to my ears, even at the 11th hour. Divine Laughter is simply one of the greatest things I’ve heard in 2024, and it’s a crime that more people aren’t talking about it.
#4. Devenial Verdict // Blessing of Despair – I was waiting for Blessing of Despair since January, and as it always is with things we have high expectations for, part of me was preparing for disappointment. That preparation proved unnecessary once I finally got my hands on this in the Autumn. Devenial Verdict delivered. This time, they amped up all their unique little idiosyncrasies that made me fall in love with Ash Blind, and added a criminally heavy helping of groove. This thing is atmospheric and punchy, providing soundscapes that are just as haunting and mysterious(TM) as they are stomping and cutthroat. Either way, these riffs will make you shiver. “Garden of Eyes”! “Solus”! Ahhhh! Even “Counting Silence” and “A Curse Made Flesh,” which I initially dismissed as a little understated, have this delicious melancholic presence I just want to be immersed in 24/7. Devenial Verdict’s 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 that exists. The sole reason Blessing of Despair wasn’t my most-played album of 2024 is that I only started in September.4
#3. Selbst // Despondency Chord Progressions – Back in 2017 or so, I was struck by what at the time I considered the most gorgeous opening guitar on any song ever. It was “…Of Solitary Ramblings,” the first track on Selbst’s self-titled debut.5 From that day forward I was enamoured. The undercurrents of lamenting melodrama and a black metal interwoven with a distinctive style of flowing, weeping strums continue to make Selbst very special. But if I had thought that their depths of emotional poignancy and stirring, multi-layered compositions had been reached, Despondency Chord Progressions showed they had not. Cleans that some wrote off as unsavory, rather bring—in my opinion—a new vulnerability, and their rawness compounds the pathos of already intensely cathartic compositions. The album’s title is, as I noted, an apt descriptor for the musical themes, but really undersells the cry of grief and despair that erupts from the music with every shuddering, tremolo-shaken, surge and every plaintive, somber quietude. I stand by what I said back in April, that “[t]his is black metal at its most stirring, entrancingly beautiful, and existentially affecting.” The sheer magnitude of its impassioned peaks (“Third World Wretchedness,” “Between Seclusion and Obsession”) and the sting of its humanity (“When true Loneliness is Experienced,” “Chant of Self Confrontation”) are like nothing else in the genre.
#2. Amiensus // Reclamation [Parts 1 & 2] – Take it up in the comments if you think this is cheating; Reclamation is one work in my eyes. And what a masterpiece. Each part a gorgeous, immersive side of one breathtaking journey that is best experienced together. I remain stunned by Amiensus’ mastery of musical storytelling through a flowing, intricate soundscape—at turns triumphant (“Vermillion Fog of War,” “Sólfarið”), sorrowful (“Reverie,” “Leprosarium”), and always stirring. Everything about Reclamation is graceful, which is another part of its magic because it’s not as though Amiensus left the black metal behind. Rather they seem to have found the deepest essence of the genre’s unique propensity for raw emotional expression, and moulded its elements into what is hands-down the most beautiful thing I’ve heard at least this year. It is, as I noted in my write-up of Part 1, a distillation of pure joy, and uplifting no matter how wistful (“Sun and Moon”), or suffused with bittersweet longing (“A Consciousness Throughout Time,” “Acquiescence”). And with so much of it—albeit, a time that flashes by with thrilling speed—it’s impossible not to get lost in. “Sun and Moon” was so close to being my favorite song of 2024, and in another year, it would have been. For that matter, in another year Reclamation itself would have claimed the top spot on this list.
#1. Ulcerate // Cutting the Throat of God – What else could it have been? I worry that by this point I may have used up all of the words that are possible to describe this pinnacle of excellence. In reality, though, I’m not sure I even have the words to express it in the first place, not for lack of trying. Ulcerate have long been a behemoth in their realm within the larger world of death metal, but while distinctive, they have never settled, continually carving up the template of dissonance with varyingly-sized blades of atmosphere and melody, moving between their most barbed and chaotic (Everything is Fire) to their most somber and moody (The Destroyers of All) in just one album. Later Shrines of Paralysis—my former favorite—saw a turn back towards the urgency and aggression, but with this new harmonic undercurrent in place. With hindsight, I can see now that the deeply atmospheric, disquieting Stare into Death and Be Still marked a turning point, paving the ground for what could be their magnum opus. 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. Dire (“The Dawn is Hollow”), deadly (“Transfiguration in and Out of Worlds”), devastating (“To See Death Just Once,” “Cutting the Throat of God”). Its intricacies only continue to reveal themselves to me; helped, no doubt, by a phenomenal live performance that bewitched me anew this October. I had to upgrade this album’s score to Iconic, because it is. This is atmospheric death metal perfected, and if genre-mates weren’t already looking in Ulcerate’s direction, there’s hardly any choice now. Cutting the Throat of God represents, in the greatest form, “the savagery, authenticity, and more recently, beauty that makes this icon of the dissonant death metal world who they are.”
Honorable Mentions:
Gaerea // Coma – Despite having calmed down considerably from my previous Gaerea overhype, there’s no denying that they’ve really got something. With a new vocalist, they retain their distinctively melodramatic and intense style, while incorporating a little more vulnerability via some genuinely really lovely cleans. A great record that just wasn’t great enough for the ridiculously high standard set by this year’s fare.
Eye Eater // Alienate – I am immensely grateful for Dolphin Whisperer for bringing this to my attention. Much of this album feels like it was written specifically for me, because it uses pretty much all of my favorite things in metal. It’s atmospheric and dissonant, like Ulcerate and others in that vein; it’s kind of post-death-y, and replete with minor melodies, and a particular kind of urgency my brain associates with specific kinds of ‘-core’. I just didn’t get quite enough time with it.
Songs of the Year
“To See Death Just Once” – Ulcerate
“Sun and Moon” – Amiensus
“Solus” – Devenial Verdict
“Terminal” – Vorga
“Third World Wretchedness” – Selbst
“The Paint of an Invader” – Cave Sermon
“A Day After” – Föhn
“Ábær” – Hamferð
“Inversion” – Endonomos
“Death’s Knell Rings in Eternity” – Spectral Voice
“Leaving” – Pillar of Light
Maddog
It’s been a weird year, and this is a weird list. Last December, I lamented the emotional hollowness of 2023’s metal output. If anything, 2024 fell even flatter. My most anticipated heavyweights were competent but inconsistent (Alcest, Julie Christmas), and few albums moved me. Unfazed, death metal picked up the slack and made this year a pleasure. Led by a flurry of excellent releases from genre titans, 2024 helped rekindle my love for cantankerous death metal.
Even so, the brutality of 2024’s output shocked me. Despite my worship of Suffocation and Dying Fetus, most brutal death metal releases of the last decade haven’t gripped me. But 2024 pulled me onto the brutal train with creativity and pizzazz. Both the techy and the knuckle-dragging corners of that subgenre thrived, including several artists that didn’t make my list (like Gigan, Iniquitous Savagery, and Nile). After tending toward more emotive music and other poseur nonsense in recent years, I took a long jump back in 2024.
As if that wasn’t enough, this was a banner year for dissonance. That’s a sentence I never expected to type; even dissonant death metal’s classics tend to be hit-or-miss with me. In 2024, the skronk finally broke through, aided by many avant-garde bands drifting toward a more accessible sound. This year’s screechy screeds were cogent enough to grab my arm and unhinged enough to rip it out of its socket. It’s been a jarring but eye-opening year.
This comment from the Brodequin review doubles as a summary of my 2024 music picks:
I wonder if I, we, they or all of us have a screw loose.
