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By Grin Reaper
Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.
Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.
Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.
Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.
Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.
Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal
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Finally Friday Reads: It’s all as Bad as you Think
“Arrgh, Matey!” John Buss, @repeat1968
Good Day, Sky Dancers!
For the moment, the BLS is still providing reliable measurements of economic activity in the USA. The employment numbers are showing signs of bad policy and Trump-inflicted wounds. The strain from the tariffs is beginning to show. This is from The Guardian. “US added just 22,000 jobs in August, continuing slowdown amid Trump tariffs. The latest report also contained more bad news – the US lost 13,000 jobs in June, according to the latest survey.”
“The US jobs market stalled over the summer, adding just 22,000 jobs in August and continuing a slowdown in the labor market as businesses adjusted to disruptions caused by tariffs.
The latest jobs report also contained more bad news. The US lost 13,000 jobs in June, according to the latest survey, the first time it went into the negative since December 2020.
The unemployment rate for August inched up to 4.3%, the highest it’s been since 2021.
The healthcare sector added 31,000 last month but most other sectors were flat or lost jobs.
Trump’s new BLS leader has a disgusting past. This is from CNN. “Trump’s pick to lead BLS ran Twitter account with sexually degrading, bigoted attacks.” As usual, Trump hires “only the very best.” Go see his photos. He’s as creepy as Stephen Miller.
President Donald Trump’s nominee to lead the Bureau of Labor Statistics operated a since-deleted Twitter account that featured sexually degrading attacks on Kamala Harris, derogatory remarks about gay people, conspiracy theories, and crude insults aimed at critics of President Donald Trump.
E.J. Antoni, a 37-year-old economist for the conservative think tank the Heritage Foundation, posted the comments from approximately 2017 through 2020 under a series of usernames and display names. CNN verified that all of Antoni’s posts came from the same Twitter account and that the posts from the anonymous aliases shared strikingly similar biographical details as Antoni.
An outspoken critic of the nonpartisan BLS, which calculates US job growth and unemployment figures, Antoni is a stout Trump loyalist. NBC News reported and CNN confirmed that he was a “bystander” at the US Capitol riot on January 6, 2021. There is no evidence he entered the Capitol.
His appointment comes after Trump fired the Biden-appointed BLS commissioner and accused the agency without evidence of corruption after a report showed job growth in May and June was weaker than previously estimated.
Antoni has positioned himself as a watchdog for government accountability in media appearances and Heritage Foundation blog posts. But his own digital trail reveals a pattern of incendiary rhetoric that veered frequently into conspiracy theories and misogyny.
In 2019, the since-deleted account known as “ErwinJohnAntoni” changed its username to “phdofbombsaway.” The account posted at least five sexually suggestive tweets implying that then Sen. Kamala Harris had advanced her career through sexual favors.
Shortly after Harris ended her 2020 presidential campaign, Antoni wrote, “You can’t run a race on your knees,” in response to a tweet of a doctored campaign poster that depicted a sexually explicit image of Harris.
Antoni also referred to Christine Blasey Ford, the woman who accused Supreme Court Justice Brett Kavanaugh of sexual assault, as “Miss Piggy.” In February 2020, he retweeted a post titled “Advice For Women: How To Land a Great Guy,” which instructed women to “be in shape,” “grow your hair long,” “be sweet,” “learn to cook,” and “don’t be annoying.” The post concluded: “Angry feminists and simps will try to sabotage you in the comments. Don’t listen to them. Listen to me.”
Disgusting.
Speaking of disgusting Trump appointees, Steven Miller is evidently the one running the District into the ground, according to the Washington Post. “How Stephen Miller is running Trump’s effort to take over D.C.” It’s amazing how many young NAZIs are in his employ.
From the head of the conference table in the White House’s Roosevelt Room, Stephen Miller was in the weeds of President Donald Trump’s takeover of policing in the nation’s capital.
The White House deputy chief of staff wanted to know where exactly groups of law enforcement officers would be deployed. He declared that cleaning up D.C. was one of Trump’s most important domestic policy issues and that Miller himself planned to be involved for a long time.
Miller’s remarks were described to The Washington Post by two people with knowledge of the meeting who spoke on the condition of anonymity to discuss internal White House business. The result is a behind-the-scenes glimpse of one of Trump’s most trusted aides in action, someone who has emerged as a key enforcer of the D.C. operation in the month since Trump federalized the local police department and deployed thousands of National Guard troops to patrol city streets. While widely seen as a vocal proponent for the president’s push on immigration and law and order, Miller’s actions reveal how much he is actually driving that agenda inside the White House.
The deputy White House chief of staff has emerged as a key enforcer of the D.C. operation in the month since Trump federalized the local police department.
“It’s his thing,” one White House official said, speaking on the condition of anonymity to discuss personnel matters. “Security, crime, law enforcement — it’s his wheelhouse.”
Miller’s team provides an updated report each morning on the arrests made the night before to staff from the White House, Justice Department and Department of Homeland Security, among others. The readouts include a breakdown of how many of those arrested are undocumented immigrants.
He has also led weekly meetings in the Roosevelt Room with his staff and members of the D.C. mayor’s office. Last week, he brought Treasury Secretary Scott Bessent, according to two people briefed on the meeting. It’s unclear why Bessent attended the meeting.
A person familiar with Bessent’s thinking said he was encouraged by D.C. officials’ enthusiasm and collaborative tone.
Yam Tits and Miller know they have the District’s leaders over a barrel. Its special status gives the federal government a lot of power over the District. Its leadership is undoubtedly trying to avoid Trump taking the entire District over and removing them.
The source of all federal power over Washington comes from Article I, Section 8, Clause 17 of the Constitution. It grants Congress authority “To exercise exclusive Legislation in all Cases whatsoever” over the federal district.
That phrase—”exclusive Legislation in all Cases whatsoever”—is absolute. It establishes a power imbalance between the federal government and D.C. residents that has defined their relationship for over two centuries.
Undoubtedly, the Supreme Court would give Orange Tits whatever he wanted.
Trump’s approach to the economy and foreign policy continues to bring one failure after another. The Washington Examiner reports that “Immigration officers raid Hyundai EV manufacturing site in Georgia.” This is a bizarre strategy given that any produced in the United States goes to the US GDP numbers despite foreign ownership. Additionally, these are good jobs for parts of the country that really need them. Then there’s the factor that we just pissed off one of our major trade partners. This makes no sense whatsoever.
An Immigration and Customs Enforcement spokesperson told the Associated Press that agents were focused on the electric vehicle battery plant construction site.
The Department of Homeland Security said in a statement that agents executed a search warrant “as part of an ongoing criminal investigation into allegations of unlawful employment practices and other serious federal crimes.” It did not say whether anyone was detained or arrested.
Georgia State Patrol troopers blocked the road to the Hyundai plant, and the state Department of Public Safety said it was assisting. A social media video showed agents telling workers that they were with DHS and that they had a search warrant.
“We need construction to cease immediately,” the man said. “We need all work to end on the site right now.”
Operations at Hyundai’s EV manufacturing plant weren’t stopped, a spokesperson said.
The joint venture, HL-GA Battery Company, “is cooperating fully with the appropriate authorities,” the company said. “To assist their work, we have paused construction,” they added.
The administration has targeted other businesses in large raids as well. Two California cannabis farm raids in July yielded more than 300 arrests. One farm worker died after sustaining injuries during the raid.
The Trump administration has made deporting numerous illegal immigrants and migrants a top priority.
The Wall Street Journal reports, “Hundreds Arrested in Immigration Raid at Hyundai Site in Georgia. South Korea protests after more than 300 Korean company workers are detained.”
Nearly 500 people were arrested as part of an immigration raid at a Hyundai Motor battery plant under construction in Georgia as part of a criminal investigation into employment practices at the site, a Homeland Security official said Friday.
The operation Thursday resulted in the arrest of 475 individuals. More than 300 were South Korean nationals, according to an official from the country.
Those arrested had illegally crossed the border, entered through a visa waiver program that prohibited them from working or had overstayed their visas, Steven Schrank, a special agent in charge of Homeland Security Investigations in Atlant a, said at a press conference Friday morning.
“This was the largest single site enforcement operation in the history of Homeland Security investigations,” Schrank said.
No criminal charges were filed as of Friday, he said, and the investigation remains ongoing.
“Those who exploit our workforce, undermine our economy, and violate our federal laws will be held accountable,” Schrank said. Schrank said the government’s investigation has been ongoing for months.
The carmaker has pledged $26 billion in U.S. investments in recent weeks.
South Korea protested the action to the U.S. and said it was trying to secure the release of its citizens.
“This was not an immigration operation where agents went into the premises, rounded up folks and put them on buses,” Schrank said. “This has been a multimonth criminal investigation where we have developed evidence, conducted interviews, gathered documents, and presented that evidence to the court in order to obtain a judicial search warrant.”
A search warrant in the case was issued Aug. 31, according to a court filing. The government filed a motion to unseal a redacted version of the warrant Friday, and a judge granted the request. A copy of the warrant wasn’t immediately available.
“The United States is proud to be a home for major investments and looks forward to continuing to build on these historic investments and partnerships that President Trump has secured,” said Abigail Jackson, a White House spokeswoman. “Any foreign workers brought in for specific projects must enter the United States legally and with proper work authorizations. President Trump will continue delivering on his promise to make the United States the best place in the world to do business, while also enforcing federal immigration laws.”
The New York Times (gifted article) reports that we now have a diplomatic issue with an ally, South Korea. “South Koreans Swept Up in Immigration Raid at Hyundai E.V. Plant in Georgia. They were among nearly 500 workers apprehended at a construction site for a South Korean battery maker, officials said. The episode prompted diplomatic concern in Seoul.” Like I said previously, why would you want to disturb a huge plant that is creating good jobs and value for our country?
The battery manufacturer, LG Energy Solution, which co-owns the plant with Hyundai Motor Group, said in a statement that employees of both companies had been taken into custody.
Hyundai said in a statement that none of those detained were Hyundai employees, as far as the company was aware.
“We are closely monitoring the situation and working to understand the specific circumstances,” Hyundai said on Friday.
South Korea’s Foreign Ministry confirmed on Friday that South Koreans were among those in custody, without saying how many. Mr. Schrank told reporters at the plant on Thursday that some U.S. citizens and lawful permanent residents had been detained initially and were being released.
The agencies involved in the operation included the Department of Homeland Security, Immigration and Customs Enforcement and the F.B.I., according to the Atlanta division of the Bureau of Alcohol, Tobacco, Firearms and Explosives, which also participated.
The operation, part of President Trump’s crackdown on immigration, caused diplomatic alarm in South Korea. Just over a week earlier, Mr. Trump hosted President Lee Jae Myung of South Korea at the White House, where the South Korean leader pledged to invest an additional $150 billion in the United States, including in battery manufacturing.
The lithium-ion battery plant, which predated Mr. Lee’s pledge, was expected to start operating next year. It is the kind of large-scale, job-creating investment that the United States has pushed for from South Korea and other nations.
The Ellabell site is part of one of Georgia’s largest manufacturing plants. Gov. Brian Kemp of Georgia, a Republican, has promoted the $7.6 billion Hyundai E.V. factory there as the largest economic development project in state history.
Yes, I saved the most disgusting for last. The RFK Jr. hearing yesterday was on a whole different level as the pathological liar and loony proved himself unfit again and again. There were some major players in the Senate Committee showing exactly how ignorant Worm Boy is of his own department and science. The one thing I found amazing was the number of Republicans giving him a difficult time. There are likely several reasons for this. NBC News‘ Berkley Lovelace reports the story. “Ahead of Kennedy hearing, GOP saw poll showing Trump voters support vaccines. The poll, conducted by veteran Republican pollsters, found that a majority of Trump voters believe vaccines save lives and support immunizations against measles and hepatitis B.”
Polling showing that a majority of President Donald Trump’s voters support vaccines was shared with several Republicans lawmakers’ staffers in a closed-door meeting Wednesday, according to two people familiar with the meeting.
NBC News obtained a copy of a memo, dated Aug. 26, summarizing the poll results. It was conducted by veteran Republican pollsters Tony Fabrizio and Bob Ward and concluded “that there is broad unity across party lines supporting vaccines such as measles (MMR), shingles, tetanus, diphtheria and pertussis (TDAP), and Hepatitis B.” Fabrizio and Ward presented the findings during the meeting, the sources said.
In an email to NBC News, Ward confirmed the memo was authentic but declined to comment about the meeting. It’s unclear who commissioned the poll or arranged the meeting. A source close to the White House denied that the administration requested the poll.
The poll results may explain the shift in tone from some GOP senators at Health Secretary Robert F. Kennedy Jr.’s hearing Thursday before the Finance Committee.
Among those at Wednesday’s meeting were staff members for senators on the Finance Committee, according to one of the sources.
The hearing grew contentious at times, with Kennedy facing questions from both Democrats and Republicans about limiting access to this fall’s Covid vaccines and the dismissal of newly confirmed Centers for Disease Control and Prevention Director Susan Monarez.
Alexander Bolton from The Hill provides a similar analysis. “GOP senators signal to Trump that Kennedy is on thin ice.”
Republican senators are sending clear signs of disapproval and unhappiness with Secretary of Health and Human Services Robert F. Kennedy Jr., making it plain to President Trump that they want the administration to address the chaos Kennedy has caused by trying to rewrite the nation’s vaccine policies.
GOP senators have stopped short of calling on Kennedy to resign and haven’t yet said they regret voting for him in February, but they want him to back off efforts to change vaccine policy recommendations without sound scientific backing as the administration faces a growing public backlash.
Kennedy received an unusual admonishment from Senate Republican Whip John Barrasso (R-Wyo.), an orthopedic surgeon, when he testified before the Senate Finance Committee on Thursday.
“I support vaccines. I’m a doctor. Vaccines work,” said Barrasso, the Senate’s No. 2-ranking Republican leader.
“Secretary Kennedy, in your confirmation hearings, you promised to uphold the highest standards for vaccines,” he said. “Since then, I’ve grown deeply concerned.”
Barrasso pointed to a national measles outbreak, the sudden ouster of Centers for Disease Control and Prevention (CDC) Director Susan Monarez, and questions raised by the leadership of the National Institutes of Health over mRNA vaccines as raising troubling questions.
“Americans don’t know who to rely on,” he said. “If we’re going to make America healthy again, we can’t allow public health to be undermined.”
Here’s Elizabeth Warren shredding the Worm Guy.
Some smart aide to my Senator Bill Cassidy evidently suggested that he kiss up to Yam Tits while shredding Worm Guy. He’s not so popular down here for reelection. The MAGA crowd calls him a Rhino and hates that he actually voted to impeach Trump. That vote was one of the few things he’s ever shown a spine about.
The drama between the rest of the world and Orange Caligula continues. Here are some headlines, including one of those “praise dear leader” by the tech businesses.
Brian Barrett / Wired: Tech CEOs Praise Donald Trump at White House Dinner — At a White House dinner Thursday night, America’s tech executives put on an uncanny display of fealty to Donald Trump. — The camera zooms too close to the president’s face; the table at which the tech executives are seated seems far too long.
Tom Nichols / The Atlantic: The World No Longer Takes Trump Seriously — At parades and in the halls of global power, America has been sidelined. — The leaders of Russia, China, and North Korea are not good men. They preside over brutal autocracies replete with secret police and prison camps.
NBC News: Trump grows pessimistic about the prospect of ending the Russia-Ukraine war
Erica L. Green / New York Times: Trump Administration to End Security Programs Protecting European Allies From Russia
I’m still waiting for the latest on our new Department of War and our open hostilities with Venezuela. Feeling great and safe yet?
Here’s one last article about one of the major loonies in the Supreme Court. This is from NBC News. “Justice Amy Coney Barrett says country is not in a ‘constitutional crisis’. Speaking to Free Press founder Bari Weiss to promote her new book, the conservative justice said the American people should trust the Supreme Court.” The last group of people I would trust with anything are the so-called conservatives on the Supreme Court.
Conservative Justice Amy Coney Barrett said Thursday she does not believe the United States is in a constitutional crisis as President Donald Trump seeks to unilaterally reshape the government and his administration frequently feuds with judges.
Barrett, a Trump appointee who is part of the Supreme Court’s 6-3 conservative majority, defended the Supreme Court as an institution and said Americans should have faith in its ability to address probing problems with integrity.
“I think the Constitution is alive and well,” Barrett said in an interview with Bari Weiss, hosted by the Free Press in New York, to promote her new book.
“I don’t know what a constitutional crisis would look like. I don’t think that we are currently in a constitutional crisis, however,” she added. “I think our country remains committed to the rule of law. I think we have functioning courts.”
A constitutional crisis would have arrived if “the rule of law crumbled,” Barrett said. But, she added, “that is not a place where we are.”
Lower courts have frequently blocked Trump’s executive actions as unlawful exercises of power, only for the Supreme Court in most cases to then rule in favor of the administration via brief orders that often include no reasoning.
And Weirdo Kavanaugh thinks shadow docket is too truthy and wants it renamed “interim docket”. This does not feel like the country I grew up in at all.
What’s on your Reading, Blogging, and Action list today?
#AmyConeyBarrett #andRacist #DC_ #DepartmentOfWar #EJAntoni #FederalOccupationOfWashington #ICERaids #NAZI #RFKJrWeirdo #sexist #shadowDocket #StephenMiller #TrumpTanksTheEconomy #Weirdo
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Finally Friday Reads: It’s all as Bad as you Think
“Arrgh, Matey!” John Buss, @repeat1968
Good Day, Sky Dancers!
For the moment, the BLS is still providing reliable measurements of economic activity in the USA. The employment numbers are showing signs of bad policy and Trump-inflicted wounds. The strain from the tariffs is beginning to show. This is from The Guardian. “US added just 22,000 jobs in August, continuing slowdown amid Trump tariffs. The latest report also contained more bad news – the US lost 13,000 jobs in June, according to the latest survey.”
“The US jobs market stalled over the summer, adding just 22,000 jobs in August and continuing a slowdown in the labor market as businesses adjusted to disruptions caused by tariffs.
The latest jobs report also contained more bad news. The US lost 13,000 jobs in June, according to the latest survey, the first time it went into the negative since December 2020.
The unemployment rate for August inched up to 4.3%, the highest it’s been since 2021.
The healthcare sector added 31,000 last month but most other sectors were flat or lost jobs.
Trump’s new BLS leader has a disgusting past. This is from CNN. “Trump’s pick to lead BLS ran Twitter account with sexually degrading, bigoted attacks.” As usual, Trump hires “only the very best.” Go see his photos. He’s as creepy as Stephen Miller.
President Donald Trump’s nominee to lead the Bureau of Labor Statistics operated a since-deleted Twitter account that featured sexually degrading attacks on Kamala Harris, derogatory remarks about gay people, conspiracy theories, and crude insults aimed at critics of President Donald Trump.
E.J. Antoni, a 37-year-old economist for the conservative think tank the Heritage Foundation, posted the comments from approximately 2017 through 2020 under a series of usernames and display names. CNN verified that all of Antoni’s posts came from the same Twitter account and that the posts from the anonymous aliases shared strikingly similar biographical details as Antoni.
An outspoken critic of the nonpartisan BLS, which calculates US job growth and unemployment figures, Antoni is a stout Trump loyalist. NBC News reported and CNN confirmed that he was a “bystander” at the US Capitol riot on January 6, 2021. There is no evidence he entered the Capitol.
His appointment comes after Trump fired the Biden-appointed BLS commissioner and accused the agency without evidence of corruption after a report showed job growth in May and June was weaker than previously estimated.
Antoni has positioned himself as a watchdog for government accountability in media appearances and Heritage Foundation blog posts. But his own digital trail reveals a pattern of incendiary rhetoric that veered frequently into conspiracy theories and misogyny.
In 2019, the since-deleted account known as “ErwinJohnAntoni” changed its username to “phdofbombsaway.” The account posted at least five sexually suggestive tweets implying that then Sen. Kamala Harris had advanced her career through sexual favors.
Shortly after Harris ended her 2020 presidential campaign, Antoni wrote, “You can’t run a race on your knees,” in response to a tweet of a doctored campaign poster that depicted a sexually explicit image of Harris.
Antoni also referred to Christine Blasey Ford, the woman who accused Supreme Court Justice Brett Kavanaugh of sexual assault, as “Miss Piggy.” In February 2020, he retweeted a post titled “Advice For Women: How To Land a Great Guy,” which instructed women to “be in shape,” “grow your hair long,” “be sweet,” “learn to cook,” and “don’t be annoying.” The post concluded: “Angry feminists and simps will try to sabotage you in the comments. Don’t listen to them. Listen to me.”
Disgusting.
Speaking of disgusting Trump appointees, Steven Miller is evidently the one running the District into the ground, according to the Washington Post. “How Stephen Miller is running Trump’s effort to take over D.C.” It’s amazing how many young NAZIs are in his employ.
From the head of the conference table in the White House’s Roosevelt Room, Stephen Miller was in the weeds of President Donald Trump’s takeover of policing in the nation’s capital.
The White House deputy chief of staff wanted to know where exactly groups of law enforcement officers would be deployed. He declared that cleaning up D.C. was one of Trump’s most important domestic policy issues and that Miller himself planned to be involved for a long time.
Miller’s remarks were described to The Washington Post by two people with knowledge of the meeting who spoke on the condition of anonymity to discuss internal White House business. The result is a behind-the-scenes glimpse of one of Trump’s most trusted aides in action, someone who has emerged as a key enforcer of the D.C. operation in the month since Trump federalized the local police department and deployed thousands of National Guard troops to patrol city streets. While widely seen as a vocal proponent for the president’s push on immigration and law and order, Miller’s actions reveal how much he is actually driving that agenda inside the White House.
The deputy White House chief of staff has emerged as a key enforcer of the D.C. operation in the month since Trump federalized the local police department.
“It’s his thing,” one White House official said, speaking on the condition of anonymity to discuss personnel matters. “Security, crime, law enforcement — it’s his wheelhouse.”
Miller’s team provides an updated report each morning on the arrests made the night before to staff from the White House, Justice Department and Department of Homeland Security, among others. The readouts include a breakdown of how many of those arrested are undocumented immigrants.
He has also led weekly meetings in the Roosevelt Room with his staff and members of the D.C. mayor’s office. Last week, he brought Treasury Secretary Scott Bessent, according to two people briefed on the meeting. It’s unclear why Bessent attended the meeting.
A person familiar with Bessent’s thinking said he was encouraged by D.C. officials’ enthusiasm and collaborative tone.
Yam Tits and Miller know they have the District’s leaders over a barrel. Its special status gives the federal government a lot of power over the District. Its leadership is undoubtedly trying to avoid Trump taking the entire District over and removing them.
The source of all federal power over Washington comes from Article I, Section 8, Clause 17 of the Constitution. It grants Congress authority “To exercise exclusive Legislation in all Cases whatsoever” over the federal district.
That phrase—”exclusive Legislation in all Cases whatsoever”—is absolute. It establishes a power imbalance between the federal government and D.C. residents that has defined their relationship for over two centuries.
Undoubtedly, the Supreme Court would give Orange Tits whatever he wanted.
Trump’s approach to the economy and foreign policy continues to bring one failure after another. The Washington Examiner reports that “Immigration officers raid Hyundai EV manufacturing site in Georgia.” This is a bizarre strategy given that any produced in the United States goes to the US GDP numbers despite foreign ownership. Additionally, these are good jobs for parts of the country that really need them. Then there’s the factor that we just pissed off one of our major trade partners. This makes no sense whatsoever.
An Immigration and Customs Enforcement spokesperson told the Associated Press that agents were focused on the electric vehicle battery plant construction site.
The Department of Homeland Security said in a statement that agents executed a search warrant “as part of an ongoing criminal investigation into allegations of unlawful employment practices and other serious federal crimes.” It did not say whether anyone was detained or arrested.
Georgia State Patrol troopers blocked the road to the Hyundai plant, and the state Department of Public Safety said it was assisting. A social media video showed agents telling workers that they were with DHS and that they had a search warrant.
“We need construction to cease immediately,” the man said. “We need all work to end on the site right now.”
Operations at Hyundai’s EV manufacturing plant weren’t stopped, a spokesperson said.
The joint venture, HL-GA Battery Company, “is cooperating fully with the appropriate authorities,” the company said. “To assist their work, we have paused construction,” they added.
The administration has targeted other businesses in large raids as well. Two California cannabis farm raids in July yielded more than 300 arrests. One farm worker died after sustaining injuries during the raid.
The Trump administration has made deporting numerous illegal immigrants and migrants a top priority.
The Wall Street Journal reports, “Hundreds Arrested in Immigration Raid at Hyundai Site in Georgia. South Korea protests after more than 300 Korean company workers are detained.”
Nearly 500 people were arrested as part of an immigration raid at a Hyundai Motor battery plant under construction in Georgia as part of a criminal investigation into employment practices at the site, a Homeland Security official said Friday.
The operation Thursday resulted in the arrest of 475 individuals. More than 300 were South Korean nationals, according to an official from the country.
Those arrested had illegally crossed the border, entered through a visa waiver program that prohibited them from working or had overstayed their visas, Steven Schrank, a special agent in charge of Homeland Security Investigations in Atlant a, said at a press conference Friday morning.
“This was the largest single site enforcement operation in the history of Homeland Security investigations,” Schrank said.
No criminal charges were filed as of Friday, he said, and the investigation remains ongoing.
“Those who exploit our workforce, undermine our economy, and violate our federal laws will be held accountable,” Schrank said. Schrank said the government’s investigation has been ongoing for months.
The carmaker has pledged $26 billion in U.S. investments in recent weeks.
South Korea protested the action to the U.S. and said it was trying to secure the release of its citizens.
“This was not an immigration operation where agents went into the premises, rounded up folks and put them on buses,” Schrank said. “This has been a multimonth criminal investigation where we have developed evidence, conducted interviews, gathered documents, and presented that evidence to the court in order to obtain a judicial search warrant.”
A search warrant in the case was issued Aug. 31, according to a court filing. The government filed a motion to unseal a redacted version of the warrant Friday, and a judge granted the request. A copy of the warrant wasn’t immediately available.
“The United States is proud to be a home for major investments and looks forward to continuing to build on these historic investments and partnerships that President Trump has secured,” said Abigail Jackson, a White House spokeswoman. “Any foreign workers brought in for specific projects must enter the United States legally and with proper work authorizations. President Trump will continue delivering on his promise to make the United States the best place in the world to do business, while also enforcing federal immigration laws.”
The New York Times (gifted article) reports that we now have a diplomatic issue with an ally, South Korea. “South Koreans Swept Up in Immigration Raid at Hyundai E.V. Plant in Georgia. They were among nearly 500 workers apprehended at a construction site for a South Korean battery maker, officials said. The episode prompted diplomatic concern in Seoul.” Like I said previously, why would you want to disturb a huge plant that is creating good jobs and value for our country?
The battery manufacturer, LG Energy Solution, which co-owns the plant with Hyundai Motor Group, said in a statement that employees of both companies had been taken into custody.
Hyundai said in a statement that none of those detained were Hyundai employees, as far as the company was aware.
“We are closely monitoring the situation and working to understand the specific circumstances,” Hyundai said on Friday.
South Korea’s Foreign Ministry confirmed on Friday that South Koreans were among those in custody, without saying how many. Mr. Schrank told reporters at the plant on Thursday that some U.S. citizens and lawful permanent residents had been detained initially and were being released.
The agencies involved in the operation included the Department of Homeland Security, Immigration and Customs Enforcement and the F.B.I., according to the Atlanta division of the Bureau of Alcohol, Tobacco, Firearms and Explosives, which also participated.
The operation, part of President Trump’s crackdown on immigration, caused diplomatic alarm in South Korea. Just over a week earlier, Mr. Trump hosted President Lee Jae Myung of South Korea at the White House, where the South Korean leader pledged to invest an additional $150 billion in the United States, including in battery manufacturing.
The lithium-ion battery plant, which predated Mr. Lee’s pledge, was expected to start operating next year. It is the kind of large-scale, job-creating investment that the United States has pushed for from South Korea and other nations.
The Ellabell site is part of one of Georgia’s largest manufacturing plants. Gov. Brian Kemp of Georgia, a Republican, has promoted the $7.6 billion Hyundai E.V. factory there as the largest economic development project in state history.
Yes, I saved the most disgusting for last. The RFK Jr. hearing yesterday was on a whole different level as the pathological liar and loony proved himself unfit again and again. There were some major players in the Senate Committee showing exactly how ignorant Worm Boy is of his own department and science. The one thing I found amazing was the number of Republicans giving him a difficult time. There are likely several reasons for this. NBC News‘ Berkley Lovelace reports the story. “Ahead of Kennedy hearing, GOP saw poll showing Trump voters support vaccines. The poll, conducted by veteran Republican pollsters, found that a majority of Trump voters believe vaccines save lives and support immunizations against measles and hepatitis B.”
Polling showing that a majority of President Donald Trump’s voters support vaccines was shared with several Republicans lawmakers’ staffers in a closed-door meeting Wednesday, according to two people familiar with the meeting.
NBC News obtained a copy of a memo, dated Aug. 26, summarizing the poll results. It was conducted by veteran Republican pollsters Tony Fabrizio and Bob Ward and concluded “that there is broad unity across party lines supporting vaccines such as measles (MMR), shingles, tetanus, diphtheria and pertussis (TDAP), and Hepatitis B.” Fabrizio and Ward presented the findings during the meeting, the sources said.
In an email to NBC News, Ward confirmed the memo was authentic but declined to comment about the meeting. It’s unclear who commissioned the poll or arranged the meeting. A source close to the White House denied that the administration requested the poll.
The poll results may explain the shift in tone from some GOP senators at Health Secretary Robert F. Kennedy Jr.’s hearing Thursday before the Finance Committee.
Among those at Wednesday’s meeting were staff members for senators on the Finance Committee, according to one of the sources.
The hearing grew contentious at times, with Kennedy facing questions from both Democrats and Republicans about limiting access to this fall’s Covid vaccines and the dismissal of newly confirmed Centers for Disease Control and Prevention Director Susan Monarez.
Alexander Bolton from The Hill provides a similar analysis. “GOP senators signal to Trump that Kennedy is on thin ice.”
Republican senators are sending clear signs of disapproval and unhappiness with Secretary of Health and Human Services Robert F. Kennedy Jr., making it plain to President Trump that they want the administration to address the chaos Kennedy has caused by trying to rewrite the nation’s vaccine policies.
GOP senators have stopped short of calling on Kennedy to resign and haven’t yet said they regret voting for him in February, but they want him to back off efforts to change vaccine policy recommendations without sound scientific backing as the administration faces a growing public backlash.
Kennedy received an unusual admonishment from Senate Republican Whip John Barrasso (R-Wyo.), an orthopedic surgeon, when he testified before the Senate Finance Committee on Thursday.
“I support vaccines. I’m a doctor. Vaccines work,” said Barrasso, the Senate’s No. 2-ranking Republican leader.
“Secretary Kennedy, in your confirmation hearings, you promised to uphold the highest standards for vaccines,” he said. “Since then, I’ve grown deeply concerned.”
Barrasso pointed to a national measles outbreak, the sudden ouster of Centers for Disease Control and Prevention (CDC) Director Susan Monarez, and questions raised by the leadership of the National Institutes of Health over mRNA vaccines as raising troubling questions.
“Americans don’t know who to rely on,” he said. “If we’re going to make America healthy again, we can’t allow public health to be undermined.”
Here’s Elizabeth Warren shredding the Worm Guy.
Some smart aide to my Senator Bill Cassidy evidently suggested that he kiss up to Yam Tits while shredding Worm Guy. He’s not so popular down here for reelection. The MAGA crowd calls him a Rhino and hates that he actually voted to impeach Trump. That vote was one of the few things he’s ever shown a spine about.
The drama between the rest of the world and Orange Caligula continues. Here are some headlines, including one of those “praise dear leader” by the tech businesses.
Brian Barrett / Wired: Tech CEOs Praise Donald Trump at White House Dinner — At a White House dinner Thursday night, America’s tech executives put on an uncanny display of fealty to Donald Trump. — The camera zooms too close to the president’s face; the table at which the tech executives are seated seems far too long.
Tom Nichols / The Atlantic: The World No Longer Takes Trump Seriously — At parades and in the halls of global power, America has been sidelined. — The leaders of Russia, China, and North Korea are not good men. They preside over brutal autocracies replete with secret police and prison camps.
NBC News: Trump grows pessimistic about the prospect of ending the Russia-Ukraine war
Erica L. Green / New York Times: Trump Administration to End Security Programs Protecting European Allies From Russia
I’m still waiting for the latest on our new Department of War and our open hostilities with Venezuela. Feeling great and safe yet?
Here’s one last article about one of the major loonies in the Supreme Court. This is from NBC News. “Justice Amy Coney Barrett says country is not in a ‘constitutional crisis’. Speaking to Free Press founder Bari Weiss to promote her new book, the conservative justice said the American people should trust the Supreme Court.” The last group of people I would trust with anything are the so-called conservatives on the Supreme Court.
Conservative Justice Amy Coney Barrett said Thursday she does not believe the United States is in a constitutional crisis as President Donald Trump seeks to unilaterally reshape the government and his administration frequently feuds with judges.
Barrett, a Trump appointee who is part of the Supreme Court’s 6-3 conservative majority, defended the Supreme Court as an institution and said Americans should have faith in its ability to address probing problems with integrity.
“I think the Constitution is alive and well,” Barrett said in an interview with Bari Weiss, hosted by the Free Press in New York, to promote her new book.
“I don’t know what a constitutional crisis would look like. I don’t think that we are currently in a constitutional crisis, however,” she added. “I think our country remains committed to the rule of law. I think we have functioning courts.”
A constitutional crisis would have arrived if “the rule of law crumbled,” Barrett said. But, she added, “that is not a place where we are.”
Lower courts have frequently blocked Trump’s executive actions as unlawful exercises of power, only for the Supreme Court in most cases to then rule in favor of the administration via brief orders that often include no reasoning.
And Weirdo Kavanaugh thinks shadow docket is too truthy and wants it renamed “interim docket”. This does not feel like the country I grew up in at all.
What’s on your Reading, Blogging, and Action list today?
#AmyConeyBarrett #andRacist #DC_ #DepartmentOfWar #EJAntoni #FederalOccupationOfWashington #ICERaids #NAZI #RFKJrWeirdo #sexist #shadowDocket #StephenMiller #TrumpTanksTheEconomy #Weirdo
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AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus Spoke
Whether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
The First Inuit in Scotland: the thread about John Sakeouse; Hunter, Explorer, Artist, Interpreter, Kayaker, Friend of Leith and
The registers of the Canongate Kirk in Edinburgh record that on 17th Feb 1819 a man was interred there, having died 3 days previously from fever. They say he was 22 years old, although nobody was exactly sure. What they do not say is that he was far from the land of his birth and that he was a truly remarkable man. He was John Sakeouse and this is his story.
John Sakeouse, a portrait by Amelia Anderson, engraved by W. & D. Lizars. CC-by-NC National Galleries ScotlandJohn was well known in Edinburgh and Leith, infact it was fair to say he was something of a celebrity, for he was a unique character in the city; he was a Kalaaleq , an Inuk from West Greenland, and was the first of his people to travel to Scotland. He was born around 1797 in Disko Bay on the west coast of Greenland at a latitude of 69° North. We do not know his name in his native language, but he grew up in an area where Danish missionaries were active and from them he took the biblical names Johannes Zakaeus; John Zacchaeus (also Anglicised to Sackhouse, Saccheuse, but he signed himself Sakeouse so we shall go with that.) From the missionaries he learned about the bible and had a knowledge of and interest in Christianity. He also learned of the world beyond his horizon and picked up a little English.
Icebergs Disko Bay. Cc-by-SA 3.0 AlgkalvJohn had wanted to satisfy a curiosity as to what was over the horizon and beyond the land of his birth, and he wanted to learn about art. He may have been further motivated by being unlucky in love and rejected by the mother of a potential bride. But his reasons were his own and using his own initiative and ingenuity in May or June of 1816 he took to his kayak and paddled out to a whaling ship that was getting ready to depart the Davis Strait. Using his basic English, he managed to convince the crew to help him stow away and the seamen took pity and smuggled not just John but also his kayak aboard. Once he was safely over the horizon he announced his presence to the master of the ship; who either offered or threatened to turn around and put him ashore, but John was obviously a persuasive communicator and the master, John Newton, was convinced to take him home with him. That ship was the Thomas and Ann, it was owned by Peter Wood and Company of Leith, and that port was its destination. That is how on the 15th August 1816, John Sakeouse came to Scotland “with 11 fish“, as a very special passenger.
The Leith Greenland whaler “Raith”, also owned by the Woods and a contemporary of the “Thomas and Ann”. A model in the collection of Trinity House, Leith.On the long journey back to Leith, he earned his passage by assisting the seamen in their duties and occupied himself in improving his English.Standing between 5 foot 6 and 8 inches tall, with a head of thick black hair, he was of stocky build and impressed his hosts with his great physical strength, his dexterity and also his gentle nature and eagerness to learn. When the Thomas and Ann finally arrived back in Leith, news of his presence seemed to spread like wildfire and large crowds assembled wanting to catch a glimpse of this unusual visitor. The crowds prevented Master Newton from unloading his precious cargo of whale, so he had Sakeouse taken ashore and lodged in his house in the Timber Bush area. The crowds simply followed and gathered outside Newton’s house instead.
But although John had never seen this many people in his life, he hadn’t come to Scotland to hide himself away. So he took himself and his kayak down to the new Wet Docks, lowered himself into them and with great showmanship put on an hour long display of his proficiency and dexterity in it. He thrilled the crowds by being able to roll his boat over at will, paddle it while inverted and roll it back upright again “in the twinkling of an eye… and scuds off as if nothing had happened“. A ship’s biscuit was floated on the water and from 30 yards he would hit it – and split it – with his harpoon.
John Sakeouse in his kayak, from an illustration by Amelia Anderson, engraved by W. & D. Lizars, CC-by-NC National Galleries ScotlandHis show was an instant hit, and it was put on each day for the crowds. Handbills were printed and money was collected. On Thursday 5th September, a grand race was organised; John against the best whaling boat and six of the best crew that Leith had to offer. “A vast assemblage of persons of all ranks were collected at Leith. The piers, windows and roofs of houses and the decks and rigging of the vessels, were crowded with spectators; and the water from the harbour to near the Martello Tower was covered with boats, filled with Ladies and Gentlemen.” They set off from the end of the pier, the course being around the Martello Tower and back again; John was the clear winner, taking just 16 minutes.
An exhibition of some of his artefacts was put on in a dockside warehouse, described as “two sea unicorn’s horns, the skulls of a sea horse and bear, the ear of a whale and the preserved skin of a black eagle“. The money these ventures raised helped support him financially; to provide him with the food and clothes that he needed to get through the winter in Scotland until he could return home the following season when the whalers went north again. By the end of August news of him had spread the length of the country; with newspapers not just in Scotland and London, but all across England, in Belfast and in Dublin relating the story of “the Esquimaux* now at Leith“.
* = the French term which was in written use at the time in the press for Inuit. The Scottish whalers used the term “Yackie”, in some contemporary accounts he refers to himself as “Yakee”, a term he undoubtedly picked up from the whalers.
Lodging with Newton and his family, when John was not putting on his displays he attended to studying English in “which he made considerable progress“; he learned to play the flute a little and to dance. He told his hosts that he had received some schooling in his childhood, had some basic knowledge of the wider world and historical facts and had heard of an elephant – but never having seen one was “much delighted” when shown a picture. He had not, however, seen or heard of a cow and on first encountering one fetched his harpoon with which to defend himself from this strange beast. He sat for portraits, was taken to the theatre, and was the toast of the evening soirées of Leith and Edinburgh, comfortably ingratiating himself with all who met him.
John Sakeouse’s handwriting, from an engraving by W. & D. Lizars, CC-by-NC National Galleries ScotlandIn the spring of 1817, the Leith whalers set out again for the Davis Straits and John was with them, once more on board the Thomas and Ann. Newton was under strict orders from his employer, Peter Wood, that John was to be “treated with the greatest kindness” and returned to where he had been picked up, and not to return with him unless John explicitly desired to. On reaching his home however, John was distressed to find that his only living relative, his sister, had died over the winter. On learning that she had believed him dead and had died of a broken heart, he returned to Newton and made it known that he wished to stay with them and “revisit his country no more.” And so it was in September 1817 once again the newspapers in Edinburgh reported that the Thomas and Ann had returned to Leith and once more it had a special passenger aboard. And once again, this exciting news was reprinted from Inverness to London and from Cambridge to Belfast.
That winter, John exhibited the selfless kindness to others for which he was knows. Enjoying he snows that had fallen, and walking far beyond Leith, he came across two young children whom he observed “to be suffering from the cold“. He took off his sealskin jacket, wrapped the pair of them in in it and carried them safely home to Leith. He refused all attempts at a reward, not thinking himself having done anything remarkable. It was on another winter walk that John’s adventures took an interesting new direction, for who should he by chance bump in to but one Alexander Nasmyth; pupil of Alan Ramsay and one of Scotland’s foremost landscape and portrait painters at that time. Nasmyth recognised John by his dress, and having once drawn a set of native clothing that had been brought to Scotland he was keen to ingratiate himself. He invited John up to Edinburgh and had him sit for a portrait in return for providing him with drawing lessons. Nasmyth got his painting, now part of the collection of the National Galleries of Scotland, and John got his lessons, proving to have a natural talent and be a quick learner. He was the first Inuit to recieve formal art training, although he came from a rich artistic culture.
John Sakaeus (Sakeouse) by Alexander Nasmyth, c. 1817, CC-by-NC National Galleries ScotlandIt was through the well connected Nasmyth that John’s life took its next turn; he was introduced to the naval explorer Captain Basil Hall and his father, Sir James, the President of the Royal Society of Edinburgh. The Halls were aware that the Admiralty was preparing an expedition to search for a Northwestern Passage, under fellow Scot Capain John Ross (later Sir John), and were quick to realise that having a native guide who could also act as a translator could prove invaluable to the mission. The Halls wrote to Sir John Barrow, Second Secretary to the Admiralty, who agreed with them and asked for John to be sent to London if he was willing. John seems to have turned down offers of payment for his services, and was keen to join the expedition so long as it was not a ruse to send him back to the land of his birth.
In London, John ingratiated himself with his usual ease, and – having taken it with him – as usual thrilled the crowds with kayaking and harpooning displays in Deptford Docks. A trick that went down very well was to throw his harpoon, which he could do with great accuracy over 50 yards, and then follow it up with smaller “darts” with which he could hit the handle of the floating harpoon, time after time. Captain Ross and the Admiralty wasted no time in engaging John’s services, however it nearly wasn’t to be; in late March a stranger, who may have been an agent for the Aquatic Theatre, attempted to lure him away from the expedition and onto the stage, with offers of money and a considerable quantity of alcohol. The usually sober John almost succumbed to temptation, but on recovering his faculties and suffering his hangover thought better of it, apologised to Ross for his change of heart and stayed firmly on board and away from the dockside taverns thereafter. The Admiralty quietly ordered that he was to be kept on board and away from strangers thereafter.
Ross’s expedition departed London on board a small fleet of hired Hull whaling ships on 18th April 1818. Ross led on his flagship Isabella, with Captain Buchan on the Dortothea, Lieutenant Parry on the Alexander and the ill-fated Lieutenant Franklin on the Trent. Their search was for the Northwest Passage and the Bering Strait beyond, and part of the expedition intended to strike out for the North Pole. Their journey would find none of those destinations, but would take them further north than any British navigator had yet been.
“Portraits of the Vessels of the Polar Expedition of 1818”, an illustration by John Ross © Royal Museums Greenwich.The convoy arrived off Greenland in mid-June. By the end of the month, they reached 70° North. This was Disko Bay, the land where John – or Jack as the sailors had taken to calling him – had been born 19 or 20 years before. John took take to his kayak, returning with specimens of birds for the expedition’s scientists, and also with a party of local Inuit he had contacted. Acting as a translator, he negotiated for a larger party of them to return with the gift of a dog sled for Ross. They were invited aboard for coffee and biscuits and shown around, had their portraits taken and further gifts were exchanged. An impromptu cèilidh was then held on the deck, with the Inuit dancing Scottish Reels with the seamen to the music of their fiddler. Ross describes John as acting as the “master of ceremonies”, calling out the dances. Catching the attention of a young woman in the Inuit party, “by far the best looking of the group“, John was given a lady’s shawl by one of the officers to present to her. She returned his affections with the gift of a ring, and Ross was in “no possible doubt [he] had made an impression on her heart“.
After the ball concluded with more coffee, the guests departed and John was permitted to escort them home and perhaps return with more specimens for the expedition. It was at this point however that he suffered an unfortunate accident; demonstrating a gun to some of the Inuit, he over-filled it with gunpowder under a mistaken assumption that he described himself as “plenty powder, plenty kill. Letting the weapon off, he could not handle the recoil and broke his collar bone. A search party had to be sent out to retrieve him when he did not return to the ship.
Ross’s ships (one ship is in the distance, on the right of the image) in the land of John’s birth at Disko Bay, an illustration by Andrew Skene, an officer and artist on the expeditionThey did not linger here and continued north into Baffin Bay, intending on making an anti-clockwise navigation in search of the North West Passage. Ross made an illustration of his little flotilla as it moved carefully through the ice at 70°44′ North. They pressed on and at 75°25′ North they reached a bay that the Greenlanders call Qimusseriarsuaq. Although whalers had been here before, they hadn’t troubled to give it an English name, so Ross Christened it Melville Bay, after Robert Dundas, 2nd Viscount Melville, the First Lord of the Admiralty, the man who had given Ross his first commission and a son of Edinburgh (for whom Melville Street is named).
“Through the Ice, June 16 1818, Lat. 70° 44′ N.”, an illustration by Captain RossThe were able to sail as far north as 75°55′, before becoming trapped in the ice at the start of August and could go no further. It was with a great deal of skill, hard work and luck that they were able to extricate the Isabella and the Alexander, and now headed west around the top of Baffin Bay. An illustration made by Captain Ross shows this desperate scene.
“Perilous Situation of the Isabella and the Alexander”, illustration by Captain RossSoon they were heading south again and on August 9th 1818, the Isabella and the Alexander came to what Ross called Prince Regent Inlet. Here, at 75°55′ North, 65°32′ West, and with the unique help of John Sakeouse, they made first contact with what Ross called the Arctic Highlanders: the native Inughuit.
It was the Inughuit who spotted them first. By the time Ross’s lookouts spotted them in return, they took these men far out on the ice to be stranded whalers, and made for them. As they approached, they realised that they were natives travelling on dog sledges. When they came within shouting distance, John attempted to call to them in his language, but the men took to their sleds and fled. Boats were sent out and some gifts left on the ice for them. Ross also had the men make up a large flag showing the image of the sun and the moon, with an outstretched hand holding a spring of a native shrub in the manner of an olive branch (this western metaphor would of course have been completely lost on them.) This was run up a pole in a prominent position on the ice, to which was also affixed a bag of gifts and a large outline of a hand pointing to the ships.
The next morning a larger party of men returned with 8 sleds, stopping on the ice a mile short of the ships. The flagpole enticed the men and their sleds closer, but they remained cautiously 300 yards distant, apparently in conversation. It was at this point that John stepped in. Taking a bag of gifts, and a white flag (another hopeless symbol for communicating with people who had never encountered white men before), John strode out on the ice. Dressed in the garb of a western sailor, they had no idea who he was, or what his act of removing his hat meant, and as he approached they pulled a knife on him, implored him to be on his way and made it clear that they could kill him if needs be. In return, the ever placid John offered them a British-made knife in his possession, tossing it to them. On examining it, the men were impressed and pulled their noses, a sign of friendship. John pulled his nose too, and a rapport was formed. John now presented them with a string of beads and showed them a chequered shirt. This was not just the first time the Inughuit had met white men, it was their first exposure to a Kalaaleq, a western Greenlander. After some initial difficulty, John recognised their dialect as one an old woman who once nursed him had spoken, and was slowly able to communicate. Using his natural talents and the tuition in Western art acquired from Alexander Nasmyth, John would paint a picture to capture this scene, presenting it to Captain Ross.