Heading into 2024, I craved immersive soundscapes and misty eyes. Instead, I was met with discordant gurgling. I didn’t expect it, but I don’t regret it.
#ish. Hypoxia // Defiance – Defiance never gets old. This old-school death metal behemoth has been around for ten months and hails from a subgenre that’s infamous for monotony. And yet, like Monstrosity’s best work, it blossoms on every spin. Defiance sports 2024’s fiercest harsh vocal performance, and riffwork so potent that it could revive the Selbst baby. I don’t have anything fancy to add, so I won’t try. Defiance is a rare death metal record that’s simple, thrilling, and well-written.
#10. Dawn Treader // Bloom & Decay – The thought sometimes crosses my mind: Why does atmospheric black metal even exist? The musical possibilities abound; who would pay $8 for tremolo scales recorded in a rest stop bathroom? Records like Bloom & Decay jolt me out of my pretension. Dawn Treader’s underground gem is both a product and a peddler of overpowering emotion. Ross Connell unleashes a tirade against violence and oppression using grief-stricken guitar melodies. On the flip side, Bloom & Decay’s heavy use of major keys—my second biggest fear—blurs the line between despair and tentative hope. Most impressive is the album’s flow, which Itchymenace described better than I ever could: “The majority of Bloom & Decay is instrumental, but you hardly notice because the music has such a storytelling quality.” Bloom & Decay’s 53-minute chokehold on my heart is ineffable but unyielding.
#9. Kanonenfieber // Die Urkatastrophe – Germany’s nameless Noise has built up a remarkable CV – 7 years, 3 bands, 8 albums. While I’ve often enjoyed his music, I never fell under his spell. Die Urkatastrophe was the last straw. A pacifist tirade told through first-person WWI vignettes, Die Urkatastrophe depicts nationalist violence and its aftermath. Armed with a sharp-edged blackened death foundation and surging chorus melodies, Kanonenfieber provides rewarding fodder even for unfeeling riff addicts. However, its excellence lies in its raw emotion. Both Noise’s lyrics and his songwriting embrace a “show, don’t tell” approach that brings the album to life. As the narrator’s cavalry offensive meets with a hilltop ambush in “Gott mit der Kavallerie,” Kanonenfieber’s upbeat riffs transform into a sudden dirge followed by frantic black metal. The epic “Waffenbrüder” evokes the wide-eyed optimism of childhood friends, the pride of enlisting, the tragedy of losing a companion, and the regrets of a life wasted. Die Urkatastrophe is both a transformative album and exemplary storytelling.
#8. Defeated Sanity // Chronicles of Lunacy – Chronicles of Lunacy is essential listening for any fans of extreme metal. Its greatest triumph is its fine mix of Defeated Sanity’s signature ingredients. Chronicles excels as pure brutal death metal through punishing caveman riffs and a tasteful dose of slam. Vaughn Stoffey’s guitars elevate this to an art form using wily fretboard acrobatics and seamless jazzy breaks. Led by kit-meister Lille Gruber, Defeated Sanity’s off-kilter rhythms and heavy syncopation miraculously aid the album’s staying power rather than hindering it. Put simply, Chronicles of Lunacy is 2024’s most vivid reminder of why I love death metal. I love its unforgiving brutality; I love its dazzling technicality; I love its groove; I love its genre-bending creative expression; I love its rhythmic feats of strength; I love its intellect; I love its idiocy. In other words, I love Defeated Sanity.
#7. Ulcerate // Cutting the Throat of God – It’s a match made in heaven: Cutting the Throat of God is Ulcerate for dummies, and I’m a dummy. Ulcerate continues to march toward more accessible ground, leaving behind the merciless dissonance of Everything is Fire. Powerful melodic themes peek through the chaos and take time to shine, offering both souvenirs and footholds. Despite Cutting’s lowbrow appeal, Ulcerate’s inimitable signature remains. Unease pervades the record, and Ulcerate’s cohesive songwriting transforms it from a concept to an emotion. In Thus Spoke’s words, Jamie Saint Merat’s drums are “more body than skeleton,” using their distinctive start-stop style to guide the mood. The album’s climaxes alone justify a purchase, as hypnotic melodies and frenzied dissonance coalesce into a tsunami. In short, Cutting the Throat of God captured both my brain and my heart.
#6. Hippotraktor // Stasis – I first heard about Belgium’s Hippotraktor from an insistent coworker, long before I discovered GardensTale’s well-worded underrating. Psychonaut meets Karnivool meets The Ocean meets Meshuggah in this pounding, beautiful prog/post adventure. Stasis’ hard-won achievement is that it navigates through disparate ideas with fluidity and flair. Psychonaut-drenched sludge forms a jagged backbone that sways between meditative and explosive. Meanwhile, Hippotraktor’s mastery of melody catapults them into genre royalty. “Stasis” uses this superpower for peaceful guitar jams, “Echoes” uses it for soaring As I Lay Dying vocal lines, and “The Reckoning” uses it for haunting continuity across its eight minutes. The djenty interdjections are well-written and screwed in tight, packing a punch even for listeners with severe djent allerdjies. Stasis is a bold statement from a new band, and it’s jostled up my list posthaste.
#5. Hell:on // Shaman – Hell:on’s folk-infused take on death metal stands apart. Shaman’s diverse influences complement each other and flourish in isolation. Phrygian themes, throat singing, and driving sitars steer the album. But despite Shaman’s folk roots, it’s an excellent slab of death metal. Hell:on’s riffs recall the threatening leviathans of Nile’s Annihilation of the Wicked, while the narrative song structures feel like a roided-out Aeternam. Even among such storied company, Shaman’s melodies stand out. Over the record’s runtime, Hell:on’s guitars shred, soar, flail, and wallop, evolving smoothly and dragging the listener along. As icing on the cake, Holdeneye’s review of Shaman features the most sobering and most badass introductory story of 2024. Hell:on demanded my attention and earned it.
#4. Pyrrhon // Exhaust – I started warming up to Exhaust on my first listen, but it took a while to diagnose why. Pyrrhon’s earlier releases didn’t click with me, but Exhaust is a trailblazer and a paradox. Pyrrhon rewrites the textbook on riffs, displaying a mastery of groove even in their wildest moments. And the noisier cuts, which remind me most of Pink Floyd’s The Piper at the Gates of Dawn and The Velvet Underground, are evocative narratives rather than lifeless technical exercises. The longer pieces intersperse hypnotic buildups with furious cacophony (“Out of Gas”), while the shorter tracks are simultaneously caustic and infectious. With a thick leading bass performance and a master that highlights every detail of the drums, Exhaust grows on me with every spin. Pyrrhon’s off-the-deep-end brand of experimental death metal isn’t my usual fare, but I can’t avert my ears this time. Both mellifluous and disgusting, both rifftastic and immersive, Exhaust is singular.
#3. Selbst // Despondency Chord Progressions – My first toe dip into Selbst made a lasting impression. Shortly after Despondency Chord Progressions came out, I spun it at the office. In the final minute of the opener “La Encarnación de Todos los Miedos,” I felt the involuntary tears start to flow, and I had to nuke the music and run to the bathroom to avoid worrying my desk neighbor. This embarrassing first encounter perfectly encapsulates the album. While it’s “merely” black metal, its gorgeous melodies and shrilling tremolos showcase the genre at its finest. Alternating between meditative dirges and howling chords, Selbst conveys both muffled sobs and hysterical bawling. Selbst’s fluid compositions captivated me at once and dug their claws even deeper over the ensuing months. The most heart-rending record of 2024, Despondency Chord Progressions showcases the paralyzing power of music.