First Communication with the Natives of Prince Regent Bay, as John by John Sackheouse and Presented to Captain Ross, August10th 1818John, wearing the blue jacket, with his arm held in a sling and wearing a beaver cap, is seen holding the chequered shirt while two Inughuit inspect the other gifts he has presented them with, one of whom may be holding up one of the mirrors with which they were presented and which caused them wonder and delight. In the foreground, Captain Ross and Lieutenant Parry offer other gifts, receiving narwhal tusks in return. Another man is arriving on his dog sled, and two others are in the distance admiring the ships and a boat which had been hauled onto the ice for repairs. The Inughuit had never before seen a ship; indeed they were not seafaring people, had never seen a kayak and had no word for it, living entirely on the land and using dog sleds for travel and hunting. So it was with some difficulty that they were eventually enticed aboard onto these winged “Islands of Wood” (they had never before seen a shrub with a trunk wider than your finger, so the ships timbers were an incredible sight for them). The men were given a tour of the ship, before being convinced to sit in chairs (something they had never seen and whose purpose they did not understand) to have their portraits taken. They were offered ships biscuit, salt beef, plum pudding and Aquavit, all of which they thoroughly disliked.
Ervick, one of the Inughuit who met the Ross Expedition in 1818, an illustration by Captain RossWith John acting as interpreter, they were able to learn that the Inughuit did not count beyond ten, that their knives were fashioned from iron extracted from a rock in the mountains, that they lived in family units by a form of mutual agreement between the husband and wife, but had sent their women and children into the mountains to safety; the menfolk had come forth only to ask the interlopers to leave. They had a chief – Tulloowah – to whom other families gave a tribute. They had no organised religion, but each family had a “sorcerer” who could be called upon to commune with the weather or supplies of animals for food. They had no concepts of weapons or war, or of lands and people beyond their own. They assumed that the white-faced Europeans must be some sort of ghost whose ships had flown down from the air. Before leaving, the Inughuit were presented with planks of wood that they had expressed a desire in possessing.
The Inughuit returned a few days later on the 13th of August and again on the 14th. This was a different party than those they had met before, and had come forth after seeing the gifts that the first had returned with and having received assurances that the “Islands of Wood” and their ghostly residents were not an immediate threat. More gifts were exchanged, and the leader of the party helped himself to Ross’s telescope, shaving razor and a pair of scissors, which Ross was pleased to overlook. Before their final departure, Ross gave them a portrait of the Prince Regent as a present for “their king”.
They now pressed further south and west, coming to Lancaster Sound at 74°19½’ North 78°33′ west at the end of August where he took a fateful decision. Imagining that he could see distant mountains (they were actually a mirage), he was convinced that there was no way further through by sea and turned around against the wishes of his subordinate Parry. So convinved was Ross, that he named this distant range – the Croker Mountains – and made a detailed landscape illustration of them.
Lancaster Sound, as seen from HMS Isabella, 3PM, August 31st 1818. The distant range of the Croker Mountains was a mere mirage. By Captain RossRoss now headed south along the western edge of Baffin Bay, taking detailed meteorological and astronomical observations, collecting geological and animal specimens and otherwise occupying the expedition now with science rather than their stated goal of seeking the North West Passage. By the end of September they were at Resolution Island at 61°30′ North and well out of the Arctic Circle, and Ross decided to end operations for the season and head for home. A month later, on October 29th, they sighted Foula, the westernmost island of the Shetland Archipelago. On November 14th they dropped anchor for the last time, in Grimsby Roads, and Ross set off at once for London and their Lordships of the Admiralty with his logs, journals, charts and letters.
Ross, unfortunately, did not find the hero’s welcome that he might have imagined. Instead, his subordinate officers challenged his decision to turn around in Lancaster Sound, and Parry was vehemently and publicly sceptical of the grounds on which Ross made that decision. The Admiralty were convinced by Parry and his conspirators that Ross’s findings were not to be trusted, and they organised an expediction for the following year, led by Parry, and on which Ross was not invited. The press lampooned him, a particularly scathing satirical cartoon showing him pompously leading his crew, all mutilated by frosbite, carrying back nothing but specimens of animals and rocks. The implication was clear; Ross’s expedition had been a failure and the scientific results and objects he returned with were worthless.
Landing of the Treasures or Results of the Polar Expedition!!! By George Cruikshank © The Trustees of the British MuseumRoss publicly praised John Sakeouse as “very intelligent and willing to learn as well as being grateful to those who instruct him. A man on whom the utmost dependence may be placed“. The satirist – George Cruikshank – unfortunately did not treat him with the same respect and credit that he merited. Instead he showed him as a deeply racist stereotype, a savage called “Jack Frost”, carrying a narwhal tusk, wearing a fur skirt, and clutching an album of his drawings. The sailors to his right, on wondering “what will they do with Jack Frost“, suggest he should have his throat cut and be stuffed. This was a sad end to the important expedition, and a cruel way to dismiss the contributions of John Sakeouse, which no other man could have made.
John Sakeouse, shown as the savage “Jack Frost”.John did not stay long in London, and asked to be returned to his friends in Leith. Parry – although contemptuous of Ross – recognised the importance of John and arranged that he should be included again in the 1819 expedition. Unfortunately this was never to be.
John took ill at the start of the year with “a violent inflammation in the chest“. John Newton, the whaling master who had first been convinced to bring John to Leith, and his family nursed John through his illness. At first he seemed to improve, and despite doctor’s orders to the contrary – soon felt well enough to venture out in the search of fish, which he brought back to his lodgings to cook for himself.
A few days later however, he had relapsed into fever. He told his companions that his late sister had come to him in a fever dream and called to him, and that he knew now that he was dying. Calling for his Catechism – in the Danish language that he had been tutored in by missionaries – he grasped it “till his strength and sight failed him, when the book dropped from his grasp, and he shortly afterwards expired“. All of Leith mourned his loss, and a respectful funeral was arranged in the Canongate Kirkyard and paid for by his friends. “He was followed to the grave by a numerous company, among whom were not only his old friends and patrons from Leith, but many gentlemen of high respectability in this city“. His final resting place is not marked, but was given as “in the area 8 feet south of Fraser’s ground and 4 feet from the north walk“.
Approximate location of the last resting place of John Sakeouse. © SelfHis possessions, including his sealskin clothing, were left to Captain Ross, who donated them to the Museum of the University of Edinburgh.
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Dolphin Whisperer’s and Ferox’s Top Ten(ish) of 2024
By Dolphin Whisperer
Dolphin Whisperer
Every year, its end becomes more shocking and swift. Once, some guy told me, simply, “it only gets worse.” Not life though—attributing a better or worse or any sort of constant determination of our passage leaves a lot of room for falling into a void of enjoyment—life is, after all, a constant until its not. But time, or our sense of being in its too ever-present stream, flows at a rate that changes in ways to which we never quite catch up.
As such, there’s a comfort in knowing how much time an album, particularly one you enjoy will take. For the ten-to-twenty minutes it takes for grindcore proper to slap me silly or the forty-to-eighty minutes that it takes for my deepest progressive loves to wring out a moaning confession, I know where my attention lies, even if it’s only half there and half on a task at hand. Time and tasks, day to night, play to stop, music makes my world a better place. And entering my now third year at Angry Metal Guy, an institution that has been a fixture of my musical journey for even longer, I continue to hold a profound gratitude and excitement for another year of discovery.
2024 has had its challenges professionally and personally. 2025 will be no doubt the same, even if some trials we can see forming in the distance. But you want to know about the music, right? On that end, 2024 has yielded a heaping trove of great albums. Heck, even a Rodeö pick scratched at the rungs of an honorable mention. The below list barely scratches the surface of the breadth that the year has offered. Further down you will see Ferox‘s list, which captures a different collection equally rooted in joy. He might be more right than I am. But that matters little. Celebrate with us, your favorite collective of writers on the world wide web! Come hang with some of us on Discord too if you’d like. Most of the people there are certified flea-free. And don’t be too upset if 2025 doesn’t hit you the same at first. It’s just another year, and it’ll be over before you know it.
#ish. Kalandra // A Frame of Mind – At my core, I consider myself a Norwegian sad girl. Usually, this manifests in some sort of weepy, melancholy prog, the likes of Age of Silence or Madder Mortem.1 But Kalandra’s enfolkened an impassioned take on an artsy, progressive collection of empowering tunes hit me square in my aching heart from the moment I heard it. Most importantly, though, Kalandra knows that suffering is just a step on the path of growth and happiness, which is a message that inspires me every day.
#10. Dawnwalker // The Unknowing – The power to dream and envision a world driven by mysticism has an allure that’s hard to ignore. And while we know that more determinable laws guide the happenings of our daily lives, a glimpse of the unknown will always find its way into sequence. Dawnwalker putting this esoteric but ever-present concept into an atmospheric, genre-warped, playfully progressive package hardly surprises me, though. The British troupe has had my number since their unsung classic In Rooms,2 so I’m doing my last in continuing to love them despite Twelve‘s best efforts to underrate them.3
#9. Lizzard // Mesh – Lizzard’s 2021 opus Eroded is my favorite album of this decade so far. The French trio’s ability to warp deep, rhythm-tricky layers into driving and emotional rock songs his me at the core of my musical desire for cathartic hope expressed in an unassuming and lush framework. Mesh doesn’t present any differently in that regard. But its wrinkles on Lizzard’s timeless yet ’90s alternative-rooted oeuvre fuel Mesh’s inherent melancholy with a hope that’s jubilant, like a cracked smile on an overcast day.
#8. Dissimulator // Lower Form Resistance – [INCOMING TRANSMISSION.] “My name is Clyde, and I arrive from beyond with wonderful news. My good friend Ferox has survived this timeline after all, having learned to navigate the Lower Form Resistance assault of fast-twitch rhythms and slow-twitch death metal punctuation. His head, fully intact, sways wildly in its hairless glory—big dives for big skanking breaks, snappy rolls for whiplash accelerations. He may not be as rhythmically gifted in pit-galloping cadence as the virtuoso drum and bass duo that provides life to Dissimulator’s effortless strides, but Ferox is my everything nonetheless.” [END TRANSMISSION.]
#7. Mamaleek // Vida Blue – I couldn’t begin to tell you what has never landed about Mamaleek’s works before with a weird precision. As an act dedicated to sounding only like Mamaleek, their singular expression of tortured black(ish) metal warped by jazzy and slogging attitudes has manifested quite the take-it-or-leave-it musical experience. And while you, dear reader, may assume this is firmly up my alley, it has not been. At least not until Vida Blue served a bottom of the ninth heart-shaker as an ode to a departed friend.4 With a soulful swing, a tortured connection, and an exit velocity powered by equal parts loss and love, Mamaleek has clinched a campaign for my attention.
#6. Defeated Sanity // Chronicles of Lunacy – As 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 of Lunacy does not mark a turning point or novel twist in the Defeated Sanity timeline—its finely tuned lashings hit as inescapable all the same. When neither a beast’s reach, nor mass, nor attack speed goes contested, an exhibition of its might will flash with morbid glee. As such, Defeated Sanity need not surprise to strike mortal wound. Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect. And I want more.
#5. Orgone // Pleroma – Meticulous and constructed as a master-work, Pleroma’s opening notes signal a trance. Acoustic twang and chamber instrument-fueled swoon build an atmosphere of wonder against a fervent and languished march of post-genre swells and death-fueled crescendos. Cycling through its many shades feels less like a fever dream and more of a trial-filled journey. Wielding a demure grandeur, Pleroma’s effortless realization of Orgone’s peerless vision never feels like the epic journey its runtime suggests. Were my time truly infinite, Pleroma would be even harder to rip away from the queue.
#4. Julie Christmas // Ridiculous and Full of Blood – A lady screaming bloody murder shouldn’t go down this smooth, but that’s always been the promise and success of Julie Christmas. Few vocalists leave me slack-jawed and ear-shaken in the wake of piercing cries, raw-throated shrieks, and impassioned lyrical slather. Yet, Ridiculous and Full of Blood cuts track after track out of sonic patterns that do exactly that, all while empowering a full band expression of alternative-laced grooves, post-informed climbs, and punk-tied sneer. The Christmas season sums a flurry of inspired performances under the banner of a madwoman. And I stand at the ready to fray my vocal cords in attempt to crack with the same battle-tested precision that Ms. Christmas has earned from a life hard-worn.
#3. Ingurgitating Oblivion // Ontology of Nought – Though born of minds unrelated, Ontology of Nought exists as an esoteric companion to the Pleroma embodiment. Orgone is the twin that went to conservatory, graduated with honors, and holds an honorable performing chair, all while remembering its young love for death metal. Ingurgitating Oblivion, on the other hand, dropped out, spiraled into entheogenic dissociation, earns a living gigging at jazz clubs—also maintains its youthful lust for the clamoring riff and hammering blast. Maximalism oozes a frothing wonder in the hiss of distorted chatter and rhythmic mastery. An imperfect and breathing construction rises and falls in ethereal inhales and vision-spinning mantras. Ontology of Nought deserves each of its over-budget minutes. Invest time in the freedom that it promises… “and cease to be.”
#2. OU // 蘇醒 II: Frailty – The casualness of OU’s inception belies its profound leap into my necessary rotation. No incumbent love ever has a defined position in the halls of end-of-year accolades,5 and even more so when the act’s very presence rang suspicious in its finely-tuned invasion to my critical wiles. But, as I noted when I first blew my love for 蘇醒 II: Frailty over the pages of Angry Metal Guy, it’s OU’s “idiosyncratic atmosphere” that pulls from a “polyrhythmic hypnosis” and masterful “energetic flow” that continues to chart them deservedly high in the annals of ’20s progressive music. And while this collision of classically-minded, synth-addicted madness slowly expands its universe one OU release at a time, I’m content to sit here and yell their praises at anyone who will listen.
#1. Pyrrhon // Exhaust – You know you’re getting old when an album about modern burnout and the pains of traffic resonates with you all the way from frozen shoulder to radiating lower back to cold-groaning knee. But when Pyrrhon stealth-bombed my aging metalhead mind with a tech-dial riff barrage of noisy and shouting proportions, I had no choice but to surrender. 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. Though Pyrrhon uses simpler blocks, their construction here defies convention at every step. One fine commenter summed up Exhaust in the most succinct manner in that regard: “Death Metal, Hardcore, Noise Rock, Technical Death Metal. It’s just mathcore.” Except they took away the wrong message from that distillation. The verdict, in fact, is fuck you.
Honorable Mentions:
- Inner Strength // Daydreaming in Moonlight – Another way you know you’re getting old is that you love an album that sounds like it should have released in 1995. Alas, here we are.
- Dysrhythmia // Coffin of Conviction – Instrumental progressive music should be as exciting as Dysrhythmia. Comes for the Martyr riffs. Stay for the Metheny floating.
- Beaten to Death // Sunrise Over Rigor Mortis – Beaten to Death is still the best grindcore band on the planet. They probably won’t ever release a better album than Dødsfest!, but that’s OK. Their discography is now about two hours total. Go listen to it if you haven’t.
- Stygian Crown // Funeral for a King – Doom should always have a guitar tone that feels equally powered by swords and beer alongside vocals that feel soft like bar-stained leather stools.
- Kollapse // AR – I didn’t know KEN mode had a Danish doppelgänger with a frightening, large pink face. But they do, and boy does Kollapse know how to yell and riff.
- Sleepytime Gorilla Museum // of the Last Human Being – Had I infinitely more listening time, I may have been able to parse better this deeply cinematic and wacky slab of no wave emboldened prog. Most don’t actually earn the avant-garde tag the way SGT does.
- Defying // Wadera – Hour-long albums based on old Polish werewolf stories and horror movies shouldn’t be this easy to repeat, but I find myself often falling into Wadera’s unbreakable spell.
- Arthouse Fatso // Sycophantic Seizures: A Double Feature – I didn’t have radically-minded industrial deathgrind about the frustrated escapades of a fictional Orson Welles life on my 2024 bingo, but here I am telling you to listen to it anyway.
- Concrete Winds // Concrete Winds – Just this. And shitloads of riffs.
Disappointments o’ the Year:
- Myrath // Karma – I love Shehili so much. My love for power metal isn’t what it used to be, but Myrath’s exuberance while staying rooted in both the trickier waters of prog and the anthemic cries of power metal gave me hope both that I’d continue to latch on to the kind of playful love it can offer. But the arrangements on Karma, despite Myrath’s still life-affirming messages, do absolutely nothing to bolster that same joy for me. Karma sinks my listening brain. And that hurts.
- Pallbearer // Mind Burns Alive – The continued non-success of Pallbearer and their sleepy-toned take on creaky prog rock hurts the Dolph who fell in love with their weepy doom classic (and still controversial to true doomsters) Heartless. And yet the general blogging population seems to praise them for trying to reinvent sadboi roots rock with worse lyrics. And, for my money, Pallbearer is sounding increasingly thin live. If a return to glory is in store for Pallbearer, it will begin with them finally playing a riff again.
- Polterguts // Nobody Likes You – Okay, this EP actually rips because Polterguts rips. Hard. But, Polterguts, if you’re reading this, please put it on Bandcamp so I can link the shit out of it and give you money. I am disappointed that I have no way to contribute currency to your cause. “Ricky Has a Knife2” is worth the price of admission alone.
Songs o’ the Year:
Why give you one when I can give you twenty-seven? Why twenty-seven? That’s my secret. Now, I’ve talked enough, go out there and enjoy some music, friends. And enjoy this photo of my dogs.
Coconut (left), Kiwi (right) in a stylish Adidog sweater.
Ferox
I worked way too much in 2024. I can’t complain; it was meaningful work that I chose to take on, and it got me that much closer to not having to work at all if I don’t want to. Still, that’s what I’ll think of when I think of 2024: lots and lots of work. That had a knock-on effect, especially when it comes to hobbies like lifting, getting out to national parks, and writing here. I did very little of any of that. I kept up with metal as best I could, and embarked on a big end-of-year listening push to have an accurate picture of what came out in 2024. I’m grateful that I got to do a list at all this year, so I took the responsibility seriously… but I’d be lying if I said I was buried in the scene all year.
One of the highlights of my 2024 was meeting a whole slew of staffers in person. I traveled a bunch this year, both for work and for my daughter’s ballet pursuits, and with that came the chance to hang with some of the people who make this place go. My body count of staffers met this year: Steel Druhm, Madam X, Cherd, Twelve, Dr. Wyrm, Thus Spoke, El Cuervo, Doom et al, and Holdeneye. It was a veritable orgy of almost entirely chaste fellowship, and only one (1) bad hang among the lot!6
I’m grateful to Steel Druhm and Angry Metal Guy for indulging my schedule, and for the real leadership they provide at my fake job. I found this unique community because it had the best music writing on the internet, and that remains true today thanks to the talented people who contribute their time and enthusiasm to keeping the machinery humming. I’m lucky to be a small part of it, and hopeful that 2025 will give me more time to spend in the Hall.
#ish. Mother of Graves // The Periapt of Absence – My “-ish” spot typically goes to an album that might have listed if I just had more time with it. That holds true of the sophomore effort from Indianapolis’s Mother of Graves, which landed on my radar by way of Carcharadon‘s excellent TYHMHM piece. This slab of classic sadboi death doom transcends any tribcore concerns through sheer quality of execution. From opener “Gallows” through final track “Like Darkness to a Dying Flame,” The Periapt of Absence guides the listener through the stages of grief with varied compositions that maintain a consistent mood throughout. Classic death doom is alive and well.
#10. Wormed // Omegon – Maddog‘s compelling rave for Omegon is my personal Review o’ the Year; fortunately, the prose was well spent on this efficient and brutal riff delivery system. Wormed has been creating slam-adjacent otherworldly death metal for a good while now, and Omegon is a distillation of everything the band has learned over the past two decades. 2024 is the year I realized I’ve been a brutal death metal guy all along. With songs like “Pareidolia Robotica” and “Virtual Teratogenesis,” Wormed took me by the hand and guided me through this journey of self-discovery… all while the people in the offices around me called in noise complaints.
#9. Ripped to Shreds // Sanshi – The already impressive Ripped to Shreds leveled up with Sanshi, a blast of aggressive but technically adept death metal that never left my rotation after its release. The guitar hero shredding plays like a release valve to the vicious and punky energy that Andrew Lee injects into his compositions. This cycle of tension and release makes for an addictive listen that feels like it ends mere moments after you hit play. The thrash elements of the R2S sounds are more prevalent on Sanshi, meaning the band now scratches the same itch for me that Horrendous did with their last killer slab.
#8. Scumbag // Homicide Cult – Scumbag! SCUUUMMMMBAGGGG. This nasty bit of business, with its deathgrind touches and morbid sense of humor (“Pure Adrenaline Hard-On,” “The Meating”), was tailor-made for the Ferox sensibility. Herein lie twenty-eight minutes of death metal that never slams but still walks the same line that Wormhole managed to last year: brutal but somehow cheerful, and stoopid without being remotely dumb. Dylan Cruz, of this band and Noxis, came out of nowhere to occupy a huge chunk of my limited listening time this year.
#7. Black Curse // Burning in Celestial Poison – With Burning in Celestial Poison, Black Curse stages a forty-five-minute takeover of your central nervous system. Eldritch Elitist captured the elemental power of these five compositions better than I ever could, but this album gave me exactly what I needed in a 2024 that was characterized by an extreme lack of work-life balance. Metal can provide a safe outlet for less-than-savory feelings, and Black Curse expressed a lot of things for me that I couldn’t express myself and stay employed. Lose yourself in these five tracks and emerge scoured but smarter.
#6. Spectral Wound // Songs of Blood and Mire – The hot streak continues; Songs of Blood and Mire, Spectral Wound’s fourth album, is their best effort yet. Carcharadon capably cataloged crisp new cross-currents in the band’s sound, but the song quality remains the same. Tracks like “At Wine-Dark Midnight in the Mouldering Halls” and Song o’ the Year “Aristocratic Suicidal Black Metal” showcase the band’s gift for coupling aggression with sweeping melody. In this way, Spectral Wound recalls Watain without so much distracting ooga-booga. Songs of Blood and Mire finds them continuing to refine their sound and grow in confidence.
#5. Endonomos // Endonomos II – Enlightenment – Endonomos carried the torch for doom in 2024. Enlightenment is a stately procession, its six long tracks blending influences from all across the doom spectrum. This is music that soars as it plods. Steel Druhm noted similarities to both Khemmis and Fvneral Fvkk. Those comps are perfect; not since Carnal Confessions has a doom album so effectively cut through the clutter of genre tropes to evoke genuine emotion.
#4. Pyrrhon // Exhaust – I hate it when the promotional push for an album ties a record too strongly to the narrative of its creation. It’s like the record company is trying to force a reaction that the album itself might or might not evoke. So when Exhaust arrived with heavy-handed descriptions of process and what Pyrrhon went through trying to make the album happen, I bristled and stopped reading. Fortunately, the music on Exhaust speaks for itself. This is a bitter and blistering record that finds the band raging against their rage’s inability to change even a single thing. I’ve always appreciated Pyrrhon, but I’ve never connected with their music as immediately as I did on Exhaust.
#3. Defeated Sanity // Chronicles of Lunacy – Defeated Sanity has had quite the AMG journey. They’ve gone from being brushed aside by a n00b named Potato Jim to being on the receiving end of a double-4.0 fellating from the tenured likes of Dolphin Whisperer and Maddog. Chronicles of Lunacy finds Defeated Sanity extending the Colin Marston-enabled peak that they hit on 2020’s The Sanguinary Impetus. It takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.
#2. Inter Arma // New Heaven – Here’s another band that could be wrestling with The Law of Diminishing Recordings by now, but instead persists with quality release after quality release. Inter Arma never repeats themselves, but each of their albums could only come from them. Hot take: Sky Funeral has remained my favorite Inter Arma album even as they’ve racked up an epic run of excellence. New Heaven makes a run at unseating it. This is a slab that rewards the many repeated listens I gave it in 2024; it sat in my top slot for much of the year until a late-breaking favorite pushed it aside.
#1. Noxis // Violence Inherent in the System – This is my third time publishing a list at AMG; each previous year, I had clear Album o’the Year winners in Immolation’s Acts of God and Afterbirth’s In But Not Of. 2024 marked the first Listurnalia that began with an opening for my top slot. But as I weeded through my favorite music of the year, I realized: Noxis drew me in with the bass flourish at the beginning of album opener “Skullcrushing Defilement,” and they still haven’t let go. The Pittsburgher in me hates to credit anything from Cleveland, but Noxis weeded out that deeply rooted prejudice with their inventive and fresh take on death metal. Every track on Violence Inherent in the System is a wild ride that alternately crushes, challenges, and tickles. The only break from the madcap pace comes on mid-album interlude “Excursion,” but that just prepares you for the utter barking lunacy of “Horns Echo Over Chorazim.” That song incorporates strange arrangements that include various woodwind instruments, and somehow they do it with zero pretension and abundant commitment to brutality. Listurnalia may have begun with a blank space atop my list, but it ended with Noxis firmly entrenched as the winner of 2024.
Honorable Mentions:
- Stenched // Purulence Gushing from the Coffin – This one-man outfit captured that elusive filthy magic and spewed out the annum’s premiere filthy wallow.
- Aborted // Vault of Horrors – These Belgian veterans, long under-appreciated in the Hall, finally found their champion in Grier. They hooked themselves up to the juvenation machine by leaning into the melodeath that has been creeping into their sound, and cranked out their best set in years.
- Vitriol // Suffer and Become – Here’s a mean and heavy slab that seemed to fade from the general consciousness as the year wore on, but remains worthy of note.
Disappointment o’the Year:
Ferox! I just didn’t have time to make a meaningful contribution here this year. It has been a pleasure to watch other members of my n00b class like Dolph and Maddog and Thus become AMG institutions, even as I mostly watch from the sidelines and come out to play when I can.
Song o’the Year:
Imagine being asked to name your favorite song of the year, and responding with a twenty-seven song playlist!7
Show 7 footnotes
- Whose very good outing is another in a long line of successes. Old Eyes, New Heart missing the cut should ring testament to how wonderful 2024 has been. ↩
- In case you don’t know, Ampwall is a music e-commerce hub built by members of Woe as an alternative experience to Bandcamp. Vowing to maintain an artist-first and community-influenced direction, Ampwall holds a lot of promise to the musical underground. And the whole Dawnwalker discography digitally! ↩
- Seems like a 4.0 innit. ilu Twelve. <3 ↩
- Former Mamaleek keys maestro Eric Livingston. RIP. ↩
- Pain of Salvation, feel free to read this and prove me a liar. ↩
- It was Grier, right? – Steel ↩
- Who would do such a thing? Surely, if one were to commit such a heinous act, they’d at least provide a cute dog picture to atone. – Dolph ↩
#2024 #AFrameOfMind #Aborted #AR #ArthouseFatso #BeatenToDeath #BlackCurse #BurningInCelestialPoison #ChroniclesOfLunacy #CoffinOfConviction #ConcreteWinds #Dawnwalker #DaydreamingInMoonlight #DefeatedSanity #Defying #Dissimulator #Dysrhythmia #Endonomos #EndonomosIIEnlightenment #Exhaust #FuneralForAKing #GodsOverBrokenPeople #HomicideCult #Horrendous #IngurgitatingOblivion #InnerStrength #InterArma #JulieChristmas #Kalandra #Khemmis #Kollapse #Lists #Listurnalia #Listurnalia2024 #Lizzard #LowerFormResistance #Mamaleek #Mesh #MotherOfGraves #Myrath #NewHeaven #NobodyLikesYou #Noxis #OfTheLastHumanBeing #Omegon #OntologyOfNought #Orgone #OU #Pallbearer #Pleroma #Polterguts #PurulenceGushingFromTheCoffin #Pyrrhon #RidiculousAndFullOfBlood #RippedToShreds #Sanshi #SaveThisUtility #Scumbag #SleepytimeGorillaMuseum #SongsOfBloodAndMire #SpectralWound #Stenched #StygianCrown #SufferAndBecome #SunriseOverRigorMortis #SycophanticSeizuresADoubleFeature #ThePeriaptOfAbsence #TheUnknowing #VaultOfHorrors #VidaBlue #ViolenceInherentInTheSystem #Vitriol #Wadera #Watain #Wormed #蘇醒IIFrailty
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Dolphin Whisperer’s and Ferox’s Top Ten(ish) of 2024
By Dolphin Whisperer
Dolphin Whisperer
Every year, its end becomes more shocking and swift. Once, some guy told me, simply, “it only gets worse.” Not life though—attributing a better or worse or any sort of constant determination of our passage leaves a lot of room for falling into a void of enjoyment—life is, after all, a constant until its not. But time, or our sense of being in its too ever-present stream, flows at a rate that changes in ways to which we never quite catch up.
As such, there’s a comfort in knowing how much time an album, particularly one you enjoy will take. For the ten-to-twenty minutes it takes for grindcore proper to slap me silly or the forty-to-eighty minutes that it takes for my deepest progressive loves to wring out a moaning confession, I know where my attention lies, even if it’s only half there and half on a task at hand. Time and tasks, day to night, play to stop, music makes my world a better place. And entering my now third year at Angry Metal Guy, an institution that has been a fixture of my musical journey for even longer, I continue to hold a profound gratitude and excitement for another year of discovery.
2024 has had its challenges professionally and personally. 2025 will be no doubt the same, even if some trials we can see forming in the distance. But you want to know about the music, right? On that end, 2024 has yielded a heaping trove of great albums. Heck, even a Rodeö pick scratched at the rungs of an honorable mention. The below list barely scratches the surface of the breadth that the year has offered. Further down you will see Ferox‘s list, which captures a different collection equally rooted in joy. He might be more right than I am. But that matters little. Celebrate with us, your favorite collective of writers on the world wide web! Come hang with some of us on Discord too if you’d like. Most of the people there are certified flea-free. And don’t be too upset if 2025 doesn’t hit you the same at first. It’s just another year, and it’ll be over before you know it.
#ish. Kalandra // A Frame of Mind – At my core, I consider myself a Norwegian sad girl. Usually, this manifests in some sort of weepy, melancholy prog, the likes of Age of Silence or Madder Mortem.1 But Kalandra’s enfolkened an impassioned take on an artsy, progressive collection of empowering tunes hit me square in my aching heart from the moment I heard it. Most importantly, though, Kalandra knows that suffering is just a step on the path of growth and happiness, which is a message that inspires me every day.
#10. Dawnwalker // The Unknowing – The power to dream and envision a world driven by mysticism has an allure that’s hard to ignore. And while we know that more determinable laws guide the happenings of our daily lives, a glimpse of the unknown will always find its way into sequence. Dawnwalker putting this esoteric but ever-present concept into an atmospheric, genre-warped, playfully progressive package hardly surprises me, though. The British troupe has had my number since their unsung classic In Rooms,2 so I’m doing my last in continuing to love them despite Twelve‘s best efforts to underrate them.3
#9. Lizzard // Mesh – Lizzard’s 2021 opus Eroded is my favorite album of this decade so far. The French trio’s ability to warp deep, rhythm-tricky layers into driving and emotional rock songs his me at the core of my musical desire for cathartic hope expressed in an unassuming and lush framework. Mesh doesn’t present any differently in that regard. But its wrinkles on Lizzard’s timeless yet ’90s alternative-rooted oeuvre fuel Mesh’s inherent melancholy with a hope that’s jubilant, like a cracked smile on an overcast day.
#8. Dissimulator // Lower Form Resistance – [INCOMING TRANSMISSION.] “My name is Clyde, and I arrive from beyond with wonderful news. My good friend Ferox has survived this timeline after all, having learned to navigate the Lower Form Resistance assault of fast-twitch rhythms and slow-twitch death metal punctuation. His head, fully intact, sways wildly in its hairless glory—big dives for big skanking breaks, snappy rolls for whiplash accelerations. He may not be as rhythmically gifted in pit-galloping cadence as the virtuoso drum and bass duo that provides life to Dissimulator’s effortless strides, but Ferox is my everything nonetheless.” [END TRANSMISSION.]
#7. Mamaleek // Vida Blue – I couldn’t begin to tell you what has never landed about Mamaleek’s works before with a weird precision. As an act dedicated to sounding only like Mamaleek, their singular expression of tortured black(ish) metal warped by jazzy and slogging attitudes has manifested quite the take-it-or-leave-it musical experience. And while you, dear reader, may assume this is firmly up my alley, it has not been. At least not until Vida Blue served a bottom of the ninth heart-shaker as an ode to a departed friend.4 With a soulful swing, a tortured connection, and an exit velocity powered by equal parts loss and love, Mamaleek has clinched a campaign for my attention.
#6. Defeated Sanity // Chronicles of Lunacy – As 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 of Lunacy does not mark a turning point or novel twist in the Defeated Sanity timeline—its finely tuned lashings hit as inescapable all the same. When neither a beast’s reach, nor mass, nor attack speed goes contested, an exhibition of its might will flash with morbid glee. As such, Defeated Sanity need not surprise to strike mortal wound. Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect. And I want more.
#5. Orgone // Pleroma – Meticulous and constructed as a master-work, Pleroma’s opening notes signal a trance. Acoustic twang and chamber instrument-fueled swoon build an atmosphere of wonder against a fervent and languished march of post-genre swells and death-fueled crescendos. Cycling through its many shades feels less like a fever dream and more of a trial-filled journey. Wielding a demure grandeur, Pleroma’s effortless realization of Orgone’s peerless vision never feels like the epic journey its runtime suggests. Were my time truly infinite, Pleroma would be even harder to rip away from the queue.
#4. Julie Christmas // Ridiculous and Full of Blood – A lady screaming bloody murder shouldn’t go down this smooth, but that’s always been the promise and success of Julie Christmas. Few vocalists leave me slack-jawed and ear-shaken in the wake of piercing cries, raw-throated shrieks, and impassioned lyrical slather. Yet, Ridiculous and Full of Blood cuts track after track out of sonic patterns that do exactly that, all while empowering a full band expression of alternative-laced grooves, post-informed climbs, and punk-tied sneer. The Christmas season sums a flurry of inspired performances under the banner of a madwoman. And I stand at the ready to fray my vocal cords in attempt to crack with the same battle-tested precision that Ms. Christmas has earned from a life hard-worn.
#3. Ingurgitating Oblivion // Ontology of Nought – Though born of minds unrelated, Ontology of Nought exists as an esoteric companion to the Pleroma embodiment. Orgone is the twin that went to conservatory, graduated with honors, and holds an honorable performing chair, all while remembering its young love for death metal. Ingurgitating Oblivion, on the other hand, dropped out, spiraled into entheogenic dissociation, earns a living gigging at jazz clubs—also maintains its youthful lust for the clamoring riff and hammering blast. Maximalism oozes a frothing wonder in the hiss of distorted chatter and rhythmic mastery. An imperfect and breathing construction rises and falls in ethereal inhales and vision-spinning mantras. Ontology of Nought deserves each of its over-budget minutes. Invest time in the freedom that it promises… “and cease to be.”
#2. OU // 蘇醒 II: Frailty – The casualness of OU’s inception belies its profound leap into my necessary rotation. No incumbent love ever has a defined position in the halls of end-of-year accolades,5 and even more so when the act’s very presence rang suspicious in its finely-tuned invasion to my critical wiles. But, as I noted when I first blew my love for 蘇醒 II: Frailty over the pages of Angry Metal Guy, it’s OU’s “idiosyncratic atmosphere” that pulls from a “polyrhythmic hypnosis” and masterful “energetic flow” that continues to chart them deservedly high in the annals of ’20s progressive music. And while this collision of classically-minded, synth-addicted madness slowly expands its universe one OU release at a time, I’m content to sit here and yell their praises at anyone who will listen.
#1. Pyrrhon // Exhaust – You know you’re getting old when an album about modern burnout and the pains of traffic resonates with you all the way from frozen shoulder to radiating lower back to cold-groaning knee. But when Pyrrhon stealth-bombed my aging metalhead mind with a tech-dial riff barrage of noisy and shouting proportions, I had no choice but to surrender. 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. Though Pyrrhon uses simpler blocks, their construction here defies convention at every step. One fine commenter summed up Exhaust in the most succinct manner in that regard: “Death Metal, Hardcore, Noise Rock, Technical Death Metal. It’s just mathcore.” Except they took away the wrong message from that distillation. The verdict, in fact, is fuck you.
Honorable Mentions:
- Inner Strength // Daydreaming in Moonlight – Another way you know you’re getting old is that you love an album that sounds like it should have released in 1995. Alas, here we are.
- Dysrhythmia // Coffin of Conviction – Instrumental progressive music should be as exciting as Dysrhythmia. Comes for the Martyr riffs. Stay for the Metheny floating.
- Beaten to Death // Sunrise Over Rigor Mortis – Beaten to Death is still the best grindcore band on the planet. They probably won’t ever release a better album than Dødsfest!, but that’s OK. Their discography is now about two hours total. Go listen to it if you haven’t.
- Stygian Crown // Funeral for a King – Doom should always have a guitar tone that feels equally powered by swords and beer alongside vocals that feel soft like bar-stained leather stools.
- Kollapse // AR – I didn’t know KEN mode had a Danish doppelgänger with a frightening, large pink face. But they do, and boy does Kollapse know how to yell and riff.
- Sleepytime Gorilla Museum // of the Last Human Being – Had I infinitely more listening time, I may have been able to parse better this deeply cinematic and wacky slab of no wave emboldened prog. Most don’t actually earn the avant-garde tag the way SGT does.
- Defying // Wadera – Hour-long albums based on old Polish werewolf stories and horror movies shouldn’t be this easy to repeat, but I find myself often falling into Wadera’s unbreakable spell.
- Arthouse Fatso // Sycophantic Seizures: A Double Feature – I didn’t have radically-minded industrial deathgrind about the frustrated escapades of a fictional Orson Welles life on my 2024 bingo, but here I am telling you to listen to it anyway.
- Concrete Winds // Concrete Winds – Just this. And shitloads of riffs.
Disappointments o’ the Year:
- Myrath // Karma – I love Shehili so much. My love for power metal isn’t what it used to be, but Myrath’s exuberance while staying rooted in both the trickier waters of prog and the anthemic cries of power metal gave me hope both that I’d continue to latch on to the kind of playful love it can offer. But the arrangements on Karma, despite Myrath’s still life-affirming messages, do absolutely nothing to bolster that same joy for me. Karma sinks my listening brain. And that hurts.
- Pallbearer // Mind Burns Alive – The continued non-success of Pallbearer and their sleepy-toned take on creaky prog rock hurts the Dolph who fell in love with their weepy doom classic (and still controversial to true doomsters) Heartless. And yet the general blogging population seems to praise them for trying to reinvent sadboi roots rock with worse lyrics. And, for my money, Pallbearer is sounding increasingly thin live. If a return to glory is in store for Pallbearer, it will begin with them finally playing a riff again.
- Polterguts // Nobody Likes You – Okay, this EP actually rips because Polterguts rips. Hard. But, Polterguts, if you’re reading this, please put it on Bandcamp so I can link the shit out of it and give you money. I am disappointed that I have no way to contribute currency to your cause. “Ricky Has a Knife2” is worth the price of admission alone.
Songs o’ the Year:
Why give you one when I can give you twenty-seven? Why twenty-seven? That’s my secret. Now, I’ve talked enough, go out there and enjoy some music, friends. And enjoy this photo of my dogs.
Coconut (left), Kiwi (right) in a stylish Adidog sweater.
Ferox
I worked way too much in 2024. I can’t complain; it was meaningful work that I chose to take on, and it got me that much closer to not having to work at all if I don’t want to. Still, that’s what I’ll think of when I think of 2024: lots and lots of work. That had a knock-on effect, especially when it comes to hobbies like lifting, getting out to national parks, and writing here. I did very little of any of that. I kept up with metal as best I could, and embarked on a big end-of-year listening push to have an accurate picture of what came out in 2024. I’m grateful that I got to do a list at all this year, so I took the responsibility seriously… but I’d be lying if I said I was buried in the scene all year.
One of the highlights of my 2024 was meeting a whole slew of staffers in person. I traveled a bunch this year, both for work and for my daughter’s ballet pursuits, and with that came the chance to hang with some of the people who make this place go. My body count of staffers met this year: Steel Druhm, Madam X, Cherd, Twelve, Dr. Wyrm, Thus Spoke, El Cuervo, Doom et al, and Holdeneye. It was a veritable orgy of almost entirely chaste fellowship, and only one (1) bad hang among the lot!6
I’m grateful to Steel Druhm and Angry Metal Guy for indulging my schedule, and for the real leadership they provide at my fake job. I found this unique community because it had the best music writing on the internet, and that remains true today thanks to the talented people who contribute their time and enthusiasm to keeping the machinery humming. I’m lucky to be a small part of it, and hopeful that 2025 will give me more time to spend in the Hall.
#ish. Mother of Graves // The Periapt of Absence – My “-ish” spot typically goes to an album that might have listed if I just had more time with it. That holds true of the sophomore effort from Indianapolis’s Mother of Graves, which landed on my radar by way of Carcharadon‘s excellent TYHMHM piece. This slab of classic sadboi death doom transcends any tribcore concerns through sheer quality of execution. From opener “Gallows” through final track “Like Darkness to a Dying Flame,” The Periapt of Absence guides the listener through the stages of grief with varied compositions that maintain a consistent mood throughout. Classic death doom is alive and well.
#10. Wormed // Omegon – Maddog‘s compelling rave for Omegon is my personal Review o’ the Year; fortunately, the prose was well spent on this efficient and brutal riff delivery system. Wormed has been creating slam-adjacent otherworldly death metal for a good while now, and Omegon is a distillation of everything the band has learned over the past two decades. 2024 is the year I realized I’ve been a brutal death metal guy all along. With songs like “Pareidolia Robotica” and “Virtual Teratogenesis,” Wormed took me by the hand and guided me through this journey of self-discovery… all while the people in the offices around me called in noise complaints.
#9. Ripped to Shreds // Sanshi – The already impressive Ripped to Shreds leveled up with Sanshi, a blast of aggressive but technically adept death metal that never left my rotation after its release. The guitar hero shredding plays like a release valve to the vicious and punky energy that Andrew Lee injects into his compositions. This cycle of tension and release makes for an addictive listen that feels like it ends mere moments after you hit play. The thrash elements of the R2S sounds are more prevalent on Sanshi, meaning the band now scratches the same itch for me that Horrendous did with their last killer slab.
#8. Scumbag // Homicide Cult – Scumbag! SCUUUMMMMBAGGGG. This nasty bit of business, with its deathgrind touches and morbid sense of humor (“Pure Adrenaline Hard-On,” “The Meating”), was tailor-made for the Ferox sensibility. Herein lie twenty-eight minutes of death metal that never slams but still walks the same line that Wormhole managed to last year: brutal but somehow cheerful, and stoopid without being remotely dumb. Dylan Cruz, of this band and Noxis, came out of nowhere to occupy a huge chunk of my limited listening time this year.
#7. Black Curse // Burning in Celestial Poison – With Burning in Celestial Poison, Black Curse stages a forty-five-minute takeover of your central nervous system. Eldritch Elitist captured the elemental power of these five compositions better than I ever could, but this album gave me exactly what I needed in a 2024 that was characterized by an extreme lack of work-life balance. Metal can provide a safe outlet for less-than-savory feelings, and Black Curse expressed a lot of things for me that I couldn’t express myself and stay employed. Lose yourself in these five tracks and emerge scoured but smarter.
#6. Spectral Wound // Songs of Blood and Mire – The hot streak continues; Songs of Blood and Mire, Spectral Wound’s fourth album, is their best effort yet. Carcharadon capably cataloged crisp new cross-currents in the band’s sound, but the song quality remains the same. Tracks like “At Wine-Dark Midnight in the Mouldering Halls” and Song o’ the Year “Aristocratic Suicidal Black Metal” showcase the band’s gift for coupling aggression with sweeping melody. In this way, Spectral Wound recalls Watain without so much distracting ooga-booga. Songs of Blood and Mire finds them continuing to refine their sound and grow in confidence.
#5. Endonomos // Endonomos II – Enlightenment – Endonomos carried the torch for doom in 2024. Enlightenment is a stately procession, its six long tracks blending influences from all across the doom spectrum. This is music that soars as it plods. Steel Druhm noted similarities to both Khemmis and Fvneral Fvkk. Those comps are perfect; not since Carnal Confessions has a doom album so effectively cut through the clutter of genre tropes to evoke genuine emotion.
#4. Pyrrhon // Exhaust – I hate it when the promotional push for an album ties a record too strongly to the narrative of its creation. It’s like the record company is trying to force a reaction that the album itself might or might not evoke. So when Exhaust arrived with heavy-handed descriptions of process and what Pyrrhon went through trying to make the album happen, I bristled and stopped reading. Fortunately, the music on Exhaust speaks for itself. This is a bitter and blistering record that finds the band raging against their rage’s inability to change even a single thing. I’ve always appreciated Pyrrhon, but I’ve never connected with their music as immediately as I did on Exhaust.
#3. Defeated Sanity // Chronicles of Lunacy – Defeated Sanity has had quite the AMG journey. They’ve gone from being brushed aside by a n00b named Potato Jim to being on the receiving end of a double-4.0 fellating from the tenured likes of Dolphin Whisperer and Maddog. Chronicles of Lunacy finds Defeated Sanity extending the Colin Marston-enabled peak that they hit on 2020’s The Sanguinary Impetus. It takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.
#2. Inter Arma // New Heaven – Here’s another band that could be wrestling with The Law of Diminishing Recordings by now, but instead persists with quality release after quality release. Inter Arma never repeats themselves, but each of their albums could only come from them. Hot take: Sky Funeral has remained my favorite Inter Arma album even as they’ve racked up an epic run of excellence. New Heaven makes a run at unseating it. This is a slab that rewards the many repeated listens I gave it in 2024; it sat in my top slot for much of the year until a late-breaking favorite pushed it aside.
#1. Noxis // Violence Inherent in the System – This is my third time publishing a list at AMG; each previous year, I had clear Album o’the Year winners in Immolation’s Acts of God and Afterbirth’s In But Not Of. 2024 marked the first Listurnalia that began with an opening for my top slot. But as I weeded through my favorite music of the year, I realized: Noxis drew me in with the bass flourish at the beginning of album opener “Skullcrushing Defilement,” and they still haven’t let go. The Pittsburgher in me hates to credit anything from Cleveland, but Noxis weeded out that deeply rooted prejudice with their inventive and fresh take on death metal. Every track on Violence Inherent in the System is a wild ride that alternately crushes, challenges, and tickles. The only break from the madcap pace comes on mid-album interlude “Excursion,” but that just prepares you for the utter barking lunacy of “Horns Echo Over Chorazim.” That song incorporates strange arrangements that include various woodwind instruments, and somehow they do it with zero pretension and abundant commitment to brutality. Listurnalia may have begun with a blank space atop my list, but it ended with Noxis firmly entrenched as the winner of 2024.
Honorable Mentions:
- Stenched // Purulence Gushing from the Coffin – This one-man outfit captured that elusive filthy magic and spewed out the annum’s premiere filthy wallow.
- Aborted // Vault of Horrors – These Belgian veterans, long under-appreciated in the Hall, finally found their champion in Grier. They hooked themselves up to the juvenation machine by leaning into the melodeath that has been creeping into their sound, and cranked out their best set in years.
- Vitriol // Suffer and Become – Here’s a mean and heavy slab that seemed to fade from the general consciousness as the year wore on, but remains worthy of note.
Disappointment o’the Year:
Ferox! I just didn’t have time to make a meaningful contribution here this year. It has been a pleasure to watch other members of my n00b class like Dolph and Maddog and Thus become AMG institutions, even as I mostly watch from the sidelines and come out to play when I can.
Song o’the Year:
Imagine being asked to name your favorite song of the year, and responding with a twenty-seven song playlist!7
#2024 #AFrameOfMind #Aborted #AR #ArthouseFatso #BeatenToDeath #BlackCurse #BurningInCelestialPoison #ChroniclesOfLunacy #CoffinOfConviction #ConcreteWinds #Dawnwalker #DaydreamingInMoonlight #DefeatedSanity #Defying #Dissimulator #Dysrhythmia #Endonomos #EndonomosIIEnlightenment #Exhaust #FuneralForAKing #GodsOverBrokenPeople #HomicideCult #Horrendous #IngurgitatingOblivion #InnerStrength #InterArma #JulieChristmas #Kalandra #Khemmis #Kollapse #Lists #Listurnalia #Listurnalia2024 #Lizzard #LowerFormResistance #Mamaleek #Mesh #MotherOfGraves #Myrath #NewHeaven #NobodyLikesYou #Noxis #OfTheLastHumanBeing #Omegon #OntologyOfNought #Orgone #OU #Pallbearer #Pleroma #Polterguts #PurulenceGushingFromTheCoffin #Pyrrhon #RidiculousAndFullOfBlood #RippedToShreds #Sanshi #SaveThisUtility #Scumbag #SleepytimeGorillaMuseum #SongsOfBloodAndMire #SpectralWound #Stenched #StygianCrown #SufferAndBecome #SunriseOverRigorMortis #SycophanticSeizuresADoubleFeature #ThePeriaptOfAbsence #TheUnknowing #VaultOfHorrors #VidaBlue #ViolenceInherentInTheSystem #Vitriol #Wadera #Watain #Wormed #蘇醒IIFrailty
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Dolphin Whisperer’s and Ferox’s Top Ten(ish) of 2024
By Dolphin Whisperer
Dolphin Whisperer
Every year, its end becomes more shocking and swift. Once, some guy told me, simply, “it only gets worse.” Not life though—attributing a better or worse or any sort of constant determination of our passage leaves a lot of room for falling into a void of enjoyment—life is, after all, a constant until its not. But time, or our sense of being in its too ever-present stream, flows at a rate that changes in ways to which we never quite catch up.
As such, there’s a comfort in knowing how much time an album, particularly one you enjoy will take. For the ten-to-twenty minutes it takes for grindcore proper to slap me silly or the forty-to-eighty minutes that it takes for my deepest progressive loves to wring out a moaning confession, I know where my attention lies, even if it’s only half there and half on a task at hand. Time and tasks, day to night, play to stop, music makes my world a better place. And entering my now third year at Angry Metal Guy, an institution that has been a fixture of my musical journey for even longer, I continue to hold a profound gratitude and excitement for another year of discovery.
2024 has had its challenges professionally and personally. 2025 will be no doubt the same, even if some trials we can see forming in the distance. But you want to know about the music, right? On that end, 2024 has yielded a heaping trove of great albums. Heck, even a Rodeö pick scratched at the rungs of an honorable mention. The below list barely scratches the surface of the breadth that the year has offered. Further down you will see Ferox‘s list, which captures a different collection equally rooted in joy. He might be more right than I am. But that matters little. Celebrate with us, your favorite collective of writers on the world wide web! Come hang with some of us on Discord too if you’d like. Most of the people there are certified flea-free. And don’t be too upset if 2025 doesn’t hit you the same at first. It’s just another year, and it’ll be over before you know it.
#ish. Kalandra // A Frame of Mind – At my core, I consider myself a Norwegian sad girl. Usually, this manifests in some sort of weepy, melancholy prog, the likes of Age of Silence or Madder Mortem.1 But Kalandra’s enfolkened an impassioned take on an artsy, progressive collection of empowering tunes hit me square in my aching heart from the moment I heard it. Most importantly, though, Kalandra knows that suffering is just a step on the path of growth and happiness, which is a message that inspires me every day.
#10. Dawnwalker // The Unknowing – The power to dream and envision a world driven by mysticism has an allure that’s hard to ignore. And while we know that more determinable laws guide the happenings of our daily lives, a glimpse of the unknown will always find its way into sequence. Dawnwalker putting this esoteric but ever-present concept into an atmospheric, genre-warped, playfully progressive package hardly surprises me, though. The British troupe has had my number since their unsung classic In Rooms,2 so I’m doing my last in continuing to love them despite Twelve‘s best efforts to underrate them.3
#9. Lizzard // Mesh – Lizzard’s 2021 opus Eroded is my favorite album of this decade so far. The French trio’s ability to warp deep, rhythm-tricky layers into driving and emotional rock songs his me at the core of my musical desire for cathartic hope expressed in an unassuming and lush framework. Mesh doesn’t present any differently in that regard. But its wrinkles on Lizzard’s timeless yet ’90s alternative-rooted oeuvre fuel Mesh’s inherent melancholy with a hope that’s jubilant, like a cracked smile on an overcast day.
#8. Dissimulator // Lower Form Resistance – [INCOMING TRANSMISSION.] “My name is Clyde, and I arrive from beyond with wonderful news. My good friend Ferox has survived this timeline after all, having learned to navigate the Lower Form Resistance assault of fast-twitch rhythms and slow-twitch death metal punctuation. His head, fully intact, sways wildly in its hairless glory—big dives for big skanking breaks, snappy rolls for whiplash accelerations. He may not be as rhythmically gifted in pit-galloping cadence as the virtuoso drum and bass duo that provides life to Dissimulator’s effortless strides, but Ferox is my everything nonetheless.” [END TRANSMISSION.]
#7. Mamaleek // Vida Blue – I couldn’t begin to tell you what has never landed about Mamaleek’s works before with a weird precision. As an act dedicated to sounding only like Mamaleek, their singular expression of tortured black(ish) metal warped by jazzy and slogging attitudes has manifested quite the take-it-or-leave-it musical experience. And while you, dear reader, may assume this is firmly up my alley, it has not been. At least not until Vida Blue served a bottom of the ninth heart-shaker as an ode to a departed friend.4 With a soulful swing, a tortured connection, and an exit velocity powered by equal parts loss and love, Mamaleek has clinched a campaign for my attention.
#6. Defeated Sanity // Chronicles of Lunacy – As 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 of Lunacy does not mark a turning point or novel twist in the Defeated Sanity timeline—its finely tuned lashings hit as inescapable all the same. When neither a beast’s reach, nor mass, nor attack speed goes contested, an exhibition of its might will flash with morbid glee. As such, Defeated Sanity need not surprise to strike mortal wound. Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect. And I want more.
#5. Orgone // Pleroma – Meticulous and constructed as a master-work, Pleroma’s opening notes signal a trance. Acoustic twang and chamber instrument-fueled swoon build an atmosphere of wonder against a fervent and languished march of post-genre swells and death-fueled crescendos. Cycling through its many shades feels less like a fever dream and more of a trial-filled journey. Wielding a demure grandeur, Pleroma’s effortless realization of Orgone’s peerless vision never feels like the epic journey its runtime suggests. Were my time truly infinite, Pleroma would be even harder to rip away from the queue.
#4. Julie Christmas // Ridiculous and Full of Blood – A lady screaming bloody murder shouldn’t go down this smooth, but that’s always been the promise and success of Julie Christmas. Few vocalists leave me slack-jawed and ear-shaken in the wake of piercing cries, raw-throated shrieks, and impassioned lyrical slather. Yet, Ridiculous and Full of Blood cuts track after track out of sonic patterns that do exactly that, all while empowering a full band expression of alternative-laced grooves, post-informed climbs, and punk-tied sneer. The Christmas season sums a flurry of inspired performances under the banner of a madwoman. And I stand at the ready to fray my vocal cords in attempt to crack with the same battle-tested precision that Ms. Christmas has earned from a life hard-worn.
#3. Ingurgitating Oblivion // Ontology of Nought – Though born of minds unrelated, Ontology of Nought exists as an esoteric companion to the Pleroma embodiment. Orgone is the twin that went to conservatory, graduated with honors, and holds an honorable performing chair, all while remembering its young love for death metal. Ingurgitating Oblivion, on the other hand, dropped out, spiraled into entheogenic dissociation, earns a living gigging at jazz clubs—also maintains its youthful lust for the clamoring riff and hammering blast. Maximalism oozes a frothing wonder in the hiss of distorted chatter and rhythmic mastery. An imperfect and breathing construction rises and falls in ethereal inhales and vision-spinning mantras. Ontology of Nought deserves each of its over-budget minutes. Invest time in the freedom that it promises… “and cease to be.”
#2. OU // 蘇醒 II: Frailty – The casualness of OU’s inception belies its profound leap into my necessary rotation. No incumbent love ever has a defined position in the halls of end-of-year accolades,5 and even more so when the act’s very presence rang suspicious in its finely-tuned invasion to my critical wiles. But, as I noted when I first blew my love for 蘇醒 II: Frailty over the pages of Angry Metal Guy, it’s OU’s “idiosyncratic atmosphere” that pulls from a “polyrhythmic hypnosis” and masterful “energetic flow” that continues to chart them deservedly high in the annals of ’20s progressive music. And while this collision of classically-minded, synth-addicted madness slowly expands its universe one OU release at a time, I’m content to sit here and yell their praises at anyone who will listen.
#1. Pyrrhon // Exhaust – You know you’re getting old when an album about modern burnout and the pains of traffic resonates with you all the way from frozen shoulder to radiating lower back to cold-groaning knee. But when Pyrrhon stealth-bombed my aging metalhead mind with a tech-dial riff barrage of noisy and shouting proportions, I had no choice but to surrender. 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. Though Pyrrhon uses simpler blocks, their construction here defies convention at every step. One fine commenter summed up Exhaust in the most succinct manner in that regard: “Death Metal, Hardcore, Noise Rock, Technical Death Metal. It’s just mathcore.” Except they took away the wrong message from that distillation. The verdict, in fact, is fuck you.
Honorable Mentions:
- Inner Strength // Daydreaming in Moonlight – Another way you know you’re getting old is that you love an album that sounds like it should have released in 1995. Alas, here we are.
- Dysrhythmia // Coffin of Conviction – Instrumental progressive music should be as exciting as Dysrhythmia. Comes for the Martyr riffs. Stay for the Metheny floating.
- Beaten to Death // Sunrise Over Rigor Mortis – Beaten to Death is still the best grindcore band on the planet. They probably won’t ever release a better album than Dødsfest!, but that’s OK. Their discography is now about two hours total. Go listen to it if you haven’t.
- Stygian Crown // Funeral for a King – Doom should always have a guitar tone that feels equally powered by swords and beer alongside vocals that feel soft like bar-stained leather stools.
- Kollapse // AR – I didn’t know KEN mode had a Danish doppelgänger with a frightening, large pink face. But they do, and boy does Kollapse know how to yell and riff.
- Sleepytime Gorilla Museum // of the Last Human Being – Had I infinitely more listening time, I may have been able to parse better this deeply cinematic and wacky slab of no wave emboldened prog. Most don’t actually earn the avant-garde tag the way SGT does.
- Defying // Wadera – Hour-long albums based on old Polish werewolf stories and horror movies shouldn’t be this easy to repeat, but I find myself often falling into Wadera’s unbreakable spell.
- Arthouse Fatso // Sycophantic Seizures: A Double Feature – I didn’t have radically-minded industrial deathgrind about the frustrated escapades of a fictional Orson Welles life on my 2024 bingo, but here I am telling you to listen to it anyway.
- Concrete Winds // Concrete Winds – Just this. And shitloads of riffs.
Disappointments o’ the Year:
- Myrath // Karma – I love Shehili so much. My love for power metal isn’t what it used to be, but Myrath’s exuberance while staying rooted in both the trickier waters of prog and the anthemic cries of power metal gave me hope both that I’d continue to latch on to the kind of playful love it can offer. But the arrangements on Karma, despite Myrath’s still life-affirming messages, do absolutely nothing to bolster that same joy for me. Karma sinks my listening brain. And that hurts.
- Pallbearer // Mind Burns Alive – The continued non-success of Pallbearer and their sleepy-toned take on creaky prog rock hurts the Dolph who fell in love with their weepy doom classic (and still controversial to true doomsters) Heartless. And yet the general blogging population seems to praise them for trying to reinvent sadboi roots rock with worse lyrics. And, for my money, Pallbearer is sounding increasingly thin live. If a return to glory is in store for Pallbearer, it will begin with them finally playing a riff again.
- Polterguts // Nobody Likes You – Okay, this EP actually rips because Polterguts rips. Hard. But, Polterguts, if you’re reading this, please put it on Bandcamp so I can link the shit out of it and give you money. I am disappointed that I have no way to contribute currency to your cause. “Ricky Has a Knife2” is worth the price of admission alone.
Songs o’ the Year:
Why give you one when I can give you twenty-seven? Why twenty-seven? That’s my secret. Now, I’ve talked enough, go out there and enjoy some music, friends. And enjoy this photo of my dogs.
Coconut (left), Kiwi (right) in a stylish Adidog sweater.
Ferox
I worked way too much in 2024. I can’t complain; it was meaningful work that I chose to take on, and it got me that much closer to not having to work at all if I don’t want to. Still, that’s what I’ll think of when I think of 2024: lots and lots of work. That had a knock-on effect, especially when it comes to hobbies like lifting, getting out to national parks, and writing here. I did very little of any of that. I kept up with metal as best I could, and embarked on a big end-of-year listening push to have an accurate picture of what came out in 2024. I’m grateful that I got to do a list at all this year, so I took the responsibility seriously… but I’d be lying if I said I was buried in the scene all year.
One of the highlights of my 2024 was meeting a whole slew of staffers in person. I traveled a bunch this year, both for work and for my daughter’s ballet pursuits, and with that came the chance to hang with some of the people who make this place go. My body count of staffers met this year: Steel Druhm, Madam X, Cherd, Twelve, Dr. Wyrm, Thus Spoke, El Cuervo, Doom et al, and Holdeneye. It was a veritable orgy of almost entirely chaste fellowship, and only one (1) bad hang among the lot!6
I’m grateful to Steel Druhm and Angry Metal Guy for indulging my schedule, and for the real leadership they provide at my fake job. I found this unique community because it had the best music writing on the internet, and that remains true today thanks to the talented people who contribute their time and enthusiasm to keeping the machinery humming. I’m lucky to be a small part of it, and hopeful that 2025 will give me more time to spend in the Hall.
#ish. Mother of Graves // The Periapt of Absence – My “-ish” spot typically goes to an album that might have listed if I just had more time with it. That holds true of the sophomore effort from Indianapolis’s Mother of Graves, which landed on my radar by way of Carcharadon‘s excellent TYHMHM piece. This slab of classic sadboi death doom transcends any tribcore concerns through sheer quality of execution. From opener “Gallows” through final track “Like Darkness to a Dying Flame,” The Periapt of Absence guides the listener through the stages of grief with varied compositions that maintain a consistent mood throughout. Classic death doom is alive and well.
#10. Wormed // Omegon – Maddog‘s compelling rave for Omegon is my personal Review o’ the Year; fortunately, the prose was well spent on this efficient and brutal riff delivery system. Wormed has been creating slam-adjacent otherworldly death metal for a good while now, and Omegon is a distillation of everything the band has learned over the past two decades. 2024 is the year I realized I’ve been a brutal death metal guy all along. With songs like “Pareidolia Robotica” and “Virtual Teratogenesis,” Wormed took me by the hand and guided me through this journey of self-discovery… all while the people in the offices around me called in noise complaints.
#9. Ripped to Shreds // Sanshi – The already impressive Ripped to Shreds leveled up with Sanshi, a blast of aggressive but technically adept death metal that never left my rotation after its release. The guitar hero shredding plays like a release valve to the vicious and punky energy that Andrew Lee injects into his compositions. This cycle of tension and release makes for an addictive listen that feels like it ends mere moments after you hit play. The thrash elements of the R2S sounds are more prevalent on Sanshi, meaning the band now scratches the same itch for me that Horrendous did with their last killer slab.
#8. Scumbag // Homicide Cult – Scumbag! SCUUUMMMMBAGGGG. This nasty bit of business, with its deathgrind touches and morbid sense of humor (“Pure Adrenaline Hard-On,” “The Meating”), was tailor-made for the Ferox sensibility. Herein lie twenty-eight minutes of death metal that never slams but still walks the same line that Wormhole managed to last year: brutal but somehow cheerful, and stoopid without being remotely dumb. Dylan Cruz, of this band and Noxis, came out of nowhere to occupy a huge chunk of my limited listening time this year.
#7. Black Curse // Burning in Celestial Poison – With Burning in Celestial Poison, Black Curse stages a forty-five-minute takeover of your central nervous system. Eldritch Elitist captured the elemental power of these five compositions better than I ever could, but this album gave me exactly what I needed in a 2024 that was characterized by an extreme lack of work-life balance. Metal can provide a safe outlet for less-than-savory feelings, and Black Curse expressed a lot of things for me that I couldn’t express myself and stay employed. Lose yourself in these five tracks and emerge scoured but smarter.
#6. Spectral Wound // Songs of Blood and Mire – The hot streak continues; Songs of Blood and Mire, Spectral Wound’s fourth album, is their best effort yet. Carcharadon capably cataloged crisp new cross-currents in the band’s sound, but the song quality remains the same. Tracks like “At Wine-Dark Midnight in the Mouldering Halls” and Song o’ the Year “Aristocratic Suicidal Black Metal” showcase the band’s gift for coupling aggression with sweeping melody. In this way, Spectral Wound recalls Watain without so much distracting ooga-booga. Songs of Blood and Mire finds them continuing to refine their sound and grow in confidence.
#5. Endonomos // Endonomos II – Enlightenment – Endonomos carried the torch for doom in 2024. Enlightenment is a stately procession, its six long tracks blending influences from all across the doom spectrum. This is music that soars as it plods. Steel Druhm noted similarities to both Khemmis and Fvneral Fvkk. Those comps are perfect; not since Carnal Confessions has a doom album so effectively cut through the clutter of genre tropes to evoke genuine emotion.
#4. Pyrrhon // Exhaust – I hate it when the promotional push for an album ties a record too strongly to the narrative of its creation. It’s like the record company is trying to force a reaction that the album itself might or might not evoke. So when Exhaust arrived with heavy-handed descriptions of process and what Pyrrhon went through trying to make the album happen, I bristled and stopped reading. Fortunately, the music on Exhaust speaks for itself. This is a bitter and blistering record that finds the band raging against their rage’s inability to change even a single thing. I’ve always appreciated Pyrrhon, but I’ve never connected with their music as immediately as I did on Exhaust.
#3. Defeated Sanity // Chronicles of Lunacy – Defeated Sanity has had quite the AMG journey. They’ve gone from being brushed aside by a n00b named Potato Jim to being on the receiving end of a double-4.0 fellating from the tenured likes of Dolphin Whisperer and Maddog. Chronicles of Lunacy finds Defeated Sanity extending the Colin Marston-enabled peak that they hit on 2020’s The Sanguinary Impetus. It takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.
#2. Inter Arma // New Heaven – Here’s another band that could be wrestling with The Law of Diminishing Recordings by now, but instead persists with quality release after quality release. Inter Arma never repeats themselves, but each of their albums could only come from them. Hot take: Sky Funeral has remained my favorite Inter Arma album even as they’ve racked up an epic run of excellence. New Heaven makes a run at unseating it. This is a slab that rewards the many repeated listens I gave it in 2024; it sat in my top slot for much of the year until a late-breaking favorite pushed it aside.
#1. Noxis // Violence Inherent in the System – This is my third time publishing a list at AMG; each previous year, I had clear Album o’the Year winners in Immolation’s Acts of God and Afterbirth’s In But Not Of. 2024 marked the first Listurnalia that began with an opening for my top slot. But as I weeded through my favorite music of the year, I realized: Noxis drew me in with the bass flourish at the beginning of album opener “Skullcrushing Defilement,” and they still haven’t let go. The Pittsburgher in me hates to credit anything from Cleveland, but Noxis weeded out that deeply rooted prejudice with their inventive and fresh take on death metal. Every track on Violence Inherent in the System is a wild ride that alternately crushes, challenges, and tickles. The only break from the madcap pace comes on mid-album interlude “Excursion,” but that just prepares you for the utter barking lunacy of “Horns Echo Over Chorazim.” That song incorporates strange arrangements that include various woodwind instruments, and somehow they do it with zero pretension and abundant commitment to brutality. Listurnalia may have begun with a blank space atop my list, but it ended with Noxis firmly entrenched as the winner of 2024.
Honorable Mentions:
- Stenched // Purulence Gushing from the Coffin – This one-man outfit captured that elusive filthy magic and spewed out the annum’s premiere filthy wallow.
- Aborted // Vault of Horrors – These Belgian veterans, long under-appreciated in the Hall, finally found their champion in Grier. They hooked themselves up to the juvenation machine by leaning into the melodeath that has been creeping into their sound, and cranked out their best set in years.
- Vitriol // Suffer and Become – Here’s a mean and heavy slab that seemed to fade from the general consciousness as the year wore on, but remains worthy of note.
Disappointment o’the Year:
Ferox! I just didn’t have time to make a meaningful contribution here this year. It has been a pleasure to watch other members of my n00b class like Dolph and Maddog and Thus become AMG institutions, even as I mostly watch from the sidelines and come out to play when I can.
Song o’the Year:
Imagine being asked to name your favorite song of the year, and responding with a twenty-seven song playlist!7
#2024 #AFrameOfMind #Aborted #AR #ArthouseFatso #BeatenToDeath #BlackCurse #BurningInCelestialPoison #ChroniclesOfLunacy #CoffinOfConviction #ConcreteWinds #Dawnwalker #DaydreamingInMoonlight #DefeatedSanity #Defying #Dissimulator #Dysrhythmia #Endonomos #EndonomosIIEnlightenment #Exhaust #FuneralForAKing #GodsOverBrokenPeople #HomicideCult #Horrendous #IngurgitatingOblivion #InnerStrength #InterArma #JulieChristmas #Kalandra #Khemmis #Kollapse #Lists #Listurnalia #Listurnalia2024 #Lizzard #LowerFormResistance #Mamaleek #Mesh #MotherOfGraves #Myrath #NewHeaven #NobodyLikesYou #Noxis #OfTheLastHumanBeing #Omegon #OntologyOfNought #Orgone #OU #Pallbearer #Pleroma #Polterguts #PurulenceGushingFromTheCoffin #Pyrrhon #RidiculousAndFullOfBlood #RippedToShreds #Sanshi #SaveThisUtility #Scumbag #SleepytimeGorillaMuseum #SongsOfBloodAndMire #SpectralWound #Stenched #StygianCrown #SufferAndBecome #SunriseOverRigorMortis #SycophanticSeizuresADoubleFeature #ThePeriaptOfAbsence #TheUnknowing #VaultOfHorrors #VidaBlue #ViolenceInherentInTheSystem #Vitriol #Wadera #Watain #Wormed #蘇醒IIFrailty
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Dolphin Whisperer’s and Ferox’s Top Ten(ish) of 2024
By Dolphin Whisperer
Dolphin Whisperer
Every year, its end becomes more shocking and swift. Once, some guy told me, simply, “it only gets worse.” Not life though—attributing a better or worse or any sort of constant determination of our passage leaves a lot of room for falling into a void of enjoyment—life is, after all, a constant until its not. But time, or our sense of being in its too ever-present stream, flows at a rate that changes in ways to which we never quite catch up.
As such, there’s a comfort in knowing how much time an album, particularly one you enjoy will take. For the ten-to-twenty minutes it takes for grindcore proper to slap me silly or the forty-to-eighty minutes that it takes for my deepest progressive loves to wring out a moaning confession, I know where my attention lies, even if it’s only half there and half on a task at hand. Time and tasks, day to night, play to stop, music makes my world a better place. And entering my now third year at Angry Metal Guy, an institution that has been a fixture of my musical journey for even longer, I continue to hold a profound gratitude and excitement for another year of discovery.
2024 has had its challenges professionally and personally. 2025 will be no doubt the same, even if some trials we can see forming in the distance. But you want to know about the music, right? On that end, 2024 has yielded a heaping trove of great albums. Heck, even a Rodeö pick scratched at the rungs of an honorable mention. The below list barely scratches the surface of the breadth that the year has offered. Further down you will see Ferox‘s list, which captures a different collection equally rooted in joy. He might be more right than I am. But that matters little. Celebrate with us, your favorite collective of writers on the world wide web! Come hang with some of us on Discord too if you’d like. Most of the people there are certified flea-free. And don’t be too upset if 2025 doesn’t hit you the same at first. It’s just another year, and it’ll be over before you know it.
#ish. Kalandra // A Frame of Mind – At my core, I consider myself a Norwegian sad girl. Usually, this manifests in some sort of weepy, melancholy prog, the likes of Age of Silence or Madder Mortem.1 But Kalandra’s enfolkened an impassioned take on an artsy, progressive collection of empowering tunes hit me square in my aching heart from the moment I heard it. Most importantly, though, Kalandra knows that suffering is just a step on the path of growth and happiness, which is a message that inspires me every day.
#10. Dawnwalker // The Unknowing – The power to dream and envision a world driven by mysticism has an allure that’s hard to ignore. And while we know that more determinable laws guide the happenings of our daily lives, a glimpse of the unknown will always find its way into sequence. Dawnwalker putting this esoteric but ever-present concept into an atmospheric, genre-warped, playfully progressive package hardly surprises me, though. The British troupe has had my number since their unsung classic In Rooms,2 so I’m doing my last in continuing to love them despite Twelve‘s best efforts to underrate them.3
#9. Lizzard // Mesh – Lizzard’s 2021 opus Eroded is my favorite album of this decade so far. The French trio’s ability to warp deep, rhythm-tricky layers into driving and emotional rock songs his me at the core of my musical desire for cathartic hope expressed in an unassuming and lush framework. Mesh doesn’t present any differently in that regard. But its wrinkles on Lizzard’s timeless yet ’90s alternative-rooted oeuvre fuel Mesh’s inherent melancholy with a hope that’s jubilant, like a cracked smile on an overcast day.
#8. Dissimulator // Lower Form Resistance – [INCOMING TRANSMISSION.] “My name is Clyde, and I arrive from beyond with wonderful news. My good friend Ferox has survived this timeline after all, having learned to navigate the Lower Form Resistance assault of fast-twitch rhythms and slow-twitch death metal punctuation. His head, fully intact, sways wildly in its hairless glory—big dives for big skanking breaks, snappy rolls for whiplash accelerations. He may not be as rhythmically gifted in pit-galloping cadence as the virtuoso drum and bass duo that provides life to Dissimulator’s effortless strides, but Ferox is my everything nonetheless.” [END TRANSMISSION.]
#7. Mamaleek // Vida Blue – I couldn’t begin to tell you what has never landed about Mamaleek’s works before with a weird precision. As an act dedicated to sounding only like Mamaleek, their singular expression of tortured black(ish) metal warped by jazzy and slogging attitudes has manifested quite the take-it-or-leave-it musical experience. And while you, dear reader, may assume this is firmly up my alley, it has not been. At least not until Vida Blue served a bottom of the ninth heart-shaker as an ode to a departed friend.4 With a soulful swing, a tortured connection, and an exit velocity powered by equal parts loss and love, Mamaleek has clinched a campaign for my attention.
#6. Defeated Sanity // Chronicles of Lunacy – As 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 of Lunacy does not mark a turning point or novel twist in the Defeated Sanity timeline—its finely tuned lashings hit as inescapable all the same. When neither a beast’s reach, nor mass, nor attack speed goes contested, an exhibition of its might will flash with morbid glee. As such, Defeated Sanity need not surprise to strike mortal wound. Chronicles’ fangs glisten with an aged-imbrued tarnish, tearing at my flesh in every way I would expect. And I want more.
#5. Orgone // Pleroma – Meticulous and constructed as a master-work, Pleroma’s opening notes signal a trance. Acoustic twang and chamber instrument-fueled swoon build an atmosphere of wonder against a fervent and languished march of post-genre swells and death-fueled crescendos. Cycling through its many shades feels less like a fever dream and more of a trial-filled journey. Wielding a demure grandeur, Pleroma’s effortless realization of Orgone’s peerless vision never feels like the epic journey its runtime suggests. Were my time truly infinite, Pleroma would be even harder to rip away from the queue.
#4. Julie Christmas // Ridiculous and Full of Blood – A lady screaming bloody murder shouldn’t go down this smooth, but that’s always been the promise and success of Julie Christmas. Few vocalists leave me slack-jawed and ear-shaken in the wake of piercing cries, raw-throated shrieks, and impassioned lyrical slather. Yet, Ridiculous and Full of Blood cuts track after track out of sonic patterns that do exactly that, all while empowering a full band expression of alternative-laced grooves, post-informed climbs, and punk-tied sneer. The Christmas season sums a flurry of inspired performances under the banner of a madwoman. And I stand at the ready to fray my vocal cords in attempt to crack with the same battle-tested precision that Ms. Christmas has earned from a life hard-worn.
#3. Ingurgitating Oblivion // Ontology of Nought – Though born of minds unrelated, Ontology of Nought exists as an esoteric companion to the Pleroma embodiment. Orgone is the twin that went to conservatory, graduated with honors, and holds an honorable performing chair, all while remembering its young love for death metal. Ingurgitating Oblivion, on the other hand, dropped out, spiraled into entheogenic dissociation, earns a living gigging at jazz clubs—also maintains its youthful lust for the clamoring riff and hammering blast. Maximalism oozes a frothing wonder in the hiss of distorted chatter and rhythmic mastery. An imperfect and breathing construction rises and falls in ethereal inhales and vision-spinning mantras. Ontology of Nought deserves each of its over-budget minutes. Invest time in the freedom that it promises… “and cease to be.”
#2. OU // 蘇醒 II: Frailty – The casualness of OU’s inception belies its profound leap into my necessary rotation. No incumbent love ever has a defined position in the halls of end-of-year accolades,5 and even more so when the act’s very presence rang suspicious in its finely-tuned invasion to my critical wiles. But, as I noted when I first blew my love for 蘇醒 II: Frailty over the pages of Angry Metal Guy, it’s OU’s “idiosyncratic atmosphere” that pulls from a “polyrhythmic hypnosis” and masterful “energetic flow” that continues to chart them deservedly high in the annals of ’20s progressive music. And while this collision of classically-minded, synth-addicted madness slowly expands its universe one OU release at a time, I’m content to sit here and yell their praises at anyone who will listen.
#1. Pyrrhon // Exhaust – You know you’re getting old when an album about modern burnout and the pains of traffic resonates with you all the way from frozen shoulder to radiating lower back to cold-groaning knee. But when Pyrrhon stealth-bombed my aging metalhead mind with a tech-dial riff barrage of noisy and shouting proportions, I had no choice but to surrender. 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. Though Pyrrhon uses simpler blocks, their construction here defies convention at every step. One fine commenter summed up Exhaust in the most succinct manner in that regard: “Death Metal, Hardcore, Noise Rock, Technical Death Metal. It’s just mathcore.” Except they took away the wrong message from that distillation. The verdict, in fact, is fuck you.
Honorable Mentions:
- Inner Strength // Daydreaming in Moonlight – Another way you know you’re getting old is that you love an album that sounds like it should have released in 1995. Alas, here we are.
- Dysrhythmia // Coffin of Conviction – Instrumental progressive music should be as exciting as Dysrhythmia. Comes for the Martyr riffs. Stay for the Metheny floating.
- Beaten to Death // Sunrise Over Rigor Mortis – Beaten to Death is still the best grindcore band on the planet. They probably won’t ever release a better album than Dødsfest!, but that’s OK. Their discography is now about two hours total. Go listen to it if you haven’t.
- Stygian Crown // Funeral for a King – Doom should always have a guitar tone that feels equally powered by swords and beer alongside vocals that feel soft like bar-stained leather stools.
- Kollapse // AR – I didn’t know KEN mode had a Danish doppelgänger with a frightening, large pink face. But they do, and boy does Kollapse know how to yell and riff.
- Sleepytime Gorilla Museum // of the Last Human Being – Had I infinitely more listening time, I may have been able to parse better this deeply cinematic and wacky slab of no wave emboldened prog. Most don’t actually earn the avant-garde tag the way SGT does.
- Defying // Wadera – Hour-long albums based on old Polish werewolf stories and horror movies shouldn’t be this easy to repeat, but I find myself often falling into Wadera’s unbreakable spell.
- Arthouse Fatso // Sycophantic Seizures: A Double Feature – I didn’t have radically-minded industrial deathgrind about the frustrated escapades of a fictional Orson Welles life on my 2024 bingo, but here I am telling you to listen to it anyway.
- Concrete Winds // Concrete Winds – Just this. And shitloads of riffs.
Disappointments o’ the Year:
- Myrath // Karma – I love Shehili so much. My love for power metal isn’t what it used to be, but Myrath’s exuberance while staying rooted in both the trickier waters of prog and the anthemic cries of power metal gave me hope both that I’d continue to latch on to the kind of playful love it can offer. But the arrangements on Karma, despite Myrath’s still life-affirming messages, do absolutely nothing to bolster that same joy for me. Karma sinks my listening brain. And that hurts.
- Pallbearer // Mind Burns Alive – The continued non-success of Pallbearer and their sleepy-toned take on creaky prog rock hurts the Dolph who fell in love with their weepy doom classic (and still controversial to true doomsters) Heartless. And yet the general blogging population seems to praise them for trying to reinvent sadboi roots rock with worse lyrics. And, for my money, Pallbearer is sounding increasingly thin live. If a return to glory is in store for Pallbearer, it will begin with them finally playing a riff again.
- Polterguts // Nobody Likes You – Okay, this EP actually rips because Polterguts rips. Hard. But, Polterguts, if you’re reading this, please put it on Bandcamp so I can link the shit out of it and give you money. I am disappointed that I have no way to contribute currency to your cause. “Ricky Has a Knife2” is worth the price of admission alone.
Songs o’ the Year:
Why give you one when I can give you twenty-seven? Why twenty-seven? That’s my secret. Now, I’ve talked enough, go out there and enjoy some music, friends. And enjoy this photo of my dogs.
Coconut (left), Kiwi (right) in a stylish Adidog sweater.
Ferox
I worked way too much in 2024. I can’t complain; it was meaningful work that I chose to take on, and it got me that much closer to not having to work at all if I don’t want to. Still, that’s what I’ll think of when I think of 2024: lots and lots of work. That had a knock-on effect, especially when it comes to hobbies like lifting, getting out to national parks, and writing here. I did very little of any of that. I kept up with metal as best I could, and embarked on a big end-of-year listening push to have an accurate picture of what came out in 2024. I’m grateful that I got to do a list at all this year, so I took the responsibility seriously… but I’d be lying if I said I was buried in the scene all year.
One of the highlights of my 2024 was meeting a whole slew of staffers in person. I traveled a bunch this year, both for work and for my daughter’s ballet pursuits, and with that came the chance to hang with some of the people who make this place go. My body count of staffers met this year: Steel Druhm, Madam X, Cherd, Twelve, Dr. Wyrm, Thus Spoke, El Cuervo, Doom et al, and Holdeneye. It was a veritable orgy of almost entirely chaste fellowship, and only one (1) bad hang among the lot!6
I’m grateful to Steel Druhm and Angry Metal Guy for indulging my schedule, and for the real leadership they provide at my fake job. I found this unique community because it had the best music writing on the internet, and that remains true today thanks to the talented people who contribute their time and enthusiasm to keeping the machinery humming. I’m lucky to be a small part of it, and hopeful that 2025 will give me more time to spend in the Hall.
#ish. Mother of Graves // The Periapt of Absence – My “-ish” spot typically goes to an album that might have listed if I just had more time with it. That holds true of the sophomore effort from Indianapolis’s Mother of Graves, which landed on my radar by way of Carcharadon‘s excellent TYHMHM piece. This slab of classic sadboi death doom transcends any tribcore concerns through sheer quality of execution. From opener “Gallows” through final track “Like Darkness to a Dying Flame,” The Periapt of Absence guides the listener through the stages of grief with varied compositions that maintain a consistent mood throughout. Classic death doom is alive and well.
#10. Wormed // Omegon – Maddog‘s compelling rave for Omegon is my personal Review o’ the Year; fortunately, the prose was well spent on this efficient and brutal riff delivery system. Wormed has been creating slam-adjacent otherworldly death metal for a good while now, and Omegon is a distillation of everything the band has learned over the past two decades. 2024 is the year I realized I’ve been a brutal death metal guy all along. With songs like “Pareidolia Robotica” and “Virtual Teratogenesis,” Wormed took me by the hand and guided me through this journey of self-discovery… all while the people in the offices around me called in noise complaints.
#9. Ripped to Shreds // Sanshi – The already impressive Ripped to Shreds leveled up with Sanshi, a blast of aggressive but technically adept death metal that never left my rotation after its release. The guitar hero shredding plays like a release valve to the vicious and punky energy that Andrew Lee injects into his compositions. This cycle of tension and release makes for an addictive listen that feels like it ends mere moments after you hit play. The thrash elements of the R2S sounds are more prevalent on Sanshi, meaning the band now scratches the same itch for me that Horrendous did with their last killer slab.
#8. Scumbag // Homicide Cult – Scumbag! SCUUUMMMMBAGGGG. This nasty bit of business, with its deathgrind touches and morbid sense of humor (“Pure Adrenaline Hard-On,” “The Meating”), was tailor-made for the Ferox sensibility. Herein lie twenty-eight minutes of death metal that never slams but still walks the same line that Wormhole managed to last year: brutal but somehow cheerful, and stoopid without being remotely dumb. Dylan Cruz, of this band and Noxis, came out of nowhere to occupy a huge chunk of my limited listening time this year.
#7. Black Curse // Burning in Celestial Poison – With Burning in Celestial Poison, Black Curse stages a forty-five-minute takeover of your central nervous system. Eldritch Elitist captured the elemental power of these five compositions better than I ever could, but this album gave me exactly what I needed in a 2024 that was characterized by an extreme lack of work-life balance. Metal can provide a safe outlet for less-than-savory feelings, and Black Curse expressed a lot of things for me that I couldn’t express myself and stay employed. Lose yourself in these five tracks and emerge scoured but smarter.
#6. Spectral Wound // Songs of Blood and Mire – The hot streak continues; Songs of Blood and Mire, Spectral Wound’s fourth album, is their best effort yet. Carcharadon capably cataloged crisp new cross-currents in the band’s sound, but the song quality remains the same. Tracks like “At Wine-Dark Midnight in the Mouldering Halls” and Song o’ the Year “Aristocratic Suicidal Black Metal” showcase the band’s gift for coupling aggression with sweeping melody. In this way, Spectral Wound recalls Watain without so much distracting ooga-booga. Songs of Blood and Mire finds them continuing to refine their sound and grow in confidence.
#5. Endonomos // Endonomos II – Enlightenment – Endonomos carried the torch for doom in 2024. Enlightenment is a stately procession, its six long tracks blending influences from all across the doom spectrum. This is music that soars as it plods. Steel Druhm noted similarities to both Khemmis and Fvneral Fvkk. Those comps are perfect; not since Carnal Confessions has a doom album so effectively cut through the clutter of genre tropes to evoke genuine emotion.
#4. Pyrrhon // Exhaust – I hate it when the promotional push for an album ties a record too strongly to the narrative of its creation. It’s like the record company is trying to force a reaction that the album itself might or might not evoke. So when Exhaust arrived with heavy-handed descriptions of process and what Pyrrhon went through trying to make the album happen, I bristled and stopped reading. Fortunately, the music on Exhaust speaks for itself. This is a bitter and blistering record that finds the band raging against their rage’s inability to change even a single thing. I’ve always appreciated Pyrrhon, but I’ve never connected with their music as immediately as I did on Exhaust.
#3. Defeated Sanity // Chronicles of Lunacy – Defeated Sanity has had quite the AMG journey. They’ve gone from being brushed aside by a n00b named Potato Jim to being on the receiving end of a double-4.0 fellating from the tenured likes of Dolphin Whisperer and Maddog. Chronicles of Lunacy finds Defeated Sanity extending the Colin Marston-enabled peak that they hit on 2020’s The Sanguinary Impetus. It takes extreme skill to weaponize the base and the stoopid this effectively. Defeated Sanity is more than up for the job.
#2. Inter Arma // New Heaven – Here’s another band that could be wrestling with The Law of Diminishing Recordings by now, but instead persists with quality release after quality release. Inter Arma never repeats themselves, but each of their albums could only come from them. Hot take: Sky Funeral has remained my favorite Inter Arma album even as they’ve racked up an epic run of excellence. New Heaven makes a run at unseating it. This is a slab that rewards the many repeated listens I gave it in 2024; it sat in my top slot for much of the year until a late-breaking favorite pushed it aside.
#1. Noxis // Violence Inherent in the System – This is my third time publishing a list at AMG; each previous year, I had clear Album o’the Year winners in Immolation’s Acts of God and Afterbirth’s In But Not Of. 2024 marked the first Listurnalia that began with an opening for my top slot. But as I weeded through my favorite music of the year, I realized: Noxis drew me in with the bass flourish at the beginning of album opener “Skullcrushing Defilement,” and they still haven’t let go. The Pittsburgher in me hates to credit anything from Cleveland, but Noxis weeded out that deeply rooted prejudice with their inventive and fresh take on death metal. Every track on Violence Inherent in the System is a wild ride that alternately crushes, challenges, and tickles. The only break from the madcap pace comes on mid-album interlude “Excursion,” but that just prepares you for the utter barking lunacy of “Horns Echo Over Chorazim.” That song incorporates strange arrangements that include various woodwind instruments, and somehow they do it with zero pretension and abundant commitment to brutality. Listurnalia may have begun with a blank space atop my list, but it ended with Noxis firmly entrenched as the winner of 2024.
Honorable Mentions:
- Stenched // Purulence Gushing from the Coffin – This one-man outfit captured that elusive filthy magic and spewed out the annum’s premiere filthy wallow.
- Aborted // Vault of Horrors – These Belgian veterans, long under-appreciated in the Hall, finally found their champion in Grier. They hooked themselves up to the juvenation machine by leaning into the melodeath that has been creeping into their sound, and cranked out their best set in years.
- Vitriol // Suffer and Become – Here’s a mean and heavy slab that seemed to fade from the general consciousness as the year wore on, but remains worthy of note.
Disappointment o’the Year:
Ferox! I just didn’t have time to make a meaningful contribution here this year. It has been a pleasure to watch other members of my n00b class like Dolph and Maddog and Thus become AMG institutions, even as I mostly watch from the sidelines and come out to play when I can.
Song o’the Year:
Imagine being asked to name your favorite song of the year, and responding with a twenty-seven song playlist!7
#2024 #AFrameOfMind #Aborted #AR #ArthouseFatso #BeatenToDeath #BlackCurse #BurningInCelestialPoison #ChroniclesOfLunacy #CoffinOfConviction #ConcreteWinds #Dawnwalker #DaydreamingInMoonlight #DefeatedSanity #Defying #Dissimulator #Dysrhythmia #Endonomos #EndonomosIIEnlightenment #Exhaust #FuneralForAKing #GodsOverBrokenPeople #HomicideCult #Horrendous #IngurgitatingOblivion #InnerStrength #InterArma #JulieChristmas #Kalandra #Khemmis #Kollapse #Lists #Listurnalia #Listurnalia2024 #Lizzard #LowerFormResistance #Mamaleek #Mesh #MotherOfGraves #Myrath #NewHeaven #NobodyLikesYou #Noxis #OfTheLastHumanBeing #Omegon #OntologyOfNought #Orgone #OU #Pallbearer #Pleroma #Polterguts #PurulenceGushingFromTheCoffin #Pyrrhon #RidiculousAndFullOfBlood #RippedToShreds #Sanshi #SaveThisUtility #Scumbag #SleepytimeGorillaMuseum #SongsOfBloodAndMire #SpectralWound #Stenched #StygianCrown #SufferAndBecome #SunriseOverRigorMortis #SycophanticSeizuresADoubleFeature #ThePeriaptOfAbsence #TheUnknowing #VaultOfHorrors #VidaBlue #ViolenceInherentInTheSystem #Vitriol #Wadera #Watain #Wormed #蘇醒IIFrailty
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GardensTale Goes to Roadburn 2025
By GardensTale
The story of Easter, detailing the gruesome death and supernatural resurrection of a cult leader, is pretty fucking metal, all things considered. So it’s fitting that the cream of the crop among underground heavy music festivals, Roadburn, coincides with the religious holiday this year. Not that it makes much difference to me, my partner, or the slew of friends we drag across the Tilburg city centre to enjoy some of the heaviest, strangest, and most envelope-pushing music that music has to offer. We’d murder our feet and livers for this fest any time of the year.
For the last few editions, Roadburn has spread its venues over several locations within a few hundred-meter radius. The 013 is the main venue, hosting the large Main stage with its signature staircase (a brilliant way to rest your feet while watching a show!) and the smaller NEXT. A 5-10 minute walk away, depending on your state of mind and soundness of body, is the old industrial hall known as Koepelhal, split for the occasion into the larger Terminal and smaller Engine Room. Attached is the diminutive Hall of Fame, where the smallest artists get to do their thing, with the ever-popular skate park next door regularly hosting secret shows, which are often announced only a few hours beforehand. Finally, the local jazz club Paradox is the place to be for the more unconventional material, which is saying something in this place.
What follows is a cleaned-up live thread I tapped out in hasty bursts between and during sets, my word-vomit witnessed in real time by my colleagues who gave frequent and often unhelpful commentary. Where applicable, I saw fit to include their remarks and any response I had to their tomfoolery. I can not promise this will result in a sane article, but I hope it can sketch a glimpse of what the greatest festival in the world is like.
Day 1 (Thursday, 17th of April)
2:51 PM — As usual, the larger sizes of the merch sell out lightning fast, and so I walk away with a single patch and disappointment. Let’s hope Glassing can obliterate the letdown.
Cherd of Doom: Surely they restock merch through the festival?
HAHAHA no
Everyone knows merch goes fast so everyone goes to merch first so merch goes fast
And they always underproduce the large sizessentynel: You’d think if the merch consistently sold out really quickly they might print more next time
3:12 PM — Yep, Glassing is fucking killing it. Pushing an almost Spartan setup to its limit. The drummer is just bonkers!
4:11 PM — Listening to Oranssi Pazuzu outside the main stage because we could no longer get inside. It sounds impressively oppressive. Wish we could have seen more of it, but I would not have wanted to miss Glassing. Choices choices.
4:24 PM — The electronics and psychedelics of Oranssi Pazuzu are really cool. I should have paid more attention to this band.
4:48 PM — Slowing things down a bit with Toby Driver’s new age project Alora Crucible. It’s pretty enough, but 10 minutes in, I am still waiting for it to develop into something more than a yoga class background music jam.
5:17 PM — It did not.
5:31 PM — Listened most of Alora Crucible from the lounge where they pipe down the music from that stage. Very relaxing, better way to experience it than the venue!
5:33 PM — Then sludge legends Kylesa reformed on the main stage. No second drummer sadly, but what a treat to see this band live again! Last time was at Graspop in 2011.
6:44 PM — Waiting for Faetooth to start. Their first European gig!
Dolphin Whisperer: love Faetooth, they got a new album on the horizon I believe
7:10 PM — Faetooth is decent but not amazing, the vocals are a bit one-note at least on stage. Some nice riffs and I wouldn’t have minded finishing the gig but my feet are too dead to settle for decent right now. At least we can still listen to them for a bit outside the venue.
9:20 PM — After a good big meal we went to the main stage for envy.
And it’s already entrancing just a few minutes in.9:31 PM — I am in love, this is the greatest thing I discovered today. The intense and concentrated emotion divided between melancholic post-rock and colossal outbursts of post-metal-hardcore is divine.
This is their 2003 album, tomorrow they will play a modern era set.Dolphin Whisperer: envy good
well WHY DIDN’T YOU TELL ME
Cherd of Doom: See, bands playing multiple themed sets is exactly why I’d love to go to Roadburn. The Inter Arma sets last year for instance
10:29 PM — Envy was my favorite show of the day easily. So intense, so emotional.
10:39 PM — Black Curse is apparently overrun, so instead we decided to wait for Concrete Winds. Dame Area was still playing in that venue, so we thought we’d check it out. We walked in and walked back out like Grandpa Simpson.
Dolphin Whisperer: CONCRETE WIIIIIIIIIIIIIIINDS
11:30 PM — Concrete Winds sounds good for dense death metal but I am honestly too tired for death metal this dense.
12:42 AM — But I stuck it out! It was intense, but pretty cool. Sadly my phone died halfway through.
Day 2 (Friday, 18th of April)
12:49 PM — Heading in for the first performance on the bill today, a collab of Throwing Bricks and Ontaard. They’ve collaborated successfully before on record, but this is a new commissioned piece.
1:19 PM — It’s fucking awesome! 8 musicians on stage, massive sound, but the balance is great and it’s emotionally devastating.
The sound quality is also much better than most Engine Room performances.
Between the two bands you also have a lot of variety. Male and female vocals, synths, violin, two drummers. Gorgeous.1:49 PM — I don’t think I’ll ever get tired of ‘beautiful serene passage, suddenly interrupted by the most devastating wall of noise.’
2:54 PM — Midwife was very pretty, very demure, and very much not what I was looking for right now. Sort of a shoegaze, dreampop, slowcore thing that feels more appropriate for a summer sunset than a dark crowded hall and foot pain. Will check again later!
3:20 PM — Now for one of my most anticipated shows of the festival: Messa playing their new album The Spin in full!
3:41 PM — Their stage presence is a bit static, but the album and execution thereof are so good it’s easy to forgive.
Dolphin Whisperer: They don’t typically have a big stage presence from what I gather. They didn’t when I saw em in a small club
5:11 PM — After Messa we intended to see CHVE, the solo project of Colin [van Eeckhout] from Amenra. The line was pretty long, so we declined to join it. But it was all speed 0 soundscapes and were even boring when listening from the lounge.