#2. Noxis // Violence Inherent in the System – Noxis’ debut is 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. Much like last year’s Ohio death metal highlight, Violence Inherent in the System succeeds by ripping throughout, whether with a vile Dying Fetus riff or with an adventurous bass melody. Although this is the longest record in my top five, its 46 minutes fly by. Boasting momentum that would make Newton blush, Noxis keeps the energy high from the barnburner “Skullcrushing Defilement” to the proggy old-school “Emanations of the Sick.” After six months of scrutinizing and adoring Violence, I still can’t fathom that this is a debut album.
#1. Wormed // Omegon – I’ve already said my piece on this, and nothing has changed. Omegon feels as thrilling, as alien, as robotic, and as human as it did in July. In a year where brutality and dissonance thrived, Wormed maxed out both dimensions. Omegon is at once a painstakingly crafted work of art, an all-consuming atmosphere, and 2024’s punchiest death metal record.
Honorable Mentions:
- Oxygen Destroyer // Guardian of the Universe – Redefining Darkness strikes again. Oxygen Destroyer’s latest death-thrash opus is a concise half hour of exhilarating riffs. The album sounds one track, but I don’t care; it gains steam as it progresses, and it lodges deeper on every listen. There’s no excuse for missing this.
- Brodequin // Harbinger of Woe – Despite its morose title, Harbinger of Woe is straightforward and riotous. Brodequin has honed a sleek archetype of brutal death metal, far from the likes of Wormed. It doesn’t aim to innovate; it just aims for high impact. It succeeds.
- Kryptos // Decimator – India’s heavy metal kings dealt me an irreplaceable shot of adrenaline. Decimator is Kryptos’ most melodically inspired work to date, an absolute scorcher, and the most viscerally satisfying production job of 2024.
- Necrowretch // Swords of Dajjal – Somehow, despite competition from In Aphelion and Necrophobic themselves, Necrowretch churned out the best Necrophobic album of 2024.
Songs o’ the Year:
- Julie Christmas – “The Lighthouse”
- Hippotraktor – “The Reckoning”
- Kanonenfieber – “Waffenbrüder”
- Hypoxia – “Scorched and Skinned”
- Kryptos – “Fall to the Spectre’s Gaze”
- Wormed – “Protogod”
- Alcest – “Améthyste”
- Defeated Sanity – “Heredity Violated”
- Andy Gillion – “Acceptance”
- Selbst – “La Encarnación de Todos los Miedos”
- Pyrrhon – “Out of Gas”
- Ulcerate – “Cutting the Throat of God”
- Noxis – “Abstemious, Pious Writ of Life”
- Keygen Church – “La Chiave del mio Amor”
#2024 #Amiensus #BlogPost #Brodequin #CaveSermon #ColdCell #DawnTreader #DefeatedSanity #DevenialVerdict #EyeEater #Föhn #Gaerea #Hamferð #HellOn #Hippotraktor #Hypoxia #Kanonenfeiber #Kryptos #Necrowretch #Noxis #OxygenDestroyer #PillarOfLight #Pyrrhon #Replicant #Selbst #SpectralVoice #ThusSpokeAndMaddogSTopTenIshOf2024 #Ulcerate #Wormed
-
Thus Spoke and Maddog’s Top Ten(ish) of 2024
By Steel Druhm
Thus Spoke
My second AMG End-of-Year piece?! Didn’t I just get here? This is my typical reaction to life’s happenings. I’m blindsided by everything. You’ll probably notice that many of the below list entries ‘snuck up on me’ in how much I liked them, compared to everything else. The fact that we’re now halfway through the 2020s makes me feel a bit nauseous. I keep telling people I ‘just moved’ into the home I bought this year, but I’ve been in it since April. And that huge milestone—for which I feel immensely grateful and privileged to have achieved this side of 30—would have solely dominated my year were it not for two other facts: 1) I was finally diagnosed with and very recently started medication for ADHD; 2) 2024 has got to have been the strongest year of the decade so far for metal. So, time to talk about the music rather than myself.
My overoptimistic prediction that Ulcerate would release new music came true,1 and there was, in general, a particular influx of excellent material from the darker, more dissonant, and extreme sides of death and black metal. This was also the year I finally reconnected with my love of doom after a long period of lukewarm engagement. But I wouldn’t have known about half of it were it not for this gig, and the amazing people I share it with. Whether it was Dear Hollow, Kenstrosity, or Mystikus Hugebeard pinging across something they thought I might like, or a particularly potent review penned by a colleague, a commenter chipping in with some gem, or the group buzz around an album I might otherwise never have considered, there’s no better place to find and discuss metal. And speaking of community, if I ever needed a confirmation that this right here is the loveliest place on the internet, the rallying response to Ken‘s plight earlier this year from staff and readers was it.2 I couldn’t ask for better company.
I said as much last year, but I’ll probably say it every year: having this opportunity is wild and I feel so blessed. To be able to send my thoughts about music into the world where people read and consider them, that’s mad. Bumping into an AMG fan in the wild was also an affirming and heartwarming experience reminding me that there are actually real people out there who know who we are; and let me say, however enthusiastic and grateful you might be for us, the feeling is mutual. So to everyone reading this, to all the folks at AMG who make it possible for me to continually wax lyrical about stuff I love (and stuff I don’t love so much) and put up with all my overrating, to all of you: thank you. Shout out also to my list buddy Maddog, whose EOY write-up is bound to be more br00tal and much less flowery than mine, and whose in-person company I continue to have the pleasure of enjoying whenever he deigns to visit our little island up here. Oh, and thank you to the original creator and to Kenstrosity for my new avatar! I asked and you delivered. And if you actually read this far down, thank you for indulging me. But now, finally, it’s list time.
#ish. Pillar of Light // Caldera – I unintentionally ended my reviewing year on a high with Pillar of Light. Or perhaps a low, if we consider mood. When a record evokes a genuine emotional response in me,3 as Caldera does, it deserves more than an Honorable Mention. So here it is. It’s one of those albums you experience that forever afterward remains tied to your particular life situation when you were first immersed, and for that reason, its longevity is increased and its impact amplified. Given how “Leaving” and “Infernal Gaze” leave me in pieces, it’s probably a good thing the misery comes down from 11 at other times. But on the next album, who knows? I’ll be ready at least.
#10. Replicant // Infinite Mortality – Much like Kenstrosity, author of the review, I have not historically been Replicant’s hugest fan. For some reason their music never stuck with me; I just didn’t get it. Infinite Mortality has been the enlightenment I needed. It’s undeniably fantastic. Brilliantly technical and ruthlessly efficient in execution, it manages to also be ridiculously groovy in a way that you wouldn’t expect from this flavor of extreme death metal. Suited, evidently, to desk sessions and gym sessions alike, given the range of play it got from me since its release, its balance of skronk and style proved why I should, long ago, have been paying attention to Replicant. Ken himself struggled to find a negative and so do I. Even interlude “SCN9A” is great, especially as it leads into monster “Pain Enduring.” Only the superlative strength of other contenders causes this to fall so low on the list.
#9. ColdCell // Age of Unreason – In a rare case of me underrating something, my review of Age of Unreason did not quite do justice to its strength. Not only have I revisited it often, but I have of late been struck ever deeper by its profundity. The honest, vulnerable lamentations on inequality (“Solidarity or Solitude”), hatred (“Discord”), and human selfishness (“Dead to the World”) go far beyond a jaded misanthropy and strike a real chord. In wrapping this up in an insidiously simple package of compelling, devastating black metal with a distinctive voice, ColdCell have made, I now recognize, a true masterpiece. Brutal in its own way, and beautiful in many more, this is a record I hardly realized had made such a strong impact on me until I saw just how many times I’d spun it. This year may have seen black metal that goes harder, or with more powerful atmospheres, but none that are as memorable as Age of Unreason.