Dolphin Whisperer: why go fast when you can go sloooooooooooooooooooooow
5:13 PM — But now it’s time for round 2 of envy! Loved em so much yesterday, we wanted seconds. Today is the modern set, including all of Eunoia, their 2024 album.
6:36 PM — Envy was once again beautiful and crushing.
6:39 PM — After envy we went to queue for 40 Watt Sun. Patrick Walker is doing a solo show in Paradox, the jazz club, and it’s bound to be jam-packed. Thankfully we got in! Now having another beer and waiting for the man to make us weep.
7:02 PM — Walker surveying the crowd: “That does not look comfortable.”
7:34 PM — Between songs this man is the funniest fucker alive, then he starts playing again and instantly it’s misty eyes and goosebumps. What a character, what a musician.
8:52 PM — Sometimes you gotta stop and smell the Korean fried chicken.
9:22 PM — Now waiting for Genital Shame.
10:20 PM — Genital Shame was decent, but couldn’t hold our attention. Also I was much too close to the speakers and the kick drums were overpowering the guitars. Caught a friend heading out and decided to follow her to Gnod Drop Out with White Hills.
11:04 PM — Gnod was very particular music for a very particular audience under a particularly large amount of drugs. Endlessly spooling 70’s space rock psychedelics. We didn’t stay long. Instead we opted for Thou, playing Umbilical on the main stage.
Dolphin Whisperer: THOOOOOOOOUUUUUUUUUU
11:19 PM
I always kind of skirted around Thou, but they put on a good show. Unforgivingly harsh and unstoppably heavy, with the biggest riffs I’ve heard today. I don’t feel the amount of heart I got from the best performances today, but it’s a fun and filthy way to end the day.Day 3 (Saturday, 19th of April)
1:54 PM — Scarfed down a fresh stroopwafel, brought my ebook for breaks and waits, and shuffled into the Terminal for Dødheimsgard!
They’re playing Black Medium Current front to back.
2:05 PM — It’s more of a sardine pressure vat than a sardine can in here.
2:11 PM — But the show is great! The big hall works for the expansive spacy black metal and the band is performing with fire
2:38 PM — We escaped the crowd to join a different one and check out Haatdrager, a project from students at the Metal Factory in Eindhoven. Claustrophobic electro-laden sludge. It’s fucking awesome!
2:44 PM — The vocalist is a very talented young woman. Throat ripping screams, but she also focuses on flow and rhythm in a more hip-hop fashion which gives the music an urban fusion flair akin to Backxwash and dälek.
Dolphin Whisperer: Like and subscribe
3:42 PM — We left for ice cream, then headed back to catch the off-kilter hardcore punk of Gillian Carter.
3:49 PM — Instrumentation is cool, sharp riffs with unexpected turns and skronks. Vocals are very one-note though. Will try to get into Grey Aura instead.
3:52 PM — Samantha compared the vocals [of Gillian Carter] to Judge Doom in Who Framed Roger Rabbit sinking into the Dip and it is 100% accurate.
4:29 PM — Grey Aura was worse though. Embarrassing vocals honestly. Yelling like he wanted the kids to get off his lawn.
Tyme: Boooo! Too bad. I dig Grey Aura.
Dolphin Whisperer: That’s really sad to hear :(
5:09 PM — We grabbed a drink and intended to get in line for Uniform. And so we did, but the Terminal filled to capacity before we got there. Not willing to face another sardine pressure vat, we went with plan B: a collaboration between Sumac and Moor Mother. Now waiting for that while giving our feet a rest on the main stage steps.
Tyme: Sumac?? Hmmmmmm. Interesting
Dolphin Whisperer: Sumac + Moor Mother sounds the kinda collab that is so high art it may be impossible to sniff it. Hope it’s enjoyable
You’re not far off. It doesn’t feel like they managed to glue freeform activist hiphop and sludge doom together cohesively. More like switching between the Moor Mother bits with heavy guitars, then Sumac bits where they play actual riffs.
6:23 PM — We left to see Coilguns instead. That turned out to be the right decision. Frantic hardcore punk with ketamine energy and acidic left field swerves; it’s not always sane but it’s highly entertaining!
6:25 PM — The vocalist is especially all over the place, pulling himself across the stage by the afro and using 5 different styles and inflections in the same song
6:29 PM — Also met one of our Discord users, inkster.
Dolphin Whisperer: inky is very social + nice
She was! We left before the end because it was a long set and our feet are so fucked, but Sammy and I had fun watching Coilguns with her for a bit
8:52 PM — Caught a couple songs from Denisa after dinner. A sort of raw post-punk meets Emma Ruth Rundle from Indonesia. Not extraordinary, but solid, sung and played with heart.
9:38 PM — Also a few songs from Doodseskader’s set. First saw them opening for Alcest, and their stark, raw nu-sludge, with intense visuals synced to the music, hasn’t lost its potency.
9:43 PM — Altın Gün is a big change of pace, though. They play a mixture of psychedelic rock and Turkish traditional music. It’s very danceable, but for me it lacks a little oomph, a bit of grit.
11:21 PM — Bidding the day goodnight with Chat Pile. They play their music well, but I was hoping that’d be enough to make me enjoy their music more, and it isn’t. Still, it’s an effective, brusque brand of spasmodic aggression. The frontman pacing back and forth barefoot in shorts like he’s in the Ministry of Funny Walks is quite the choice.
11:38 PM — Okay, “Why” was a hoot, fair is fair
Tyme: Still sounds like you’re having a blast tho!
I gotta admit it, that was a pretty fucking fun show yeah
Day 4 (Sunday, April 20th)
10:04 AM — Mild hangover. Went to the local metal dive bar last night with some of our festival pals. Partied til 3:30 am. I am getting too old for this shit. Except fuck that, it was a ton of fun and I’ll fucking do it again!
2:01 PM — Dragged my husk to the Terminal to see Vuur & Zijde play Boezem, which I gave a very positive review a few months ago. Curious to see how it plays on stage!
2:53 PM — Though the music was performed perfectly well, a giant industrial hall is probably not the ideal venue for Vuur & Zijde. I think they’d do better in a more intimate setting. But some minor sound issues aside, it was a pretty good show overall.
2:56 PM — Halfway through we decided to move to the smaller Hall of Fame to check out Bacht’n de Vulle Moane, a band that’s only a year old and supposedly plays some intense black metal festuring analog electronics.
3:05 PM — “Good evening Roadburn!” Dude it’s 3 pm.
3:14 PM — This sounds less like black metal with electronics and more like someone yelling over muddy hardstyle.
3:26 PM — It didn’t annoy me, but it did bore me. I didn’t come here for techno.
Dolphin Whisperer: Every time is the evening if you’re playing black metal
That’s great, maybe they should have tried that instead of playing techno haha
4:01 PM — Just watched an animated short movie called The Hunter made by Costin Chioreanu. Quite cool, though the plot was lost on me. Pretty imagery though!
4:32 PM — Frente Abierto plays flamenco, but a dark and heavy variation thereof. Interesting, but not really to my tastes.
6:11 PM — Michael Gira’s set with Kristof Hahn (both from Swans) was an exercise in patience. Slow droning soundscapes, eventually joined by slow droning vocals. At some point I could no longer stand the slow droning.
6:13 PM — Turns out Sumac has quite a lot of slow droning soundscapes as well. I don’t need to like everything Roadburn has to offer, but gee golly, I hope I’ll enjoy at least one thing more than Vuur & Zijde today.
7:37 PM — With a belly full of noodles we plowed on back to the Terminal to catch a slice of Big|Brave. More slow droning soundscapes, but the vocals help give it a slightly better sense of progression. Still, when the song devolves into crash cymbal taps and nothing else for a few minutes, I do get a bit restless.
7:41 PM — When the buildup is more noticeable the music is much more enjoyable, thankfully, and the vocals are powerful.
7:48 PM — All in all a good performance that requires a bit more patience than my exhaustion has left me with.
9:03 PM — Bo Ningen, heavy psych rock from Japan, is a lot of fun and the first thing with this much energy today. Quite diverse, exploring different moods and textures.
9:25 PM — They manage both heartfelt space-outs and extended high-octane jams. Exciting show and excellent musicians!
9:35 PM — “This will be our last song!”
They still had 15 minutes.
They still went over time.10:58 PM — Closing out the festival for us is Haunted Plasma. The glitzy darkwave with an edge reminds me of that scene in Blade with the vampire nightclub. The woman on the mic has a sweet spectral presence. A bit one-note, but otherwise very enjoyable and a worthy festival finale.
Even though the line-up was a bit frontloaded this year, it still resulted in some of the most hardest-hitting and affecting live music I’ve yet experienced, even from bands I’d never heard of in the first place. Both envy shows and the Throwing Bricks collaboration with Ontaard were the stuff of legends, and this kind of discovery is what makes Roadburn such a joy to return to, year after year. And it’s all the sweeter having a great group of friends to experience it with, as my partner and I attended few shows without at least one other friend by our side. So dear reader… same time next year?
#40WattSun #Alcest #AloraCrucible #AltınGün #Amenra #BachtNDeVulleMoane #Backxwash #BigBrave #BlogPost #BlogPosts #BoNingen #ChatPile #CHVE #Coilguns #ConcreteWinds #Dälek #DameArea #Denisa #Dödheimsgard #Doodseskader #EmmaRuthRundle #Envy #Faetooth #FrenteAbierto #GenitalShame #GillianCarter #Glassing #Gnod #GreyAura #Haatdrager #HauntedPlasma #InterArma #Kylesa #Messa #Midwife #MoorMother #Ontaard #OranssiPazuzu #Sumac #Swans #Thou #ThrowingBricks #Uniform #VuurZijde #WhiteHills
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GardensTale Goes to Roadburn 2025
By GardensTale
The story of Easter, detailing the gruesome death and supernatural resurrection of a cult leader, is pretty fucking metal, all things considered. So it’s fitting that the cream of the crop among underground heavy music festivals, Roadburn, coincides with the religious holiday this year. Not that it makes much difference to me, my partner, or the slew of friends we drag across the Tilburg city centre to enjoy some of the heaviest, strangest, and most envelope-pushing music that music has to offer. We’d murder our feet and livers for this fest any time of the year.
For the last few editions, Roadburn has spread its venues over several locations within a few hundred-meter radius. The 013 is the main venue, hosting the large Main stage with its signature staircase (a brilliant way to rest your feet while watching a show!) and the smaller NEXT. A 5-10 minute walk away, depending on your state of mind and soundness of body, is the old industrial hall known as Koepelhal, split for the occasion into the larger Terminal and smaller Engine Room. Attached is the diminutive Hall of Fame, where the smallest artists get to do their thing, with the ever-popular skate park next door regularly hosting secret shows, which are often announced only a few hours beforehand. Finally, the local jazz club Paradox is the place to be for the more unconventional material, which is saying something in this place.
What follows is a cleaned-up live thread I tapped out in hasty bursts between and during sets, my word-vomit witnessed in real time by my colleagues who gave frequent and often unhelpful commentary. Where applicable, I saw fit to include their remarks and any response I had to their tomfoolery. I can not promise this will result in a sane article, but I hope it can sketch a glimpse of what the greatest festival in the world is like.
Day 1 (Thursday, 17th of April)
2:51 PM — As usual, the larger sizes of the merch sell out lightning fast, and so I walk away with a single patch and disappointment. Let’s hope Glassing can obliterate the letdown.
Cherd of Doom: Surely they restock merch through the festival?
HAHAHA no
Everyone knows merch goes fast so everyone goes to merch first so merch goes fast
And they always underproduce the large sizessentynel: You’d think if the merch consistently sold out really quickly they might print more next time
3:12 PM — Yep, Glassing is fucking killing it. Pushing an almost Spartan setup to its limit. The drummer is just bonkers!
4:11 PM — Listening to Oranssi Pazuzu outside the main stage because we could no longer get inside. It sounds impressively oppressive. Wish we could have seen more of it, but I would not have wanted to miss Glassing. Choices choices.
4:24 PM — The electronics and psychedelics of Oranssi Pazuzu are really cool. I should have paid more attention to this band.
4:48 PM — Slowing things down a bit with Toby Driver’s new age project Alora Crucible. It’s pretty enough, but 10 minutes in, I am still waiting for it to develop into something more than a yoga class background music jam.
5:17 PM — It did not.
5:31 PM — Listened most of Alora Crucible from the lounge where they pipe down the music from that stage. Very relaxing, better way to experience it than the venue!
5:33 PM — Then sludge legends Kylesa reformed on the main stage. No second drummer sadly, but what a treat to see this band live again! Last time was at Graspop in 2011.
6:44 PM — Waiting for Faetooth to start. Their first European gig!
Dolphin Whisperer: love Faetooth, they got a new album on the horizon I believe
7:10 PM — Faetooth is decent but not amazing, the vocals are a bit one-note at least on stage. Some nice riffs and I wouldn’t have minded finishing the gig but my feet are too dead to settle for decent right now. At least we can still listen to them for a bit outside the venue.
9:20 PM — After a good big meal we went to the main stage for envy.
And it’s already entrancing just a few minutes in.9:31 PM — I am in love, this is the greatest thing I discovered today. The intense and concentrated emotion divided between melancholic post-rock and colossal outbursts of post-metal-hardcore is divine.
This is their 2003 album, tomorrow they will play a modern era set.Dolphin Whisperer: envy good
well WHY DIDN’T YOU TELL ME
Cherd of Doom: See, bands playing multiple themed sets is exactly why I’d love to go to Roadburn. The Inter Arma sets last year for instance
10:29 PM — Envy was my favorite show of the day easily. So intense, so emotional.
10:39 PM — Black Curse is apparently overrun, so instead we decided to wait for Concrete Winds. Dame Area was still playing in that venue, so we thought we’d check it out. We walked in and walked back out like Grandpa Simpson.
Dolphin Whisperer: CONCRETE WIIIIIIIIIIIIIIINDS
11:30 PM — Concrete Winds sounds good for dense death metal but I am honestly too tired for death metal this dense.
12:42 AM — But I stuck it out! It was intense, but pretty cool. Sadly my phone died halfway through.
Day 2 (Friday, 18th of April)
12:49 PM — Heading in for the first performance on the bill today, a collab of Throwing Bricks and Ontaard. They’ve collaborated successfully before on record, but this is a new commissioned piece.
1:19 PM — It’s fucking awesome! 8 musicians on stage, massive sound, but the balance is great and it’s emotionally devastating.
The sound quality is also much better than most Engine Room performances.
Between the two bands you also have a lot of variety. Male and female vocals, synths, violin, two drummers. Gorgeous.1:49 PM — I don’t think I’ll ever get tired of ‘beautiful serene passage, suddenly interrupted by the most devastating wall of noise.’
2:54 PM — Midwife was very pretty, very demure, and very much not what I was looking for right now. Sort of a shoegaze, dreampop, slowcore thing that feels more appropriate for a summer sunset than a dark crowded hall and foot pain. Will check again later!
3:20 PM — Now for one of my most anticipated shows of the festival: Messa playing their new album The Spin in full!
3:41 PM — Their stage presence is a bit static, but the album and execution thereof are so good it’s easy to forgive.
Dolphin Whisperer: They don’t typically have a big stage presence from what I gather. They didn’t when I saw em in a small club
5:11 PM — After Messa we intended to see CHVE, the solo project of Colin [van Eeckhout] from Amenra. The line was pretty long, so we declined to join it. But it was all speed 0 soundscapes and were even boring when listening from the lounge.
Dolphin Whisperer: why go fast when you can go sloooooooooooooooooooooow
5:13 PM — But now it’s time for round 2 of envy! Loved em so much yesterday, we wanted seconds. Today is the modern set, including all of Eunoia, their 2024 album.
6:36 PM — Envy was once again beautiful and crushing.
6:39 PM — After envy we went to queue for 40 Watt Sun. Patrick Walker is doing a solo show in Paradox, the jazz club, and it’s bound to be jam-packed. Thankfully we got in! Now having another beer and waiting for the man to make us weep.
7:02 PM — Walker surveying the crowd: “That does not look comfortable.”
7:34 PM — Between songs this man is the funniest fucker alive, then he starts playing again and instantly it’s misty eyes and goosebumps. What a character, what a musician.
8:52 PM — Sometimes you gotta stop and smell the Korean fried chicken.
9:22 PM — Now waiting for Genital Shame.
10:20 PM — Genital Shame was decent, but couldn’t hold our attention. Also I was much too close to the speakers and the kick drums were overpowering the guitars. Caught a friend heading out and decided to follow her to Gnod Drop Out with White Hills.
11:04 PM — Gnod was very particular music for a very particular audience under a particularly large amount of drugs. Endlessly spooling 70’s space rock psychedelics. We didn’t stay long. Instead we opted for Thou, playing Umbilical on the main stage.
Dolphin Whisperer: THOOOOOOOOUUUUUUUUUU
11:19 PM
I always kind of skirted around Thou, but they put on a good show. Unforgivingly harsh and unstoppably heavy, with the biggest riffs I’ve heard today. I don’t feel the amount of heart I got from the best performances today, but it’s a fun and filthy way to end the day.Day 3 (Saturday, 19th of April)
1:54 PM — Scarfed down a fresh stroopwafel, brought my ebook for breaks and waits, and shuffled into the Terminal for Dødheimsgard!
They’re playing Black Medium Current front to back.
2:05 PM — It’s more of a sardine pressure vat than a sardine can in here.
2:11 PM — But the show is great! The big hall works for the expansive spacy black metal and the band is performing with fire
2:38 PM — We escaped the crowd to join a different one and check out Haatdrager, a project from students at the Metal Factory in Eindhoven. Claustrophobic electro-laden sludge. It’s fucking awesome!
2:44 PM — The vocalist is a very talented young woman. Throat ripping screams, but she also focuses on flow and rhythm in a more hip-hop fashion which gives the music an urban fusion flair akin to Backxwash and dälek.
Dolphin Whisperer: Like and subscribe
3:42 PM — We left for ice cream, then headed back to catch the off-kilter hardcore punk of Gillian Carter.
3:49 PM — Instrumentation is cool, sharp riffs with unexpected turns and skronks. Vocals are very one-note though. Will try to get into Grey Aura instead.
3:52 PM — Samantha compared the vocals [of Gillian Carter] to Judge Doom in Who Framed Roger Rabbit sinking into the Dip and it is 100% accurate.
4:29 PM — Grey Aura was worse though. Embarrassing vocals honestly. Yelling like he wanted the kids to get off his lawn.
Tyme: Boooo! Too bad. I dig Grey Aura.
Dolphin Whisperer: That’s really sad to hear :(
5:09 PM — We grabbed a drink and intended to get in line for Uniform. And so we did, but the Terminal filled to capacity before we got there. Not willing to face another sardine pressure vat, we went with plan B: a collaboration between Sumac and Moor Mother. Now waiting for that while giving our feet a rest on the main stage steps.
Tyme: Sumac?? Hmmmmmm. Interesting
Dolphin Whisperer: Sumac + Moor Mother sounds the kinda collab that is so high art it may be impossible to sniff it. Hope it’s enjoyable
You’re not far off. It doesn’t feel like they managed to glue freeform activist hiphop and sludge doom together cohesively. More like switching between the Moor Mother bits with heavy guitars, then Sumac bits where they play actual riffs.
6:23 PM — We left to see Coilguns instead. That turned out to be the right decision. Frantic hardcore punk with ketamine energy and acidic left field swerves; it’s not always sane but it’s highly entertaining!
6:25 PM — The vocalist is especially all over the place, pulling himself across the stage by the afro and using 5 different styles and inflections in the same song
6:29 PM — Also met one of our Discord users, inkster.
Dolphin Whisperer: inky is very social + nice
She was! We left before the end because it was a long set and our feet are so fucked, but Sammy and I had fun watching Coilguns with her for a bit
8:52 PM — Caught a couple songs from Denisa after dinner. A sort of raw post-punk meets Emma Ruth Rundle from Indonesia. Not extraordinary, but solid, sung and played with heart.
9:38 PM — Also a few songs from Doodseskader’s set. First saw them opening for Alcest, and their stark, raw nu-sludge, with intense visuals synced to the music, hasn’t lost its potency.
9:43 PM — Altın Gün is a big change of pace, though. They play a mixture of psychedelic rock and Turkish traditional music. It’s very danceable, but for me it lacks a little oomph, a bit of grit.
11:21 PM — Bidding the day goodnight with Chat Pile. They play their music well, but I was hoping that’d be enough to make me enjoy their music more, and it isn’t. Still, it’s an effective, brusque brand of spasmodic aggression. The frontman pacing back and forth barefoot in shorts like he’s in the Ministry of Funny Walks is quite the choice.
11:38 PM — Okay, “Why” was a hoot, fair is fair
Tyme: Still sounds like you’re having a blast tho!
I gotta admit it, that was a pretty fucking fun show yeah
Day 4 (Sunday, April 20th)
10:04 AM — Mild hangover. Went to the local metal dive bar last night with some of our festival pals. Partied til 3:30 am. I am getting too old for this shit. Except fuck that, it was a ton of fun and I’ll fucking do it again!
2:01 PM — Dragged my husk to the Terminal to see Vuur & Zijde play Boezem, which I gave a very positive review a few months ago. Curious to see how it plays on stage!
2:53 PM — Though the music was performed perfectly well, a giant industrial hall is probably not the ideal venue for Vuur & Zijde. I think they’d do better in a more intimate setting. But some minor sound issues aside, it was a pretty good show overall.
2:56 PM — Halfway through we decided to move to the smaller Hall of Fame to check out Bacht’n de Vulle Moane, a band that’s only a year old and supposedly plays some intense black metal festuring analog electronics.
3:05 PM — “Good evening Roadburn!” Dude it’s 3 pm.
3:14 PM — This sounds less like black metal with electronics and more like someone yelling over muddy hardstyle.
3:26 PM — It didn’t annoy me, but it did bore me. I didn’t come here for techno.
Dolphin Whisperer: Every time is the evening if you’re playing black metal
That’s great, maybe they should have tried that instead of playing techno haha
4:01 PM — Just watched an animated short movie called The Hunter made by Costin Chioreanu. Quite cool, though the plot was lost on me. Pretty imagery though!
4:32 PM — Frente Abierto plays flamenco, but a dark and heavy variation thereof. Interesting, but not really to my tastes.
6:11 PM — Michael Gira’s set with Kristof Hahn (both from Swans) was an exercise in patience. Slow droning soundscapes, eventually joined by slow droning vocals. At some point I could no longer stand the slow droning.
6:13 PM — Turns out Sumac has quite a lot of slow droning soundscapes as well. I don’t need to like everything Roadburn has to offer, but gee golly, I hope I’ll enjoy at least one thing more than Vuur & Zijde today.
7:37 PM — With a belly full of noodles we plowed on back to the Terminal to catch a slice of Big|Brave. More slow droning soundscapes, but the vocals help give it a slightly better sense of progression. Still, when the song devolves into crash cymbal taps and nothing else for a few minutes, I do get a bit restless.
7:41 PM — When the buildup is more noticeable the music is much more enjoyable, thankfully, and the vocals are powerful.
7:48 PM — All in all a good performance that requires a bit more patience than my exhaustion has left me with.
9:03 PM — Bo Ningen, heavy psych rock from Japan, is a lot of fun and the first thing with this much energy today. Quite diverse, exploring different moods and textures.
9:25 PM — They manage both heartfelt space-outs and extended high-octane jams. Exciting show and excellent musicians!
9:35 PM — “This will be our last song!”
They still had 15 minutes.
They still went over time.10:58 PM — Closing out the festival for us is Haunted Plasma. The glitzy darkwave with an edge reminds me of that scene in Blade with the vampire nightclub. The woman on the mic has a sweet spectral presence. A bit one-note, but otherwise very enjoyable and a worthy festival finale.
Even though the line-up was a bit frontloaded this year, it still resulted in some of the most hardest-hitting and affecting live music I’ve yet experienced, even from bands I’d never heard of in the first place. Both envy shows and the Throwing Bricks collaboration with Ontaard were the stuff of legends, and this kind of discovery is what makes Roadburn such a joy to return to, year after year. And it’s all the sweeter having a great group of friends to experience it with, as my partner and I attended few shows without at least one other friend by our side. So dear reader… same time next year?
#40WattSun #Alcest #AloraCrucible #AltınGün #Amenra #BachtNDeVulleMoane #Backxwash #BigBrave #BlogPost #BlogPosts #BoNingen #ChatPile #CHVE #Coilguns #ConcreteWinds #Dälek #DameArea #Denisa #Dödheimsgard #Doodseskader #EmmaRuthRundle #Envy #Faetooth #FrenteAbierto #GenitalShame #GillianCarter #Glassing #Gnod #GreyAura #Haatdrager #HauntedPlasma #InterArma #Kylesa #Messa #Midwife #MoorMother #Ontaard #OranssiPazuzu #Sumac #Swans #Thou #ThrowingBricks #Uniform #VuurZijde #WhiteHills
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GardensTale Goes to Roadburn 2025
By GardensTale
The story of Easter, detailing the gruesome death and supernatural resurrection of a cult leader, is pretty fucking metal, all things considered. So it’s fitting that the cream of the crop among underground heavy music festivals, Roadburn, coincides with the religious holiday this year. Not that it makes much difference to me, my partner, or the slew of friends we drag across the Tilburg city centre to enjoy some of the heaviest, strangest, and most envelope-pushing music that music has to offer. We’d murder our feet and livers for this fest any time of the year.
For the last few editions, Roadburn has spread its venues over several locations within a few hundred-meter radius. The 013 is the main venue, hosting the large Main stage with its signature staircase (a brilliant way to rest your feet while watching a show!) and the smaller NEXT. A 5-10 minute walk away, depending on your state of mind and soundness of body, is the old industrial hall known as Koepelhal, split for the occasion into the larger Terminal and smaller Engine Room. Attached is the diminutive Hall of Fame, where the smallest artists get to do their thing, with the ever-popular skate park next door regularly hosting secret shows, which are often announced only a few hours beforehand. Finally, the local jazz club Paradox is the place to be for the more unconventional material, which is saying something in this place.
What follows is a cleaned-up live thread I tapped out in hasty bursts between and during sets, my word-vomit witnessed in real time by my colleagues who gave frequent and often unhelpful commentary. Where applicable, I saw fit to include their remarks and any response I had to their tomfoolery. I can not promise this will result in a sane article, but I hope it can sketch a glimpse of what the greatest festival in the world is like.
Day 1 (Thursday, 17th of April)
2:51 PM — As usual, the larger sizes of the merch sell out lightning fast, and so I walk away with a single patch and disappointment. Let’s hope Glassing can obliterate the letdown.
Cherd of Doom: Surely they restock merch through the festival?
HAHAHA no
Everyone knows merch goes fast so everyone goes to merch first so merch goes fast
And they always underproduce the large sizessentynel: You’d think if the merch consistently sold out really quickly they might print more next time
3:12 PM — Yep, Glassing is fucking killing it. Pushing an almost Spartan setup to its limit. The drummer is just bonkers!
4:11 PM — Listening to Oranssi Pazuzu outside the main stage because we could no longer get inside. It sounds impressively oppressive. Wish we could have seen more of it, but I would not have wanted to miss Glassing. Choices choices.
4:24 PM — The electronics and psychedelics of Oranssi Pazuzu are really cool. I should have paid more attention to this band.
4:48 PM — Slowing things down a bit with Toby Driver’s new age project Alora Crucible. It’s pretty enough, but 10 minutes in, I am still waiting for it to develop into something more than a yoga class background music jam.
5:17 PM — It did not.
5:31 PM — Listened most of Alora Crucible from the lounge where they pipe down the music from that stage. Very relaxing, better way to experience it than the venue!
5:33 PM — Then sludge legends Kylesa reformed on the main stage. No second drummer sadly, but what a treat to see this band live again! Last time was at Graspop in 2011.
6:44 PM — Waiting for Faetooth to start. Their first European gig!
Dolphin Whisperer: love Faetooth, they got a new album on the horizon I believe
7:10 PM — Faetooth is decent but not amazing, the vocals are a bit one-note at least on stage. Some nice riffs and I wouldn’t have minded finishing the gig but my feet are too dead to settle for decent right now. At least we can still listen to them for a bit outside the venue.
9:20 PM — After a good big meal we went to the main stage for envy.
And it’s already entrancing just a few minutes in.9:31 PM — I am in love, this is the greatest thing I discovered today. The intense and concentrated emotion divided between melancholic post-rock and colossal outbursts of post-metal-hardcore is divine.
This is their 2003 album, tomorrow they will play a modern era set.Dolphin Whisperer: envy good
well WHY DIDN’T YOU TELL ME
Cherd of Doom: See, bands playing multiple themed sets is exactly why I’d love to go to Roadburn. The Inter Arma sets last year for instance
10:29 PM — Envy was my favorite show of the day easily. So intense, so emotional.
10:39 PM — Black Curse is apparently overrun, so instead we decided to wait for Concrete Winds. Dame Area was still playing in that venue, so we thought we’d check it out. We walked in and walked back out like Grandpa Simpson.
Dolphin Whisperer: CONCRETE WIIIIIIIIIIIIIIINDS
11:30 PM — Concrete Winds sounds good for dense death metal but I am honestly too tired for death metal this dense.
12:42 AM — But I stuck it out! It was intense, but pretty cool. Sadly my phone died halfway through.
Day 2 (Friday, 18th of April)
12:49 PM — Heading in for the first performance on the bill today, a collab of Throwing Bricks and Ontaard. They’ve collaborated successfully before on record, but this is a new commissioned piece.
1:19 PM — It’s fucking awesome! 8 musicians on stage, massive sound, but the balance is great and it’s emotionally devastating.
The sound quality is also much better than most Engine Room performances.
Between the two bands you also have a lot of variety. Male and female vocals, synths, violin, two drummers. Gorgeous.1:49 PM — I don’t think I’ll ever get tired of ‘beautiful serene passage, suddenly interrupted by the most devastating wall of noise.’
2:54 PM — Midwife was very pretty, very demure, and very much not what I was looking for right now. Sort of a shoegaze, dreampop, slowcore thing that feels more appropriate for a summer sunset than a dark crowded hall and foot pain. Will check again later!
3:20 PM — Now for one of my most anticipated shows of the festival: Messa playing their new album The Spin in full!
3:41 PM — Their stage presence is a bit static, but the album and execution thereof are so good it’s easy to forgive.
Dolphin Whisperer: They don’t typically have a big stage presence from what I gather. They didn’t when I saw em in a small club
5:11 PM — After Messa we intended to see CHVE, the solo project of Colin [van Eeckhout] from Amenra. The line was pretty long, so we declined to join it. But it was all speed 0 soundscapes and were even boring when listening from the lounge.
Dolphin Whisperer: why go fast when you can go sloooooooooooooooooooooow
5:13 PM — But now it’s time for round 2 of envy! Loved em so much yesterday, we wanted seconds. Today is the modern set, including all of Eunoia, their 2024 album.
6:36 PM — Envy was once again beautiful and crushing.
6:39 PM — After envy we went to queue for 40 Watt Sun. Patrick Walker is doing a solo show in Paradox, the jazz club, and it’s bound to be jam-packed. Thankfully we got in! Now having another beer and waiting for the man to make us weep.
7:02 PM — Walker surveying the crowd: “That does not look comfortable.”
7:34 PM — Between songs this man is the funniest fucker alive, then he starts playing again and instantly it’s misty eyes and goosebumps. What a character, what a musician.
8:52 PM — Sometimes you gotta stop and smell the Korean fried chicken.
9:22 PM — Now waiting for Genital Shame.
10:20 PM — Genital Shame was decent, but couldn’t hold our attention. Also I was much too close to the speakers and the kick drums were overpowering the guitars. Caught a friend heading out and decided to follow her to Gnod Drop Out with White Hills.
11:04 PM — Gnod was very particular music for a very particular audience under a particularly large amount of drugs. Endlessly spooling 70’s space rock psychedelics. We didn’t stay long. Instead we opted for Thou, playing Umbilical on the main stage.
Dolphin Whisperer: THOOOOOOOOUUUUUUUUUU
11:19 PM
I always kind of skirted around Thou, but they put on a good show. Unforgivingly harsh and unstoppably heavy, with the biggest riffs I’ve heard today. I don’t feel the amount of heart I got from the best performances today, but it’s a fun and filthy way to end the day.Day 3 (Saturday, 19th of April)
1:54 PM — Scarfed down a fresh stroopwafel, brought my ebook for breaks and waits, and shuffled into the Terminal for Dødheimsgard!
They’re playing Black Medium Current front to back.
2:05 PM — It’s more of a sardine pressure vat than a sardine can in here.
2:11 PM — But the show is great! The big hall works for the expansive spacy black metal and the band is performing with fire
2:38 PM — We escaped the crowd to join a different one and check out Haatdrager, a project from students at the Metal Factory in Eindhoven. Claustrophobic electro-laden sludge. It’s fucking awesome!
2:44 PM — The vocalist is a very talented young woman. Throat ripping screams, but she also focuses on flow and rhythm in a more hip-hop fashion which gives the music an urban fusion flair akin to Backxwash and dälek.
Dolphin Whisperer: Like and subscribe
3:42 PM — We left for ice cream, then headed back to catch the off-kilter hardcore punk of Gillian Carter.
3:49 PM — Instrumentation is cool, sharp riffs with unexpected turns and skronks. Vocals are very one-note though. Will try to get into Grey Aura instead.
3:52 PM — Samantha compared the vocals [of Gillian Carter] to Judge Doom in Who Framed Roger Rabbit sinking into the Dip and it is 100% accurate.
4:29 PM — Grey Aura was worse though. Embarrassing vocals honestly. Yelling like he wanted the kids to get off his lawn.
Tyme: Boooo! Too bad. I dig Grey Aura.
Dolphin Whisperer: That’s really sad to hear :(
5:09 PM — We grabbed a drink and intended to get in line for Uniform. And so we did, but the Terminal filled to capacity before we got there. Not willing to face another sardine pressure vat, we went with plan B: a collaboration between Sumac and Moor Mother. Now waiting for that while giving our feet a rest on the main stage steps.
Tyme: Sumac?? Hmmmmmm. Interesting
Dolphin Whisperer: Sumac + Moor Mother sounds the kinda collab that is so high art it may be impossible to sniff it. Hope it’s enjoyable
You’re not far off. It doesn’t feel like they managed to glue freeform activist hiphop and sludge doom together cohesively. More like switching between the Moor Mother bits with heavy guitars, then Sumac bits where they play actual riffs.
6:23 PM — We left to see Coilguns instead. That turned out to be the right decision. Frantic hardcore punk with ketamine energy and acidic left field swerves; it’s not always sane but it’s highly entertaining!
6:25 PM — The vocalist is especially all over the place, pulling himself across the stage by the afro and using 5 different styles and inflections in the same song
6:29 PM — Also met one of our Discord users, inkster.
Dolphin Whisperer: inky is very social + nice
She was! We left before the end because it was a long set and our feet are so fucked, but Sammy and I had fun watching Coilguns with her for a bit
8:52 PM — Caught a couple songs from Denisa after dinner. A sort of raw post-punk meets Emma Ruth Rundle from Indonesia. Not extraordinary, but solid, sung and played with heart.
9:38 PM — Also a few songs from Doodseskader’s set. First saw them opening for Alcest, and their stark, raw nu-sludge, with intense visuals synced to the music, hasn’t lost its potency.
9:43 PM — Altın Gün is a big change of pace, though. They play a mixture of psychedelic rock and Turkish traditional music. It’s very danceable, but for me it lacks a little oomph, a bit of grit.
11:21 PM — Bidding the day goodnight with Chat Pile. They play their music well, but I was hoping that’d be enough to make me enjoy their music more, and it isn’t. Still, it’s an effective, brusque brand of spasmodic aggression. The frontman pacing back and forth barefoot in shorts like he’s in the Ministry of Funny Walks is quite the choice.
11:38 PM — Okay, “Why” was a hoot, fair is fair
Tyme: Still sounds like you’re having a blast tho!
I gotta admit it, that was a pretty fucking fun show yeah
Day 4 (Sunday, April 20th)
10:04 AM — Mild hangover. Went to the local metal dive bar last night with some of our festival pals. Partied til 3:30 am. I am getting too old for this shit. Except fuck that, it was a ton of fun and I’ll fucking do it again!
2:01 PM — Dragged my husk to the Terminal to see Vuur & Zijde play Boezem, which I gave a very positive review a few months ago. Curious to see how it plays on stage!
2:53 PM — Though the music was performed perfectly well, a giant industrial hall is probably not the ideal venue for Vuur & Zijde. I think they’d do better in a more intimate setting. But some minor sound issues aside, it was a pretty good show overall.
2:56 PM — Halfway through we decided to move to the smaller Hall of Fame to check out Bacht’n de Vulle Moane, a band that’s only a year old and supposedly plays some intense black metal festuring analog electronics.
3:05 PM — “Good evening Roadburn!” Dude it’s 3 pm.
3:14 PM — This sounds less like black metal with electronics and more like someone yelling over muddy hardstyle.
3:26 PM — It didn’t annoy me, but it did bore me. I didn’t come here for techno.
Dolphin Whisperer: Every time is the evening if you’re playing black metal
That’s great, maybe they should have tried that instead of playing techno haha
4:01 PM — Just watched an animated short movie called The Hunter made by Costin Chioreanu. Quite cool, though the plot was lost on me. Pretty imagery though!
4:32 PM — Frente Abierto plays flamenco, but a dark and heavy variation thereof. Interesting, but not really to my tastes.
6:11 PM — Michael Gira’s set with Kristof Hahn (both from Swans) was an exercise in patience. Slow droning soundscapes, eventually joined by slow droning vocals. At some point I could no longer stand the slow droning.
6:13 PM — Turns out Sumac has quite a lot of slow droning soundscapes as well. I don’t need to like everything Roadburn has to offer, but gee golly, I hope I’ll enjoy at least one thing more than Vuur & Zijde today.
7:37 PM — With a belly full of noodles we plowed on back to the Terminal to catch a slice of Big|Brave. More slow droning soundscapes, but the vocals help give it a slightly better sense of progression. Still, when the song devolves into crash cymbal taps and nothing else for a few minutes, I do get a bit restless.
7:41 PM — When the buildup is more noticeable the music is much more enjoyable, thankfully, and the vocals are powerful.
7:48 PM — All in all a good performance that requires a bit more patience than my exhaustion has left me with.
9:03 PM — Bo Ningen, heavy psych rock from Japan, is a lot of fun and the first thing with this much energy today. Quite diverse, exploring different moods and textures.
9:25 PM — They manage both heartfelt space-outs and extended high-octane jams. Exciting show and excellent musicians!
9:35 PM — “This will be our last song!”
They still had 15 minutes.
They still went over time.10:58 PM — Closing out the festival for us is Haunted Plasma. The glitzy darkwave with an edge reminds me of that scene in Blade with the vampire nightclub. The woman on the mic has a sweet spectral presence. A bit one-note, but otherwise very enjoyable and a worthy festival finale.
Even though the line-up was a bit frontloaded this year, it still resulted in some of the most hardest-hitting and affecting live music I’ve yet experienced, even from bands I’d never heard of in the first place. Both envy shows and the Throwing Bricks collaboration with Ontaard were the stuff of legends, and this kind of discovery is what makes Roadburn such a joy to return to, year after year. And it’s all the sweeter having a great group of friends to experience it with, as my partner and I attended few shows without at least one other friend by our side. So dear reader… same time next year?
#40WattSun #Alcest #AloraCrucible #AltınGün #Amenra #BachtNDeVulleMoane #Backxwash #BigBrave #BlogPost #BlogPosts #BoNingen #ChatPile #CHVE #Coilguns #ConcreteWinds #Dälek #DameArea #Denisa #Dödheimsgard #Doodseskader #EmmaRuthRundle #Envy #Faetooth #FrenteAbierto #GenitalShame #GillianCarter #Glassing #Gnod #GreyAura #Haatdrager #HauntedPlasma #InterArma #Kylesa #Messa #Midwife #MoorMother #Ontaard #OranssiPazuzu #Sumac #Swans #Thou #ThrowingBricks #Uniform #VuurZijde #WhiteHills
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GardensTale Goes to Roadburn 2025
By GardensTale
The story of Easter, detailing the gruesome death and supernatural resurrection of a cult leader, is pretty fucking metal, all things considered. So it’s fitting that the cream of the crop among underground heavy music festivals, Roadburn, coincides with the religious holiday this year. Not that it makes much difference to me, my partner, or the slew of friends we drag across the Tilburg city centre to enjoy some of the heaviest, strangest, and most envelope-pushing music that music has to offer. We’d murder our feet and livers for this fest any time of the year.
For the last few editions, Roadburn has spread its venues over several locations within a few hundred-meter radius. The 013 is the main venue, hosting the large Main stage with its signature staircase (a brilliant way to rest your feet while watching a show!) and the smaller NEXT. A 5-10 minute walk away, depending on your state of mind and soundness of body, is the old industrial hall known as Koepelhal, split for the occasion into the larger Terminal and smaller Engine Room. Attached is the diminutive Hall of Fame, where the smallest artists get to do their thing, with the ever-popular skate park next door regularly hosting secret shows, which are often announced only a few hours beforehand. Finally, the local jazz club Paradox is the place to be for the more unconventional material, which is saying something in this place.
What follows is a cleaned-up live thread I tapped out in hasty bursts between and during sets, my word-vomit witnessed in real time by my colleagues who gave frequent and often unhelpful commentary. Where applicable, I saw fit to include their remarks and any response I had to their tomfoolery. I can not promise this will result in a sane article, but I hope it can sketch a glimpse of what the greatest festival in the world is like.
Day 1 (Thursday, 17th of April)
2:51 PM — As usual, the larger sizes of the merch sell out lightning fast, and so I walk away with a single patch and disappointment. Let’s hope Glassing can obliterate the letdown.
Cherd of Doom: Surely they restock merch through the festival?
HAHAHA no
Everyone knows merch goes fast so everyone goes to merch first so merch goes fast
And they always underproduce the large sizessentynel: You’d think if the merch consistently sold out really quickly they might print more next time
3:12 PM — Yep, Glassing is fucking killing it. Pushing an almost Spartan setup to its limit. The drummer is just bonkers!
4:11 PM — Listening to Oranssi Pazuzu outside the main stage because we could no longer get inside. It sounds impressively oppressive. Wish we could have seen more of it, but I would not have wanted to miss Glassing. Choices choices.
4:24 PM — The electronics and psychedelics of Oranssi Pazuzu are really cool. I should have paid more attention to this band.
4:48 PM — Slowing things down a bit with Toby Driver’s new age project Alora Crucible. It’s pretty enough, but 10 minutes in, I am still waiting for it to develop into something more than a yoga class background music jam.
5:17 PM — It did not.
5:31 PM — Listened most of Alora Crucible from the lounge where they pipe down the music from that stage. Very relaxing, better way to experience it than the venue!
5:33 PM — Then sludge legends Kylesa reformed on the main stage. No second drummer sadly, but what a treat to see this band live again! Last time was at Graspop in 2011.
6:44 PM — Waiting for Faetooth to start. Their first European gig!
Dolphin Whisperer: love Faetooth, they got a new album on the horizon I believe
7:10 PM — Faetooth is decent but not amazing, the vocals are a bit one-note at least on stage. Some nice riffs and I wouldn’t have minded finishing the gig but my feet are too dead to settle for decent right now. At least we can still listen to them for a bit outside the venue.
9:20 PM — After a good big meal we went to the main stage for envy.
And it’s already entrancing just a few minutes in.9:31 PM — I am in love, this is the greatest thing I discovered today. The intense and concentrated emotion divided between melancholic post-rock and colossal outbursts of post-metal-hardcore is divine.
This is their 2003 album, tomorrow they will play a modern era set.Dolphin Whisperer: envy good
well WHY DIDN’T YOU TELL ME
Cherd of Doom: See, bands playing multiple themed sets is exactly why I’d love to go to Roadburn. The Inter Arma sets last year for instance
10:29 PM — Envy was my favorite show of the day easily. So intense, so emotional.
10:39 PM — Black Curse is apparently overrun, so instead we decided to wait for Concrete Winds. Dame Area was still playing in that venue, so we thought we’d check it out. We walked in and walked back out like Grandpa Simpson.
Dolphin Whisperer: CONCRETE WIIIIIIIIIIIIIIINDS
11:30 PM — Concrete Winds sounds good for dense death metal but I am honestly too tired for death metal this dense.
12:42 AM — But I stuck it out! It was intense, but pretty cool. Sadly my phone died halfway through.
Day 2 (Friday, 18th of April)
12:49 PM — Heading in for the first performance on the bill today, a collab of Throwing Bricks and Ontaard. They’ve collaborated successfully before on record, but this is a new commissioned piece.
1:19 PM — It’s fucking awesome! 8 musicians on stage, massive sound, but the balance is great and it’s emotionally devastating.
The sound quality is also much better than most Engine Room performances.
Between the two bands you also have a lot of variety. Male and female vocals, synths, violin, two drummers. Gorgeous.1:49 PM — I don’t think I’ll ever get tired of ‘beautiful serene passage, suddenly interrupted by the most devastating wall of noise.’
2:54 PM — Midwife was very pretty, very demure, and very much not what I was looking for right now. Sort of a shoegaze, dreampop, slowcore thing that feels more appropriate for a summer sunset than a dark crowded hall and foot pain. Will check again later!
3:20 PM — Now for one of my most anticipated shows of the festival: Messa playing their new album The Spin in full!
3:41 PM — Their stage presence is a bit static, but the album and execution thereof are so good it’s easy to forgive.
Dolphin Whisperer: They don’t typically have a big stage presence from what I gather. They didn’t when I saw em in a small club
5:11 PM — After Messa we intended to see CHVE, the solo project of Colin [van Eeckhout] from Amenra. The line was pretty long, so we declined to join it. But it was all speed 0 soundscapes and were even boring when listening from the lounge.
Dolphin Whisperer: why go fast when you can go sloooooooooooooooooooooow
5:13 PM — But now it’s time for round 2 of envy! Loved em so much yesterday, we wanted seconds. Today is the modern set, including all of Eunoia, their 2024 album.
6:36 PM — Envy was once again beautiful and crushing.
6:39 PM — After envy we went to queue for 40 Watt Sun. Patrick Walker is doing a solo show in Paradox, the jazz club, and it’s bound to be jam-packed. Thankfully we got in! Now having another beer and waiting for the man to make us weep.
7:02 PM — Walker surveying the crowd: “That does not look comfortable.”
7:34 PM — Between songs this man is the funniest fucker alive, then he starts playing again and instantly it’s misty eyes and goosebumps. What a character, what a musician.
8:52 PM — Sometimes you gotta stop and smell the Korean fried chicken.
9:22 PM — Now waiting for Genital Shame.
10:20 PM — Genital Shame was decent, but couldn’t hold our attention. Also I was much too close to the speakers and the kick drums were overpowering the guitars. Caught a friend heading out and decided to follow her to Gnod Drop Out with White Hills.
11:04 PM — Gnod was very particular music for a very particular audience under a particularly large amount of drugs. Endlessly spooling 70’s space rock psychedelics. We didn’t stay long. Instead we opted for Thou, playing Umbilical on the main stage.
Dolphin Whisperer: THOOOOOOOOUUUUUUUUUU
11:19 PM
I always kind of skirted around Thou, but they put on a good show. Unforgivingly harsh and unstoppably heavy, with the biggest riffs I’ve heard today. I don’t feel the amount of heart I got from the best performances today, but it’s a fun and filthy way to end the day.Day 3 (Saturday, 19th of April)
1:54 PM — Scarfed down a fresh stroopwafel, brought my ebook for breaks and waits, and shuffled into the Terminal for Dødheimsgard!
They’re playing Black Medium Current front to back.
2:05 PM — It’s more of a sardine pressure vat than a sardine can in here.
2:11 PM — But the show is great! The big hall works for the expansive spacy black metal and the band is performing with fire
2:38 PM — We escaped the crowd to join a different one and check out Haatdrager, a project from students at the Metal Factory in Eindhoven. Claustrophobic electro-laden sludge. It’s fucking awesome!
2:44 PM — The vocalist is a very talented young woman. Throat ripping screams, but she also focuses on flow and rhythm in a more hip-hop fashion which gives the music an urban fusion flair akin to Backxwash and dälek.
Dolphin Whisperer: Like and subscribe
3:42 PM — We left for ice cream, then headed back to catch the off-kilter hardcore punk of Gillian Carter.
3:49 PM — Instrumentation is cool, sharp riffs with unexpected turns and skronks. Vocals are very one-note though. Will try to get into Grey Aura instead.
3:52 PM — Samantha compared the vocals [of Gillian Carter] to Judge Doom in Who Framed Roger Rabbit sinking into the Dip and it is 100% accurate.
4:29 PM — Grey Aura was worse though. Embarrassing vocals honestly. Yelling like he wanted the kids to get off his lawn.
Tyme: Boooo! Too bad. I dig Grey Aura.
Dolphin Whisperer: That’s really sad to hear :(
5:09 PM — We grabbed a drink and intended to get in line for Uniform. And so we did, but the Terminal filled to capacity before we got there. Not willing to face another sardine pressure vat, we went with plan B: a collaboration between Sumac and Moor Mother. Now waiting for that while giving our feet a rest on the main stage steps.
Tyme: Sumac?? Hmmmmmm. Interesting
Dolphin Whisperer: Sumac + Moor Mother sounds the kinda collab that is so high art it may be impossible to sniff it. Hope it’s enjoyable
You’re not far off. It doesn’t feel like they managed to glue freeform activist hiphop and sludge doom together cohesively. More like switching between the Moor Mother bits with heavy guitars, then Sumac bits where they play actual riffs.
6:23 PM — We left to see Coilguns instead. That turned out to be the right decision. Frantic hardcore punk with ketamine energy and acidic left field swerves; it’s not always sane but it’s highly entertaining!
6:25 PM — The vocalist is especially all over the place, pulling himself across the stage by the afro and using 5 different styles and inflections in the same song
6:29 PM — Also met one of our Discord users, inkster.
Dolphin Whisperer: inky is very social + nice
She was! We left before the end because it was a long set and our feet are so fucked, but Sammy and I had fun watching Coilguns with her for a bit
8:52 PM — Caught a couple songs from Denisa after dinner. A sort of raw post-punk meets Emma Ruth Rundle from Indonesia. Not extraordinary, but solid, sung and played with heart.
9:38 PM — Also a few songs from Doodseskader’s set. First saw them opening for Alcest, and their stark, raw nu-sludge, with intense visuals synced to the music, hasn’t lost its potency.
9:43 PM — Altın Gün is a big change of pace, though. They play a mixture of psychedelic rock and Turkish traditional music. It’s very danceable, but for me it lacks a little oomph, a bit of grit.
11:21 PM — Bidding the day goodnight with Chat Pile. They play their music well, but I was hoping that’d be enough to make me enjoy their music more, and it isn’t. Still, it’s an effective, brusque brand of spasmodic aggression. The frontman pacing back and forth barefoot in shorts like he’s in the Ministry of Funny Walks is quite the choice.
11:38 PM — Okay, “Why” was a hoot, fair is fair
Tyme: Still sounds like you’re having a blast tho!
I gotta admit it, that was a pretty fucking fun show yeah
Day 4 (Sunday, April 20th)
10:04 AM — Mild hangover. Went to the local metal dive bar last night with some of our festival pals. Partied til 3:30 am. I am getting too old for this shit. Except fuck that, it was a ton of fun and I’ll fucking do it again!
2:01 PM — Dragged my husk to the Terminal to see Vuur & Zijde play Boezem, which I gave a very positive review a few months ago. Curious to see how it plays on stage!
2:53 PM — Though the music was performed perfectly well, a giant industrial hall is probably not the ideal venue for Vuur & Zijde. I think they’d do better in a more intimate setting. But some minor sound issues aside, it was a pretty good show overall.
2:56 PM — Halfway through we decided to move to the smaller Hall of Fame to check out Bacht’n de Vulle Moane, a band that’s only a year old and supposedly plays some intense black metal festuring analog electronics.
3:05 PM — “Good evening Roadburn!” Dude it’s 3 pm.
3:14 PM — This sounds less like black metal with electronics and more like someone yelling over muddy hardstyle.
3:26 PM — It didn’t annoy me, but it did bore me. I didn’t come here for techno.
Dolphin Whisperer: Every time is the evening if you’re playing black metal
That’s great, maybe they should have tried that instead of playing techno haha
4:01 PM — Just watched an animated short movie called The Hunter made by Costin Chioreanu. Quite cool, though the plot was lost on me. Pretty imagery though!
4:32 PM — Frente Abierto plays flamenco, but a dark and heavy variation thereof. Interesting, but not really to my tastes.
6:11 PM — Michael Gira’s set with Kristof Hahn (both from Swans) was an exercise in patience. Slow droning soundscapes, eventually joined by slow droning vocals. At some point I could no longer stand the slow droning.
6:13 PM — Turns out Sumac has quite a lot of slow droning soundscapes as well. I don’t need to like everything Roadburn has to offer, but gee golly, I hope I’ll enjoy at least one thing more than Vuur & Zijde today.
7:37 PM — With a belly full of noodles we plowed on back to the Terminal to catch a slice of Big|Brave. More slow droning soundscapes, but the vocals help give it a slightly better sense of progression. Still, when the song devolves into crash cymbal taps and nothing else for a few minutes, I do get a bit restless.
7:41 PM — When the buildup is more noticeable the music is much more enjoyable, thankfully, and the vocals are powerful.
7:48 PM — All in all a good performance that requires a bit more patience than my exhaustion has left me with.
9:03 PM — Bo Ningen, heavy psych rock from Japan, is a lot of fun and the first thing with this much energy today. Quite diverse, exploring different moods and textures.
9:25 PM — They manage both heartfelt space-outs and extended high-octane jams. Exciting show and excellent musicians!
9:35 PM — “This will be our last song!”
They still had 15 minutes.
They still went over time.10:58 PM — Closing out the festival for us is Haunted Plasma. The glitzy darkwave with an edge reminds me of that scene in Blade with the vampire nightclub. The woman on the mic has a sweet spectral presence. A bit one-note, but otherwise very enjoyable and a worthy festival finale.
Even though the line-up was a bit frontloaded this year, it still resulted in some of the most hardest-hitting and affecting live music I’ve yet experienced, even from bands I’d never heard of in the first place. Both envy shows and the Throwing Bricks collaboration with Ontaard were the stuff of legends, and this kind of discovery is what makes Roadburn such a joy to return to, year after year. And it’s all the sweeter having a great group of friends to experience it with, as my partner and I attended few shows without at least one other friend by our side. So dear reader… same time next year?
#40WattSun #Alcest #AloraCrucible #AltınGün #Amenra #BachtNDeVulleMoane #Backxwash #BigBrave #BlogPost #BlogPosts #BoNingen #ChatPile #CHVE #Coilguns #ConcreteWinds #Dälek #DameArea #Denisa #Dödheimsgard #Doodseskader #EmmaRuthRundle #Envy #Faetooth #FrenteAbierto #GenitalShame #GillianCarter #Glassing #Gnod #GreyAura #Haatdrager #HauntedPlasma #InterArma #Kylesa #Messa #Midwife #MoorMother #Ontaard #OranssiPazuzu #Sumac #Swans #Thou #ThrowingBricks #Uniform #VuurZijde #WhiteHills
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A Moment But Forever (念无双) recaps and analysis
Note: This has all the spoilers and lots of details about A Moment But Forever episodes. If you just want a less spoilery overview and review, do read my A Moment But Forever review.
During the gods-demons war, the artifact “God’s Left Hand,” used by Heavenly God Taihe to seal demons, was severed and fell to the Mortal Realm, causing Taihe and the gods to fall into eternal slumber.
The Youhu fox clan seized the artifact, using it to defeat their enemies, the War Demons, and establish dominion over the world, becoming its new gods.
The goddess Wu Shuang is sent to reclaim the artifact, which would kill its host, Youhu Clan’s high priest Yuan Zhong. Disguised as maid Ji Tanyin, she infiltrates the clan but discovers Yuan Zhong is not the villain he’s believed to be.
- Episodes 1-6
- Episodes 7-10
- Episodes 11 and 12
- Episodes 13-15
- Episodes 16-20 (The weapon spirits)
- Episodes 16-20 (Yuan Zhong’s big plan)
- Episodes 21-24
- Episodes 25 and 26
- Episodes 27-30
- Episodes 31-33
- Episodes 34 – Hanvu
- Episodes 36 (Ending)
Episodes 1-6
Quick summary of plot: Our hero, Yuanzhong (Liu Xueyi) is both reviled and revered as the High Priest of the Fox clan (Youhu). Due to the disappearance of the gods, the Youhu are now the “gods” of the world, and he’s among the most powerful. Yuanzhou is reputed to be debauched, violent and basically not a nice demigod. (But of course he’s the opposite)
(So far, so Kill Me Love Me. Murong Jinghe, is this your new life?)
Anyway, Yuanzhong is powerful because of this artifact of the former deities, The Left Hand of the former god Taihe. The goddess Wushuang (Ji Tanyin) who made it, is sent to wrest it back from Yuanzhong.
So far:
✅ Upcoming massive misunderstanding
✅ Torture of male lead
✅ Evil “Good” Sect
✅ Flimsy excuse for a kiss
✅ But very logical excuses for undressing male lead a few times
✅ Bath scene(s)
Hilariously, A Moment But Forever trended on Weibo for Liu Xueyi’s bath scene (okay, his bare naked chest trended, and to quote one Weibo-er: “Better to trend for something than nothing”.)
First, don’t be fooled by the promos!
A Moment but Forever is one drama that I can 100% say that the promos did it dirty. Because when the first promo came out, I went: “Meh, another xianxia.” I barely even registered that Liu Xueyi was in it. And when it did, I went: “Tis a pity, I don’t think I can endure this factory-line xianxia for him.”
(Fortunately, I came across a random post ranting about how the promo didn’t do the script justice; I found out more about the story and was intrigued. And the rest was history.)
Anyway, the expectations for this drama were so abysmal that most people said it would be a failure. So, I was bracing myself for a tepid xianxia. Who knew that I ended up being surprised by:
- the coherent storytelling.
- how funny it was
- the couple’s unique dynamic
- the colour grading. The trailers made it look so washed out filtered to death that I’m glad it’s actually pleasing to the eye!
- the careful world-building
- the addictiveness of the episodes!
Hilariously, on xiaohongshu, most of the comments I saw were: “I didn’t intend to watch the drama, but I ended up binging all six episodes and now I’m going to office with panda eyes”.
Well, I almost did the same but I was on leave the next day, flying off to a tropical island, so that’s perfect!
My favourite highlights of episodes 1-6
You think your life sucks? Oh man, wait till you get tricked into putting on a heavy fugly gold necklace that seals your powers and then get shoved into a cave for 40 years, lose your mind, and start talking to your alternate selfs. (That said, dayum, another tour de force performance by Liu Xueyi. You really feel Yuanzhou’s agony, self-recrimination, regret and hatred in that scene.)
That moment when you realize that the Youhu clan, especially the sect leader, is using Yuanzhou as a blood bag and pharmacy. 💀
Liu Xueyi, I don’t know how you do it, not only can you look good in that wig *and* still look great when you’re half dead. That’s why you’re paid the big bucks.
Darling, I know you pride yourself for your impeccable logic but I think you’re a little off with this thesis🫠
Is there a reason for her to kiss him? Something to do with unsealing his gold chain? How? Does it matter? Many females around the world are now happy. Mission accomplished.
So far, my radar is picking up vibes that Tang Hua is UP TO SOMETHING and is probably behind the whole demon possessing thing. Did he orchestrate it to liberate his former bestie from the clutches Evil Youhu Sect Leader With the Eyebrows of Doom? Probably!
My big question is whether Yuanzhong is also in on it, knows Tang Hua is on his side or … really believes that his former best friend is his enemy like the rest of the sect?
Episodes 7-10
I’m dying. DYING. I just finished episode 10, and I’m like, NO DON’T END HERE. WHY ARE YOU DOING THIS TO ME??
At this point, I feel that this is going to be a drama that will keep me up at night; it’ll probably kill my sleep for a couple of weeks. Luckily I’m doing this on a tropical island. (I’m on vacation.)
It’s so rare for a Cdrama to do that to me. (But please god don’t break my heart at the end though.)
Anyway, on to some highlights from the episodes!
Tanyin’s Groundhog Day
Lawd I did not expect to laugh as hard as I did in episode 8 when Tanyin was repeatedly killed like some NPC in a video game! And then poor Yuan Zhong trying to bury/cremate/freeze her again and again each time she died!
Her explanation to Yuan Zhong about her resurrections though ;D
Tanyin, I think you better stick to science and leave the lying to politicians lol.
But poor Yuan Zhong, he thought he was getting a handmaiden, but he got a clingy stalker who could be a zombie instead.
War Demons – not so bad, not so good either
I really love that they showed the War Demons as a race that was made up of, well, normal people that joked, laughed and had families. But they have a really cruel social system that emphasizes increasing their numbers.
This forces families apart, and this is where we meet our new antagonist Qian Lian, a man eager to find the mother who was separated from him due to said system. He has now stolen a special dagger given to the tribe by a mysterious deity to kill Yuan Zhong so that he can be reunited with his mother.
Again, I really like that the writer has given the villains understandable motivations. For example, as evil as the Youhu elders were in sealing and imprisoning Yuan Zhong, they had a cold logic for it: How do you control someone as powerful as Yuan Zhong? How do you ensure he doesn’t enslave the clan?
Likewise, Qian Lian is rather likeable and has an earnest wish to reunite with his mother. A part of me wants him to succeed, but I like Yuan Zhong more, so …
The mysterious deity
I wonder if the War Demons were as nasty as they were supposed to be during that war and that they were nearly wiped out? And seeing how devilish the Elders of the Youhu clan are, I can really see them being the true devils of the war. Or maybe the deity had something to do with it.
But this drama has been surprising me with the unique paths it has taken, so I bet there’s a surprise waiting for us about the war.
Flying ships!
NGL, I felt like a little girl again when I saw that steampunk flying ship. I love that in this universe, the humans have their abilities. And their most defining strength is to invent machines.
We are no longer besties
I’m trying to decide if Yuan Zhong is talking about Tang Hua or Tanyin lol
As I suspected, Tang Hua had a hand in deceiving Yuan Zhong and eventually getting him imprisoned. It was amusing at first to see Yuan Zhong being all bitchy about Tang Hua, but later, after the attempted assassination, Yuan Zhong bluntly said, “We are no longer friends.”
And twisted the dagger by vividly describing the suffering he endured for 40 years. It was sad to see Tang Hua walk away dejectedly, but honestly, he deserved it. It’s going to take a lot more to mend their friendship … if it can even be mended because …
There’s something off about Yuan Zhong
Is he evil? Good? A bit of both? Or just crazy? It was something we, the viewers and Tanyin, were trying to figure out throughout the episodes.
Seeing Yuan Zhong just stare at a man being pecked to death by one of those Grudge Birds was chilling. Seeing him just casually walk away from people screaming around him was jaw-dropping. Oh noes, all this while we thought he was misunderstood! Maybe he’s just evil.
Like he told Tang Hua – after 60 years of suffering, nothing can reach his heart anymore, and our fox may not be “right in the head”.
Man, Liu Xueyi is just so good at playing morally grey characters I can’t tell what he is right now!
The attack
To be honest, I had a tiny bit of worry when the plot slowed down a tad in episode 9 when they boarded the ship and Tanyin and Yuan Zhong played this cat-and-mouse game with each other. Loved that Yuan Zhong realised almost immediately that Xue was Tanyin in disguise. I wondered if this he-knows-she-knows-he-knows game would be dragged out, but I shouldn’t have worried. Because Qian Lian stabs Yuan Zhong with the deity’s demon dagger, and then the ship was blown up by terrorists and—
And they left us there, just like that, wondering if Yuan Zhong is just going to watch everyone die. EURGH
Some other thoughts
I thought the criticisms against the special effects and styling were overblown. You young’uns try watching Cdramas during my time, where there were neon spandex hanfu and styrofoam demon spiders. A Moment But Forever’s special effects feel like award-winning special effects to me lol. (ok fine, not award-winning, but it doesn’t take me out of immersion.)
OMG Tanyin and that whip were amazing. Surely by now Yuan Zhong suspects that she is something powerful, you know, like a god??
Episodes 11 and 12
We get a lull of sorts (surprisingly!) after the intense flying ship fracas. Our little fox finally gets to fall in love at last. And it’s shown in such subtle ways.
What’s with Yuan Zhong’s expression on the ship?
Question: How do you interpret Yuan Zhong’s expression? It’s bugging me. Is he resentful? Just indifferent? Full of suspicion? A bit of everything? I can’t put a finger on it and it’s driving me nuts. What is your interpretation of his expression here?
Anyway, I’m glad that he ends up saving everyone, even if he didn’t seem very happy about it.
What followed that scene is more iciness from Yuanzhong as he continues to doubt her motives; he tries to shake her off as he goes to the mountain where one of his weapon spirits are sealed, but then that ice is thawed when she blocks a heavenly lightning strike for him.
See, girls, that’s what you need to do to win a guy’s heart – get struck by lightning.
Tang Yin dies. Again.
Look at that boy run
LMAO. Seriously, woman. Stop dying! I don’t think Yuan Zhong can take another round of this lol.
But Yuan Zhong’s reaction is so hilarious! (And how fox-like of him to try to smell to see if she has “gone off”.)
This, at the heels of such a serious moment on the boat, is amazing. It’s honestly fascinating how this drama knows how to balance super angsty moments with laugh out loud moments.
But on a more serious note, he is frankly confused, and like he told Mengshan, he can’t figure it out. Poor fox doesn’t understand why anyone wants to do anything good for him. Oh gawd the upcoming Misunderstanding is gonna hurt so bad, isn’t it?
Also, it’s nice to see Teng She again
To all you Love and Redemption fans, did you have a hoot watching Meishan annoying Yuan Zhong, because I did! (The actor for Meishan, Bai Shu, played Teng She, the sserpent god who constantly annoyed Bai Lin in Love and Redemption. There’s even this little scene where Yuan Zhong pushed Meishen down, a little callback to that scene between Hao Chen and Teng She.
Yuan Zhong falls hard
You were totally peeking, Yuan Zhong!
Our man completely falls for her in this scene, and it’s really wonderful to see Liu Xueyi just act this with his eyes. (It’s honestly wonderful to watch good acting. And er, beautiful men doing it.).
Seriously, that scene with Tang Yin and the crane was incredibly magical. And for the first time, in more ways than one, I feel as if I’m finally watching a classic xianxia.
The compassion and love shining from Tang Yin’s eyes for the crane, the crane dancing for the goddess… Immortals often ride heavenly cranes, so I’m pretty sure the crane knew who she was. It was just goose-bump inducing for me, as it reminded me of the xianxia of my childhood.
You see, in xianxias of old, it’s always emphasized that immortals are there to care for humanity and all creatures. After all, one needs to cultivate good virtues and values to become gods, after all.
So, usually, it’s the most virtuous that become gods, though in modern xianxias that’s often brushed aside and simplified into cultivating some kind of mystical spell/energy. Also, in far too many modern xianxias, human beings and creatures are not even a consideration, so it’s delightful to watch a goddess showing delight and love for a “lower” creature for once.
Tang Hua is the ultimate “did you do something with your hair” guy
Imagine spending all that time looking for a magical sword and sacrificing a bright future to be a handmaiden on a mountain full of immortals only to have the object of your affection not remember your time together. And the only memory you have of her is her cleaning your room.
Tang Hua, I get that you’re busy and all but are your eyes and brain cells only for Yuanzhong LMAO ?
Glad our girl decided to quit her obsession, but Tang Hua’s is just beginning bwahaha
Episodes 13-15
Yuan Zhong meets his father-in-law
I mean, despite what he thinks, Xie You is essentially that, even if he thinks that a 1,000-year-old man is his romantic competition (and even if Yuanzhong would rather die than admit he has the hots for Tanying lol.)That said, it’s such a hoot to see both of Tanyin’s favourite men bitch at each other like a pair of teenage mean girls. I guess when it comes to her favourite men, Tanyin has a type.
I’m pretty sure if Tanyin knew that Yuan Zhong thought that she and her teacher had a romantic relationship, she would’ve died (again). And Xie You would’ve totally murdered him for real.
Pretty sure Xie You was bitchy to Yuan Zhong because not only was he ordering his disciple around like, well, a handmaiden, he doesn’t think he deserves her. Like any father!
How is Xie You 1,000 years old?
Some of you may wonder how Xie You managed to live a millennia if he’s a human. I don’t think it’s explained very clearly in the drama, but in the novel, a human’s obsession can be so great they can ascend to immortality. (That’s how Tanyin and Hannu became immortals – they were so obsessed with their craft that their godlike abilities made them gods.)My theory: In Xie You’s case, while his obsession is great, he is unable to ascend to godhood because he never solved the last puzzle (which Tanyin solved). That obsession to solve the problem kept him alive; in a stasis of sorts.
In a way, it’s a miserable way to be; obsessed about a problem he cannot solve instead of the craft itself.
Once a master, always a master
You know, in a typical xianxia, Xie You would’ve tried to rob/kill Tanyin or something, but instead, he’s more obsessed over the fact that he couldn’t solve a problem his student did. He felt so unworthy of his craft that he abandoned it to take up another craft, but he couldn’t let go of his obsessive love for it no matter what he did.
I was super moved by the whole conversation Xie You and Tanyin had about their teacher-student relationship. Xie You believed that Tanyin should be his teacher now and bowed to her, but Tanyin said that he would always be her teacher, and bowed back to him.
If you’re not Chinese, you may not understand the deep reverence for teachers in Chinese culture. But this whole scene is the epitome of that value (and many Chinese netizens were moved by that scene).
I thought Xie You’s death was a great gift from Tanyin, even if it made her tearful to do it. Being stuck in stasis for so long was a miserable existence for her master, and it was time he was released from it.
Context: In Buddhism, obsession or attachments is said to be the cause of life’s suffering. Unresolved obsessions, especially.
Zhi Dai’s obsession
Zhi Dai’s obsession was more tragic than I thought. I had assumed that she had learned to preserve her youth through some magic she learned on the Youhu mountain, but it turned out that she actually grew old! This really drums in the tragedy that she wasted her entire life on a man who barely remembered her.
I’m glad she got a second chance, but who was the deity who returned her youth? I’m quite certain it’s Hannu, and I have a big feeling there’s no free lunch and she’s going to demand something in return soon.
Truth or dare
“I never approached anyone with ill intentions…”
And Yuan Zhong’s look of deep disappointment when Tanyin hesitated, and when she said, “what if it’s for the good of the world?”
Our fox is totally demanding to know what her true intentions were, and she kinda failed the test….
Then: “I never had a crush” -> Yuan Zhong, you’re totally lying and you’re fishing! lol And that little pout he gave her when he asked if she had, and then she asked what it feels like.
Yuan Zhong, how did you go from sad to cute in a few seconds??There’s no time
Poor Yuan Zhong having to relive his worst moment and to be cruelly taunted by the image of his dead father rescuing him. That’s an ‘easy’ puzzle compared to the rest.Never in a million years did I think I’d have to think about the theory of relativity in a xianxia, but there we go.
Okay, Theory of Relativity aside, I’m psyched that Yuan Zhong was the one who solved the time puzzle, but at the same time I was so sad: How many years must he have thought about the idea of time, stuck in that cave for decades?
To me, his “wisdom” about time was borne through that awful period, and I think he must’ve convinced himself that time was an illusion to keep himself sane during all those decades of imprisonment.
Hunt for the weapon spirits
I really like this little adventure Yuan Zhong is going on, seeing the world, freeing his weapon spirits. Kai Shan is such a cutie! He’s not the brightest bulb in the chandelier, but he seems to be the sweetest weapon (and hungriest) spirit.
I can’t wait to meet the other weapon spirits. I saw an image of all of them together, and they look so cool!But of course readers of the book will agree >!that things will get very exciting once Yuan Zhong gets all his spirits together …!<
Tang Hua is … kinda forgiven?
It’s more like Yuan Zhong has decided to 50% forgive him rather than be best buds, I think. I was very delighted to find out that Tang Hua’s two men who were involved in the whole “pretending to be possessed by war demons” campaign are still alive!So despite his deep hatred and anger for Tang Hua’s betrayal, there’s still a smidgen part of his heart that cares for Tang Hua.
This is especially confusing to me, who have read the novel, knowing what Yuan Zhong is planning!!
Episodes 16-20 (The weapon spirits)
(From left: Zhi Fei, Kai Shan, Lu Chen, Ling Yao and A Xiu)
The weapon spirits are 100% super cool. It’s like Yuan Zhong has his own band of Power Rangers.
I’m going to do something different. Because these episodes is essentially several long arcs in one, and instead overwhelming you with a girnomous essay, I’m going to cover the same episodes in different posts, but focusing on different arcs.
In this post I want to cover the arc of the weapon spirits.
Hunt for the weapon spirits
I really like this little adventure Yuan Zhong is going on, seeing the world, freeing his weapon spirits.Speaking of character writing. I love how the writer has infused each weapon spirit with such distinct personalities. In fact,
what continues to amaze me is how the writer has fully fleshed out almost every character in this story, no matter how minor.Zi Fei – ah loyal Zi Fei, we know him well, but I think he may not be the most powerful of the lot.
Kai Shan our foodie is such a cutie! He’s not the brightest bulb in the chandelier, but he seems to be the sweetest weapon (and hungriest) spirit.
Pei Jiu/Lu Chen is my favourite yet. And I think he may be the most powerful (and serious) of the lot.
Ling Yao – a female weapon spirit that Kai Shan and Zi Fei obviously has a crush with??
A San – a weapon spirit that likes to eat … gold? (according to the previews.) Man, he has expensive taste.
What do you think the weapon spirits represent?
Some say they represent the five sins. Some say each represent a finger of the Divine Hand. What do you think?Pei Jiu/Lu Chen
I have to admire this actor. He is able to distinguish himself as Pei Jiu, the simple, happy-go-lucky constable, from the powerful, serious Lu Chen. I really enjoyed his performance and the story.The whole arc of Yuan Zhong trying to take Pei Jiu as his disciple was hilarious! What tickled many Chinese viewers was that conversation Pei Jiu pooh poohing Yuan Zhong’s idea of a great life: That of a wandering swordsma His greatest ambition was to be a civil servant instead!
Knowing what we now know of the real Lu Chen’s personality, this must have been so infuriating to Yuan Zhong who took a special joy in trying to beat some sense into the man lol.
The innkeeper’s marriage
Ah, I really feel for Yunniang and Pei Jiu (Lu Chen). I’m pleased that she survived it all, but what surprised me was Lu Chen obviously does remember their time together.
I loved that Tanyin, Zi Fei and Kai Shan attended Pei Jiu’s pre-marriage dinner … even if they know that he’d probably never get married. That sad look Zi Fei threw Pei Jiu each time he mentioned the marriage was so sad.
Such a beautiful, painful arc for the unlucky innkeeper who once again loses her groom. When Yunniang started the fireworks in broad daylight, it’s probably her way to say goodbye to him. I like how un-hysterical she is about this painful loss, even if it obviously very painful.
Is there one tiny hope that Lu Chen will survive what’s coming and reunite with her one day?
I can’t wait to meet the other weapon spirits and to see them get together. But of course readers of the book will agree that things will get very exciting once Yuan Zhong gets all his spirits together.
Episodes 16-20 (Yuan Zhong’s big plan)
Ever felt so disappointed in the world that you think the only solution is to burn everything down and start over on a clean canvas?
Okay, I hope you are not like that but well, that’s Yuan Zhong in a nutshell.
—
What do you think about Yuan Zhong’s ‘five sins’ plan??Remember what I said about not being interested in this drama initially, and then I got sucked in by discussions online about how it’s actually a fantastic script? It was this clip that made me realise – oooh, another powerful performance by Liu Xueyi! That’s worth seeing at least!
This scene turned out to be so damn heartbreaking I can’t bear to see it again. Especially with that little basket of noodles and vegetables descended into his prison.
Seriously, Youhu clan! Is this how you repay the hero who not only saved your clan but made it one of the most powerful in the world??
Tanyin’s heartbreaking plea to Yuan Zhong to rest though … to imagine that this is really how his inner psyche is like, constantly turning over this theory of “five sins” over and over again …
I find Yuan Zhong’s “Thanos” turn very understandable. To him, it was the only way to keep sane, to have a light at the end of the tunnel, the only way to justify his imprisonment. It was all a grand experiment, to make him realise the “reality” of what is. He can fix it! He can still be a hero. He’s not a useless discard. The Five Sins is also his way of understanding why he was imprisoned: It’s some heroic quest to make him realise that he had to save the world by destroying it.
Well, he’s just well and truly mad.
Were you shocked by the reverse uno card?
At the end of episode 20, I love how they revealed how powerful and insane he was at the end, when he suddenly overpowered the demon effortlessly. And when the demon realised that Yuan Zhong was an even bigger demon that he was!
That scene made my jaw drop because I DID NOT EXPECT IT.
A standard xianxia would probably had Tanyin rescue him or something. Instead, Yuan Zhong kicked her out and burnt the demon alive. Gah!
And we the audience realised that Yuan Zhong was the real demon here.
To be honest, I’m not sure how I’ll see the funny cute scenes he’ll have with Tanyin now, knowing that he’s secretly planning the world’s death.
The Mute Lady
In episode 16, we learn about Xie You’s “other disciple”, the Mute Lady. We later discover that this was Ji Tanyin when she had just emerged from her long sleep. Because of her injuries, she couldn’t talk much but she left a mark everywhere she went, building schools, teaching the villagers science and turning bandits into good people. She ended up being worshipped till this day.I’m also quite pleased that by end of episode 17, Yuan Zhong quickly figured out that Tanyin was the Mute Lady. His fury made a lot of sense, not just because he was tricked but because he really wanted to believe that she followed him because she liked him, and that he was special somehow. Instead, he’s just one of the many people she helped, because that’s her nature, and he’s not special at all.
On top of that, he believes that she has ulterior motives in approaching him.
Zi Feng said something very important to him: That she’s distracting him from his true plans, and that’s the real danger.
Episodes 21-24
Yuan Zhong’s gradual turn to the light
Again, I really love how the show doesn’t really spoonfeed us information, but shows rather than tells us things.
Probably the most significant development is Yuan Zhong’s gradual thawing. This scene is especially moving because here we see Yuan Zhong in his sea of consciousness, in dark robes, possibly on the way to becoming a demon, but as he remembers Tanyin’s words asking him to travel the world, he literally begins to see the light.
And right after that scene we see Taihe’s body disintegrating. It’s as if each time Yuan Zhong heads towards less dark places, Taihe suffers. Hmm! I wonder what’s up with that?
Oh yes, there’s this strange scene where Yuan Zhong is standing in the middle of town and he is surrounded by blue light. I didn’t understand that until I got on to Chinese social media, and those who have read the script said that it was Yuan Zhong extending his senses to feel/see the life in town. Feeling the joy of life for the first time in a long while, he ran back home to read Tanyin’s travelogue, suddenly eager to experience how it’s like to travel the world.
But just as Yuan Zhong starts to soften to Tanyin, she starts to get cold…
One can’t blame her really, because Qian Lian’s remark that “he’s becoming a demon” and what she saw in his sea of consciousness are making her really wary. Remember, her sole purpose for taking back the Divine Hand from Yuan Zhong was because he was considered evil, thus not worthy of the hand. If he has truly become evil, she would have no choice but to kill him.
And we know that Tanyin has started to love him in her own way, and she doesn’t want to do this at all.
The back and forth between them was riveting to watch and it’s going to get helluva more intense in the next episodes!
Is Yuan Zhong possessed or demonised?
I’ve seen discussions online – some say Yuan Zhong is getting possessed by a demon, some say he’s becoming a demon. There’s a distinction between the two, and I think it’s the latter.
What do you think?
Personally, I think it’ll cheapen Yuan Zhong’s journey if he was possessed by another entity. It makes more sense that his tortured decades had twisted him to darkness, and it’s more gratifying to see him fight his way out of that rather than be rescued from possession by Tanyin.
Fu Jiuyun
I’m sure fans of the charming, flirty nearly thousand-year-old immortal Fu Jiuyun from Love of Thousand Years are delighted to see him here.
At first, we think that he’s just here for comedic relief and to be Yuan Zhong’s love rival, but I think he’s here to prod (or tease) Yuan Zhong and Tanyin about their relationship.
Also, if you know about his origins, you’d realise that he was actually being very literal, but because of the way he said it, it came off as smutty double entendre! Hilarious!
There is a connection between Tanyin and Fu Jiuyun, as we’ll come to find out.
Qian Lian’s gift is to be knocked out every episode
… apparently. I couldn’t believe that he was once again knocked out in episode 20 lol
I’ve taken to call him Mr. Third Wheel. Not that he’s much competition to Yuan Zhong at all! I’m really not sure why he’s here, to be honest lol
To be honest, I found the War Demons arc mostly snoozeworthy. They seem not as well fleshed out as other races, just evil sidekicks right now. Besides Qian Lian, no one else seems to have a redeemable, 3-dimensional quality…. well, until the end of episode 20, when we find out that the War Demon that seemed semi-kind to Qian Lian was actually his half-brother.
And that’s about time, to show that War Demons are people too, like Tanyin said to Qian Lian when she rescued him from the slave traders.
I continue to be bored by Tang Hua
Tang Hua and Zhi Dai are doing something, and I’m really bored lol. Each time they come onscreen I have to fight the urge to push the fast-forward button. I’m sure their plot has something to do with Wushuang Society and I’m certain that Zhi Dai’s brother is involved with them, but at this point of the story I just want to focus on our main couple, is that too much to ask?
Raising a child is really expensive
As a fellow fire sign, my favourite weapon spirit has been replaced by A Xiu!
That said, I really love this little interlude between Yuan Zhong, Tanyin and A Xiu because it gave Yuan Zhong a taste of a life beyond the Grand Plan.
When Tanyin told him that he could travel the world once he freed the weapon spirits, it’s as if this thought had never occurred to him before.
You see a sense of wonder slowly descending on him, and a gradual reluctance to execute his Grand Plan. (Him not feeding A Xiu gold to hasten his growth is one big sign.)
As he starts to love life again, he begins to doubt his Grand Plan …
I really love this arc, that’s all I can say, and I wish they could stay like this forever, being pseudo-parents to the precious A Xiu, just worrying about raising an expensive kid …
Episodes 25 and 26
You know what I think? Nobody has the right to be this beautiful when destroying the world lol.
Anyhoo, this is going to be a short one because I just landed from my week-long vacation. (And I swear this is the best thing, being able to chase this drama on a beautiful tropical island.) Also, I feel that these episodes don’t need much exposition because we all know what happened here: Yuan Zhong and Tang Yan are suspicious of each other, and there are full of emotional scenes between the two of them.
Anyway, these episodes were Ah-mahzing! I keep rewatching the emotional scenes in these episodes because They. Are. So. Good!
This is mostly because I like to watch Liu Xueyi suffer I love Liu Xueyi’s Shakespearean scenes. It’s incredibly hard to do monologues in general, and he did two in these episodes.
If he wasn’t this good of an actor, those scenes would’ve been hammy and awkward, but he was able to imprint different emotions just through his voice, at times!
The one when Tanyin entered his sea of consciousness and he had this major blow out demanding, “Why should I forgive them?” I really felt his fury. And I wanted to go, you know what, don’t forgive them Yuan Zhong! They don’t deserve it. Burn them all!
And yet I understand Tanyin’s POV as well. There’s so much beauty in the world too, and she wanted him to emerge from this terrible darkness.
But my favourite scene has to be that pivotal moment when he was about to unleash hell on the world. He started out reverent, almost, as he talked to Wushuang. Then it slowly turned bitter, then menacing as wrathful. And then through a series of expressions, Liu Xueyi conveyed Yuan Zhong’s pain as he hesitated, remembering the beauty of this world. His simple declaration, “Never mind”, was like a bomb going off (emotionally speaking).
I love that he was the one who “saved” himself, and that he flinched for the first time when the orb showed him the terror that he was about to unleash. I like romance like the next person, but despite liking our couple very much I want Yuanzhong to be the one making the decision to turn away. I don’t want him to turn away because the heroine declared her love for him, or if she was in danger. I want him to come to the realisation that he didn’t need to destroy the world.
The scriptwriter is brilliant.
It makes their eventual embrace on the bridge so meaningful. Tanyin was relieved that Yuan Zhong chose not to destroy the world, and that he did this himself. And Yuan Zhong smiled and was relieved as well, because Tanyin didn’t turn away from him after seeing him at his darkest; a literal demon. Instead, she was running towards him.
Some folks online complained that they wished there was more love demonstrated between the two of them, that it took so long for them to even show any kind of affection towards each other, but I thought it was just perfect. This is how two people from very different, polarising positions, can fall in love. And I am happy they didn’t take the short cut by giving us skinship or accidental kisses and embraces (bleargh) so rife in xianxia, even if there was one kiss at episode 6, but that was for totally logical reasons!
So which emotional scene did you prefer? The one in the sea of consciousness or the tower when he was about to unleash hell?
Episodes 27-30
Seriously, the problem I have with express episodes is how do I balance discussions for those who have watched the express episodes and those who have not? So what I’ll be doing is to follow the current non-Express airing episodes and hope you guys are patient, I will be releasing the discussion on the finale at the end of the week. So, do be patient, Express viewers!
By the way, those who have seen the Express episodes: PLEASE PUT ON SPOILER TAGS WHEN YOU COMMENT ABOUT EPISODES BEYOND 30. Those who do not will get their comments removed. All right then, let’s go ahead with the discussion.
So, did you like the kissing scene? hehe
I want to say that watching Yuan Zhong and Tanyin being all sweet with each other, and THAT KISS OMG was the highlight of these episodes.
Of course we know that the writer is giving this sweet moments before drowning us in bittergourd juice, sigh.
Also OMG please make Liu Xueyi do more kissing scenes. Honestly, I just tolerate most kissing scenes in Cdramas, but with LXY, I literally savour them because they’re just so natural that you feel that you’re spying on a couple! The best kisser in CDramaland, that’s for sure.
BTW (some melon gossip) It’s said that he’ll be the male lead in a Ming dynasty costumed drama with Tan Songyun drama soon and omg my girl cannot reciprocate if you know mean. So, if it films, I wonder how the kissing scenes will look like (if there’s any lol).
Two ways to exist in the worldOne of the themes that resonated with Chinese audiences about A Moment But Forever, but would probably make us international audiences blink, is that they see China’s geopolitical situation reflected in the drama.
I’m not going to much detail into this as I don’t want to turn this into a political post, but I can at least talk about how episodes 26-31 offer a glimpse at two ways to exist in the world:
a) At A-Xue’s house, did you notice that a deity, War Demon, Youhu fox spirit and a human being sat down together to have meals and watch fireworks together?
b) However, this idyll is shattered when, in a bid to help the Youhu clan, Yuan Zhong is brutally attacked by War Demons, the Youhu clan (seriously, if Yuan Zhong eventually cuts all ties and stop helping them they 100% deserve it), humans and yes, even deities (Hanvu)
These two sets of people exists at the same time in the world:
We can either treat each those alien to us as equals and have meals with them to forge friendships.
Or we can scheme and manipulates and destroy and kill instead.
I’m so proud that Yuan Zhong is of the first group now; it was really lovely to see his development after he gave up destroying the world.
Instead of isolating Qian Lian, he helps heal him and develop into a Perfect War Demon. Of course he couldn’t resist sliding in a few barbs and petty moments, but that Yuan Zhong for ya.
Despite seeing Dingxu spying on him, he lets him go. (Though I wouldn’t have mind if he made an exception, ya know?)
I also loved A Xue, how accepting and grounded she is despite having powerful people in her house!
The attack on Yuan Zhong was brutal to watch 😦Oh gawd, seriously why is anyone in the Youhu clan still listening to Dingxu and the parasitic elder cohorts?? Please someone tell me why. The Youhu elders are a bunch of moronic, ungrateful, lazy bunch and seeing them literally betray Yuan Zhong, who came to help them is just …! (Seriously Tang Hua, I know it’s not your fault but you did drag Yuan Zhong from his peaceful life to this mess, ugh. Could you like, stop.)
This whole sequence was so distressing to watch. Imagine, after sparing the world destruction, everyone conspires to kill him. (It was gratifying to watch Qian Lian come to his rescue though! What a cool guy.)
Yet, despite using the Divine Hand, it wasn’t deadly enough to annihilate everyone – Yuan Zhong held back when he could’ve easily used it to level the city. And that scene when Tanyin swoops in and catches him, and two flowers land on his blood stained hands and he tells Tanyin that such beauty exists in this flithy place? (EUHGH)
He paid dearly for his kindness but this time, he did not destroy the world. This is a lot of growth because old Yuanzhong would’ve just unleashed hell on the world. (And I would’ve secretly cheered him on a little.)
Also loved Tanyin’s little trick of shrinking the city and flicking it thousands of miles away. Wait, does that mean Yandu is now at a different part of the world?? Did it move back later?? lol
All in all exciting episodes even if it was brutal to watch Yuan Zhong so seriously injured and Tanyin desperately trying to bring him to safety as they are chased by his enemies …
Episodes 31-33
Now that Yuan Zhong is safe, Tanyin has to leave to deal with Hanvu in the Divine Realm. Yuan Zhong takes desperate actions, triggering a cascade of events…
The Green Tea Fox
(PS: “Green tea” is slang for someone who pretends to be innocent, pure, and sweet on the outside but is actually manipulative and calculative.)
Tanyin had no choice but to leave physically this time because all access to the Divine Realm is barred to her now that she’s no longer a goddess, and Hanvu closed the ascension platform.
However, she discovers one more way: use Juanjuan’s spatial magic technique—but she needs to do it physically, not via spirit like before.
Never did I expect Yuan Zhong to pretend to be blind, frail, and worsen his injuries just to keep Tanyin around. But he’s a fox after all (specifically a green tea fox!). I love this, though.
I like that they didn’t outright show he was faking his injuries and blindness immediately. Instead, we get a clue at the start of Episode 32 when they’re stargazing: as Tanyin gently guides his hand to “see” the stars, he sneaks a glance at her. This cunning fox!
But we don’t know why he did it until much later.
By then, Yuan Zhong suspects she’s more than just the immortal Mute Lady—she’s a goddess. Fu Jiuyun’s words must echo in his head: that they’re mere passersby in her life, and her path lies beyond mortals like them.
I deeply empathize with Yuan Zhong when he asks Tanyin (paraphrased): “Do you know what it’s like to wait for someone without any clue where they’re going or when they’ll return?”
And when all tactics fail, he demands to marry her—his way of forcing proof that she truly loved him. Desperate actions, unfortunately. Not exactly my ideal proposal! Lmao.
Though these scenes were sweet, they felt “heavy”, steeped in doom. I couldn’t fully enjoy them knowing what was coming.
I’m Mad at Zhi Dai
Tanyin’s inability to confess her love (thanks, Heavens, and your stupid Three Oaths—ugh) leads to Yuan Zhong’s extreme reaction when Zhi Dai, under Hanvu’s orders, reveals that Tanyin is the goddess he’s worshipped for years.
Like, woman! I thought you’d gained brain cells after your second life, but you regressed the moment Tang Hua flashed a smile. Okay, fine, you were possessed by Hanvu—but you didn’t have to lead her to him!
I get her motivations, but I loathed her hesitance and selfishness. Surely she knew there’d be catastrophic consequences, especially after what happened with her brother.
Are You Annoyed at Yuan Zhong?
Many on Chinese social media were furious at Yuan Zhong’s actions in these episodes. They called him silly for being so insecure that he forced Tanyin to stay, fell for Hanvu’s schemes, and sparked a chain reaction…
Frankly, I see their point. I, too, groaned: “Yuan Zhong, must you? Couldn’t you just cherish your time with Tanyin, even if she had ulterior motives?”
But our fox isn’t mentally healthy. Turning away from world-destruction doesn’t mean instant recovery. Darkness still surrounds him—his clan, war demons, and even the gods want him dead. How much can one man take?
Though he chose to spare the world, Tanyin became his only light (especially after Yandu’s cruelty). That’s… not ideal.
Nightmare Wedding: Why Did Yuan Zhong Do It?
“I have never been this afraid in my life.” —Yuan Zhong
Did you dread the wedding as much as I did? With Tanyin’s nightmare vision of Yuan Zhong in red, how couldn’t we? Alas, her fear came true.
Why?
- He wanted to be special to her. Not just one of many loved by a goddess.
- He believed Tanyin stayed only for Taihe’s mission—no love involved. If his Divine Hand kept her from leaving, he’d rather give it to her and end the farce.
- The Hand symbolized a lifetime of pain. This was the final straw.
Was it understandable? Yes. Maddening? Also yes.
Could Yuan Zhong have been “reasonable”? Maybe. But consider: a man imprisoned for 60 years by the clan he protected, who finally finds hope in a woman’s devotion—only to learn it’s conditional.
In his mind, their marriage was just a means for her to retrieve the Hand. Why endure that toxicity? With his limited understanding of her mission and his fractured mental state, he saw no other way out.
And she was leaving—perhaps forever. That’s why he said, “I let you go.”
Novel vs. Drama: A Key Difference
In the novel, Yuan Zhong only considered cutting off his hand:
“He imagined cutting off his left hand in a fit of rage… hoping to fill the void with her tears and regret.”
But drama Yuan Zhong actually did it!
While the novel’s pear-tree scene felt tepid (Tanyin’s reaction was oddly muted), the drama’s version made Yuan Zhong seem unstable—but it was earned. His mental decline was well-foreshadowed.
That said, drama Tanyin’s agony over his death sold their love better than the novel’s more detached portrayal.
Episodes 34 – Hanvu
One of the problems the show had toward the end, and when it truly stumbled, was explaining the motivations of its archvillain, the seemingly saintly Hanvu.
This is where the book did it better. In the book, every god goes through tribulations in the world, and it often revolves around Obsessions. Hanvu being trapped in her obsessive hatred for her sister was her tribulation. To “pass” her tribulation, she had to rise above it.
(Obviously, she couldn’t in the end. The book vividly portrayed her ‘stuckness’ when Tanyin saw her ‘true form’ – that of a woman still burning alive in that fire. I always remember her saying that Tanyin had been in that firepit for centuries, unable to move away. In that sense, Hanvu was suffering for centuries with that pain.)
It’s All About Obsessions
Personally, I don’t think the show explained the magic system of this world very well.
The Buddhist philosophy that obsessions lead to suffering gets a twist in the story.
In this universe, one’s obsession can result in great feats, immortality, and even divinity. But on the other side of the coin: it can also lead to great misery and demonization.
- Yuan Zhong was obsessed with judging the world based on the five sins.
- Hanvu was obsessed with the betrayal of her sister, which led to her violent death.
That’s why Yuan Zhong said: “Gods and demons are just a thought apart.”
What obsession makes you a god? What obsession makes you a demon?
Hanvu and Yuan Zhong were on the same journey, but they responded differently.
Hanvu’s hatred had no outlet
Like Yuan Zhong, Hanvu was deeply wronged when she was alive. Despite being a caring sister, she was framed by her sibling and ended up being burned alive by a mob.
Like Yuan Zhong, she had a guide to lead her to a better path: Taihe. However, unlike Yuan Zhong, Hanvu couldn’t absorb Taihe’s guidance. (This is partly due to Taihe’s lack of empathy—a result of his “ruthless path”—where he only taught her to suppress her desires.)
When her sister died, her opportunity for revenge slipped away from her because, as a goddess, she couldn’t interfere with the cycle of reincarnation or enter it like her sister.
She wasn’t able to let go of her grudge as a result, and as she said, “Where can my grudge go? Forgive? I cannot forgive!”
So, instead of feeling gratitude for Taihe, she ended up hating him. She poisoned Taihe by unleashing all the darkness he was suppressing, which turned into a literal demon. She blamed the world for her unjust death, and she used Taihe as her weapon, and later, Yuan Zhong.
A lot of people on social media couldn’t understand her motivations. It may seem lame—to destroy the world based on something you suffered thousands of years ago—but think of it as hatred morphing into something “alive.” In Hanvu, we see the destructive force behind an Obsession; because she couldn’t let go, she needed an outlet for her hatred. She chose a new target: the world.
Yuan Zhong could say, “Never Mind”
Like Hanvu, Yuan Zhong’s target was also the world. But unlike Hanvu, he learned to love his guide, Tanyin, who was gentle and empathetic and gave him love in return. Unlike Hanvu, he could let his grudge go and say, “Never mind.”
That’s why I loved that little scene so much. Just two words, and it said so much—Yuan Zhong was able to let go of his obsessive need to destroy the world and justify his suffering. Hanvu wasn’t.
(PS: That’s why some fan theories say he had already attained godhood then, because he passed his tribulation right there—but it’s complicated, haha, since he replaced this Obsession with Tanyin.)