#8. Spectral Voice // Sparagmos – What a behemoth. It’s hard to believe that—just for a little while—Sparagmos slipped my mind many months after its February release. Relistening brought it all back into horrifying clarity. This record throws a veil over the sun, stares at you with unseeing, ecstatic eyes of Dionysian worship, and forces you into terrified awe. I’m still blown away by how crushingly heavy and immersive it is; how it still manages to blindside me with sudden turns from ominous crawling into chaotic, chthonic tremolos and clustered, hideous vocals. A masterclass in patient, predatory ambush. Nothing else this year was like it, which is partially why I’ve had to return so often to its dark embrace. Every nightmarish track was at some point in the runnings for the Song of the Year playlist. In the end, only one could make it, and it is, as I said in my review, “as inexorable as death.”
#7. Hamferð // Men Guðs hond er sterk – I’m surprised as well. Before Men Guðs hond er sterk, I had never laid ears on Hamferð and I was quite stunned to find how instantly I loved them. It’s not often an album by a band you’d previously never spent time with claims a spot on your year-end list after one listen, but this was one of those rare occasions. Something about the sorrowful, yet also soaring, melodies delivered through the interplays of resonant chords and gentle plucks, and between caustic growls and clear, ardent cleans just transports me. I feel the solemnity, the fear, and the grief in alternately forceful and graceful heaviness thanks to these intricately woven compositions and ardent performances that make the fact the lyrics are all in Faroese completely irrelevant. And Hamferð cover breadth with such ease, the slowly rolling wave of doom rising with tremolos into new intensity; and yet still controlled, still patient. The closer and it’s sample used to bother me, but I’m long past that now. In short, as the Angry Metal Guy himself said, “the record’s flow is impeccable,” and “the writing is subtle but addictive”. He’s not kidding about that last part, I really can’t stop listening to it.
#6. Föhn // Condescending – I was not prepared for what Condescending would do to me. Like any funeral doom worth its salt, it’s massive, but its presence is not smothering, it does not suffocate. Instead, it dampens the sound of anything else, so that the lugubrious chords, vocals, and fraught, lamenting refrains reverberate inside your mind, alone. This presence is redoubled by the heart-rending devastation of the compositions it centers—lyrically and musically. Bleakly beautiful, crushing doom in all its low, slow, cavernous hell leads you into an almost blissful moroseness, just in time for the veil to tear and your spirit to crumble as haunting melodies spill in from impossibly delicate sources of saxophone, synth, or ringing strings. Condescending will not leave my mind, and as broken and misty-eyed as these songs make me—”A Day After” and “Persona” especially—I’ll keep returning to experience it again and again. Maybe I can only speak for myself; maybe you’re sensing a theme wherein I like albums that make me feel sad. Whatever the case, Föhn took my breath away, and I don’t want it back.
#5. Cave Sermon // Divine Laughter – It’s pretty irresponsible of me to put this in the list at all, let alone in this position, considering how late in the day I discovered it. But I’m not really known for being ‘responsible’ around these parts, so, what the hell. What some might pigeonhole as just wonky death metal, or blackened post-hardcore—or even post-metal, as Metal Archives confusingly stamp it—is really much more complex, deep, and unique. Gripping and strange, in a way that struck me on my very first listen, Divine Laughter is responsible for me going from never having heard of Cave Sermon to being an ardent fan in one afternoon. Every listen gives me my new favorite part and uncovers more and more of its treasures. Savage and beautiful and with unnervingly easy flow, large parts of it are total perfection (“Liquid Gol, “The Paint of An Invader”). I cannot get enough. It’s so good, actually, that it’s made me feel a bit anxious about how much I’ve still missed this year, though I am very glad that this made it to my ears, even at the 11th hour. Divine Laughter is simply one of the greatest things I’ve heard in 2024, and it’s a crime that more people aren’t talking about it.
#4. Devenial Verdict // Blessing of Despair – I was waiting for Blessing of Despair since January, and as it always is with things we have high expectations for, part of me was preparing for disappointment. That preparation proved unnecessary once I finally got my hands on this in the Autumn. Devenial Verdict delivered. This time, they amped up all their unique little idiosyncrasies that made me fall in love with Ash Blind, and added a criminally heavy helping of groove. This thing is atmospheric and punchy, providing soundscapes that are just as haunting and mysterious(TM) as they are stomping and cutthroat. Either way, these riffs will make you shiver. “Garden of Eyes”! “Solus”! Ahhhh! Even “Counting Silence” and “A Curse Made Flesh,” which I initially dismissed as a little understated, have this delicious melancholic presence I just want to be immersed in 24/7. Devenial Verdict’s 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 that exists. The sole reason Blessing of Despair wasn’t my most-played album of 2024 is that I only started in September.4
#3. Selbst // Despondency Chord Progressions – Back in 2017 or so, I was struck by what at the time I considered the most gorgeous opening guitar on any song ever. It was “…Of Solitary Ramblings,” the first track on Selbst’s self-titled debut.5 From that day forward I was enamoured. The undercurrents of lamenting melodrama and a black metal interwoven with a distinctive style of flowing, weeping strums continue to make Selbst very special. But if I had thought that their depths of emotional poignancy and stirring, multi-layered compositions had been reached, Despondency Chord Progressions showed they had not. Cleans that some wrote off as unsavory, rather bring—in my opinion—a new vulnerability, and their rawness compounds the pathos of already intensely cathartic compositions. The album’s title is, as I noted, an apt descriptor for the musical themes, but really undersells the cry of grief and despair that erupts from the music with every shuddering, tremolo-shaken, surge and every plaintive, somber quietude. I stand by what I said back in April, that “[t]his is black metal at its most stirring, entrancingly beautiful, and existentially affecting.” The sheer magnitude of its impassioned peaks (“Third World Wretchedness,” “Between Seclusion and Obsession”) and the sting of its humanity (“When true Loneliness is Experienced,” “Chant of Self Confrontation”) are like nothing else in the genre.
#2. Amiensus // Reclamation [Parts 1 & 2] – Take it up in the comments if you think this is cheating; Reclamation is one work in my eyes. And what a masterpiece. Each part a gorgeous, immersive side of one breathtaking journey that is best experienced together. I remain stunned by Amiensus’ mastery of musical storytelling through a flowing, intricate soundscape—at turns triumphant (“Vermillion Fog of War,” “Sólfarið”), sorrowful (“Reverie,” “Leprosarium”), and always stirring. Everything about Reclamation is graceful, which is another part of its magic because it’s not as though Amiensus left the black metal behind. Rather they seem to have found the deepest essence of the genre’s unique propensity for raw emotional expression, and moulded its elements into what is hands-down the most beautiful thing I’ve heard at least this year. It is, as I noted in my write-up of Part 1, a distillation of pure joy, and uplifting no matter how wistful (“Sun and Moon”), or suffused with bittersweet longing (“A Consciousness Throughout Time,” “Acquiescence”). And with so much of it—albeit, a time that flashes by with thrilling speed—it’s impossible not to get lost in. “Sun and Moon” was so close to being my favorite song of 2024, and in another year, it would have been. For that matter, in another year Reclamation itself would have claimed the top spot on this list.