Unfortunately, Hanvu used Yuan Zhong’s love (or rather, Obsession) for Tanyin against him, resulting in this:
The Problem Lay in the Direction and the Script
The director, Guo Hu, has a rather spotty track record. While he was responsible for The Mysterious Lotus Casebook, he was also responsible for the really poorly received Only for Love.
So, I was holding my breath for most of the drama. On the whole, while he may struggle with some camera angles, etc., I thought he executed the story very well. But then he started stumbling after Episode 31.
And when Hanvu agreed to give Tanyin a “presentation” about why she was doing what she was doing, I could only facepalm. Really, director? You decided to turn Hanvu into the “villain who monologues her plan”? Until then, the drama had been pretty strong in the “show, don’t tell” department.
Of course, not all the blame can be placed on the director. I’d say the scriptwriter shares a fair bit of it. And that puzzled me because the writing had been consistently strong until the last arc, which leads me to conclude that another scriptwriter probably took over (the style is just too different) or… there was interference from above.
Probably a combination of both. Producers and the studio (and this is an iQIYI production) are notorious for dictating story direction, and all I can say is: something happened to the last few episodes.
I also read that originally, Hanvu’s motivation was that she was jealous Tanyin had Taihe’s attention in the past. The director nixed that plot, and I’m glad he did!
However, if only he could’ve laid out more foreshadowing for Hanvu to hint at her Obsession, her world-destroying motivations would’ve been more understandable—just like Yuan Zhong’s.
By the way, if you want to discuss the finale next, head over to the finale thread, which was originally for express viewers.
I have one more post coming explaining my opinion about the ending, and why I think it’s actually a good ending, even one leading towards happy.
Episodes 36 (Ending)
Evil Taihe is cool, I guess?
A lot of people were impressed with Evil Taihe/Yuan Zhong combo but I thought it was not Liu Xueyi’s strongest performance in the drama. (I thought it was rather cheesy, forgive me.) But I was super impressed that he used a totally different voice for him!
Did Evil Taihe die too easily? Yeah, weirdly for such a much-feared demon! haha
Why did Hanvu self-destruct?
Hanvu’s death was very confusing. What prompted her to self-destruct into a tapestry again? Someone explain to me.
Zhi Dai and Tang Hua’s ending was appropriate
Honestly, I’m suprrised Tang Hua got to live, his anime and novel version – he didn’t survive lol. Anyhoo, that relationship was doomed from the begginning and tbh I didn’t feel anything for this ‘ship, so it’s fine to me ;P
Is Meishan dead?
I think he’s in the same state Tanyin was, his body dead, but unless his primordial spirit is irrevocably destroyed, he could return. But, unfortunately, we do not know for sure.
Why did Yuan Zhong inherit Taihe’s powers?
Personally, I think it’s because he finally passed his tribulation and was deemed worthy enough to become Taihe version 2. (In xianxia, gods ascend to a new level after much suffering, but they need to overcome them to do so.) But again, they didn’t quite explain.
So, will Yuan Zhong accept the deity’s invitation to cultivate the ruthless path and be Taihe version 2?
I swear, if he does, he has learned nothing from his 60 years of confinement by the Youhu and deserves a tight slap from Tanyin when she returns.
The entire conversation was way too similar to Dinxu’s appeal that “he can become a god”. He’d be an utter fool to be tricked again just so that he can see Tanyin. So, no I doubt it. Being a god is no longer appealing, all he wants is Tanyin and yes, it’s a dirty tactic that the deity used Tanyin as bait but I’m confident Yuan Zhong is wise and smart enough to know that the ruthless path will only prevent him from reunited with Tanyin (because he has to supress his emotions).
Also, surely he knows that Taihe’s path wasn’t as pristine and pure as they made it out to be. So I doubt Yuan Zhong will fall for this scheme.
But he smiled because he finally have hope (after years grieving for her loss) that Tanyin can return one day.
But won’t he die before Tanyin returns?
It’s said that the Youhu foxes only live up to 500 years (if I’m not mistaken). I doubt that’s Yuan Zhong’s lifespan, being a host to the Divine Hand. Remember, Dinxu used to drain Yuan Zhong to make elixers to prolong his life. With that blood in his body, I’m sure his life is extended by a lot, and now that he has “inherited” Taihe’s full powers, his already god-like. He just chose not to ascend officially and take his place in the Divine Realm. And I doubt he’d ever do that.
The final question: Will Tanyin return?
Yes, to me she will. Reasons below.
Dashed expectations … only if you are a modern xianxia viewer with ‘love conquers all’ expectations
I firmly believe A Moment But Forever ended happily—but this depends on how you interpret the drama’s central themes. Modern audiences, especially newcomers to xianxia, often expect fairy-tale romances where love conquers all.
However, classic xianxia (the one I grew up with) was never solely about romance. Instead, it explored philosophical themes— what is good? What’s evil? What is the true nature of a deity? The immortals in more classic xianxia were far more concerned with mortal welfare than their own love lives.
And if they have some romance, they will prioritise their mission to care for mortals and sacrifice their love lives. That’s the nature of gods, and that’s how they became gods in the first place. Well, at least in old xianxia. Not so, modern xianxia, unfortunately. (They’d rather wreck the world for love!)
Over the years, the xianxia genre came to be dominated by the idol factory, so young actors and romance-heavy plots have became its trademark, almost.
This shift explains why A Moment But Forever faced the ageist criticism in China as “middle-aged xianxia.”
Anyway, if you watch A Moment But Forever expecting a modern xianxia, alas your expectations will be sorely dashed.
But if you approach it as a classic xianxia tale—centred on moral redemption, the responsibilities of the divine for humans—the ending will be logical … albeit unsatisfactory.
But to me, the ending is not just good but happy
Okay, happy-ish.
The core narrative about the drama isn’t about Tanyin and Yuan Zhong’s love story. It’s about Yuan Zhong’s redemption—a man destined to seemingly commit great evil. It’s also the story of a benevolent deity (Taiyin), who acts as his guide to sway him from this dark path.
The story’s “mission” completes when he chooses light over darkness, and saves the world.
Tanyin’s sacrifice—breaking heavenly laws to save him (the ultimate sacrifice for a goddess)—earns her a reprieve from judgement and a chance to live again.
A bad ending would be Yuan Zhong going completely evil and Tanyin dead!
I also liked the fact that Yuan Zhong and Tanyin several years as husband and wife. Tang Hua mentioned that he spent a few years travelling the world, and then we see Yuan Zhong and Tanyin at the tail end of their six-month travels.
I like that Yuan Zhong got to have this time with Tanyin, really truly love each other and lived as husband and wife before they parted.
To quote a Weibo-er, “our fox is no longer a virgin in the world and is now a right and proper widower.”
So what does it mean that she’s in the world, in a blade of grass etc?
The drama hints strongly that Tanyin survives as sentient energy and is able to influence creatures around her or even reincarnate into them – butterflies, dragonflies. Think of it as a higher level of existence.
In the novel, all gods who “die” reunite with a ‘central hub’ of primordial energy. So gods who ‘die’ become this energy, but Tanyin didn’t reunite with this central hub because she was granted the reprieve, and got to be free to rejoin the world.
But it will take time.
I firmly believe she will eventually return, mirroring the novel’s resolution where she reforms in a new body after centuries.
Why I’m convinced Taiyin will return:
- The Deity’s Revelation: The god at the end confirms Taiyin’s primordial spirit lingers between heaven and earth, and Yuan senses her presence.
- 2. Foreshadowing:
- The fortune teller’s prophecy: Yuan will have “joy with his descendants.”
- Taiyin gave Yuan Zhong her divine energy in episode 6. In the novel this is the key to her return. Her body is remade with immortal lotus, her teacher gave Yuan Zhong the “lotus gift”. I feel that he probably wanted to protect her too, and I think this “lotus energy” will facilitate her body’s reformation.
- Novel Parallels: In the source material, Taiyin returns after centuries, her energy merging with a lotus to recreate her body. The drama’s open ending implies the same outcome.
But I get why you want a kissy reunion
Let me ask you: Why should all “happy endings” be about a wedding and babies?
For a classic xianxia tale, a “happy ending” means evil was thwarted, and our heroes ascend their tribulations, ofter after great sacrifice.
I get it though. Modern xianxia viewers are so used to the idea of a romantic conclusion that they get furious when it’s thwarted, but classic xianxia prioritizes the themes I mentioned.
Yes, the frustration stems from mismatched genre expectations. But also, well, I get it. After the many tribulations we just want our couple to cuddle their babies and snog!
Why is it the ending ‘unsatisfying’ then?
Partly because we want to see Tanyin fulfill her promise that “she will definitely return, I promise you.” But didn’t get to see that (even if it’s heavily hinted).
Also, the drama was amazing up to episode 33. I felt that the drama jumped the shark after the Red Wedding (lmao). It’s as if they ran out of money or was told to hastily cut down lots of scenes.
That’s why it’s unsatisfactory to me – the drama was excellently plotted, the logic very solid until episode 33. Then after that it was a return to xianxia cliches. (I wasn’t super enthused with the demon lord arc.)
So many things were left lightly hinted at towards the end. For example, many people didn’t catch that the Weapon Spirits are still alive! Little A Xiu is back at the last episode.
A definite ending for many of our beloved characters would’ve made so many people happier.
Well, at least we understand why the Chinese title of the drama is 念无双 (Thinking/Longing for Wu Shuang). It sure lived up to it!
In the end, all of us know exactly how Yuan Zhong felt at the final scene. LOL
PS: Apparent the scriptwriter said an extra scene was filmed but never allowed to release. There’s some confusion about whether it’s filmed or not. But there was indeed a happy ending, either as an extra episode or a happy ending, but they decided to lop it off so that it has a more open ending instead. Make it make sense, c-ent!
So what are your theories?
#China #AMomentButForever #CDrama #CDramas #ChineseDrama #ChineseDramas #Fantasy #LiuXueYi #LiuXueyi #reviews #romance #TV #Xianxia
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Book Review: Star Science Fiction Stories No. 3, ed. Frederik Pohl (1955)
- Richard Powers’ cover for the 1955 edition
3.5/5 (collated rating: Good)
Ballantine Books’ illustrious science fictional program started with a bang–Star Science Fiction Stories. According to Mike Ashley’s Transformations: The Story of Science-Fiction Magazines from 1950 to 1970 Frederik Pohl’s anthology series of original (mostly) stories was “intended as both a showcase of Ballantine’s authors and a lure to new writers.” Paying better rates than magazines, the Star series foreshadowed the explosion of original anthologies that would provide a sustained challenge to the eminence held in the 50s by the magazine.
I’ve selected the third volume of the six-volume series.1 It contains an illustrative cross-section of 50s science fiction. Philip K. Dick’s “Foster, You’re Dead” (1955), Richard Matheson’s “Dance of the Dead” (1955), and Jack Williamson’s “Guinevere for Everybody” (1955) are not to be missed.
Recommended.
Brief Plot Summaries/Analysis
“It’s Such a Beautiful Day” (1955), Isaac Asimov, 3.5/5 (Good): The anthology starts off with an effective Isaac Asimov satire of the suburban experience. The creation of suburbia in the 1950s (and subsequent mass white flight) generated increased commutes between home and urban work. The home became a bunker to protect the American family from any threat (fallout shelters, a community away from diversity and interaction with “the other,” etc.).2
Asimov speculates that new, almost instantaneous, transportation portals will isolate the family completely from the external world. A minor glitch in the transportation system instills a change in the young Richard Hanshaw, Jr. He isn’t as willing to trust the portal — and decides to trek to school by foot. His teacher calls mother in shock and suggests psychological treatment. An intriguing, and gentle, satire on American conceptions of normalcy, the new-fangled post-War emergence of psychology as a therapeutic practice, and the suburban experience.3
“The Strawberry Window” (1955), Ray Bradbury, 3/5 (Average): The story follows a family on Mars. The father, Will, spends his day constructing the settlement town. He’s possessed by the dream of Mars and humanity’s conquest of the stars: “It’s not just us come to Mars, it’s the race, the whole darn human race, depending on how we make out in our lifetime. This thing is so big I want to laugh, I’m so scared stiff of it” (31). His long-suffering wife Carrie yearns for the small sounds and big memories that anchor her to Earth. And so Will comes up with a compromise, an expensive compromise.
Ultimately, this is beautiful polish to a banal, almost jingoistic, defense of humanity’s supposed destiny to expand and conquer: “There’s nothing better than Man with a capital M in my book” (32). I am far more interested in the more subversive and quietly critical moments of Bradbury’s other Mars stories. This one is simplistic propaganda of conquest. Despite the enjoyable thematic core (the effects of leaving Earth) and polished telling, I’d classify “The Strawberry Window” amongst his most disappointing and forced. For superior Bradbury that I’ve covered, check out “The Highway” (1950) and “The Pedestrian” (1951).
“The Deep Range” (1955), Arthur C. Clarke, 3/5 (Average): One of the reasons I feel a special attraction to 50s SF is its interest in the working-class experience of the future. Of course, for the reader of the present futuristic trappings suggest a certain glorification of what would be a new form of the mundane daily grind. The heroic blue-collar stories in James Gunn’s fix-up Station in Space (1958) come to mind. In Clarke’s “The Deep Range” humanity farms the seas. Instead of terrestrial herds of sheep or cows, shepherds in submersibles with dolphin assistants protect herds of meat-yielding whales from predatory sharks.
An effective slice-of-working class experience set in an evocative locale. It’s an immersive little story that draws on Clarke’s own interest in scuba diving and underwater adventure. Regardless, I remain uninterested in returning to Clarke’s work in anything more than an anthologized tale here and there.
“Alien” (1955), Lester del Rey, 3/5 (Average): Due to an comically improbable collision at sea, Larry Cross and his alcoholic crewmate Al Simmonds find themselves stranded on an island with an alien which “could swim out of a sunken ship at the bottom of the sea” (51). Al Simmonds is injured and Cross must keep the man alive and figure out the alien’s intentions. A classic SF problem story in which man must figure out a modus operandi in a bizarre new scenario. It’s polished. It’s solid. It’s predictable.
“Foster, You’re Dead” (1955), Philip K. Dick, 5/5 (Masterpiece): Mike Foster spends his school days practicing survival skills–digging, making knives, weaving baskets–in case of a nuclear attack. The kids snicker at him as he walks past. They don’t own a fallout shelter at home. His father refuses to pay into the NATS (National Security fund). If a bomb hit, Mike wouldn’t even be granted access to the school shelter. He’s possessed by a deep, perpetual, encompassing trauma.4 His walk home is nightmarish. Mechanical newspaper machines shout excitedly about “war, death, amazing new weapons” (67). The public shelter beckons with its neon lights but he has no money in his pocket for entry. And the store with the new shelter model mocks with its advertisements: “a powered heating and refrigeration system” and “self-servicing air-purification network” with “three decontamination stages for food and water” (68). Reluctant to yet again confront his father about their lack of shelter, he gazes at the new model and talks to the salesmen. He imagines that every evening he’d sleep in its encapsulating embrace, womb-like.
One of the absolute best fallout shelter themed SF stories I’ve ever read. It’s a fascinating collision of crisp prose, commentary on the arms race, and an evisceration of the complicity of commercialism in Cold War terror. Joins William Tenn’s “Generation of Noah” (1951), Daniel Galouye’s Dark Universe (1961), Modecai Roshwald’s Level 7 (1959), and Fritz Leiber’s “The Moon Is Green” (1952) amongst the best on the theme.
“Whatever Happened to Corporal Cuckoo?” (1953), Gerald Kersh, 3.5/5 (Good): In the fourteenth and fifteenth centuries surgical diagrams called “Wound Men” crop up in medical miscellanies in Europe. These illustrations–the human form hacked, slashed, smashed, cut, pierced, bloated–served as an annotated table of contents to guide the reader through various injuries and diseases. Kersh imagines a literary version of himself returning to New York City from WWII interacting with a fantastical manifestation of a Wound Man on board the Cunard White Star liner Queen Mary. Corporal Cuckoo, the “Wound Man” in question, regals the narrator (Kersh) with the history of his scarred and mutilated form that mysteriously heals from every injury.
The reader becomes immersed in a historical military narrative that begins in the early 16th century. There’s a bizarre sense of horror and fantastical displacement. Like some crushed and deformed specimen, Cuckoo becomes an encyclopedic, and culminative, glimpse of humanity’s relentless obsession with death and violence.
Interesting and memorable. I’ll keep on the lookout for more of Kersh’s SFF.
“Dance of the Dead” (1955), Richard Matheson, 4/5 (Good): My third favorite story in the anthology transplants the standard narrative of a young adult straying from the path set out by parents and small town community onto a break-neck road trip in a drug and alcohol drenched near-future. Len, Bud, Barbara, and Peggy race their car towards St. Louis. Bud tries to get Barb to take snuggle–“act of promiscuous love-play; usage evolved during W.W. III” (114)–and take drugs: “Have a jab, Bab” (115). In the kaleidoscope of the new and relentless peer pressure the lessons her mother taught her slowly erode. All her inhibitions come crashing down when the quartet see the transcendent nightmare that is the titular dance of the dead.
Manifesting the SPEED of the car, Matheson’s prose resonates with pulse and hum, snippets of song and signage, slang and youthful lust: “At a hundred miles an hour let me DREAM my DREAMS!” (115). It’s frantic. It’s zappy. It’s vibrant. Recommended for fans of the more linguistically experimental (and bleak) of 50s visions.
“Any More at Home Like You?” (1955), Chad Oliver, 2.75/5 (Below Average): Dangerously close to joke story territory (what I classify stories that rely on a silly last page twist designed to generate a chuckle), Oliver re-imagines the classic flying saucer story. A young “man” named Keith crashes his advanced spacecraft in the swanky Bel-Air neighborhood of LA. He seems friendly. Friendly residents take him in. He meets with politicians. He gives a canned speech at the UN. But what’s the secret behind his sudden appearance? Does he really represent a massive Galactic Civilization as he claims? When the pieces all fit together, there’s a gentle sense to it all mixed in with a little, rather silly, “snip” at humanity’s claims to galactic centrality.
If you’re new to Oliver, I recommend tracking downs his two generation ship short stories–“Stardust” (1952) and “The Wind Blows Free” (1957). This one was not for me.
“The Devil on Salvation Bluff” (1955), Jack Vance, 3.25/5 (Above Average): As my last Vance review came in 2021–The Languages of Pao (1958), I looked forward to this anthology as a way to return to his fiction. “The Devil on Salvation Bluff” imagines a religious colony (everyone calls each other “Brother” or “Sister”) on a planet named Glory without clear scientific or societal patterns. If anything, disorder, irregularity, and chaos is the pattern. Regardless, the community attempts to impose an almost monastic order on their lives. The colonists brings with them a massive clock, build communities in precise patterns, and carve up the landscape with linear canals and irrigation.
In classic missionary fashion, the colonists attempt to impose their religion and regularity on the humanoid inhabitants of Glory, nicknamed Flits, that spend their days indulging in their passions, seemingly random rituals, and goat herding. Using salt as a bribe, they momentarily convince the Flits to settle in a new village created by the colonists. After Brother Raymond and Sister Mary kidnap the chief of the Flits to identify the psychosis they think might underline their impulsive, random, and occasionally destructive actions, the true psychological truth of the planet emerges. Vance suggests that dogmatic religion must shift and change to adapt to the moment.
Fits in with an intriguing cluster of often brilliant 50s stories exploring the clash of Earth religion and the SFnal new–Ray Bradbury’s “The Man” (1949), Arthur C. Clarke’s “The Star” (1955), James Blish’s A Case of Conscience (novella 1953, novelized 1958), Walter M. Miller, Jr.’s A Canticle for Leibowitz (stories 1955-1957, novelized 1959), etc.
Somewhat recommended.
“Guinevere for Everybody” (1955), Jack Williamson, 4.5/5 (Very Good): An artificially created Guinevere stands “chained” in a “vending machine” tempting sleepy passengers in an airport with her plaintive calls (169). “You like me, huh?” she asks strangers as they pass (170). “Won’t you by me?” she cajoles (170). The implication is clear. The reason for her sudden appearance in train stations, and others of her model, far less so. Chimberley represents General Cybernetics, a company building “managerial computers” to replace human workers (171). Chimberley attempts the origins of “THE VITAL APPLIANCE!” with her all too human sex appeal, and disturbing tendency to spout advertisements for other products (170). He, little more than a cypher manifesting the displacement of the mechanical age, feels drawn to her as “his best friends were digital computers” (171). He discerns that she is a recent product created, produced, and distributed by one of these vast managerial computers. Giddy with excitement he sees her as “something human management would never have had the brains or the vision to accomplish” (172). He purchases her from the vending machine and sets off to find the producing facility. But a line has been crossed, and another.
This story bothered me (in a good way) far more than it should. Williamson integrates little comments about how the mechanical (think AI unleashed on the US government) ignores the human experience. And how Chimberley, alone, adrift, insular, feels fulfilled by a programmed device that is but a fragment of a capitalistic assault on the consumer. This disturbed satirical gem took me by surprise. I will be on the lookout for more 50s Williamson short stories.
Notes
- Eight if we count the one-volume Star Science Fiction Magazine (1958) and Star Short Novels (1954). ↩︎
- There is a ton of scholarship on both of these ideas that I have referenced in various reviews in the past. Here is a short list! Elaine Tyler May’s Homeward Bound: American Families in the Cold War Era (1988, rev. 2017); Thomas Bishop’s Every Home a Fortress: Cold War Fatherhood and the Family Fallout Shelter (2020); Laura McEnaney’s Civil Defense Begins at Home: Militarization Meets Everyday Life in the Fifties (2000); and Robert A. Beauregard’s When America Became Suburban (2006). ↩︎
- For “normalcy” see Anna G. Creadick’s Perfectly Average: The Pursuit of Normality in Postwar America (2010); For the growth of psychology as medical practice in the post-War moment see Ellen Herman’s The Romance of American Psychology: Political Culture in the Age of Experts (1995). ↩︎
- I am reminded of studies of childhood trauma conducted on the students of Abo Elementary, New Mexico, a school built underground as a fallout shelter. ↩︎
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For TV and film reviews consult the INDEX
#1950s #arthurCClarke #avantGarde #bookReview #bookReviews2 #books #chadOliver #fiction #frederikPohl #geraldKesh #isaacAsimov #jackVance #jackWilliamson #lesterDelRey #philipKDick #rayBradbury #richardMatheson #sciFi #scienceFiction #writing
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Pop Cryptid Spectator 16
Hi there, and thanks for checking out PCS 16.
In this edition:
- Pop cryptid mainstreamification
- Cryptid festivals near you
- Cryptid Cafes
- Social media feed of cryptids
- Zoos with cryptid content
- Chaneque video debunked
Pop Cryptid mainstreamification
The Pop Cryptid idea is a very hard sell to the stalwart, traditional cryptid enthusiast – the person who still believes that we will discover a real-life Bigfoot someday and holds that the concept of cryptozoology deserves a scientific approach. As I’ve expressed in countless instances, that view is anachronistic compared to the modern version of cryptozoology, which is more about any mysterious creature or thing you can imagine. Modern online cryptids have little to do with zoology, except in speculative and fictional aspects. The evolution has happened online.
Prior to the 1990s, information about cryptids could be found in person, print, or on TV. Most importantly, cryptids are stories transmitted locally, directly from one person to another. The internet changed everything as “local” became almost meaningless. There were already a very few cryptids that were known nationally or worldwide – Bigfoot, Yeti, Nessie, Champ. But then came the late 1990s and cryptids became a worldwide sensation thanks to web pages, shared video, and social media. Without the Internet, you would not have the phenomena of the chupacabra, the Flatwoods monster, or the Fresno nightcrawler.
From there, the concept of local mystery monsters was embraced and shared. The reasons why it has become so popular and mainstream is a fascinating cultural story. I’ve already mentioned the festivals, the tourism tie-ins, the commodification, and the diversification of the cryptid scene, however, the traditional cryptozoology enthusiast ignores or rejects this. They insist that their version is the correct one that needs to be rehabilitated from the sensationalistic commercialism and separated from paranormalism.
I do not believe that will ever happen. I don’t think it can happen because zoological-based cryptozoology doesn’t make sense anymore. What may happen is that a certain niche area that treats cryptid lore as folk zoology will grow. In that sense, we’re talking about post-cryptid cryptozoology – not the discovery of new animals, but about the cultural aspects, interpretation, and meaning of strange animal encounters. That is an endlessly fruitful branch of this interesting tree!
Meanwhile, the number of festivals grows each year, the mainstreamification evolution of new cryptids continues, and the commodification becomes more lucrative.
Cryptid festivals near you
West Virginia is one of the top states in celebrating and popularizing their cryptids. The small towns of Point Pleasant, Flatwoods, Grafton, and Fairmont have their own famous monster festivals, and there are a few other WV cryptid fests that are more general.
According to my active list here, Ohio has the most cryptid festivals with 9, WV is second with 8, and Kentucky is third with 7. But, hey, I might be missing some! Excluding “conferences” but focusing on family-friendly fairs, conventions and town celebrations, let me know if I’m missing any in your state!
At the new three-day Oregon Mt. Hood Bigfoot festival in April, the local news reported that more than 800 people attended the lectures, visited the exhibitors and purchased merchandise from the vendors, boosting local tourism.
I regularly see organizers saying how they approach their town councils for event approvals. They often have to explain what a “cryptid” is and assure the chairpeople that this will be a big deal and big boost for a small town economy. Check out this article on how one cryptid festival in Ohio will continue in 2025 in a new location. Note that the organizer describes cryptids as “mythological”, not zoological, because it’s far easier to buy into a festival when you are free to play with the ideas and have fun.
On a side note, this is the second year I applied to be a speaker at Squonkapalooza in PA. But they seem to not want an expert in the subject of their own event – pop cryptids! They have not responded to my application.
The Cryptid Factor podcast will be at the super popular Edinburgh Fringe Festival this summer.
Cryptid Cafes
It’s one of my crazy dreams to have a cryptid-themed bistro with a gift shop. This idea is not unique and it’s spreading, both in real life and virtually. Here are some examples:
- The Rooster & The Crow has a Cryptid Den Bar and Lounge in Wilmington, NC.
- There is a Cryptid Cafe and shop in Moss, TN
- Mythical Pizza looks like a great spot: a cryptid themed, family-friendly pizza shop in Berkeley Springs, WV.
https://www.youtube.com/watch?v=CjnYKcqylLs
Berkeley Springs is a neat little town (with cool history and geology) that deserves some love. I’m sad that I missed Mythical Pizza, which I didn’t know about (or didn’t exist), the last time I was there about 2 years ago. It’s such a smart idea to appeal to West Virginia cryptids (even though it’s quite far from the cryptid hotspots). The video explains that it was the young family member who hit upon the idea.
In addition to brick and mortar establishments, there are some virtual cryptid cafe spots:
Cryptid Cafe is a board game where you are a lead server at the Sasquatch-owned restaurant packed with legendary creatures from all over the world. You’re aim is to gather food, filll orders, and earn the most tips to be crowned the most “legendary” server.
Cryptid Coffeehouse is a casual, slice-of-life virtual game about living in the American Midwest, meeting new people, and developing feelings for someone. It’s a game about relationships and the importance of consent, permission, and respect in those relationships, especially relationships that are between stages. It’s about being yourself.
https://www.youtube.com/watch?v=7q8Iymva1x8
Social media feed of cryptids
The best way to keep up with the ever-changing cryptid zoo is to check in with social media. The cutting edge stuff may be on Instagram but that app is not in my wheelhouse. And Xitter participation is completely out. But BlueSky has a stream of cryptid content that reveals some crucial characteristics of today’s pop cryptids. Here are some snapshots:
This Cryptid Crawl in Ohio encourages people to cosplay, patronize local business, and socialize with other cryptid fans. This event is an amazing way to support a small community and encourage inclusivity. Note the emphasis on queer acceptance – a HUGE component of cryptid culture. A “cryptid” is viewed as the shy and hidden “other”, a liminal being existing between two worlds, and pretty OK with their uniqueness.
Here’s a fun one:
What?! For those of you who find this use of “cryptid” cryptic, it is essential to understand the modern use of the world. Anything can be a cryptid if it is elusive, randomly appears or disappears, and has an aura of mystery and lore. Some people are lucky to find McRibs at their local McDs, and others can see no trace of it. Maybe you glimpsed one yesterday, but it’s like it never existed today. Get it?
With apologies to the cryptozoological purists, you are never going to squash this new usage of cryptid. It’s too darn convenient.
Social media #cryptid feeds have edgy original art, and portray people and animals as cryptids if they are photographed in weird circumstances or blurry. People call themselves cryptids if they are captured in an image at all because they deliberately avoid being seen.
Zoos with cryptid exhibits
At Halloween time, some zoos feature monster myths and spooky legends related to animals. I recently heard that the Audubon Zoo in Louisiana has (or had) an exhibit about the legends of local swamp monsters (Honey Island swamp monster, rougarou/loup garou, etc.). I haven’t seen it in person, but some commenters say it pokes fun at the belief of a monster in the swamps used to keep children in line.
This got me thinking about zoos, that people assume will provide straight zoological information, including mentions of rumored animals. The Audubon Zoo exhibit was installed in 2000 (perfectly timed with the pop cryptid explosion that began at this time). The info I saw regarding it was a few years old but the content seemed a bit off regarding the folklore. Cryptids are complex social phenomenon. How much does this presentation, or even just the presence of such information at a zoo, influence visitors’ knowledge?
Exhibit of the rougarou at La. Audubon Zoo.This may be related to similar situation of showing fake documentaries (about mermaids and megalodons) on informal “educational” channels. And who could forget the Amarillo creature that the zoo staff “couldn’t identify”. (Sure, sure.) The source can mislead, resulting in missing cultural context, and unwarranted credibility. Certainly these types of exhibits are popular and fun, but are they appropriate? I think that really depends on the depiction. But cryptid content in zoos is a most certainly a pop cryptid topic.
Many visitors centers like to showcase their local monsters – but have you seen zoos, in particular, displaying info about cryptids? Let me know in the comments or in a message.
Chaneque video debunked
Finally, if you are a subscriber (it’s FREE, no strings attached), you saw that I did a reveal of the faked chaneque video that was popular a few months back (from PCS 11). The hoax was a manipulated version of a video that shows a real animal. The sounds in the video are real! See the debunking here.
Thanks for reading! Send comments, questions, or suggestions to sharon(at)sharonahill.com. If you want to send some cryptid plushies or other merch, or books to review, email for my physical mailing address.
For more, click on Pop goes the Cryptid landing page. Make sure you subscribe to all the posts – it’s always free and I don’t send annoying spam.
Pop Cryptid Spectator is also available on Substack. Please share this with cryptid fans you know!
Pop Cryptid Spectator Pop Cryptid Spectator 20Pop Cryptid Spectator 19
Pop Cryptid Spectator 18
Pop Cryptid Spectator 17
Pop Cryptid Spectator 15
Pop Cryptid Spectator 14
#BigfootMuseum #cryptid #ElCuero #FresnoNightcrawler #GeorgiaBigfootHoax #hoax #lakeMonsters #Nahuelito #PuebloMysteryCreature
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Pop Cryptid Spectator 16
Hi there, and thanks for checking out PCS 16.
In this edition:
- Pop cryptid mainstreamification
- Cryptid festivals near you
- Cryptid Cafes
- Social media feed of cryptids
- Zoos with cryptid content
- Chaneque video debunked
Pop Cryptid mainstreamification
The Pop Cryptid idea is a very hard sell to the stalwart, traditional cryptid enthusiast – the person who still believes that we will discover a real-life Bigfoot someday and holds that the concept of cryptozoology deserves a scientific approach. As I’ve expressed in countless instances, that view is anachronistic compared to the modern version of cryptozoology, which is more about any mysterious creature or thing you can imagine. Modern online cryptids have little to do with zoology, except in speculative and fictional aspects. The evolution has happened online.
Prior to the 1990s, information about cryptids could be found in person, print, or on TV. Most importantly, cryptids are stories transmitted locally, directly from one person to another. The internet changed everything as “local” became almost meaningless. There were already a very few cryptids that were known nationally or worldwide – Bigfoot, Yeti, Nessie, Champ. But then came the late 1990s and cryptids became a worldwide sensation thanks to web pages, shared video, and social media. Without the Internet, you would not have the phenomena of the chupacabra, the Flatwoods monster, or the Fresno nightcrawler.
From there, the concept of local mystery monsters was embraced and shared. The reasons why it has become so popular and mainstream is a fascinating cultural story. I’ve already mentioned the festivals, the tourism tie-ins, the commodification, and the diversification of the cryptid scene, however, the traditional cryptozoology enthusiast ignores or rejects this. They insist that their version is the correct one that needs to be rehabilitated from the sensationalistic commercialism and separated from paranormalism.
I do not believe that will ever happen. I don’t think it can happen because zoological-based cryptozoology doesn’t make sense anymore. What may happen is that a certain niche area that treats cryptid lore as folk zoology will grow. In that sense, we’re talking about post-cryptid cryptozoology – not the discovery of new animals, but about the cultural aspects, interpretation, and meaning of strange animal encounters. That is an endlessly fruitful branch of this interesting tree!
Meanwhile, the number of festivals grows each year, the mainstreamification evolution of new cryptids continues, and the commodification becomes more lucrative.
Cryptid festivals near you
West Virginia is one of the top states in celebrating and popularizing their cryptids. The small towns of Point Pleasant, Flatwoods, Grafton, and Fairmont have their own famous monster festivals, and there are a few other WV cryptid fests that are more general.
According to my active list here, Ohio has the most cryptid festivals with 9, WV is second with 8, and Kentucky is third with 7. But, hey, I might be missing some! Excluding “conferences” but focusing on family-friendly fairs, conventions and town celebrations, let me know if I’m missing any in your state!
At the new three-day Oregon Mt. Hood Bigfoot festival in April, the local news reported that more than 800 people attended the lectures, visited the exhibitors and purchased merchandise from the vendors, boosting local tourism.
I regularly see organizers saying how they approach their town councils for event approvals. They often have to explain what a “cryptid” is and assure the chairpeople that this will be a big deal and big boost for a small town economy. Check out this article on how one cryptid festival in Ohio will continue in 2025 in a new location. Note that the organizer describes cryptids as “mythological”, not zoological, because it’s far easier to buy into a festival when you are free to play with the ideas and have fun.
On a side note, this is the second year I applied to be a speaker at Squonkapalooza in PA. But they seem to not want an expert in the subject of their own event – pop cryptids! They have not responded to my application.
The Cryptid Factor podcast will be at the super popular Edinburgh Fringe Festival this summer.
Cryptid Cafes
It’s one of my crazy dreams to have a cryptid-themed bistro with a gift shop. This idea is not unique and it’s spreading, both in real life and virtually. Here are some examples:
- The Rooster & The Crow has a Cryptid Den Bar and Lounge in Wilmington, NC.
- There is a Cryptid Cafe and shop in Moss, TN
- Mythical Pizza looks like a great spot: a cryptid themed, family-friendly pizza shop in Berkeley Springs, WV.
https://www.youtube.com/watch?v=CjnYKcqylLs
Berkeley Springs is a neat little town (with cool history and geology) that deserves some love. I’m sad that I missed Mythical Pizza, which I didn’t know about (or didn’t exist), the last time I was there about 2 years ago. It’s such a smart idea to appeal to West Virginia cryptids (even though it’s quite far from the cryptid hotspots). The video explains that it was the young family member who hit upon the idea.
In addition to brick and mortar establishments, there are some virtual cryptid cafe spots:
Cryptid Cafe is a board game where you are a lead server at the Sasquatch-owned restaurant packed with legendary creatures from all over the world. You’re aim is to gather food, filll orders, and earn the most tips to be crowned the most “legendary” server.
Cryptid Coffeehouse is a casual, slice-of-life virtual game about living in the American Midwest, meeting new people, and developing feelings for someone. It’s a game about relationships and the importance of consent, permission, and respect in those relationships, especially relationships that are between stages. It’s about being yourself.
https://www.youtube.com/watch?v=7q8Iymva1x8
Social media feed of cryptids
The best way to keep up with the ever-changing cryptid zoo is to check in with social media. The cutting edge stuff may be on Instagram but that app is not in my wheelhouse. And Xitter participation is completely out. But BlueSky has a stream of cryptid content that reveals some crucial characteristics of today’s pop cryptids. Here are some snapshots:
This Cryptid Crawl in Ohio encourages people to cosplay, patronize local business, and socialize with other cryptid fans. This event is an amazing way to support a small community and encourage inclusivity. Note the emphasis on queer acceptance – a HUGE component of cryptid culture. A “cryptid” is viewed as the shy and hidden “other”, a liminal being existing between two worlds, and pretty OK with their uniqueness.
Here’s a fun one:
What?! For those of you who find this use of “cryptid” cryptic, it is essential to understand the modern use of the world. Anything can be a cryptid if it is elusive, randomly appears or disappears, and has an aura of mystery and lore. Some people are lucky to find McRibs at their local McDs, and others can see no trace of it. Maybe you glimpsed one yesterday, but it’s like it never existed today. Get it?
With apologies to the cryptozoological purists, you are never going to squash this new usage of cryptid. It’s too darn convenient.
Social media #cryptid feeds have edgy original art, and portray people and animals as cryptids if they are photographed in weird circumstances or blurry. People call themselves cryptids if they are captured in an image at all because they deliberately avoid being seen.
Zoos with cryptid exhibits
At Halloween time, some zoos feature monster myths and spooky legends related to animals. I recently heard that the Audubon Zoo in Louisiana has (or had) an exhibit about the legends of local swamp monsters (Honey Island swamp monster, rougarou/loup garou, etc.). I haven’t seen it in person, but some commenters say it pokes fun at the belief of a monster in the swamps used to keep children in line.
This got me thinking about zoos, that people assume will provide straight zoological information, including mentions of rumored animals. The Audubon Zoo exhibit was installed in 2000 (perfectly timed with the pop cryptid explosion that began at this time). The info I saw regarding it was a few years old but the content seemed a bit off regarding the folklore. Cryptids are complex social phenomenon. How much does this presentation, or even just the presence of such information at a zoo, influence visitors’ knowledge?
Exhibit of the rougarou at La. Audubon Zoo.This may be related to similar situation of showing fake documentaries (about mermaids and megalodons) on informal “educational” channels. And who could forget the Amarillo creature that the zoo staff “couldn’t identify”. (Sure, sure.) The source can mislead, resulting in missing cultural context, and unwarranted credibility. Certainly these types of exhibits are popular and fun, but are they appropriate? I think that really depends on the depiction. But cryptid content in zoos is a most certainly a pop cryptid topic.
Many visitors centers like to showcase their local monsters – but have you seen zoos, in particular, displaying info about cryptids? Let me know in the comments or in a message.
Chaneque video debunked
Finally, if you are a subscriber (it’s FREE, no strings attached), you saw that I did a reveal of the faked chaneque video that was popular a few months back (from PCS 11). The hoax was a manipulated version of a video that shows a real animal. The sounds in the video are real! See the debunking here.
Thanks for reading! Send comments, questions, or suggestions to sharon(at)sharonahill.com. If you want to send some cryptid plushies or other merch, or books to review, email for my physical mailing address.
For more, click on Pop goes the Cryptid landing page. Make sure you subscribe to all the posts – it’s always free and I don’t send annoying spam.
Pop Cryptid Spectator is also available on Substack. Please share this with cryptid fans you know!
Pop Cryptid Spectator Pop Cryptid Spectator 20Pop Cryptid Spectator 19
Pop Cryptid Spectator 18
Pop Cryptid Spectator 17
Pop Cryptid Spectator 15
Pop Cryptid Spectator 14
#BigfootMuseum #cryptid #ElCuero #FresnoNightcrawler #GeorgiaBigfootHoax #hoax #lakeMonsters #Nahuelito #PuebloMysteryCreature
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Book Review: Star Science Fiction Stories No. 3, ed. Frederik Pohl (1955)
- Richard Powers’ cover for the 1955 edition
3.5/5 (collated rating: Good)
Ballantine Books’ illustrious science fictional program started with a bang–Star Science Fiction Stories. According to Mike Ashley’s Transformations: The Story of Science-Fiction Magazines from 1950 to 1970 Frederik Pohl’s anthology series of original (mostly) stories was “intended as both a showcase of Ballantine’s authors and a lure to new writers.” Paying better rates than magazines, the Star series foreshadowed the explosion of original anthologies that would provide a sustained challenge to the eminence held in the 50s by the magazine.
I’ve selected the third volume of the six-volume series.1 It contains an illustrative cross-section of 50s science fiction. Philip K. Dick’s “Foster, You’re Dead” (1955), Richard Matheson’s “Dance of the Dead” (1955), and Jack Williamson’s “Guinevere for Everybody” (1955) are not to be missed.
Recommended.
Brief Plot Summaries/Analysis
“It’s Such a Beautiful Day” (1955), Isaac Asimov, 3.5/5 (Good): The anthology starts off with an effective Isaac Asimov satire of the suburban experience. The creation of suburbia in the 1950s (and subsequent mass white flight) generated increased commutes between home and urban work. The home became a bunker to protect the American family from any threat (fallout shelters, a community away from diversity and interaction with “the other,” etc.).2
Asimov speculates that new, almost instantaneous, transportation portals will isolate the family completely from the external world. A minor glitch in the transportation system instills a change in the young Richard Hanshaw, Jr. He isn’t as willing to trust the portal — and decides to trek to school by foot. His teacher calls mother in shock and suggests psychological treatment. An intriguing, and gentle, satire on American conceptions of normalcy, the new-fangled post-War emergence of psychology as a therapeutic practice, and the suburban experience.3
“The Strawberry Window” (1955), Ray Bradbury, 3/5 (Average): The story follows a family on Mars. The father, Will, spends his day constructing the settlement town. He’s possessed by the dream of Mars and humanity’s conquest of the stars: “It’s not just us come to Mars, it’s the race, the whole darn human race, depending on how we make out in our lifetime. This thing is so big I want to laugh, I’m so scared stiff of it” (31). His long-suffering wife Carrie yearns for the small sounds and big memories that anchor her to Earth. And so Will comes up with a compromise, an expensive compromise.
Ultimately, this is beautiful polish to a banal, almost jingoistic, defense of humanity’s supposed destiny to expand and conquer: “There’s nothing better than Man with a capital M in my book” (32). I am far more interested in the more subversive and quietly critical moments of Bradbury’s other Mars stories. This one is simplistic propaganda of conquest. Despite the enjoyable thematic core (the effects of leaving Earth) and polished telling, I’d classify “The Strawberry Window” amongst his most disappointing and forced. For superior Bradbury that I’ve covered, check out “The Highway” (1950) and “The Pedestrian” (1951).
“The Deep Range” (1955), Arthur C. Clarke, 3/5 (Average): One of the reasons I feel a special attraction to 50s SF is its interest in the working-class experience of the future. Of course, for the reader of the present futuristic trappings suggest a certain glorification of what would be a new form of the mundane daily grind. The heroic blue-collar stories in James Gunn’s fix-up Station in Space (1958) come to mind. In Clarke’s “The Deep Range” humanity farms the seas. Instead of terrestrial herds of sheep or cows, shepherds in submersibles with dolphin assistants protect herds of meat-yielding whales from predatory sharks.
An effective slice-of-working class experience set in an evocative locale. It’s an immersive little story that draws on Clarke’s own interest in scuba diving and underwater adventure. Regardless, I remain uninterested in returning to Clarke’s work in anything more than an anthologized tale here and there.
“Alien” (1955), Lester del Rey, 3/5 (Average): Due to an comically improbable collision at sea, Larry Cross and his alcoholic crewmate Al Simmonds find themselves stranded on an island with an alien which “could swim out of a sunken ship at the bottom of the sea” (51). Al Simmonds is injured and Cross must keep the man alive and figure out the alien’s intentions. A classic SF problem story in which man must figure out a modus operandi in a bizarre new scenario. It’s polished. It’s solid. It’s predictable.
“Foster, You’re Dead” (1955), Philip K. Dick, 5/5 (Masterpiece): Mike Foster spends his school days practicing survival skills–digging, making knives, weaving baskets–in case of a nuclear attack. The kids snicker at him as he walks past. They don’t own a fallout shelter at home. His father refuses to pay into the NATS (National Security fund). If a bomb hit, Mike wouldn’t even be granted access to the school shelter. He’s possessed by a deep, perpetual, encompassing trauma.4 His walk home is nightmarish. Mechanical newspaper machines shout excitedly about “war, death, amazing new weapons” (67). The public shelter beckons with its neon lights but he has no money in his pocket for entry. And the store with the new shelter model mocks with its advertisements: “a powered heating and refrigeration system” and “self-servicing air-purification network” with “three decontamination stages for food and water” (68). Reluctant to yet again confront his father about their lack of shelter, he gazes at the new model and talks to the salesmen. He imagines that every evening he’d sleep in its encapsulating embrace, womb-like.
One of the absolute best fallout shelter themed SF stories I’ve ever read. It’s a fascinating collision of crisp prose, commentary on the arms race, and an evisceration of the complicity of commercialism in Cold War terror. Joins William Tenn’s “Generation of Noah” (1951), Daniel Galouye’s Dark Universe (1961), Modecai Roshwald’s Level 7 (1959), and Fritz Leiber’s “The Moon Is Green” (1952) amongst the best on the theme.
“Whatever Happened to Corporal Cuckoo?” (1953), Gerald Kersh, 3.5/5 (Good): In the fourteenth and fifteenth centuries surgical diagrams called “Wound Men” crop up in medical miscellanies in Europe. These illustrations–the human form hacked, slashed, smashed, cut, pierced, bloated–served as an annotated table of contents to guide the reader through various injuries and diseases. Kersh imagines a literary version of himself returning to New York City from WWII interacting with a fantastical manifestation of a Wound Man on board the Cunard White Star liner Queen Mary. Corporal Cuckoo, the “Wound Man” in question, regals the narrator (Kersh) with the history of his scarred and mutilated form that mysteriously heals from every injury.
The reader becomes immersed in a historical military narrative that begins in the early 16th century. There’s a bizarre sense of horror and fantastical displacement. Like some crushed and deformed specimen, Cuckoo becomes an encyclopedic, and culminative, glimpse of humanity’s relentless obsession with death and violence.
Interesting and memorable. I’ll keep on the lookout for more of Kersh’s SFF.
“Dance of the Dead” (1955), Richard Matheson, 4/5 (Good): My third favorite story in the anthology transplants the standard narrative of a young adult straying from the path set out by parents and small town community onto a break-neck road trip in a drug and alcohol drenched near-future. Len, Bud, Barbara, and Peggy race their car towards St. Louis. Bud tries to get Barb to take snuggle–“act of promiscuous love-play; usage evolved during W.W. III” (114)–and take drugs: “Have a jab, Bab” (115). In the kaleidoscope of the new and relentless peer pressure the lessons her mother taught her slowly erode. All her inhibitions come crashing down when the quartet see the transcendent nightmare that is the titular dance of the dead.
Manifesting the SPEED of the car, Matheson’s prose resonates with pulse and hum, snippets of song and signage, slang and youthful lust: “At a hundred miles an hour let me DREAM my DREAMS!” (115). It’s frantic. It’s zappy. It’s vibrant. Recommended for fans of the more linguistically experimental (and bleak) of 50s visions.
“Any More at Home Like You?” (1955), Chad Oliver, 2.75/5 (Below Average): Dangerously close to joke story territory (what I classify stories that rely on a silly last page twist designed to generate a chuckle), Oliver re-imagines the classic flying saucer story. A young “man” named Keith crashes his advanced spacecraft in the swanky Bel-Air neighborhood of LA. He seems friendly. Friendly residents take him in. He meets with politicians. He gives a canned speech at the UN. But what’s the secret behind his sudden appearance? Does he really represent a massive Galactic Civilization as he claims? When the pieces all fit together, there’s a gentle sense to it all mixed in with a little, rather silly, “snip” at humanity’s claims to galactic centrality.
If you’re new to Oliver, I recommend tracking downs his two generation ship short stories–“Stardust” (1952) and “The Wind Blows Free” (1957). This one was not for me.
“The Devil on Salvation Bluff” (1955), Jack Vance, 3.25/5 (Above Average): As my last Vance review came in 2021–The Languages of Pao (1958), I looked forward to this anthology as a way to return to his fiction. “The Devil on Salvation Bluff” imagines a religious colony (everyone calls each other “Brother” or “Sister”) on a planet named Glory without clear scientific or societal patterns. If anything, disorder, irregularity, and chaos is the pattern. Regardless, the community attempts to impose an almost monastic order on their lives. The colonists brings with them a massive clock, build communities in precise patterns, and carve up the landscape with linear canals and irrigation.