#1. Ulcerate // Cutting the Throat of God – What else could it have been? I worry that by this point I may have used up all of the words that are possible to describe this pinnacle of excellence. In reality, though, I’m not sure I even have the words to express it in the first place, not for lack of trying. Ulcerate have long been a behemoth in their realm within the larger world of death metal, but while distinctive, they have never settled, continually carving up the template of dissonance with varyingly-sized blades of atmosphere and melody, moving between their most barbed and chaotic (Everything is Fire) to their most somber and moody (The Destroyers of All) in just one album. Later Shrines of Paralysis—my former favorite—saw a turn back towards the urgency and aggression, but with this new harmonic undercurrent in place. With hindsight, I can see now that the deeply atmospheric, disquieting Stare into Death and Be Still marked a turning point, paving the ground for what could be their magnum opus. 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. Dire (“The Dawn is Hollow”), deadly (“Transfiguration in and Out of Worlds”), devastating (“To See Death Just Once,” “Cutting the Throat of God”). Its intricacies only continue to reveal themselves to me; helped, no doubt, by a phenomenal live performance that bewitched me anew this October. I had to upgrade this album’s score to Iconic, because it is. This is atmospheric death metal perfected, and if genre-mates weren’t already looking in Ulcerate’s direction, there’s hardly any choice now. Cutting the Throat of God represents, in the greatest form, “the savagery, authenticity, and more recently, beauty that makes this icon of the dissonant death metal world who they are.”
Honorable Mentions:
Gaerea // Coma – Despite having calmed down considerably from my previous Gaerea overhype, there’s no denying that they’ve really got something. With a new vocalist, they retain their distinctively melodramatic and intense style, while incorporating a little more vulnerability via some genuinely really lovely cleans. A great record that just wasn’t great enough for the ridiculously high standard set by this year’s fare.
Eye Eater // Alienate – I am immensely grateful for Dolphin Whisperer for bringing this to my attention. Much of this album feels like it was written specifically for me, because it uses pretty much all of my favorite things in metal. It’s atmospheric and dissonant, like Ulcerate and others in that vein; it’s kind of post-death-y, and replete with minor melodies, and a particular kind of urgency my brain associates with specific kinds of ‘-core’. I just didn’t get quite enough time with it.
Songs of the Year
“To See Death Just Once” – Ulcerate
“Sun and Moon” – Amiensus
“Solus” – Devenial Verdict
“Terminal” – Vorga
“Third World Wretchedness” – Selbst
“The Paint of an Invader” – Cave Sermon
“A Day After” – Föhn
“Ábær” – Hamferð
“Inversion” – Endonomos
“Death’s Knell Rings in Eternity” – Spectral Voice
“Leaving” – Pillar of Light
Maddog
It’s been a weird year, and this is a weird list. Last December, I lamented the emotional hollowness of 2023’s metal output. If anything, 2024 fell even flatter. My most anticipated heavyweights were competent but inconsistent (Alcest, Julie Christmas), and few albums moved me. Unfazed, death metal picked up the slack and made this year a pleasure. Led by a flurry of excellent releases from genre titans, 2024 helped rekindle my love for cantankerous death metal.
Even so, the brutality of 2024’s output shocked me. Despite my worship of Suffocation and Dying Fetus, most brutal death metal releases of the last decade haven’t gripped me. But 2024 pulled me onto the brutal train with creativity and pizzazz. Both the techy and the knuckle-dragging corners of that subgenre thrived, including several artists that didn’t make my list (like Gigan, Iniquitous Savagery, and Nile). After tending toward more emotive music and other poseur nonsense in recent years, I took a long jump back in 2024.
As if that wasn’t enough, this was a banner year for dissonance. That’s a sentence I never expected to type; even dissonant death metal’s classics tend to be hit-or-miss with me. In 2024, the skronk finally broke through, aided by many avant-garde bands drifting toward a more accessible sound. This year’s screechy screeds were cogent enough to grab my arm and unhinged enough to rip it out of its socket. It’s been a jarring but eye-opening year.
This comment from the Brodequin review doubles as a summary of my 2024 music picks:
I wonder if I, we, they or all of us have a screw loose.
Heading into 2024, I craved immersive soundscapes and misty eyes. Instead, I was met with discordant gurgling. I didn’t expect it, but I don’t regret it.
#ish. Hypoxia // Defiance – Defiance never gets old. This old-school death metal behemoth has been around for ten months and hails from a subgenre that’s infamous for monotony. And yet, like Monstrosity’s best work, it blossoms on every spin. Defiance sports 2024’s fiercest harsh vocal performance, and riffwork so potent that it could revive the Selbst baby. I don’t have anything fancy to add, so I won’t try. Defiance is a rare death metal record that’s simple, thrilling, and well-written.
#10. Dawn Treader // Bloom & Decay – The thought sometimes crosses my mind: Why does atmospheric black metal even exist? The musical possibilities abound; who would pay $8 for tremolo scales recorded in a rest stop bathroom? Records like Bloom & Decay jolt me out of my pretension. Dawn Treader’s underground gem is both a product and a peddler of overpowering emotion. Ross Connell unleashes a tirade against violence and oppression using grief-stricken guitar melodies. On the flip side, Bloom & Decay’s heavy use of major keys—my second biggest fear—blurs the line between despair and tentative hope. Most impressive is the album’s flow, which Itchymenace described better than I ever could: “The majority of Bloom & Decay is instrumental, but you hardly notice because the music has such a storytelling quality.” Bloom & Decay’s 53-minute chokehold on my heart is ineffable but unyielding.
#9. Kanonenfieber // Die Urkatastrophe – Germany’s nameless Noise has built up a remarkable CV – 7 years, 3 bands, 8 albums. While I’ve often enjoyed his music, I never fell under his spell. Die Urkatastrophe was the last straw. A pacifist tirade told through first-person WWI vignettes, Die Urkatastrophe depicts nationalist violence and its aftermath. Armed with a sharp-edged blackened death foundation and surging chorus melodies, Kanonenfieber provides rewarding fodder even for unfeeling riff addicts. However, its excellence lies in its raw emotion. Both Noise’s lyrics and his songwriting embrace a “show, don’t tell” approach that brings the album to life. As the narrator’s cavalry offensive meets with a hilltop ambush in “Gott mit der Kavallerie,” Kanonenfieber’s upbeat riffs transform into a sudden dirge followed by frantic black metal. The epic “Waffenbrüder” evokes the wide-eyed optimism of childhood friends, the pride of enlisting, the tragedy of losing a companion, and the regrets of a life wasted. Die Urkatastrophe is both a transformative album and exemplary storytelling.
#8. Defeated Sanity // Chronicles of Lunacy – Chronicles of Lunacy is essential listening for any fans of extreme metal. Its greatest triumph is its fine mix of Defeated Sanity’s signature ingredients. Chronicles excels as pure brutal death metal through punishing caveman riffs and a tasteful dose of slam. Vaughn Stoffey’s guitars elevate this to an art form using wily fretboard acrobatics and seamless jazzy breaks. Led by kit-meister Lille Gruber, Defeated Sanity’s off-kilter rhythms and heavy syncopation miraculously aid the album’s staying power rather than hindering it. Put simply, Chronicles of Lunacy is 2024’s most vivid reminder of why I love death metal. I love its unforgiving brutality; I love its dazzling technicality; I love its groove; I love its genre-bending creative expression; I love its rhythmic feats of strength; I love its intellect; I love its idiocy. In other words, I love Defeated Sanity.
#7. Ulcerate // Cutting the Throat of God – It’s a match made in heaven: Cutting the Throat of God is Ulcerate for dummies, and I’m a dummy. Ulcerate continues to march toward more accessible ground, leaving behind the merciless dissonance of Everything is Fire. Powerful melodic themes peek through the chaos and take time to shine, offering both souvenirs and footholds. Despite Cutting’s lowbrow appeal, Ulcerate’s inimitable signature remains. Unease pervades the record, and Ulcerate’s cohesive songwriting transforms it from a concept to an emotion. In Thus Spoke’s words, Jamie Saint Merat’s drums are “more body than skeleton,” using their distinctive start-stop style to guide the mood. The album’s climaxes alone justify a purchase, as hypnotic melodies and frenzied dissonance coalesce into a tsunami. In short, Cutting the Throat of God captured both my brain and my heart.
#6. Hippotraktor // Stasis – I first heard about Belgium’s Hippotraktor from an insistent coworker, long before I discovered GardensTale’s well-worded underrating. Psychonaut meets Karnivool meets The Ocean meets Meshuggah in this pounding, beautiful prog/post adventure. Stasis’ hard-won achievement is that it navigates through disparate ideas with fluidity and flair. Psychonaut-drenched sludge forms a jagged backbone that sways between meditative and explosive. Meanwhile, Hippotraktor’s mastery of melody catapults them into genre royalty. “Stasis” uses this superpower for peaceful guitar jams, “Echoes” uses it for soaring As I Lay Dying vocal lines, and “The Reckoning” uses it for haunting continuity across its eight minutes. The djenty interdjections are well-written and screwed in tight, packing a punch even for listeners with severe djent allerdjies. Stasis is a bold statement from a new band, and it’s jostled up my list posthaste.
#5. Hell:on // Shaman – Hell:on’s folk-infused take on death metal stands apart. Shaman’s diverse influences complement each other and flourish in isolation. Phrygian themes, throat singing, and driving sitars steer the album. But despite Shaman’s folk roots, it’s an excellent slab of death metal. Hell:on’s riffs recall the threatening leviathans of Nile’s Annihilation of the Wicked, while the narrative song structures feel like a roided-out Aeternam. Even among such storied company, Shaman’s melodies stand out. Over the record’s runtime, Hell:on’s guitars shred, soar, flail, and wallop, evolving smoothly and dragging the listener along. As icing on the cake, Holdeneye’s review of Shaman features the most sobering and most badass introductory story of 2024. Hell:on demanded my attention and earned it.
#4. Pyrrhon // Exhaust – I started warming up to Exhaust on my first listen, but it took a while to diagnose why. Pyrrhon’s earlier releases didn’t click with me, but Exhaust is a trailblazer and a paradox. Pyrrhon rewrites the textbook on riffs, displaying a mastery of groove even in their wildest moments. And the noisier cuts, which remind me most of Pink Floyd’s The Piper at the Gates of Dawn and The Velvet Underground, are evocative narratives rather than lifeless technical exercises. The longer pieces intersperse hypnotic buildups with furious cacophony (“Out of Gas”), while the shorter tracks are simultaneously caustic and infectious. With a thick leading bass performance and a master that highlights every detail of the drums, Exhaust grows on me with every spin. Pyrrhon’s off-the-deep-end brand of experimental death metal isn’t my usual fare, but I can’t avert my ears this time. Both mellifluous and disgusting, both rifftastic and immersive, Exhaust is singular.
#3. Selbst // Despondency Chord Progressions – My first toe dip into Selbst made a lasting impression. Shortly after Despondency Chord Progressions came out, I spun it at the office. In the final minute of the opener “La Encarnación de Todos los Miedos,” I felt the involuntary tears start to flow, and I had to nuke the music and run to the bathroom to avoid worrying my desk neighbor. This embarrassing first encounter perfectly encapsulates the album. While it’s “merely” black metal, its gorgeous melodies and shrilling tremolos showcase the genre at its finest. Alternating between meditative dirges and howling chords, Selbst conveys both muffled sobs and hysterical bawling. Selbst’s fluid compositions captivated me at once and dug their claws even deeper over the ensuing months. The most heart-rending record of 2024, Despondency Chord Progressions showcases the paralyzing power of music.
#2. Noxis // Violence Inherent in the System – Noxis’ debut is 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. Much like last year’s Ohio death metal highlight, Violence Inherent in the System succeeds by ripping throughout, whether with a vile Dying Fetus riff or with an adventurous bass melody. Although this is the longest record in my top five, its 46 minutes fly by. Boasting momentum that would make Newton blush, Noxis keeps the energy high from the barnburner “Skullcrushing Defilement” to the proggy old-school “Emanations of the Sick.” After six months of scrutinizing and adoring Violence, I still can’t fathom that this is a debut album.
#1. Wormed // Omegon – I’ve already said my piece on this, and nothing has changed. Omegon feels as thrilling, as alien, as robotic, and as human as it did in July. In a year where brutality and dissonance thrived, Wormed maxed out both dimensions. Omegon is at once a painstakingly crafted work of art, an all-consuming atmosphere, and 2024’s punchiest death metal record.
Honorable Mentions:
- Oxygen Destroyer // Guardian of the Universe – Redefining Darkness strikes again. Oxygen Destroyer’s latest death-thrash opus is a concise half hour of exhilarating riffs. The album sounds one track, but I don’t care; it gains steam as it progresses, and it lodges deeper on every listen. There’s no excuse for missing this.
- Brodequin // Harbinger of Woe – Despite its morose title, Harbinger of Woe is straightforward and riotous. Brodequin has honed a sleek archetype of brutal death metal, far from the likes of Wormed. It doesn’t aim to innovate; it just aims for high impact. It succeeds.
- Kryptos // Decimator – India’s heavy metal kings dealt me an irreplaceable shot of adrenaline. Decimator is Kryptos’ most melodically inspired work to date, an absolute scorcher, and the most viscerally satisfying production job of 2024.
- Necrowretch // Swords of Dajjal – Somehow, despite competition from In Aphelion and Necrophobic themselves, Necrowretch churned out the best Necrophobic album of 2024.
Songs o’ the Year:
- Julie Christmas – “The Lighthouse”
- Hippotraktor – “The Reckoning”
- Kanonenfieber – “Waffenbrüder”
- Hypoxia – “Scorched and Skinned”
- Kryptos – “Fall to the Spectre’s Gaze”
- Wormed – “Protogod”
- Alcest – “Améthyste”
- Defeated Sanity – “Heredity Violated”
- Andy Gillion – “Acceptance”
- Selbst – “La Encarnación de Todos los Miedos”
- Pyrrhon – “Out of Gas”
- Ulcerate – “Cutting the Throat of God”
- Noxis – “Abstemious, Pious Writ of Life”
- Keygen Church – “La Chiave del mio Amor”
#2024 #Amiensus #BlogPost #Brodequin #CaveSermon #ColdCell #DawnTreader #DefeatedSanity #DevenialVerdict #EyeEater #Föhn #Gaerea #Hamferð #HellOn #Hippotraktor #Hypoxia #Kanonenfeiber #Kryptos #Necrowretch #Noxis #OxygenDestroyer #PillarOfLight #Pyrrhon #Replicant #Selbst #SpectralVoice #ThusSpokeAndMaddogSTopTenIshOf2024 #Ulcerate #Wormed
-
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
-
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
-
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
-
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
-
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
-
Feind – Ambulante Hirnamputation Review
By Kenstrosity
Sometimes fate deals a winning hand. I’m just taking a little stroll around Bandcamp, browsing for new hotness but not expecting to find anything in particular. A sick piece of artwork catches mine eye. With no idea of what’s in store, I clock seventeen tracks before me. What? Oh, they’re all a minute or less; that makes more sense. Now I know that this has got to be grindy, and I’ve had a hankering for a sleazy bit of grind for my whole goddamn life, it feels like. I smash that heckin’ play button. Hair? Blown off the dome. Pants? Fully shitted. Spine? Oh, you mean that little pool of bone GoGurt that just exploded out of my butthole into my aforementioned pants? Yeah, that’s a lost cause. All thanks to German deathgrind anomaly Feind’s Ambulante Hirnamputation. I really should’ve sprung for the premium health plan…
A debut LP that defies every expectation for overall quality, Ambulante Hirnamputation manages to do something that grind hasn’t done since 2018: activate the patented Ken hype machine. The anonymous, extremely hard-to-find German trio launch an all-out assault on institutionalized religion, late-stage capitalism, Internet culture, and any number of other societal dysfunctions in a scant thirteen minutes, and yet each new assassination makes a memory. Wielding the sheer intensity of grind legends Napalm Death, the indelible wacky hooks of Anaal Nathrakh, the mad experimentation of Cripple Bastards, and the uncompromising technical heft of Aborted, Feind hammer every rusted spike into the coffin with a wildness that would make even those who eat nails for breakfast (without any milk) feel threatened. There’s just no stopping this monstrosity, and its destructive nature demands my full, undivided attention.