In classic missionary fashion, the colonists attempt to impose their religion and regularity on the humanoid inhabitants of Glory, nicknamed Flits, that spend their days indulging in their passions, seemingly random rituals, and goat herding. Using salt as a bribe, they momentarily convince the Flits to settle in a new village created by the colonists. After Brother Raymond and Sister Mary kidnap the chief of the Flits to identify the psychosis they think might underline their impulsive, random, and occasionally destructive actions, the true psychological truth of the planet emerges. Vance suggests that dogmatic religion must shift and change to adapt to the moment.
Fits in with an intriguing cluster of often brilliant 50s stories exploring the clash of Earth religion and the SFnal new–Ray Bradbury’s “The Man” (1949), Arthur C. Clarke’s “The Star” (1955), James Blish’s A Case of Conscience (novella 1953, novelized 1958), Walter M. Miller, Jr.’s A Canticle for Leibowitz (stories 1955-1957, novelized 1959), etc.
Somewhat recommended.
“Guinevere for Everybody” (1955), Jack Williamson, 4.5/5 (Very Good): An artificially created Guinevere stands “chained” in a “vending machine” tempting sleepy passengers in an airport with her plaintive calls (169). “You like me, huh?” she asks strangers as they pass (170). “Won’t you by me?” she cajoles (170). The implication is clear. The reason for her sudden appearance in train stations, and others of her model, far less so. Chimberley represents General Cybernetics, a company building “managerial computers” to replace human workers (171). Chimberley attempts the origins of “THE VITAL APPLIANCE!” with her all too human sex appeal, and disturbing tendency to spout advertisements for other products (170). He, little more than a cypher manifesting the displacement of the mechanical age, feels drawn to her as “his best friends were digital computers” (171). He discerns that she is a recent product created, produced, and distributed by one of these vast managerial computers. Giddy with excitement he sees her as “something human management would never have had the brains or the vision to accomplish” (172). He purchases her from the vending machine and sets off to find the producing facility. But a line has been crossed, and another.
This story bothered me (in a good way) far more than it should. Williamson integrates little comments about how the mechanical (think AI unleashed on the US government) ignores the human experience. And how Chimberley, alone, adrift, insular, feels fulfilled by a programmed device that is but a fragment of a capitalistic assault on the consumer. This disturbed satirical gem took me by surprise. I will be on the lookout for more 50s Williamson short stories.
Notes
- Eight if we count the one-volume Star Science Fiction Magazine (1958) and Star Short Novels (1954). ↩︎
- There is a ton of scholarship on both of these ideas that I have referenced in various reviews in the past. Here is a short list! Elaine Tyler May’s Homeward Bound: American Families in the Cold War Era (1988, rev. 2017); Thomas Bishop’s Every Home a Fortress: Cold War Fatherhood and the Family Fallout Shelter (2020); Laura McEnaney’s Civil Defense Begins at Home: Militarization Meets Everyday Life in the Fifties (2000); and Robert A. Beauregard’s When America Became Suburban (2006). ↩︎
- For “normalcy” see Anna G. Creadick’s Perfectly Average: The Pursuit of Normality in Postwar America (2010); For the growth of psychology as medical practice in the post-War moment see Ellen Herman’s The Romance of American Psychology: Political Culture in the Age of Experts (1995). ↩︎
- I am reminded of studies of childhood trauma conducted on the students of Abo Elementary, New Mexico, a school built underground as a fallout shelter. ↩︎
For cover art posts consult the INDEX
For book reviews consult the INDEX
For TV and film reviews consult the INDEX
#1950s #arthurCClarke #avantGarde #bookReview #bookReviews2 #books #chadOliver #fiction #frederikPohl #geraldKesh #isaacAsimov #jackVance #jackWilliamson #lesterDelRey #philipKDick #rayBradbury #richardMatheson #sciFi #scienceFiction #writing
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Book Review: Star Science Fiction Stories No. 3, ed. Frederik Pohl (1955)
- Richard Powers’ cover for the 1955 edition
3.5/5 (collated rating: Good)
Ballantine Books’ illustrious science fictional program started with a bang–Star Science Fiction Stories. According to Mike Ashley’s Transformations: The Story of Science-Fiction Magazines from 1950 to 1970 Frederik Pohl’s anthology series of original (mostly) stories was “intended as both a showcase of Ballantine’s authors and a lure to new writers.” Paying better rates than magazines, the Star series foreshadowed the explosion of original anthologies that would provide a sustained challenge to the eminence held in the 50s by the magazine.
I’ve selected the third volume of the six-volume series.1 It contains an illustrative cross-section of 50s science fiction. Philip K. Dick’s “Foster, You’re Dead” (1955), Richard Matheson’s “Dance of the Dead” (1955), and Jack Williamson’s “Guinevere for Everybody” (1955) are not to be missed.
Recommended.
Brief Plot Summaries/Analysis
“It’s Such a Beautiful Day” (1955), Isaac Asimov, 3.5/5 (Good): The anthology starts off with an effective Isaac Asimov satire of the suburban experience. The creation of suburbia in the 1950s (and subsequent mass white flight) generated increased commutes between home and urban work. The home became a bunker to protect the American family from any threat (fallout shelters, a community away from diversity and interaction with “the other,” etc.).2
Asimov speculates that new, almost instantaneous, transportation portals will isolate the family completely from the external world. A minor glitch in the transportation system instills a change in the young Richard Hanshaw, Jr. He isn’t as willing to trust the portal — and decides to trek to school by foot. His teacher calls mother in shock and suggests psychological treatment. An intriguing, and gentle, satire on American conceptions of normalcy, the new-fangled post-War emergence of psychology as a therapeutic practice, and the suburban experience.3
“The Strawberry Window” (1955), Ray Bradbury, 3/5 (Average): The story follows a family on Mars. The father, Will, spends his day constructing the settlement town. He’s possessed by the dream of Mars and humanity’s conquest of the stars: “It’s not just us come to Mars, it’s the race, the whole darn human race, depending on how we make out in our lifetime. This thing is so big I want to laugh, I’m so scared stiff of it” (31). His long-suffering wife Carrie yearns for the small sounds and big memories that anchor her to Earth. And so Will comes up with a compromise, an expensive compromise.
Ultimately, this is beautiful polish to a banal, almost jingoistic, defense of humanity’s supposed destiny to expand and conquer: “There’s nothing better than Man with a capital M in my book” (32). I am far more interested in the more subversive and quietly critical moments of Bradbury’s other Mars stories. This one is simplistic propaganda of conquest. Despite the enjoyable thematic core (the effects of leaving Earth) and polished telling, I’d classify “The Strawberry Window” amongst his most disappointing and forced. For superior Bradbury that I’ve covered, check out “The Highway” (1950) and “The Pedestrian” (1951).
“The Deep Range” (1955), Arthur C. Clarke, 3/5 (Average): One of the reasons I feel a special attraction to 50s SF is its interest in the working-class experience of the future. Of course, for the reader of the present futuristic trappings suggest a certain glorification of what would be a new form of the mundane daily grind. The heroic blue-collar stories in James Gunn’s fix-up Station in Space (1958) come to mind. In Clarke’s “The Deep Range” humanity farms the seas. Instead of terrestrial herds of sheep or cows, shepherds in submersibles with dolphin assistants protect herds of meat-yielding whales from predatory sharks.
An effective slice-of-working class experience set in an evocative locale. It’s an immersive little story that draws on Clarke’s own interest in scuba diving and underwater adventure. Regardless, I remain uninterested in returning to Clarke’s work in anything more than an anthologized tale here and there.
“Alien” (1955), Lester del Rey, 3/5 (Average): Due to an comically improbable collision at sea, Larry Cross and his alcoholic crewmate Al Simmonds find themselves stranded on an island with an alien which “could swim out of a sunken ship at the bottom of the sea” (51). Al Simmonds is injured and Cross must keep the man alive and figure out the alien’s intentions. A classic SF problem story in which man must figure out a modus operandi in a bizarre new scenario. It’s polished. It’s solid. It’s predictable.
“Foster, You’re Dead” (1955), Philip K. Dick, 5/5 (Masterpiece): Mike Foster spends his school days practicing survival skills–digging, making knives, weaving baskets–in case of a nuclear attack. The kids snicker at him as he walks past. They don’t own a fallout shelter at home. His father refuses to pay into the NATS (National Security fund). If a bomb hit, Mike wouldn’t even be granted access to the school shelter. He’s possessed by a deep, perpetual, encompassing trauma.4 His walk home is nightmarish. Mechanical newspaper machines shout excitedly about “war, death, amazing new weapons” (67). The public shelter beckons with its neon lights but he has no money in his pocket for entry. And the store with the new shelter model mocks with its advertisements: “a powered heating and refrigeration system” and “self-servicing air-purification network” with “three decontamination stages for food and water” (68). Reluctant to yet again confront his father about their lack of shelter, he gazes at the new model and talks to the salesmen. He imagines that every evening he’d sleep in its encapsulating embrace, womb-like.
One of the absolute best fallout shelter themed SF stories I’ve ever read. It’s a fascinating collision of crisp prose, commentary on the arms race, and an evisceration of the complicity of commercialism in Cold War terror. Joins William Tenn’s “Generation of Noah” (1951), Daniel Galouye’s Dark Universe (1961), Modecai Roshwald’s Level 7 (1959), and Fritz Leiber’s “The Moon Is Green” (1952) amongst the best on the theme.
“Whatever Happened to Corporal Cuckoo?” (1953), Gerald Kersh, 3.5/5 (Good): In the fourteenth and fifteenth centuries surgical diagrams called “Wound Men” crop up in medical miscellanies in Europe. These illustrations–the human form hacked, slashed, smashed, cut, pierced, bloated–served as an annotated table of contents to guide the reader through various injuries and diseases. Kersh imagines a literary version of himself returning to New York City from WWII interacting with a fantastical manifestation of a Wound Man on board the Cunard White Star liner Queen Mary. Corporal Cuckoo, the “Wound Man” in question, regals the narrator (Kersh) with the history of his scarred and mutilated form that mysteriously heals from every injury.
The reader becomes immersed in a historical military narrative that begins in the early 16th century. There’s a bizarre sense of horror and fantastical displacement. Like some crushed and deformed specimen, Cuckoo becomes an encyclopedic, and culminative, glimpse of humanity’s relentless obsession with death and violence.
Interesting and memorable. I’ll keep on the lookout for more of Kersh’s SFF.
“Dance of the Dead” (1955), Richard Matheson, 4/5 (Good): My third favorite story in the anthology transplants the standard narrative of a young adult straying from the path set out by parents and small town community onto a break-neck road trip in a drug and alcohol drenched near-future. Len, Bud, Barbara, and Peggy race their car towards St. Louis. Bud tries to get Barb to take snuggle–“act of promiscuous love-play; usage evolved during W.W. III” (114)–and take drugs: “Have a jab, Bab” (115). In the kaleidoscope of the new and relentless peer pressure the lessons her mother taught her slowly erode. All her inhibitions come crashing down when the quartet see the transcendent nightmare that is the titular dance of the dead.
Manifesting the SPEED of the car, Matheson’s prose resonates with pulse and hum, snippets of song and signage, slang and youthful lust: “At a hundred miles an hour let me DREAM my DREAMS!” (115). It’s frantic. It’s zappy. It’s vibrant. Recommended for fans of the more linguistically experimental (and bleak) of 50s visions.
“Any More at Home Like You?” (1955), Chad Oliver, 2.75/5 (Below Average): Dangerously close to joke story territory (what I classify stories that rely on a silly last page twist designed to generate a chuckle), Oliver re-imagines the classic flying saucer story. A young “man” named Keith crashes his advanced spacecraft in the swanky Bel-Air neighborhood of LA. He seems friendly. Friendly residents take him in. He meets with politicians. He gives a canned speech at the UN. But what’s the secret behind his sudden appearance? Does he really represent a massive Galactic Civilization as he claims? When the pieces all fit together, there’s a gentle sense to it all mixed in with a little, rather silly, “snip” at humanity’s claims to galactic centrality.
If you’re new to Oliver, I recommend tracking downs his two generation ship short stories–“Stardust” (1952) and “The Wind Blows Free” (1957). This one was not for me.
“The Devil on Salvation Bluff” (1955), Jack Vance, 3.25/5 (Above Average): As my last Vance review came in 2021–The Languages of Pao (1958), I looked forward to this anthology as a way to return to his fiction. “The Devil on Salvation Bluff” imagines a religious colony (everyone calls each other “Brother” or “Sister”) on a planet named Glory without clear scientific or societal patterns. If anything, disorder, irregularity, and chaos is the pattern. Regardless, the community attempts to impose an almost monastic order on their lives. The colonists brings with them a massive clock, build communities in precise patterns, and carve up the landscape with linear canals and irrigation.
In classic missionary fashion, the colonists attempt to impose their religion and regularity on the humanoid inhabitants of Glory, nicknamed Flits, that spend their days indulging in their passions, seemingly random rituals, and goat herding. Using salt as a bribe, they momentarily convince the Flits to settle in a new village created by the colonists. After Brother Raymond and Sister Mary kidnap the chief of the Flits to identify the psychosis they think might underline their impulsive, random, and occasionally destructive actions, the true psychological truth of the planet emerges. Vance suggests that dogmatic religion must shift and change to adapt to the moment.
Fits in with an intriguing cluster of often brilliant 50s stories exploring the clash of Earth religion and the SFnal new–Ray Bradbury’s “The Man” (1949), Arthur C. Clarke’s “The Star” (1955), James Blish’s A Case of Conscience (novella 1953, novelized 1958), Walter M. Miller, Jr.’s A Canticle for Leibowitz (stories 1955-1957, novelized 1959), etc.
Somewhat recommended.
“Guinevere for Everybody” (1955), Jack Williamson, 4.5/5 (Very Good): An artificially created Guinevere stands “chained” in a “vending machine” tempting sleepy passengers in an airport with her plaintive calls (169). “You like me, huh?” she asks strangers as they pass (170). “Won’t you by me?” she cajoles (170). The implication is clear. The reason for her sudden appearance in train stations, and others of her model, far less so. Chimberley represents General Cybernetics, a company building “managerial computers” to replace human workers (171). Chimberley attempts the origins of “THE VITAL APPLIANCE!” with her all too human sex appeal, and disturbing tendency to spout advertisements for other products (170). He, little more than a cypher manifesting the displacement of the mechanical age, feels drawn to her as “his best friends were digital computers” (171). He discerns that she is a recent product created, produced, and distributed by one of these vast managerial computers. Giddy with excitement he sees her as “something human management would never have had the brains or the vision to accomplish” (172). He purchases her from the vending machine and sets off to find the producing facility. But a line has been crossed, and another.
This story bothered me (in a good way) far more than it should. Williamson integrates little comments about how the mechanical (think AI unleashed on the US government) ignores the human experience. And how Chimberley, alone, adrift, insular, feels fulfilled by a programmed device that is but a fragment of a capitalistic assault on the consumer. This disturbed satirical gem took me by surprise. I will be on the lookout for more 50s Williamson short stories.
Notes
- Eight if we count the one-volume Star Science Fiction Magazine (1958) and Star Short Novels (1954). ↩︎
- There is a ton of scholarship on both of these ideas that I have referenced in various reviews in the past. Here is a short list! Elaine Tyler May’s Homeward Bound: American Families in the Cold War Era (1988, rev. 2017); Thomas Bishop’s Every Home a Fortress: Cold War Fatherhood and the Family Fallout Shelter (2020); Laura McEnaney’s Civil Defense Begins at Home: Militarization Meets Everyday Life in the Fifties (2000); and Robert A. Beauregard’s When America Became Suburban (2006). ↩︎
- For “normalcy” see Anna G. Creadick’s Perfectly Average: The Pursuit of Normality in Postwar America (2010); For the growth of psychology as medical practice in the post-War moment see Ellen Herman’s The Romance of American Psychology: Political Culture in the Age of Experts (1995). ↩︎
- I am reminded of studies of childhood trauma conducted on the students of Abo Elementary, New Mexico, a school built underground as a fallout shelter. ↩︎
For cover art posts consult the INDEX
For book reviews consult the INDEX
For TV and film reviews consult the INDEX
#1950s #arthurCClarke #avantGarde #bookReview #bookReviews2 #books #chadOliver #fiction #frederikPohl #geraldKesh #isaacAsimov #jackVance #jackWilliamson #lesterDelRey #philipKDick #rayBradbury #richardMatheson #sciFi #scienceFiction #writing
-
Book Review: Star Science Fiction Stories No. 3, ed. Frederik Pohl (1955)
- Richard Powers’ cover for the 1955 edition
3.5/5 (collated rating: Good)
Ballantine Books’ illustrious science fictional program started with a bang–Star Science Fiction Stories. According to Mike Ashley’s Transformations: The Story of Science-Fiction Magazines from 1950 to 1970 Frederik Pohl’s anthology series of original (mostly) stories was “intended as both a showcase of Ballantine’s authors and a lure to new writers.” Paying better rates than magazines, the Star series foreshadowed the explosion of original anthologies that would provide a sustained challenge to the eminence held in the 50s by the magazine.
I’ve selected the third volume of the six-volume series.1 It contains an illustrative cross-section of 50s science fiction. Philip K. Dick’s “Foster, You’re Dead” (1955), Richard Matheson’s “Dance of the Dead” (1955), and Jack Williamson’s “Guinevere for Everybody” (1955) are not to be missed.
Recommended.
Brief Plot Summaries/Analysis
“It’s Such a Beautiful Day” (1955), Isaac Asimov, 3.5/5 (Good): The anthology starts off with an effective Isaac Asimov satire of the suburban experience. The creation of suburbia in the 1950s (and subsequent mass white flight) generated increased commutes between home and urban work. The home became a bunker to protect the American family from any threat (fallout shelters, a community away from diversity and interaction with “the other,” etc.).2
Asimov speculates that new, almost instantaneous, transportation portals will isolate the family completely from the external world. A minor glitch in the transportation system instills a change in the young Richard Hanshaw, Jr. He isn’t as willing to trust the portal — and decides to trek to school by foot. His teacher calls mother in shock and suggests psychological treatment. An intriguing, and gentle, satire on American conceptions of normalcy, the new-fangled post-War emergence of psychology as a therapeutic practice, and the suburban experience.3
“The Strawberry Window” (1955), Ray Bradbury, 3/5 (Average): The story follows a family on Mars. The father, Will, spends his day constructing the settlement town. He’s possessed by the dream of Mars and humanity’s conquest of the stars: “It’s not just us come to Mars, it’s the race, the whole darn human race, depending on how we make out in our lifetime. This thing is so big I want to laugh, I’m so scared stiff of it” (31). His long-suffering wife Carrie yearns for the small sounds and big memories that anchor her to Earth. And so Will comes up with a compromise, an expensive compromise.
Ultimately, this is beautiful polish to a banal, almost jingoistic, defense of humanity’s supposed destiny to expand and conquer: “There’s nothing better than Man with a capital M in my book” (32). I am far more interested in the more subversive and quietly critical moments of Bradbury’s other Mars stories. This one is simplistic propaganda of conquest. Despite the enjoyable thematic core (the effects of leaving Earth) and polished telling, I’d classify “The Strawberry Window” amongst his most disappointing and forced. For superior Bradbury that I’ve covered, check out “The Highway” (1950) and “The Pedestrian” (1951).
“The Deep Range” (1955), Arthur C. Clarke, 3/5 (Average): One of the reasons I feel a special attraction to 50s SF is its interest in the working-class experience of the future. Of course, for the reader of the present futuristic trappings suggest a certain glorification of what would be a new form of the mundane daily grind. The heroic blue-collar stories in James Gunn’s fix-up Station in Space (1958) come to mind. In Clarke’s “The Deep Range” humanity farms the seas. Instead of terrestrial herds of sheep or cows, shepherds in submersibles with dolphin assistants protect herds of meat-yielding whales from predatory sharks.
An effective slice-of-working class experience set in an evocative locale. It’s an immersive little story that draws on Clarke’s own interest in scuba diving and underwater adventure. Regardless, I remain uninterested in returning to Clarke’s work in anything more than an anthologized tale here and there.
“Alien” (1955), Lester del Rey, 3/5 (Average): Due to an comically improbable collision at sea, Larry Cross and his alcoholic crewmate Al Simmonds find themselves stranded on an island with an alien which “could swim out of a sunken ship at the bottom of the sea” (51). Al Simmonds is injured and Cross must keep the man alive and figure out the alien’s intentions. A classic SF problem story in which man must figure out a modus operandi in a bizarre new scenario. It’s polished. It’s solid. It’s predictable.
“Foster, You’re Dead” (1955), Philip K. Dick, 5/5 (Masterpiece): Mike Foster spends his school days practicing survival skills–digging, making knives, weaving baskets–in case of a nuclear attack. The kids snicker at him as he walks past. They don’t own a fallout shelter at home. His father refuses to pay into the NATS (National Security fund). If a bomb hit, Mike wouldn’t even be granted access to the school shelter. He’s possessed by a deep, perpetual, encompassing trauma.4 His walk home is nightmarish. Mechanical newspaper machines shout excitedly about “war, death, amazing new weapons” (67). The public shelter beckons with its neon lights but he has no money in his pocket for entry. And the store with the new shelter model mocks with its advertisements: “a powered heating and refrigeration system” and “self-servicing air-purification network” with “three decontamination stages for food and water” (68). Reluctant to yet again confront his father about their lack of shelter, he gazes at the new model and talks to the salesmen. He imagines that every evening he’d sleep in its encapsulating embrace, womb-like.
One of the absolute best fallout shelter themed SF stories I’ve ever read. It’s a fascinating collision of crisp prose, commentary on the arms race, and an evisceration of the complicity of commercialism in Cold War terror. Joins William Tenn’s “Generation of Noah” (1951), Daniel Galouye’s Dark Universe (1961), Modecai Roshwald’s Level 7 (1959), and Fritz Leiber’s “The Moon Is Green” (1952) amongst the best on the theme.
“Whatever Happened to Corporal Cuckoo?” (1953), Gerald Kersh, 3.5/5 (Good): In the fourteenth and fifteenth centuries surgical diagrams called “Wound Men” crop up in medical miscellanies in Europe. These illustrations–the human form hacked, slashed, smashed, cut, pierced, bloated–served as an annotated table of contents to guide the reader through various injuries and diseases. Kersh imagines a literary version of himself returning to New York City from WWII interacting with a fantastical manifestation of a Wound Man on board the Cunard White Star liner Queen Mary. Corporal Cuckoo, the “Wound Man” in question, regals the narrator (Kersh) with the history of his scarred and mutilated form that mysteriously heals from every injury.
The reader becomes immersed in a historical military narrative that begins in the early 16th century. There’s a bizarre sense of horror and fantastical displacement. Like some crushed and deformed specimen, Cuckoo becomes an encyclopedic, and culminative, glimpse of humanity’s relentless obsession with death and violence.
Interesting and memorable. I’ll keep on the lookout for more of Kersh’s SFF.
“Dance of the Dead” (1955), Richard Matheson, 4/5 (Good): My third favorite story in the anthology transplants the standard narrative of a young adult straying from the path set out by parents and small town community onto a break-neck road trip in a drug and alcohol drenched near-future. Len, Bud, Barbara, and Peggy race their car towards St. Louis. Bud tries to get Barb to take snuggle–“act of promiscuous love-play; usage evolved during W.W. III” (114)–and take drugs: “Have a jab, Bab” (115). In the kaleidoscope of the new and relentless peer pressure the lessons her mother taught her slowly erode. All her inhibitions come crashing down when the quartet see the transcendent nightmare that is the titular dance of the dead.
Manifesting the SPEED of the car, Matheson’s prose resonates with pulse and hum, snippets of song and signage, slang and youthful lust: “At a hundred miles an hour let me DREAM my DREAMS!” (115). It’s frantic. It’s zappy. It’s vibrant. Recommended for fans of the more linguistically experimental (and bleak) of 50s visions.
“Any More at Home Like You?” (1955), Chad Oliver, 2.75/5 (Below Average): Dangerously close to joke story territory (what I classify stories that rely on a silly last page twist designed to generate a chuckle), Oliver re-imagines the classic flying saucer story. A young “man” named Keith crashes his advanced spacecraft in the swanky Bel-Air neighborhood of LA. He seems friendly. Friendly residents take him in. He meets with politicians. He gives a canned speech at the UN. But what’s the secret behind his sudden appearance? Does he really represent a massive Galactic Civilization as he claims? When the pieces all fit together, there’s a gentle sense to it all mixed in with a little, rather silly, “snip” at humanity’s claims to galactic centrality.
If you’re new to Oliver, I recommend tracking downs his two generation ship short stories–“Stardust” (1952) and “The Wind Blows Free” (1957). This one was not for me.
“The Devil on Salvation Bluff” (1955), Jack Vance, 3.25/5 (Above Average): As my last Vance review came in 2021–The Languages of Pao (1958), I looked forward to this anthology as a way to return to his fiction. “The Devil on Salvation Bluff” imagines a religious colony (everyone calls each other “Brother” or “Sister”) on a planet named Glory without clear scientific or societal patterns. If anything, disorder, irregularity, and chaos is the pattern. Regardless, the community attempts to impose an almost monastic order on their lives. The colonists brings with them a massive clock, build communities in precise patterns, and carve up the landscape with linear canals and irrigation.
In classic missionary fashion, the colonists attempt to impose their religion and regularity on the humanoid inhabitants of Glory, nicknamed Flits, that spend their days indulging in their passions, seemingly random rituals, and goat herding. Using salt as a bribe, they momentarily convince the Flits to settle in a new village created by the colonists. After Brother Raymond and Sister Mary kidnap the chief of the Flits to identify the psychosis they think might underline their impulsive, random, and occasionally destructive actions, the true psychological truth of the planet emerges. Vance suggests that dogmatic religion must shift and change to adapt to the moment.
Fits in with an intriguing cluster of often brilliant 50s stories exploring the clash of Earth religion and the SFnal new–Ray Bradbury’s “The Man” (1949), Arthur C. Clarke’s “The Star” (1955), James Blish’s A Case of Conscience (novella 1953, novelized 1958), Walter M. Miller, Jr.’s A Canticle for Leibowitz (stories 1955-1957, novelized 1959), etc.
Somewhat recommended.
“Guinevere for Everybody” (1955), Jack Williamson, 4.5/5 (Very Good): An artificially created Guinevere stands “chained” in a “vending machine” tempting sleepy passengers in an airport with her plaintive calls (169). “You like me, huh?” she asks strangers as they pass (170). “Won’t you by me?” she cajoles (170). The implication is clear. The reason for her sudden appearance in train stations, and others of her model, far less so. Chimberley represents General Cybernetics, a company building “managerial computers” to replace human workers (171). Chimberley attempts the origins of “THE VITAL APPLIANCE!” with her all too human sex appeal, and disturbing tendency to spout advertisements for other products (170). He, little more than a cypher manifesting the displacement of the mechanical age, feels drawn to her as “his best friends were digital computers” (171). He discerns that she is a recent product created, produced, and distributed by one of these vast managerial computers. Giddy with excitement he sees her as “something human management would never have had the brains or the vision to accomplish” (172). He purchases her from the vending machine and sets off to find the producing facility. But a line has been crossed, and another.
This story bothered me (in a good way) far more than it should. Williamson integrates little comments about how the mechanical (think AI unleashed on the US government) ignores the human experience. And how Chimberley, alone, adrift, insular, feels fulfilled by a programmed device that is but a fragment of a capitalistic assault on the consumer. This disturbed satirical gem took me by surprise. I will be on the lookout for more 50s Williamson short stories.
Notes
- Eight if we count the one-volume Star Science Fiction Magazine (1958) and Star Short Novels (1954). ↩︎
- There is a ton of scholarship on both of these ideas that I have referenced in various reviews in the past. Here is a short list! Elaine Tyler May’s Homeward Bound: American Families in the Cold War Era (1988, rev. 2017); Thomas Bishop’s Every Home a Fortress: Cold War Fatherhood and the Family Fallout Shelter (2020); Laura McEnaney’s Civil Defense Begins at Home: Militarization Meets Everyday Life in the Fifties (2000); and Robert A. Beauregard’s When America Became Suburban (2006). ↩︎
- For “normalcy” see Anna G. Creadick’s Perfectly Average: The Pursuit of Normality in Postwar America (2010); For the growth of psychology as medical practice in the post-War moment see Ellen Herman’s The Romance of American Psychology: Political Culture in the Age of Experts (1995). ↩︎
- I am reminded of studies of childhood trauma conducted on the students of Abo Elementary, New Mexico, a school built underground as a fallout shelter. ↩︎
For cover art posts consult the INDEX
For book reviews consult the INDEX
For TV and film reviews consult the INDEX
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Book Review: Star Science Fiction Stories No. 3, ed. Frederik Pohl (1955)
- Richard Powers’ cover for the 1955 edition
3.5/5 (collated rating: Good)
Ballantine Books’ illustrious science fictional program started with a bang–Star Science Fiction Stories. According to Mike Ashley’s Transformations: The Story of Science-Fiction Magazines from 1950 to 1970 Frederik Pohl’s anthology series of original (mostly) stories was “intended as both a showcase of Ballantine’s authors and a lure to new writers.” Paying better rates than magazines, the Star series foreshadowed the explosion of original anthologies that would provide a sustained challenge to the eminence held in the 50s by the magazine.
I’ve selected the third volume of the six-volume series.1 It contains an illustrative cross-section of 50s science fiction. Philip K. Dick’s “Foster, You’re Dead” (1955), Richard Matheson’s “Dance of the Dead” (1955), and Jack Williamson’s “Guinevere for Everybody” (1955) are not to be missed.
Recommended.
Brief Plot Summaries/Analysis
“It’s Such a Beautiful Day” (1955), Isaac Asimov, 3.5/5 (Good): The anthology starts off with an effective Isaac Asimov satire of the suburban experience. The creation of suburbia in the 1950s (and subsequent mass white flight) generated increased commutes between home and urban work. The home became a bunker to protect the American family from any threat (fallout shelters, a community away from diversity and interaction with “the other,” etc.).2
Asimov speculates that new, almost instantaneous, transportation portals will isolate the family completely from the external world. A minor glitch in the transportation system instills a change in the young Richard Hanshaw, Jr. He isn’t as willing to trust the portal — and decides to trek to school by foot. His teacher calls mother in shock and suggests psychological treatment. An intriguing, and gentle, satire on American conceptions of normalcy, the new-fangled post-War emergence of psychology as a therapeutic practice, and the suburban experience.3
“The Strawberry Window” (1955), Ray Bradbury, 3/5 (Average): The story follows a family on Mars. The father, Will, spends his day constructing the settlement town. He’s possessed by the dream of Mars and humanity’s conquest of the stars: “It’s not just us come to Mars, it’s the race, the whole darn human race, depending on how we make out in our lifetime. This thing is so big I want to laugh, I’m so scared stiff of it” (31). His long-suffering wife Carrie yearns for the small sounds and big memories that anchor her to Earth. And so Will comes up with a compromise, an expensive compromise.
Ultimately, this is beautiful polish to a banal, almost jingoistic, defense of humanity’s supposed destiny to expand and conquer: “There’s nothing better than Man with a capital M in my book” (32). I am far more interested in the more subversive and quietly critical moments of Bradbury’s other Mars stories. This one is simplistic propaganda of conquest. Despite the enjoyable thematic core (the effects of leaving Earth) and polished telling, I’d classify “The Strawberry Window” amongst his most disappointing and forced. For superior Bradbury that I’ve covered, check out “The Highway” (1950) and “The Pedestrian” (1951).
“The Deep Range” (1955), Arthur C. Clarke, 3/5 (Average): One of the reasons I feel a special attraction to 50s SF is its interest in the working-class experience of the future. Of course, for the reader of the present futuristic trappings suggest a certain glorification of what would be a new form of the mundane daily grind. The heroic blue-collar stories in James Gunn’s fix-up Station in Space (1958) come to mind. In Clarke’s “The Deep Range” humanity farms the seas. Instead of terrestrial herds of sheep or cows, shepherds in submersibles with dolphin assistants protect herds of meat-yielding whales from predatory sharks.
An effective slice-of-working class experience set in an evocative locale. It’s an immersive little story that draws on Clarke’s own interest in scuba diving and underwater adventure. Regardless, I remain uninterested in returning to Clarke’s work in anything more than an anthologized tale here and there.
“Alien” (1955), Lester del Rey, 3/5 (Average): Due to an comically improbable collision at sea, Larry Cross and his alcoholic crewmate Al Simmonds find themselves stranded on an island with an alien which “could swim out of a sunken ship at the bottom of the sea” (51). Al Simmonds is injured and Cross must keep the man alive and figure out the alien’s intentions. A classic SF problem story in which man must figure out a modus operandi in a bizarre new scenario. It’s polished. It’s solid. It’s predictable.
“Foster, You’re Dead” (1955), Philip K. Dick, 5/5 (Masterpiece): Mike Foster spends his school days practicing survival skills–digging, making knives, weaving baskets–in case of a nuclear attack. The kids snicker at him as he walks past. They don’t own a fallout shelter at home. His father refuses to pay into the NATS (National Security fund). If a bomb hit, Mike wouldn’t even be granted access to the school shelter. He’s possessed by a deep, perpetual, encompassing trauma.4 His walk home is nightmarish. Mechanical newspaper machines shout excitedly about “war, death, amazing new weapons” (67). The public shelter beckons with its neon lights but he has no money in his pocket for entry. And the store with the new shelter model mocks with its advertisements: “a powered heating and refrigeration system” and “self-servicing air-purification network” with “three decontamination stages for food and water” (68). Reluctant to yet again confront his father about their lack of shelter, he gazes at the new model and talks to the salesmen. He imagines that every evening he’d sleep in its encapsulating embrace, womb-like.
One of the absolute best fallout shelter themed SF stories I’ve ever read. It’s a fascinating collision of crisp prose, commentary on the arms race, and an evisceration of the complicity of commercialism in Cold War terror. Joins William Tenn’s “Generation of Noah” (1951), Daniel Galouye’s Dark Universe (1961), Modecai Roshwald’s Level 7 (1959), and Fritz Leiber’s “The Moon Is Green” (1952) amongst the best on the theme.
“Whatever Happened to Corporal Cuckoo?” (1953), Gerald Kersh, 3.5/5 (Good): In the fourteenth and fifteenth centuries surgical diagrams called “Wound Men” crop up in medical miscellanies in Europe. These illustrations–the human form hacked, slashed, smashed, cut, pierced, bloated–served as an annotated table of contents to guide the reader through various injuries and diseases. Kersh imagines a literary version of himself returning to New York City from WWII interacting with a fantastical manifestation of a Wound Man on board the Cunard White Star liner Queen Mary. Corporal Cuckoo, the “Wound Man” in question, regals the narrator (Kersh) with the history of his scarred and mutilated form that mysteriously heals from every injury.
The reader becomes immersed in a historical military narrative that begins in the early 16th century. There’s a bizarre sense of horror and fantastical displacement. Like some crushed and deformed specimen, Cuckoo becomes an encyclopedic, and culminative, glimpse of humanity’s relentless obsession with death and violence.
Interesting and memorable. I’ll keep on the lookout for more of Kersh’s SFF.
“Dance of the Dead” (1955), Richard Matheson, 4/5 (Good): My third favorite story in the anthology transplants the standard narrative of a young adult straying from the path set out by parents and small town community onto a break-neck road trip in a drug and alcohol drenched near-future. Len, Bud, Barbara, and Peggy race their car towards St. Louis. Bud tries to get Barb to take snuggle–“act of promiscuous love-play; usage evolved during W.W. III” (114)–and take drugs: “Have a jab, Bab” (115). In the kaleidoscope of the new and relentless peer pressure the lessons her mother taught her slowly erode. All her inhibitions come crashing down when the quartet see the transcendent nightmare that is the titular dance of the dead.
Manifesting the SPEED of the car, Matheson’s prose resonates with pulse and hum, snippets of song and signage, slang and youthful lust: “At a hundred miles an hour let me DREAM my DREAMS!” (115). It’s frantic. It’s zappy. It’s vibrant. Recommended for fans of the more linguistically experimental (and bleak) of 50s visions.
“Any More at Home Like You?” (1955), Chad Oliver, 2.75/5 (Below Average): Dangerously close to joke story territory (what I classify stories that rely on a silly last page twist designed to generate a chuckle), Oliver re-imagines the classic flying saucer story. A young “man” named Keith crashes his advanced spacecraft in the swanky Bel-Air neighborhood of LA. He seems friendly. Friendly residents take him in. He meets with politicians. He gives a canned speech at the UN. But what’s the secret behind his sudden appearance? Does he really represent a massive Galactic Civilization as he claims? When the pieces all fit together, there’s a gentle sense to it all mixed in with a little, rather silly, “snip” at humanity’s claims to galactic centrality.
If you’re new to Oliver, I recommend tracking downs his two generation ship short stories–“Stardust” (1952) and “The Wind Blows Free” (1957). This one was not for me.
“The Devil on Salvation Bluff” (1955), Jack Vance, 3.25/5 (Above Average): As my last Vance review came in 2021–The Languages of Pao (1958), I looked forward to this anthology as a way to return to his fiction. “The Devil on Salvation Bluff” imagines a religious colony (everyone calls each other “Brother” or “Sister”) on a planet named Glory without clear scientific or societal patterns. If anything, disorder, irregularity, and chaos is the pattern. Regardless, the community attempts to impose an almost monastic order on their lives. The colonists brings with them a massive clock, build communities in precise patterns, and carve up the landscape with linear canals and irrigation.
In classic missionary fashion, the colonists attempt to impose their religion and regularity on the humanoid inhabitants of Glory, nicknamed Flits, that spend their days indulging in their passions, seemingly random rituals, and goat herding. Using salt as a bribe, they momentarily convince the Flits to settle in a new village created by the colonists. After Brother Raymond and Sister Mary kidnap the chief of the Flits to identify the psychosis they think might underline their impulsive, random, and occasionally destructive actions, the true psychological truth of the planet emerges. Vance suggests that dogmatic religion must shift and change to adapt to the moment.
Fits in with an intriguing cluster of often brilliant 50s stories exploring the clash of Earth religion and the SFnal new–Ray Bradbury’s “The Man” (1949), Arthur C. Clarke’s “The Star” (1955), James Blish’s A Case of Conscience (novella 1953, novelized 1958), Walter M. Miller, Jr.’s A Canticle for Leibowitz (stories 1955-1957, novelized 1959), etc.
Somewhat recommended.
“Guinevere for Everybody” (1955), Jack Williamson, 4.5/5 (Very Good): An artificially created Guinevere stands “chained” in a “vending machine” tempting sleepy passengers in an airport with her plaintive calls (169). “You like me, huh?” she asks strangers as they pass (170). “Won’t you by me?” she cajoles (170). The implication is clear. The reason for her sudden appearance in train stations, and others of her model, far less so. Chimberley represents General Cybernetics, a company building “managerial computers” to replace human workers (171). Chimberley attempts the origins of “THE VITAL APPLIANCE!” with her all too human sex appeal, and disturbing tendency to spout advertisements for other products (170). He, little more than a cypher manifesting the displacement of the mechanical age, feels drawn to her as “his best friends were digital computers” (171). He discerns that she is a recent product created, produced, and distributed by one of these vast managerial computers. Giddy with excitement he sees her as “something human management would never have had the brains or the vision to accomplish” (172). He purchases her from the vending machine and sets off to find the producing facility. But a line has been crossed, and another.
This story bothered me (in a good way) far more than it should. Williamson integrates little comments about how the mechanical (think AI unleashed on the US government) ignores the human experience. And how Chimberley, alone, adrift, insular, feels fulfilled by a programmed device that is but a fragment of a capitalistic assault on the consumer. This disturbed satirical gem took me by surprise. I will be on the lookout for more 50s Williamson short stories.
Notes
- Eight if we count the one-volume Star Science Fiction Magazine (1958) and Star Short Novels (1954). ↩︎
- There is a ton of scholarship on both of these ideas that I have referenced in various reviews in the past. Here is a short list! Elaine Tyler May’s Homeward Bound: American Families in the Cold War Era (1988, rev. 2017); Thomas Bishop’s Every Home a Fortress: Cold War Fatherhood and the Family Fallout Shelter (2020); Laura McEnaney’s Civil Defense Begins at Home: Militarization Meets Everyday Life in the Fifties (2000); and Robert A. Beauregard’s When America Became Suburban (2006). ↩︎
- For “normalcy” see Anna G. Creadick’s Perfectly Average: The Pursuit of Normality in Postwar America (2010); For the growth of psychology as medical practice in the post-War moment see Ellen Herman’s The Romance of American Psychology: Political Culture in the Age of Experts (1995). ↩︎
- I am reminded of studies of childhood trauma conducted on the students of Abo Elementary, New Mexico, a school built underground as a fallout shelter. ↩︎
For cover art posts consult the INDEX
For book reviews consult the INDEX
For TV and film reviews consult the INDEX
#1950s #arthurCClarke #avantGarde #bookReview #bookReviews2 #books #chadOliver #fiction #frederikPohl #geraldKesh #isaacAsimov #jackVance #jackWilliamson #lesterDelRey #philipKDick #rayBradbury #richardMatheson #sciFi #scienceFiction #writing
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Mostly Monday Reads: Woke meets Panem et Circenses
“Deleted earlier versions of this, as I found an error that surely would have upset AI bots. Let this one rip!” John (repeat1968) Buss
Good Day, Sky Dancers!
Wipipo are very confused by the Super Bowl halftime and complaining that it had no music. I still laugh at the fact that they think everything is all about them. I didn’t watch any of it until the clips were available, but wow, the hassle and occupation down here were well worth the halftime performance. That is, if you weren’t one of the poor homeless folks who got sent to a broken-down warehouse in Gentilly. If you really want the opposite version of what really happened, it’s all over FARTUS’ social media. That’s even more deluded than the MAGA cult themselves. It’s a Black History Month, for the records!
I have always loved to hear anything that Jon Baptiste does, but his rendition of the National Anthem made me actually enjoy listening to the song itself. Who couldn’t love Samuel L. Jackson as Uncle Sam? Evidently, a whole bunch of whiny wipipo who want everything to look just like them, like their version of a supreme being, always does, no matter what the evidence or history suggests. This is from the New Republic. “MAGA Has Total Meltdown Over Kendrick Lamar’s Super Bowl Halftime Show. The right is freaking out over a Super Bowl halftime show rife with American imagery.”This is written by Malcolm Ferguson.
Kendrick Lamar’s very normal Super Bowl halftime show had the MAGA faithful pearl-clutching and conspiracy theorizing.
The iconic Pulitzer Prize and 22-time Grammy winner livened up an otherwise uncompetitive game with a classic performance that centered hip-hop and Black American culture—and featured the likes of Samuel L. Jackson (dressed in American flag garb as Uncle Sam), Serena Williams, and SZA. It only makes sense that right-wingers hated everything about it.
“The halftime show you just watched is clearly the regime’s response to Trump’s historic gains with black men,” shamed former Representative Matt Gaetz wrote on X, even though Lamar was announced as the halftime show performer months before Election Day.
“Raise your hand if you survived the black nationalist Super Bowl LIX halftime show,” right-wing commentator Eric Daugherty wrote on X, even as Lamar’s stage and costume designs were rife with American flag imagery.
“Hey NFL, Trump won. We no longer let talentless mumbling pagan satanic cultists do halftime shows and pretend like people like it,” MAGA media shill Benny Johnson said. “Thanks, everyone.”
In reality, the halftime show was fine, and Kendrick Lamar is an excellent rapper. These people took issue with the show because it didn’t fit into their narrow “post-woke” vision of America—but neither does a very large chunk of this country. This isn’t the first time Kendrick Lamar has performed at the Super Bowl, and it isn’t the first time Blackness has been a major theme of the show. And yet MAGA continues to cry about it.
Let me pull some comments from my local station, WDSU. “Kendrick Lamar Brought a GNX to His Super Bowl Halftime Show.” The Louisiana outback and Scalise burbs were restless.
A very special car made an appearance during the Super Bowl halftime show performance on Sunday night.
Kendrick Lamar’s most recent album is named after the most famous car, released in his birth year, 1987, and the sister car to the Buick Regal that his father brought him home from the hospital. Thus, it’s no surprise that he entered the Super Bowl for his halftime performance in a GNX.
The GNX becomes the symbol of a victory lap for Lamar, who won five Grammys last week for a diss track written in his ongoing battle with Canadian rapper Drake.
Now Kendrick sits atop one of the most American cars in history at America’s biggest sporting event.
That seems harmless enough. Right? Not to these folks!
- Joe Delatte “WORST OF THE WORST EVER.”
- Tanya Marie Lawson “All I needed to know was how to change to another channel. It’s supposed to be entertainment…not political or an opportunity to attack your rival.”
(Evidently, Tanya sees an imaginary opponent of black culture and music in there that no one else saw.)
- Richard Thompson Such a shame they don’t have music for the half time show anymore.
- Debbie Feigler Schexnaildre So what about the car the performance was terrible we had no clue what he was saying!! Definitely not entertainment.
(Debbie, Debbie, Debbie! Everything is always about Debbie but who knows how to pronounce those last names of her’s anyway?
- Kevin Romano Sr Isn’t that beef in rap music how a lot of them get assassinated.
- Adam Dawson It was filled with dis tracks against the rapper Drake, subliminal racism, and political innuendo, made to look like the main performers life was a video game. It’s sad that a teenager pointed this out to me. I spent time looking this up, hoping the teenager was wrong. The main performer sounded very monotone. Very poor performance. It didn’t need to be a Louisiana artist, but more family friendly and without the dis tracks, subliminal racism, and political innuendo, would have been nice. Weird AL Yankovic would have given a better halftime show. The NFL audience spans all political and ethnic backgrounds of America and the world.
(Adam had to white-mansplain everything to us! How else would we know that white men are the real victims of racism!)
For more racist takes, follow the link! Or better yet, follow FARTUS! He spoiled the event for all sides of the fee fees. From Lipstick Alley: ” Trump throws tantrum and leaves Superbowl early after his favorite team gets humiliated, cries salty tears that The Superbowl is ruined.”
The run up to the Superbowl was dominated by news that Donald Trump and his hangers on would make an appearance, the first for a sitting President.
Trump arrived at the stadium with Daughter – Wife Ivanka and took to the field with a mix of cheers and Boos.
Trump wandered the field as if dazed and confused but he had initially praised and predicted a Kansas City Chiefs win.
Trump is enamored with the Chiefs who were clearly the MAGA white choice especially with MAGA Mahomes and his hillbilly family being big Trump supporters.
The Philadelphia Eagles did not come to play, they came to slay and scalped the Chiefs early on, eventually winning 40-22.
Trump was not having it and got up and left after 10 mins of the second half or maybe the half time show was just too Black.
Strange that Hitler did the same thing when Jesse Owens dominated the 1936 Olympics.Trump’s tweets today, as well as his behavior at the game, were total lessons in how to be a jerk. He was booed. However, you’d never know it if you listened to him. He and Taylor Swift were booed by the Eagles fans. Taylor used to be an Eagles fan. You can speculate on the other. Here’s an interesting take from the rag The Mirror US. “Sore loser Donald Trump lashes out at Taylor Swift after fleeing Super Bowl. Donald Trump has continued his feud with Taylor Swift by sharing a video of the pop star being booed at the Super Bowl, while he was cheered by fans at the same event.”
Donald Trump couldn’t resist a swipe at Taylor Swift following the Kansas City Chiefs Super Bowl defeat, taking jabs even as he departed the event early. The current President hopped onto his social media haven Truth Social, posting while en route back to Florida aboard what was likely Air Force One: “The only one that had a tougher night than the Kansas City Chiefs was Taylor Swift. She got BOOED out of the Stadium. MAGA is very unforgiving! ”
On his platform, Trump uploaded several clips including glimpses of himself amid celebratory fans and another clip purportedly capturing jeers as Swift and Ice Spice appeared on the stadium’s Skycam.
His contentious post, left without commentary, fired up discussions—was Trump implying that the crowd’s applause was for him and jeers for Swift, or were the reactions intertwined at the moment? Videos circulating don’t clarify whether the President received cheers, or simply joined in on crowd acclaim.
Former first Lady and Grandson definitely were given cheers. However, the stories are still being spun as I type. The worst thing is the entire focus on these things and not the impact on New Orleans. You may read about a lot of it in my post here.