Knowing that only three songs on this rabid beast dare cross the minute line, picking out standouts and lowlights poses a distinct challenge, but the solution turned out to be simple. There are no lowlights. Ambulante Hirnamputation is a singular triumph of creative riffs, adventurous structures, and subversive whimsy. Take my favorite track, “Planet der Affen,” as an example. Fifty-six seconds of techy, almost melodic deathgrind about Jeff Bezos being a dick and doing ridiculous things with his vast fortune, “Planet der Affen” swaggers with a downright bluesy second half that wraps up with a silly, but immediately memorable chorus. “3DPD” makes light of gross misogynist men trolling on the internet immediately after the preceding title track closes with a cutesy anime sample that I don’t recognize. Earlier in the runtime, “Originale Nichtskönner” slams, jams and grinds with the best of them, all to desecrate the ground with a viscous loogie. Moments like these show how irreverent and cheeky Feind really are. Musically, Ambulante Hirnamputation stands up without any cheap gimmicks or frivolous frills. Killer hits like “Es ist Muttertag,” “Arbeistiere,” “Toxic Positivity,” “Christlich Demokratische Ulcera,” and “Natur pur erleben,” among many others, wipe the floor with lesser grindcore acts via devastatingly gnarled riffs, unbelievably versatile vocal performances, and a vast assortment of percussive patterns.
Finding points of improvement or opportunities for criticism with Ambulante Hirnamputation presents a herculean task for this reviewer. The record’s minuscule runtime and blistering pace are partly to blame, but neither is a bad thing. In fact, they’re yet another way that Ambulante Hirnamputation seals the deal. By structuring the record in such a perilous manner, Feind guarantee that I’m going back to spin it again. Some records of this kind don’t offer much to reward repeated spins, but this one peels back layer after layer after layer. Throughout those deceptively detailed layers, Ambulante Hirnamputation moves with an inhuman athleticism and flexibility, allowing the band to perform acrobatic feats of songwriting gymnastics worthy of Olympic accolades. And yet, I want more. What should absolutely be enough content to satisfy even the most ravenous grind craving falls just short of sating mine.
I never expected to come across this record. It wasn’t even a properly sourced promo. Even so, I wasn’t about to wait several months before I could hype it up in an official capacity. Ambulante Hirnamputation is an unqualified triumph of fun, brutal, cantankerous deathgrind. This review is just another excuse for you to check it out. Scratch that. It’s an order!
Rating: Excellent!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self Release
Website: feind.bandcamp.com
Releases Worldwide: August 5th, 20241#2024 #45 #Aborted #AmbulanteHirnamputation #AnaalNathrakh #Aug24 #CrippleBastards #DeathMetal #Deathgrind #Feind #GermanMetal #Grind #Grindcore #NapalmDeath #Review #Reviews #SelfRelease
-
Feind – Ambulante Hirnamputation Review
By Kenstrosity
Sometimes fate deals a winning hand. I’m just taking a little stroll around Bandcamp, browsing for new hotness but not expecting to find anything in particular. A sick piece of artwork catches mine eye. With no idea of what’s in store, I clock seventeen tracks before me. What? Oh, they’re all a minute or less; that makes more sense. Now I know that this has got to be grindy, and I’ve had a hankering for a sleazy bit of grind for my whole goddamn life, it feels like. I smash that heckin’ play button. Hair? Blown off the dome. Pants? Fully shitted. Spine? Oh, you mean that little pool of bone GoGurt that just exploded out of my butthole into my aforementioned pants? Yeah, that’s a lost cause. All thanks to German deathgrind anomaly Feind’s Ambulante Hirnamputation. I really should’ve sprung for the premium health plan…
A debut LP that defies every expectation for overall quality, Ambulante Hirnamputation manages to do something that grind hasn’t done since 2018: activate the patented Ken hype machine. The anonymous, extremely hard-to-find German trio launch an all-out assault on institutionalized religion, late-stage capitalism, Internet culture, and any number of other societal dysfunctions in a scant thirteen minutes, and yet each new assassination makes a memory. Wielding the sheer intensity of grind legends Napalm Death, the indelible wacky hooks of Anaal Nathrakh, the mad experimentation of Cripple Bastards, and the uncompromising technical heft of Aborted, Feind hammer every rusted spike into the coffin with a wildness that would make even those who eat nails for breakfast (without any milk) feel threatened. There’s just no stopping this monstrosity, and its destructive nature demands my full, undivided attention.
Knowing that only three songs on this rabid beast dare cross the minute line, picking out standouts and lowlights poses a distinct challenge, but the solution turned out to be simple. There are no lowlights. Ambulante Hirnamputation is a singular triumph of creative riffs, adventurous structures, and subversive whimsy. Take my favorite track, “Planet der Affen,” as an example. Fifty-six seconds of techy, almost melodic deathgrind about Jeff Bezos being a dick and doing ridiculous things with his vast fortune, “Planet der Affen” swaggers with a downright bluesy second half that wraps up with a silly, but immediately memorable chorus. “3DPD” makes light of gross misogynist men trolling on the internet immediately after the preceding title track closes with a cutesy anime sample that I don’t recognize. Earlier in the runtime, “Originale Nichtskönner” slams, jams and grinds with the best of them, all to desecrate the ground with a viscous loogie. Moments like these show how irreverent and cheeky Feind really are. Musically, Ambulante Hirnamputation stands up without any cheap gimmicks or frivolous frills. Killer hits like “Es ist Muttertag,” “Arbeistiere,” “Toxic Positivity,” “Christlich Demokratische Ulcera,” and “Natur pur erleben,” among many others, wipe the floor with lesser grindcore acts via devastatingly gnarled riffs, unbelievably versatile vocal performances, and a vast assortment of percussive patterns.
Finding points of improvement or opportunities for criticism with Ambulante Hirnamputation presents a herculean task for this reviewer. The record’s minuscule runtime and blistering pace are partly to blame, but neither is a bad thing. In fact, they’re yet another way that Ambulante Hirnamputation seals the deal. By structuring the record in such a perilous manner, Feind guarantee that I’m going back to spin it again. Some records of this kind don’t offer much to reward repeated spins, but this one peels back layer after layer after layer. Throughout those deceptively detailed layers, Ambulante Hirnamputation moves with an inhuman athleticism and flexibility, allowing the band to perform acrobatic feats of songwriting gymnastics worthy of Olympic accolades. And yet, I want more. What should absolutely be enough content to satisfy even the most ravenous grind craving falls just short of sating mine.
I never expected to come across this record. It wasn’t even a properly sourced promo. Even so, I wasn’t about to wait several months before I could hype it up in an official capacity. Ambulante Hirnamputation is an unqualified triumph of fun, brutal, cantankerous deathgrind. This review is just another excuse for you to check it out. Scratch that. It’s an order!
Rating: Excellent!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self Release
Website: feind.bandcamp.com
Releases Worldwide: August 5th, 20241#2024 #45 #Aborted #AmbulanteHirnamputation #AnaalNathrakh #Aug24 #CrippleBastards #DeathMetal #Deathgrind #Feind #GermanMetal #Grind #Grindcore #NapalmDeath #Review #Reviews #SelfRelease
-
Feind – Ambulante Hirnamputation Review
By Kenstrosity
Sometimes fate deals a winning hand. I’m just taking a little stroll around Bandcamp, browsing for new hotness but not expecting to find anything in particular. A sick piece of artwork catches mine eye. With no idea of what’s in store, I clock seventeen tracks before me. What? Oh, they’re all a minute or less; that makes more sense. Now I know that this has got to be grindy, and I’ve had a hankering for a sleazy bit of grind for my whole goddamn life, it feels like. I smash that heckin’ play button. Hair? Blown off the dome. Pants? Fully shitted. Spine? Oh, you mean that little pool of bone GoGurt that just exploded out of my butthole into my aforementioned pants? Yeah, that’s a lost cause. All thanks to German deathgrind anomaly Feind’s Ambulante Hirnamputation. I really should’ve sprung for the premium health plan…
A debut LP that defies every expectation for overall quality, Ambulante Hirnamputation manages to do something that grind hasn’t done since 2018: activate the patented Ken hype machine. The anonymous, extremely hard-to-find German trio launch an all-out assault on institutionalized religion, late-stage capitalism, Internet culture, and any number of other societal dysfunctions in a scant thirteen minutes, and yet each new assassination makes a memory. Wielding the sheer intensity of grind legends Napalm Death, the indelible wacky hooks of Anaal Nathrakh, the mad experimentation of Cripple Bastards, and the uncompromising technical heft of Aborted, Feind hammer every rusted spike into the coffin with a wildness that would make even those who eat nails for breakfast (without any milk) feel threatened. There’s just no stopping this monstrosity, and its destructive nature demands my full, undivided attention.
Knowing that only three songs on this rabid beast dare cross the minute line, picking out standouts and lowlights poses a distinct challenge, but the solution turned out to be simple. There are no lowlights. Ambulante Hirnamputation is a singular triumph of creative riffs, adventurous structures, and subversive whimsy. Take my favorite track, “Planet der Affen,” as an example. Fifty-six seconds of techy, almost melodic deathgrind about Jeff Bezos being a dick and doing ridiculous things with his vast fortune, “Planet der Affen” swaggers with a downright bluesy second half that wraps up with a silly, but immediately memorable chorus. “3DPD” makes light of gross misogynist men trolling on the internet immediately after the preceding title track closes with a cutesy anime sample that I don’t recognize. Earlier in the runtime, “Originale Nichtskönner” slams, jams and grinds with the best of them, all to desecrate the ground with a viscous loogie. Moments like these show how irreverent and cheeky Feind really are. Musically, Ambulante Hirnamputation stands up without any cheap gimmicks or frivolous frills. Killer hits like “Es ist Muttertag,” “Arbeistiere,” “Toxic Positivity,” “Christlich Demokratische Ulcera,” and “Natur pur erleben,” among many others, wipe the floor with lesser grindcore acts via devastatingly gnarled riffs, unbelievably versatile vocal performances, and a vast assortment of percussive patterns.
Finding points of improvement or opportunities for criticism with Ambulante Hirnamputation presents a herculean task for this reviewer. The record’s minuscule runtime and blistering pace are partly to blame, but neither is a bad thing. In fact, they’re yet another way that Ambulante Hirnamputation seals the deal. By structuring the record in such a perilous manner, Feind guarantee that I’m going back to spin it again. Some records of this kind don’t offer much to reward repeated spins, but this one peels back layer after layer after layer. Throughout those deceptively detailed layers, Ambulante Hirnamputation moves with an inhuman athleticism and flexibility, allowing the band to perform acrobatic feats of songwriting gymnastics worthy of Olympic accolades. And yet, I want more. What should absolutely be enough content to satisfy even the most ravenous grind craving falls just short of sating mine.
I never expected to come across this record. It wasn’t even a properly sourced promo. Even so, I wasn’t about to wait several months before I could hype it up in an official capacity. Ambulante Hirnamputation is an unqualified triumph of fun, brutal, cantankerous deathgrind. This review is just another excuse for you to check it out. Scratch that. It’s an order!
Rating: Excellent!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self Release
Website: feind.bandcamp.com
Releases Worldwide: August 5th, 20241#2024 #45 #Aborted #AmbulanteHirnamputation #AnaalNathrakh #Aug24 #CrippleBastards #DeathMetal #Deathgrind #Feind #GermanMetal #Grind #Grindcore #NapalmDeath #Review #Reviews #SelfRelease
-
Before I watch #superman3 tomorrow, I might as well get the review of #superman1978 out on my blog first:
https://deninet.com/blog/2025/03/20/wenchwatches-superman-1978
-
Before I watch #superman3 tomorrow, I might as well get the review of #superman1978 out on my blog first:
https://deninet.com/blog/2025/03/20/wenchwatches-superman-1978
-
Before I watch #superman3 tomorrow, I might as well get the review of #superman1978 out on my blog first:
https://deninet.com/blog/2025/03/20/wenchwatches-superman-1978
-
Every time I see this man on camera I want to shout,
"GIVE ME SPICE!"
-
Every time I see this man on camera I want to shout,
"GIVE ME SPICE!"
-
Hey all,
Our one functional bathtub in this 110 year old house has developed several bad problems this week: leaky drain, constantly dripping tap (more water bills), and the floor is damaged so the whole thing wobbles.
We got the drain fixed, but it came to $1300. The tap will be another $1200. We'll have to fix the floor ourselves. Our all-trans household is out of savings because we also had to have our furnace replaced to survive another Minnesota winter.
Anything helps, and thank you!
$700/$2500
Paypal: paypal.me/socketwench
Venmo: @socketwench
Ko-fi: https://ko-fi.com/socketwench
Librepay: https://liberapay.com/socketwench/donate -
Hey all, our only bathtub needs some repairs. The drain will be $1300. We need that fixed asap to prevent water damage.
That's only one of the things that's wrong with it, but we're a single income household. I work, and my partner is disabled.
Anything helps, and thank you!
Paypal: paypal.me/socketwench
Venmo: @socketwench
Ko-fi: https://ko-fi.com/socketwench
Librepay: https://liberapay.com/socketwench/donate -
It's 2am, you get a riddle on Signal from a number you've never seen before. You don't reply. By 4am you have an answer and a set of GPS coordinates, a date range, and a size in gigabytes. You wait. You go. You find a single board computer running off of a dingy solar panel; it copies everything to your drive as soon as you insert it. When finished, the machine goes silent. The internal drive wiped.
You're the bearer of the library now. You know your solemn task.
A light in the dark.
-
Eugh.
It's Friday night, y'all. Time for #wenchwatches
Let's watch a bunch of upright people decide to break multiple laws and commit grand theft larceny to save their friend.
Tonight, "something comforting": #StarTrek3