The panem et circenses in New Orleans look and feel like a military takeover. We've been #occupied. http://www.facebook.com/reel/5999453… No one can cross Canal Street without a search. They've thrown the homeless in an overpriced warehouse dump. There are military helicopters overhead and bomb dogs
— Kat Huff aka Dakinikat (@dakinikat.bsky.social) 2025-02-08T21:44:26.415Z
Trump says he has directed the Treasury to stop minting new pennies due to cost. No mention of his $15 million Super Bowl trip or his almost daily $3 million golf excursions.
— Molly Ploofkins (@mollyploofkins.bsky.social) 2025-02-10T16:25:48.791Z
I am waiting to see the actual economic impact on the city because up until Friday night, the military and police definitely had a bigger presence than tourists. I’m hoping my friends finally made some money to tide them over until the Big Mardi Gras Parades startup.
So, let me pop a few reads up about the Muskanator and his gang of adolescent droogies. There are a lot of lawsuits going on, that’s for certain. This is from Public Notice‘s Lisa Needham. “Trump and his lawyers embrace the logic of dictatorship. And they’re not even trying to hide it at this point.”
Donald Trump is busy seizing power through executive orders and letting Elon Musk and his gang of racist DOGE bros run amok through America’s government agencies. It’s an unprecedented upending of the separation of powers, an authoritarian reshaping of America.
While Trump and his henchmen deconstruct the administrative state, his lawyers are embracing the logic of dictatorship. The core argument emerging in their legal filings and executive orders — one without support anywhere in the Constitution or the law — is that simply by being elected, Trump has the power to do whatever he wants.
The issue is not the use of executive orders as such. The authority to issue them comes from Article II of the Constitution, which vests executive power in the president and requires him to “take care that the laws be faithfully executed.” Executive orders are meant to tell the executive branch how to implement existing laws. However, in part because Congress is now so routinely deadlocked, every president in the 21st century has issued scores of them that attempt to implement policies outside of the legislative process.
But executive orders aren’t laws, and the authority of presidents to issue them is not absolute. They can’t contradict or overturn existing statutes. Subsequent presidents can undo executive orders just by issuing a new executive order saying so. And federal courts have routinely struck down EOs for being unconstitutional or for exceeding the scope of the president’s authority.
When executive orders are challenged in court, government attorneys typically point to the underlying laws that give the president the authority to issue the order. Trump seems to have dispensed with that requirement, however.
Trump’s imperial ambitions have made for some laughably thin legal theories. As Just Security noted, the government’s argument in defense of Trump’s birthright citizenship EO does not reference any citizenship statutes nor point to any authority that would give Trump the right to undo birthright citizenship via the stroke of a pen. Instead, after quoting the relevant part of the Fourteenth Amendment — ”All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the State wherein they reside” — the EO just goes on to state that it “has never been interpreted to extend citizenship universally to everyone born within the United States.”
The problem for Trump is that the Fourteenth Amendment has absolutely historically been interpreted to do just that. The EO attempts to say that “subject to the jurisdiction thereof” are magic words that have always excluded people whose parents were not citizens when they were born, but that’s nothing but a recent crackpot theory from election denier attorney John Eastman.
This is from Bloomberg. “DOGE-Backed Halt at CFPB Comes Amid Musk’s Plans for ‘X’ Digital Wallet. Government-efficiency team’s initial ‘read-only’ access expanded quickly to encompass closely guarded data, internal emails say.” This is reported by Jason Leopold and Evan Weinberger. I told you they were trying to tank the dollar and replace it with their cryptocurrency grift.
In another weekend takeover of a federal agency’s operations, staffers from an efficiency initiative led by billionaire Elon Musk helped to effectively shut down the Consumer Financial Protection Bureau — as they gained access to an array of the bureau’s protected information.
The actions began last Thursday, when four young staffers working under Musk for the Department of Government Efficiency, or DOGE, showed up at CFPB’s Washington headquarters. At first, they had what was described as read-only access to a limited array of documents, including the agency’s internal personnel files, procurement records and budgeting and financial data, according to an email shared among CFPB officials.
Then, late Friday night, the DOGE staffers were granted access to all the CFPB’s data systems, including sensitive bank examination and enforcement records, according to five people familiar with the matter and emails seen by Bloomberg News. The people asked not to be identified, citing concerns over potential retribution. By Sunday, the agency was a skeleton, with its funding limited and activities suspended.
Musk, whose social-media platform X has recently begun firming up plans to enter the online payments industry, had already predicted the demise of the consumer-watchdog agency. He didn’t respond to a request for comment.
The weekend’s events came after Russell Vought, who heads the White House’s Office of Management and Budget, ordered wider access for DOGE, according to an email to CFPB officials that was seen by Bloomberg. Vought sent the email Friday evening, about 90 minutes before news broke that he’d also been named acting director of the financial-enforcement agency.
Vought is an architect of the Heritage Foundation’s influential and controversial government-overhaul plan called Project 2025, which appears to have guided DOGE’s attempts to dismantle portions of the federal bureaucracy. Earlier this month, the team played a key role in the administration’s effort to shut down the US Agency for International Development, another longstanding conservative bête noire.
Bloomberg News sought comment from Musk, Vought, the DOGE team members and the White House. None responded.
It just gets worse, and there’s no accountability because the Republicans have gone all squishy. And as usual, women and minorities are being deleted from American History and the recognition they deserve. This is from Popular Information and is written by Jude Legum and Rebecca Crosby. “The NSA’s “Big Delete'”
Today, the National Security Agency (NSA) is planning a “Big Delete” of websites and internal network content that contain any of 27 banned words, including “privilege,” “bias,” and “inclusion.” The “Big Delete,” according to an NSA source and internal correspondence reviewed by Popular Information, is creating unintended consequences. Although the websites and other content are purportedly being deleted to comply with President Trump’s executive orders targeting diversity, equity, and inclusion, or “DEI,” the dragnet is taking down “mission-related” work. According to the NSA source, who spoke on the condition of anonymity because they are not authorized to speak to the media, the process is “very chaotic,” but is plowing ahead anyway.
A memo distributed by NSA leadership to its staff says that on February 10, all NSA websites and internal network pages that contain banned words will be deleted. This is the list of 27 banned words distributed to NSA staff:
Anti-Racism
Racism
Allyship
Bias
DEI
Diversity
Diverse
Confirmation Bias
Equity
Equitableness
Feminism
Gender
Gender Identity
Inclusion
Inclusive
All-Inclusive
Inclusivity
Injustice
Intersectionality
Prejudice
Privilege
Racial Identity
Sexuality
Stereotypes
Pronouns
Transgender
EqualityThe memo acknowledges that the list includes many terms that are used by the NSA in contexts that have nothing to do with DEI. For example, the term “privilege” is used by the NSA in the context of “privilege escalation.” In the intelligence world, privilege escalation refers to “techniques that adversaries use to gain higher-level permissions on a system or network.”
The purge extends beyond public-facing websites to pages on the NSA’s internal network, including project management software like Jira and Confluence.
I am really not sure I can take much more of this.
Anyway, I’d like to thank JJ for filling in for me with my various hospital appointments and the time I spent with Keely as she exited the Earthly Door. It has been a rough few weeks. Actually, this entire year has sucked big time.
I hope the courts stand firm and we figure out what to do if FARTUS ignores them. Perhaps there are a few good men and women left in the Republican part of Congress. I certainly hope that there are a few appointees to SCOTUS that do not want the country to go down in flames.
Take care y’all!
Be safe!
#JohnbussBskySocialJohnBuss #criminalizingHomelessness #JiveTurkeyElonMusk #NewOrleans #superbowl2025
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Happy Caturday!!
Yesterday Trump gave a speech in Florida to Turning Point Action, a right wing christian group. During the speech, Trump gave this rant:
Trump’s plea to voters last night: “Get out and vote just this time. You won’t have to do it anymore. Four more years, it will be fixed. It’ll be fine. You won’t have to vote anymore … In four years, you don’t have to vote again. We’ll have it fixed so good you’re not going to have to vote.”
In that quote from MSNBC’s Kyle Griffin, there is an ellipsis to skip over Trump saying what sounds like “I’m not a christian.” Some are claiming he said “I’m a christian.” That’s not what I heard. You can watch the clip from @Acyn here.
I took this to mean that if Trump is elected, there won’t be any more elections. Some people on Twitter tried to twist it to mean something else or claimed it was a “joke.” After all we have experienced with Trump, those claims just don’t pass muster. Here are some reactions from Twitter.
Ruth Ben-Ghiat @ruthbenghiat: Media: this should be *the* A1 story. I have studied dictatorship for decades and this is it-“you won’t have to vote anymore.” Trump will never leave office if he wins in November.
Pramila Jayapal @PramilaJayapal: This. Is. Terrifying. We cannot let this be the case.
Armando @ArmandoNDK: I don’t know what Trump was trying to say with his no more voting line. He is a moronic inarticulate narcissist. I do know what he’s done. And based on that, if he can get away with it- he would become a dictator. Anyone who doubts Trump is capable of trying is just stupid.
Simon Rosenberg @SimonWDC: There is a reason the Trump campaign has been keeping Trump from the trail – every time he speaks it gets harder for them to win. This promise, in very clear language, to end American democracy for all time is now a major part of the 2024 campaign.
Joyce Alene @JoyceWhiteVance: Make sure you listen to this video. Trump tells his “beautiful Christians” they won’t “have to” vote anymore after this election because he’ll fix everything. This is how democracy dies.
The Washington Post mentioned it in passing and made it sound as unthreatening as possible:The former president urged attendees at the faith-themed event to vote — “Vote early. Vote absentee. Vote on Election Day. I don’t care how, but you have to get out and vote,” he said — and promised that in four years, “we’ll have it fixed so good you’re not going to have to vote.”
The Hill put it in their headline: Trump urges Christians to vote: ‘You won’t have to do it’ in four years.
Former President Trump at a Friday event hosted by the conservative Christian organization Turning Point Action urged Christians to vote, saying they wouldn’t have to do it again if they got out there in November and elected him because “everything” would be “fixed.”
“Christians, get out and vote, just this time,” Trump exclaimed to a cheering crowd in West Palm Beach, Fla.
“You won’t have to do it anymore. Four more years, you know what, it will be fixed, it will be fine, you won’t have to vote anymore, my beautiful Christians” he added.
“I love you Christians. I’m a Christian. I love you, get out, you gotta get out and vote. In four years, you don’t have to vote again, we’ll have it fixed so good you’re not going to have to vote,” Trump said.
Trump’s remarks point to the need for both parties to get their most fervent supporters to the polls in what is expected to a close election that may be determined by turnout.
But both parties aren’t promising that there won’t be another opportunity to vote in 4 years.
This is from Mediaite: Trump Cryptically Declares, ‘You Won’t Have to Vote Anymore’ If He Wins Second Term.
Former President Donald Trump urged members of a crowd in Florida to vote and said that if he wins, they “won’t have to vote anymore.”
Speaking at a Turning Point Action event in West Palm Beach on Friday, Trump, who tried to overturn the 2020 election he lost, delivered a cryptic message.
“And again, Christians, get out and vote!” he said to a cheering audience. “Just this time. You won’t have to do it anymore. Four more years. You know what? It’ll be fixed! It’ll be fine! You won’t have to vote anymore, my beautiful Christians. I love you, Christians! I’m a Christian. I love you. Get out. You gotta get out and vote. In four years, you don’t have to vote again.”
Trump has responded to accusations about his authoritarian tendencies by saying he will not be a dictator “except for day one” of his second term. In 2022, the former president repeated the false claim that the 2020 election was rigged against him. While doing so, he called for the “termination” of the Constitution.
“A Massive Fraud of this type and magnitude allows for the termination of all rules, regulations, and articles, even those found in the Constitution,” he wrote on Truth Social. “Our great “Founders” did not want, and would not condone, False & Fraudulent Elections!”
Again, I clearly heard him say “I’m not a christian.” But listen for yourself, and share you opinion.
Aaron Rupar and Stephen Robinson at Public Notice: How the press helped Trump sell himself as a strongman.
The authors note that the presidential race has been turned upside down during the past week,
But it’s worth devoting some attention to how the press did Trump’s work for him by portraying the aspiring authoritarian exactly how he wants to be seen — as a heroic strongman and newfound champion of political unity.
Trump accepted the Republican presidential nomination for a third time on July 17 with a rambling, incoherent mess of a speech that offered a terrifying vision for America during its rare moments of coherence. His performance was widely regarded as a disaster. But a range of major newspapers didn’t cover it that way.
More than a few headlines actually raved about it. The Boston Globe: “In a departure, Trump calls for unity, healing in America.” The Atlanta Journal-Constitution: “Trump urges unity after assassination attempt while proposing sweeping populist agenda.” Baltimore Sun: “Subdued Trump describes assassination try, accepts nomination.”
As media critic Parker Molloy pointed out, these papers seemingly reported on Trump’s speech based on the prepared remarks, not the speech as he actually delivered it….
In reality, Trump’s RNC coronation was a collective failure of our justice system, political process, and a mainstream media ecosystem that has consistently failed to hold him accountable. He still faces a tough challenge to win this election — especially now that Harris is on the top of the ticket — but he got a significant propaganda boost from a credulous, optics-obsessed press….
Not long after Trump’s attempted assassination at a Pennsylvania rally on July 13, mainstream outlets went along with the Trump campaign’s narrative: The shocking event had changed him for the better.
When Trump made his first appearance at the RNC on July 15, the New York Times described him as “subdued” and claimed he showed a “glimpse of vulnerability.” But Trump had already demonstrated he was unchanged earlier that day when he posted on Truth Social that his idea of “Uniting our Nation” was the dismissal of all criminal charges against him.
Trump spewed his usual invective against his political foes throughout the week. The media, nonetheless, continued to take seriously the idea that he was a new man.
Axios reported on July 15 that Trump “plans to seize the his moment by toning down his Trumpiness” and MSNBC’s Katy Tur described his first appearance at the RNC as “serene.” But the most egregious instance of this genre was a piece from Politico’s Natalie Allison, who wrote on July 17 that “there appears to be a new softness to Donald Trump, with people who’ve talked to him describing him with words like ‘existential,’ ‘serene,’ ‘emotional’ and even ‘spiritual.’”
None of those words rightly apply to the man who has made shouting out fictional cannibal Hannibal Lecter a staple of his speeches (including at the RNC).
Please read the rest at the Public Notice link.
A bit more Trump/Vance news:
Lilly Mae Lazarus at The Daily Beast: Donald Trump Seen in Public Without Ear Bandage.
Donald Trump ditched his ear bandage for his meeting with Israeli Prime Minister Benjamin Netanyahu on Friday. The former president’s right ear returned to public view for the first time since it sustained damage in the July 13 assassination attempt.
The former president’s large bandage became an impromptu fashion statement during the Republican National Convention, with some attendees donning DIY wound dressings. Following the convention, Trump swapped out his bulky white gauze for a thin nude bandage.
Photos from Trump’s sit down with Netanyahu appear to show the former president’s ear intact without major scabbing or scarring. In one image, the former president points out the site of injury to the Israeli prime minister.
According to former White House physician Ronny Jackson, a bullet took the top of Trump’s ear off. On Wednesday, however, FBI Director Christopher Wray said that investigators did not know if the former president was grazed by a bullet or shrapnel during the shooting.
Edith Olmstead at The New Republic: Panicking Trump Loses It Over FBI Director’s Bullet Injury Testimony.
Donald Trump is seriously pissed that FBI Director Christopher Wray is asking questions about what really happened during the attempted assassination of the former president.
While appearing before the House Judiciary Committee Thursday, Wray testified about the agency’s ongoing investigation into the deadly shooting at a Trump rally almost two weeks ago. Wray said it was still unclear what had caused the injury Trump suffered to his ear, whether a bullet or a piece of shrapnel from a teleprompter.
Trump, who began claiming within hours of the attack that he’d been struck by a bullet, didn’t like that one bit. He said as much in a rant on Truth Social Thursday night, which took aim at Wray (whom Trump appointed) specifically.
“FBI Director Christopher Wray told Congress yesterday that he wasn’t sure if I was hit by shrapnel, glass, or a bullet (the FBI never even checked!), but he was sure that Crooked Joe Biden was physically and cognitively ‘uneventful’—Wrong!” Trump wrote.
“That’s why he knows nothing about the terrorists and other criminals pouring into our Country at record levels. His only focus is destroying J6 Patriots, Raiding Mar-a-Lago, and saving Radical Left Lunatics, like the ones now in D.C. burning American flags and spray painting over our great National Monuments—with zero retribution,” Trump continued.
There’s a simple solution. Trump can release the medical report from his examination after the shooting.
Carter Sherman at The Guardian: JD Vance called for ‘federal response’ to block women from traveling for abortions.
JD Vance, the Ohio senator and Donald Trump’s running mate, promoted a baseless rightwing talking pointin 2022 when he warnedof George Soros-funded planes transporting Black women across state lines for abortions.
“I’m sympathetic to the view that like, okay, look here, here’s a situation – let’s say Roe v Wade is overruled,” Vance said in a recently resurfaced podcast interview. “Ohio bans abortion in 2022, or let’s say 2024. And then, you know, every day George Soros sends a 747 to Columbus to load up disproportionately Black women to get them to go have abortions in California. And of course, the left will celebrate this as a victory for diversity – uh, that’s kind of creepy.”
The US supreme court overturned Roe in 2022. Vance’s statements echo a common anti-abortion talking point accusing abortion providers and their supporters of targeting people of color.
Black women did seek abortions at a higher rate before Roe fell, but public health experts say that this is far from proof of a racist conspiracy. They point to a number systemic factors – for example, Black women are more likely to live in areas where it’s harder to access contraception. They are also disproportionately harmed by abortion bans.
Vance continued: “And, and it’s like, if that happens, do you need some federal response to prevent it from happening? Because it’s really creepy. And I’m pretty sympathetic to that actually. So, you know, how hopefully we get to a point where Ohio bans abortion in California and the Soroses of the world respect it.”
While Open Society Foundations, which was founded by Soros, does support reproductive rights, the billionaire philanthropist is not directing planes to swoop up Black women for abortions. He has been the target of antisemitic conspiracy theories for years.
Vance’s comments were reported by CNN. On Thursday evening, Kamala Harris’s campaign posted audio of the remarks on X.
JD Vance is the one who is creepy.
Yesterday, Dakinikat wrote about the new meme going around–that the Republican ticket is “weird.” Here’s another take on that by Eli Stokols and Elena Schneider at Politico: How Trump and Vance went from a ‘threat to democracy’ to ‘weird.’
In the days since Vice President Kamala Harris has taken over the campaign against former President Donald Trump and his running mate JD Vance, Democrats are leaning into a new attack line against the Republican ticket: that they’re just really weird.
Minnesota Gov. Tim Walz , a potential Harris running mate who’s been using this description for months, said it during his first viral TV appearance of the week, and then in others. The Democratic Governors Association, which Walz leads, amplified it on social media. And the Harris campaign has adopted it as well, incorporating the label repeatedly this week in press releases and posts on X and TikTok.
As this simple and quintessentially Midwestern description of Trump and Vance catches on, it marks a notable rhetorical shift — away from Biden’s apocalyptic, high-minded messaging toward a more gut-level vernacular that may better capture how many voters react to far-right rhetoric of the kind Vance in particular trades in.
“It perfectly describes the uneasiness people feel. It’s how people who don’t live and breathe politics every day react to hearing the Republican vice presidential candidate denigrate people without children,” said Tim Hogan, a Democratic strategist who worked on the 2020 presidential campaign of another Minnesotan, Sen. Amy Klobuchar. “It’s simple. It’s how you might talk to your neighbor about the crazy political climate we’re living in.”
Walz’s post of his interview clip on X — captioned: “I’m telling you: these guys are weird.” — had 4.6 million views as of Friday afternoon. And when the Harris campaign sent out a memo on Thursday responding to Trump, or what they described as “a 78-Year-Old Criminal’s Fox News Appearance,” they included this among a list of takeaways: “Trump is old and quite weird?”
And on Friday, the Harris campaign used the term in multiple press releases. One focused on Vance’s anti-abortion stance, which called him “creepy” in the subject line, began with a simple declaration: “JD Vance is weird.” That followed another release highlighting negative coverage of Trump’s running mate in which Harris campaign spokesperson Serafina Chitika asserted that Vance had “spent all week making headlines for his out-of-touch, weird ideas.”
More analysis at the link.
We’ve already begun to see the kind of sexist abuse that Kamala Harris is going to face during the campaign. Carole Cadwalladr wrote about it at The Guardian: This is a misogyny emergency. A huge outpouring is coming in the runup to the US election.
In 2016, a historically unprecedented incident took place. And yet, barely anyone even noticed. Even years later, we’ve failed to acknowledge it or to have begun the process of understanding it. Because we still can’t even see it.
And that’s because this incident involved a woman. And she was asking for it.
The woman was Hillary Clinton. What she was asking for was votes. And what she got was the single biggest outpouring of misogyny in human history.
We can now say that. Although no one ever does. But this was an unprecedented previously unimaginable event. Because 2016 was when the world’s first global instant mass communication technology – social media – crashed up against the most ancient of prejudices – misogyny.
And the result was an earthquake: Donald Trump.
In 2016, we weren’t prepared for it. We didn’t see it coming. We didn’t understand how these same social media platforms that have enabled us to share our thoughts instantly at a global scale also facilitate the worst kinds of human communication. How they are engineered to cater to our basest instincts and reward the clickiest, most hateful content.
But eight years on, we haven’t even begun to understand that lesson. We didn’t listen to Hillary. We haven’t yet realised that misogyny is one of the most dangerous weapons on Earth. The best friend of authoritarians and oligarchs. The handmaiden of tyrants.
Worst of all, we haven’t yet realised that misogyny represents the most urgent and pressing threat to global security.
Because it’s misogyny – networked misogyny across multiple global platforms that will earn their tech bro owners billions upon billions of dollars – that is going to decide the 2024 election.
And it’s misogyny that’s going to dictate the future of Nato, the outcome of the war in Ukraine, whether we have peace in Europe or more war. And because this is going to be a firehose that will be directed at a single woman – Kamala Harris – it will be misogyny multiplied: misogyny plus racism, the most toxic combination of all.
This week comments resurfaced that Trump’s newly appointed running mate had made about the woman who looks certain to be the next Democrat candidate. Comments from 2021, in which JD Vance dismissed Kamala Harris as a “childless cat lady”. If that sounds vaguely familiar, you may recognise those exact words from the attacks that Brexiteers directed at me. In my case, it was an assault that went on for years and created the permission for the same man who seeded the narrative to sue me in court.
I was gagged, the necessities of the court case silenced me. Sticks and stones will break my bones etc. But this was never about me. I was just the access point, a way to shut the story down, a viable target. And this was an attack that achieved its goal. Overnight, all reporting on the subject stopped dead.
But there are things that only veterans of the childless cat lady wars can know. They used to call us witches because we knew shit. We still do. That’s what makes us so powerful. And dangerous. That’s what JD Vance understands: our cat lady energy. We’ve lived through culture wars before they even had that name, before they invented memes and when they just burned us at the stake.
So, here’s what I need you to do now: to shut up and sit down and listen. You are at risk. We are all at risk. Because this is what I know: bad things are coming. We are in a code red emergency.
I’ve posted too much already, but I wish I could post the whole thing. Please go read it all at The Guardian.
I’ll end there. I hope you’re having a nice weekend. Take care of yourselves, everyone!
https://skydancingblog.com/2024/07/27/lazy-caturday-reads-172/
#ChristianNationalism #JDVance #misogynyEmergency #TrumpAsStrongman #TrumpSEarWound #TrumpVanceWeirdness #TurningPointAction #votingRights
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Article SpeedsterGallery Speedster Espresso Machine Orman Dial Speedster and GS3 Shot Pull Speedster Badging User Angles Speedster Drip Tray First Peek Speedster Crate Speedster, Day One Shot Pull Early Shot Pulls on the Speedster Speedster Service Speedster Shifter Preinfusion Piston Chopped Portafilter PID Control Whereto Buy Manufacturer Website Buy from Supplier coffeegeek advertisers make this website possible.
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want to reach a global specialty coffee audience? advertise with us.A First Look atKvdW Speester
Back in 2001, a fellow by the name of Kees van der Westen had already made a big name for himself as an artist with metalwork and someone who loved espresso and the technology behind it. He’d designed one-off machines for some of the top echelon of the espresso world for almost two decades by that point, including machines showcased at La Marzocco, used at Espresso Vivace, and dreamed of by a yet to be started up roastery in Portland known as Stumptown. He was well into the run of building his fabled Mistral lineup of machines, using La Marzocco parts; mainly from Lineas.
van der Westen had spare machine parts in ample supply because he was the distributor and service agent for La Marzocco in Holland at the time. Lineas were La Marzocco’s sole machine during that period, but van der Westen also had a collection of old GS/2 machines – single and double groups – at a time when La Marzocco had long ceased production of the machine. As he puts it himself on his website,
“Through the years we acquired some of the old type paddle-groups from the GS machines. As we could not bring ourselves to dump these we eventually decided to use these in a fun-project: building a small series of one-group machines, especially designed to use these groups for their proper purpose. This machine was called Speedster.”
The Speedster of that era was about as old school inside as you could get. It featured the original GS’s same-size boilers used for both brewing and steaming. It was almost entirely mechanical, with no temperature stability or state of the art electronics. It did however feature three key things – the iconic and revolutionary La Marzocco paddle group; the aforementioned dual boiler setup; and the complete uniqueness of van der Westen’s design skills.
Original Speedster
One of the six original Speedsters built in 2001; features La Marzocco boilers, paddle group.
Only six were built. I first saw the Speedster back in 2002 when I was at La Marzocco’s Seattle office for a meeting about developing the machine that would eventually become the GS/3. Kent Bakke was one of the purchasers of those Speedsters and had it proudly on display in his showroom at La Marzocco. I still remember my first glimpse of the machine, and this was after I’d been wow’ed by another van der Westen artwork piece Bakke owned and had on display: the Zizi lever group machine. As impressive (and big) as the Zizi was, the Speedster almost seemed on a different plane. Where the Zizi was huge and a lever and a complete work of art (definitely forsaking a certain amount of usability for the art), the Speedster encompassed art, design, style, and usability. It was small. It had dual boilers. It had a GS/2 paddle group. It was completely unique. I’d never seen a machine like it before.I even got a chance to pull shots on it, and immediately felt this was a singular moment in my coffee and espresso career (and to put that into perspective, I was at a meeting for the development of the GS/3!). Everything “clicked” – the machine felt comfortable. It steamed exceptionally well. The paddle group put you, as a barista, in direct connection with the machine. It was tight, light, solid, beautiful, industrial, exceptional all at the same time. From that very moment onward, I had it in my mind that, if I ever won a million dollars, I’d make an offer on this machine so I could own my own – and the offer wouldn’t be cheap. After all, van der Westen built only six of these and by 2002, was already saying that was that – there were six and there would be no more.I finally met van der Westen in 2004 at a trade show and we immediately hit it off. He’s a dynamic, energetic fellow (who ironically enough does not like to be photographed); and there’s a clear passion for espresso, espresso technology and art within the man. My first questions to him were “so when are you going to build the Speedster again?” and I got a surprise answer: “find me the guts to a well working GS/2 and I’d be happy to build one!”. I’m not sure if he was joking or not, but I do know two things – I did in fact search for a reasonably priced GS/2 I could salvage and send to van der Westen (hint: I never found one), and secondly, he never did build another paddle group Speedster as far as I know.Over the years, I stayed in contact with van der Westen, and the subject of the Speedster would always come up – are you building them again? Send me a GS/2 and I will. How about a lever Speedster? Oh, you’re a crazy man, Prince.Then in early 2008, during an email conversation with him, van der Westen dropped a bomb: he decided he needed a one group machine to complement and supplement his current line up of state-of-the-art and exceptionally beautiful Mirages and (licensed to La Marzocco) Mistrals, and that one group machine would be a next generation Speedster.It was right at that moment I started socking away $200 a month into a special savings account. And some 18 months later, I became the proud owner of a next-generation Speedster espresso machine from Kees van der Westen.AboutThe Machine
There’s not much I could write about the technological innards of the Speedster that van der Westen hasn’t already fully detailed himself on his website – but I’ll give it a go, at least from a third party perspective. It’s also important to note that the machine has already seen upgrades and will continue to do so.
The Speedster ships quite complete. In the crate you’ll find:
- all necessary tubing, pressure tubes, connections, etc.
- water softener machine.
- the pump.
- single spout and double spout portafilter (or a chopped portafilter if you ordered one), teflon lined (chopped PFs are not teflon lined).
- Kees van der Westen custom tamper, height adjustable. Heavy, beautiful, mirror polish finish.
- custom Speedster espresso cups – two. These are ltd edition though.
- a cleaning brush (a clone of the Pallo design) in aluminum.
- spare gaskets, filter baskets, blind filter.
- aluminum tamping stand.
- Speedster t-shirt (again ltd item, once gone, no more).
- Speedster instruction manual including setup instructions.
- cleaner.
Little things like the brush, cups, t-shirt, and bigger things like the way-cool tamper make a big difference to the overall package. Seems complete. About the only thing missing is the grinder. By comparison a La Marzocco GS/3 comes with a plastic tamper, bottle of cleaner, two PFs and little else. And no grinder either.
The Speedster Espresso Machine is about as state of the art inside as you can get in today’s espresso world, and is quite different from the 2001 era Speedster, at least inside. The machine is built around a dual boiler, dual PID (proportional–integral–derivative) controller setup to deliver brewing water, heating water and steam.
The boilers feature the latest go-to technology in espresso: the 3.5 litre steam boiler is fitted with a heat exchanger to provide pre-heated water for the smaller 2.3 litre brew boiler. This technology was initially developed for the GS/3 to help with power consumption but it was also found to increase temperature stability, especially shot-to-shot-to-shot performance in all machines, Along with the Speedster, some of the most technologically advanced machines in the world feature this design, including the La Marzocco FB80 and GB/5 series, and the Synesso machines.
Both boilers are controlled via solid state relays, a much more reliable and efficient way to control the heating elements over the old mechanical relays. They are also virtually silent, and much less prone to break down (or wearing down) compared to the older style of relays most machines have.
Taking a peek inside the Speedster takes all of two minutes: four side bolts and three hex bolts in the back and both the side panels and top panel slide off easily. If you’ve seen earlier interior photos of the Speedster (2008 version), things have changed a bit. There are no less than four electronic Parker solenoid valves controlling everything from steam boiler refill to water mix, to injecting the preinfusion chamber unique to the Speedster (and Mirage line from van der Westen). Initially, the Speedster had the steam boiler PID on the right side of the machine, accessible through a maze of copper tubing, but that has since moved to the more clean left side. Also gone from the initial 2008 version is the internal adjustable mix valve the Speedster offered for hot water dispensing; instead there’s a very unique dual mode hot water option available via a front panel rocker switch.
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There is so much to the design of this machine that is unique and ground breaking.
Let me focus on that one bit for a second. The Speedster’s two ginormous dial handles up front were traditionally for steam (the left side) and hot water (the right side). But on the 2009 edition of the Speedster, the right side dial handle is for show and aesthetics only because accessing hot water on this machine is accomplished via a rocker switch on the right front panel.
Why a rocker switch? van der Westen heard feedback from many professional baristas regarding hot water from a machine. Some wanted a mix valve, pulling both water from a steam boiler (above boiling, usually 275F) and line water (72F) so the resulting water pulled into a cup could be below boiling or usually around 200F. Others wanted steam boiler only water (275F but “flashes” to 212F as it comes out of the tap) for the heat.
van der Westen devised a system in 2009 that provided both, via microswitches, solenoids and computer control and the result was the rocker switch activation for hot water. Flip the switch upward and the hot water tap feeds steam boiler-only water. Flip it down, and you get mixed water – steam boiler and line water – for approximately 200F water at the tap head. Quite ingenious.
Here’s a few more visual features.
An elongated "acorn" tip, this is easily one of the best tips we've ever used in the CoffeeGeek Lab. The tip has four small holes; the other included tip (the "Mistral Tip") is the same design with bigger holes. The Speedster uses top-of-the-line Fuji PID controllers for both boilers; the one up front is for the brew boiler, but the K1/K2 are indicators for both PIDs (K1 is front boiler PID). Programming the temperatures is as easy as pressing P for a second and adjusting up or down. Offset can be programmed in (as it is here). The maze of tubing you see is primarily the heat exchanger tubing, running outside the boilers to cool down HX water before it gets to the brew boiler. This is the drip tray mount (there's one on each leg up front). It can be slid up or down to give an extra inch in tray height. This is the up / down rocker switch for delivering two temperatures of hot water. The screwless dispersion screen; note the centre doesn't have the hole-perforations - that is to further disperse water (which can drain in the middle from the dispersion block) Flipped up for photographing, the hot water tap's wide articulation of motion and well engineered flow dispersion is top of the line.I focused on the hot water delivery to prove a point about this machine and about the person who builds it: Kees van der Westen is a details man. Pretty much every aspect of this machine, from the aesthetics, to the usability, to the technology inside shows a supreme attention to detail by an artist and engineer who “gets” modern day espresso.
This isn’t a machine designed by someone who’s building for 10,000 units sold in Spain, or 25,000 units sold in China, where niceties such as temperature stability, steaming ability or manual controls are not valued much. This is machine designed by someone who gets what the modern day professional barista demands from a state of the art espresso brewer. It shows in every single aspect of the machine’s design and function.
SpeedsterPreinfusion System
This is where the Speedster really starts to stand out. When it was first announced that the machine was going to be built again in limited numbers, the prototype machines that van der Westen showed at the Copenhagen World Barista Championships in 2008 were missing something obvious – it was no longer a paddle group machine. Instead, brewing was done via a three-position shift lever on the right side of the front panel.
Preinfusion Piston
Piston is fully engaged (sticking out of the machine) showing full preinfusion.
Here is another example of van der Westen’s brilliance in engineering design – two areas actually. He fully understands the allure and hands-on control that La Marzocco’s 20+ year technology known as the paddle group offered to a professional barista for crafting a shot of espresso. So do Synesso and Slayer – their machines feature paddles for hands on control of preinfusion. van der Westen also believes that the lever group design (for spring piston lever espresso machines) offers the best form of preinfusion and coffee saturation today, which is why his Mirage machine line up includes the Idrocompresso variant.
van der Westen found a way to marry three key desired methodologies in espresso machines – dual boilers, manual preinfusion, piston lever enabled preinfusion – into one machine controlled by solid state relays and PIDs – and this is what makes the Speedster entirely unique. The Mirage lineup are heat exchanger machines (single boilers with heat exchangers for the groupheads); the Speedster is a dual boiler machine that still encompasses all the best from two other machine technologies.
How it works is a bit difficult to explain but we’ll try here. When water for brewing first comes into the machine it actually goes through a heat exchanger in the steam boiler. It gets heated up quite a bit – hotter than what is adequate for brewing in fact – but the machine’s design takes that into account. The brewing water exits the steam boiler heat exchanger and goes through over 50cms (almost 2 feet) of copper tubing that snakes around the back-right side of the machine. The tubing eventually makes it into the brew boiler, where the water is now just slightly below usual boiler water temperature settings.
The brew boiler’s PID is constantly turning on and off the heating element to manage the temperature to 0.1F / 0.1C ranges. At this point the water is approximately 3-4F hotter than your customised brewing temperature (if you’ve programmed the front PID to have a pre-programmed offset).
When you move the shift lever away from its off position, a microswitch is disengaged and one of the machine’s two brewing water solenoids is re-engaged (the one right behind the groupcap) to keep the pressure-release path closed, and the other brewing water solenoid on the right front of the machine is disengaged, allowing water flow from the line pressure (3bar usually) to start flowing into a preinfusion chamber which sits just behind the right front panel.
While this small chamber (not unlike the size and shape of a lever piston’s water chamber) starts filling up with water, the water also flows at normal atmospheric pressure to the grouphead where your coffee is sitting. For approximately 5 to 6 seconds, if you don’t engage the machine’s pump, the coffee is saturated with water being pushed by nothing more than gravity. You also get a visual indication of this via the preinfusion chamber’s most notable design feature – there is a spring-loaded piston that starts to jut out from the front panel of the Speedster as the chamber fills up. As it fully extends, pressure in the grouphead ramps up from normal pressure to 3bar (about 60psi). It will hold steady at this point as long as you don’t move the brewing shift lever to its third position – the pump position.
Shifting the machine into ‘second gear’ means ratcheting the shift lever down to the lowest position and slotting it left into the locked position. At this point, a second microswitch is engaged and the pump starts, delivering 9bar through both the preinfusion chamber and solenoid to start the true espresso brewing process.
Shifting off the second gear lock position does one thing, and one thing only – it disengages the pump. If you don’t put the shift lever back up into the neutral or starting position, the machine keeps the group cap solenoid engaged (ie back pressure is not released) and the preinfusion chamber solenoid disengaged (ie, open flow to grouphead from boiler water); what this means is you can do a preinfusion, brewing via pump, and a post brew using line pressure, if you want. Whether this is a boon or not for espresso brewing quality is not for deciding here – instead, I mention it to show the possibilities a hands-on barista has for fully manipulating water flow and pressure during the entire shot process.
Putting the shift lever back into the neutral position does two things – it closes the brew boiler / preinfusion chamber solenoid, and opens up the back pressure solenoid to instantly relieve the pressure in the brewing group.
On last thing about this preinfusion system. There’s actually two ways it works. If you ratchet the brewing shift lever into the first position (first gear we call it here), you as the barista control the preinfusion and the preinfusion is quite slow since it is entirely based on line water pressure (60psi, 3bar), and not pump pressure (135psi, 9bar). But you can use the van der Westen-designed “programmed” preinfusion by simply ratcheting the shift lever directly into position two (second gear) and letting the preinfusion chamber fill up via pump pressure. It is a faster preinfusion, but a neutral pressure preinfusion none-the-less.
Let’s have a visual look at some of these features.
One of the things that makes the Speedster so special - it's shift lever brewing activation system. The shift lever arm is perforated, and can ratchet into the first position, right onto that metal bracket sticking out midway - ratcheting below that moves it into pump position. A lot of people ask what this is. You show them by brewing a shot. The interior of the shift lever system. Here, at the neutral or off position, it is depressing the top metal microswitch (with a roller-wheel ending for smooth control) Here, in "1st Gear", the arm is not pressing any microswitch - at this stage, the pressure relief solenoid is closed, but the line water solenoid is open, preinfusing the bed of coffee. Here, in the "2nd gear" position, the second microswitch is pressed, which engages the machine's pump. It also does other things, like tell the machine's brains to not auto-fill the steam boiler at this time (to make sure 100% of the attention and power of the machine goes to shot brewing) Here, before starting a shot, the preinfusion piston is flush with the rest of the mounting. As the preinfusion commences, the chamber behind this piston is filling up, and the piston itself starts to extend out. Preinfusion continues; if the machine is in 1st gear, it is fairly slow as line pressure slowly builds up. If it were in 2nd gear, this would come out approximately 40% faster. At this stage (about 6-7 seconds in on line preinfusion, or 3-4 seconds in on pump preinfusion), the chamber is almost full. Water on the bed of coffee is still below 3bar pressure. Once the piston stops moving, the puck is then saturated with a full 3bar of pressure (or will ramp up to 9bar if you're direct into second gear). I ordered the machine with an optional chopped portafilter. The finish on it is quite nice - not re-chromed, but polished, buff and smooth at the chop. Connect with us on Social Media MastodonFacebook-fInstagramYoutube SearchSearch coffeegeek advertisers make this website possible.
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The Speedster features three 900 watt heating elements – two in the steam boiler (left and right) and one in the brewing boiler. It runs on 220V, 20amp service, and requires special electrical hookup in N. America in a home environment – you cannot plug this machine into a standard 110V 15amp (or 20amp) plug.
The Speedster also requires plumbing in. You could run it off a water bottle setup with a Flo-jet handling the preinfusion, but to get the full benefits of the multi-preinfusion systems, running a cold water line from a T-valve off your kitchen’s sink is a requirement, not an option.
Little niceties about the machine include the use of POM plastic for the dispersion block inside the grouphead – something I don’t think any other espresso machine uses (at least that I know of). POM is extremely durable, temperature neutral, and very resistant to any kind of oils contamination from the coffee. The dispersion screens are a screwless design (similar to E61 machines) and the grouphead itself is a fully saturated design – the grouphead is in effect part of the brewing boiler – its volume of water is part of the brewing boiler’s overall volume.
There are so many more technological things to talk about with regards to the Speedster but the last we’ll discuss is something that is both elegantly simple and painfully obvious but you have to wonder why something like this is rarely done by other machine builders. The Speedster has a very simple and accessible boiler draining system. If you take the left panel off the machine, you can see two beefy pipes extending out from the two boilers at the bottom of each. These pipes come to the right border of the machine’s frame and have caps on the front and shiny red levers on top. When the machine is cooled down all you need to do to completely drain the boilers is remove the caps, attach hoses to the pipes and open the valves. No bendy-twisty actions to get to a bottom-capped boiler drain. No flipping the machine this way and that to access them. Simple. Elegant. Efficient.
You'll find the dual-ball design of this gear lever for activating brewing to be very comfortable once you use the machine for a few shots. The Speedster next to a La Marzocco GS3 The switch is huge, and easy to access. I never turn this thing off though. The drains on the right side of the machine. Clear. Big. Accessible. And very bright candy-red turning dials.These water drains are a perfect example of what this machine is all about – a complete, state of the art espresso machine designed by a company that pays attention to the smallest most minute details.
SpeedsterAesthetics
It was evident the moment this machine was taken out of its crate – the Speedster is something special, and part of that special-ness comes from the absolute attention to details this machine has been given by the manufacturer.
From the business side of the machine (the operational front), you feel like you’re operating a 1950s roadster, or perhaps even a racer-airplane and facing the dash or control panel. The portafilter evokes feelings of a joystick in a retro plane. The shifter on the right side is super slick and tends to catch most new users by surprise.
Speedster First Day
The Speedster (before offset was programmed in) from the user angle.
From the side, the roadster and retro-aeronautic feelings continue, but as you get around to the back of the machine, it feels like a 1950s flying wing or slight-steam-punk alien bug ship. All very cool.
The side panels. What really can I say, except to say photos don’t even do them justice. In person, they are a major wow factor. The high gloss polish on the aluminum panels is broken up by the carved out powder-coated yellow stripes and red lettering. Just stunning. Polish is inside as well as out.The plating on the machine, known commercially as “perlage” or engine tuned plating is first rate, and blemish free.
I own a a fair bit of hand built products. I had a locally hand built mountain bike for some time. I have a variety of hand built coffee and espresso machine products. I feel I can safely say this: There is no product I’ve seen that is hand built, one a time that has the level of fit and finish the Speedster has. Heck, even where there are metal and plastic washers (like on the drip tray frame bar mounts), the plastic washers are lined up perfectly with the metal washers – I know because when I went to go adjust the height of the drip tray and re-tightened the bolts, I put the plastic washers slightly out of alignment (easy to do).
There is not a single dirty /scorched weld on this machine. There are no gaps. Every single seam, angle, joinery, weld, curve and physical part on the outside of the machine is flawless. I noticed it right away in the drip tray’s design and build: given the angular, “floating on air” nature of the drip tray and drip tray cover, I half expected to see weld scorch marks in hidden areas or where metal has been joined with metal, but there are none. All the bends are precise. All the welds are flawless and polish-finished. All the pieces align perfectly.
You can see it from every angle on the machine – for as much attention that has been given to the internal construction of the Speedster, at least as much (if not more) has been given to the fit and finish. In preparation for this first look I scoured the machine front to back, side to side and top to bottom to find one flaw, no matter how small, in the build quality.
I found none.
Compare this to the GS/3. We have a paddle group model in the CoffeeGeek Lab and it is an amazing machine technologically, but the aesthetics are very meh, and the fit and finish is questionable at times. You can see weld scorch marks on the upper cup tray of the GS/3 for example. You can wiggle around the cup tray and drip tray because the fit isn’t terribly precise. The side panels on my original GS/3 paddle group had misaligned mounting bolts making it quite difficult to remove the left side panel.
The Speedster has none of these issues. It is in a completely different league when it comes to aesthetics, quality of build and fit and finish. I cannot say it enough: I have never seen an espresso machine with such a complete attention to every minute detail as I have with the Speedster. It sets a completely new standard.
SpeedsterUsability
Usually aesthetics and usability in an industrial product are mutually exclusive – or at the very least, a case of 60% one way, 40% the other way. Usually something has to give. On the Speedster, there’s very little give in the usability department when compared to the aesthetics. Let’s get the usability quirks out of the way first.
The drip tray is a gorgeous piece of the artwork puzzle on the Speedster. From the user viewpoint, it hangs in mid air with seemingly no supports. It cuts a wide arrow shape out from the body towards one of the Four “M”s (that’d be you), and is wide and spacious. But the top tray, the perforated part, is only held in place by gravity, a small “lip”overhanging the back end of the tray, and by virtue of the sides sitting on the angled basin of the tray. In short, it kind of slides around, mainly when you’re cleaning the tray. It is not an issue when brewing shots. This is an entirely minor thing and to show you how good this machine is, probably my biggest gripe.
The gauges are also a bit hard to read from the user’s standpoint. They are on the front panels of the machine but seem angled downward somewhat and you have to drop lower to fully read them.
The rocker switch for the multi-choice hot water gives the appearance of being flimsy (it actually isn’t – its more of a perception) and very minutely out of place on the machine. Most other elements are beefy (the steam and hot water handle dials, the shift lever), so the long narrow rocker switch seems different.
The grouphead and portafilter position is quite low – at the factory-setting, the drip tray is in its uppermost position (it is height adjustable by about an inch) and the spouts on the double portafilter barely clear an illy espresso cup by 3cm; cappuccino cups clear it by maybe 1cm. For my use this is perfect – I rarely brew into anything larger than a latte wide-bowl cup, but for some it may be an inconvenience – you won’t be fitting your 16oz mug under a spouted portafilter.
Probably the last thing to mention in the negative column isn’t really a negative at all – it is the result of something very positive about the machine. The steam boiler’s intake is fed by a 0.6mm gicleur valve to slow down the boiler refill and keep the temperatures rock steady solid in the steam boiler. This is by design. It makes the machine even more temperature stable than even the best from Synesso and La Marzocco (at least those without a 0.6mm gicleur on the steam boiler). The downside is when you first fill the machine it takes quite a bit longer than other similar sized boilers and when you access steam boiler hot water, the refill via the pump runs a bit longer. A very minor thing and an excellent tradeoff for amazing temperature ability.
The drip tray with portafilter in place. From the user perspective it appears the drip tray floats in air without any visible support. Also note the angled back plate - it's a "poor man's" mirror, showing an exposed portafilter pour without needing to bend underneath. The fit and finish is very visible here - special bends, polishing rough edges, intricate cuts. Nothing is missed on the build of this machine. bends, polishing rough edges, intricate cuts. Nothing is missed on the build of this machine.There's a weld in there!In the drip tray basin, there are welds, but you'd be hard pressed to find some of them. They are polished, finished off, and no scorch marks. Here, the top trip tray sits on the drip tray basin. You're dealing with angles, bent metal, slopes and such, but it all fits perfectly. The machine's batching details, including serial number. Kees' has a super sweet logo The dials are very retro, black, white lettering, fire engine red dials. the machine plating is first rate. Note no gaps at all between the front plate and side aluminum panels - though they are not attached at all to each other. This is the pump pressure dial. It shows status of preinfusion and pump pressure.Onto the positives in usability. Well, just about everything! The grouphead’s gasket accessibility is literally the best I’ve ever worked with. Accessing the PID for the brew boiler is a breeze – it is right up front, dead centre on the machines lower front panel. Use the shift lever for a week and it feels like the most natural way to control brewing espresso that has ever existed. The machine is quiet, rattle free, and extremely solid on the counter.
The hot water wand articulates into the middle of the machine – a very good design which at first may seem to go against the machine’s aesthetic look. But trust me, you want the hot water over the drip tray, not over the side of the tray. Articulation is quite extensive too – you can rotate it on a near 180-360 degree plane on both vertical and horizontal axis (and other axis too, I guess). What I’m trying to say is you can point the water wand almost anywhere on the right side of the drip tray. It is hot touch, but has a rubber grabber on it that is nice and big but not ugly (nothing on this machine is ugly).
Using the three position shift lever for brewing is something that at first seems weird, but quickly becomes natural for brewing espresso and as you fine tune your preinfusion and brewing technique, you’ll wonder why this kind of brewing system isn’t on every machine. It actually works quite similar to the way a paddle group operates – move to one position and the line valves to the grouphead open up. Move to another position and you engage the pump. After one week, the Speedster’s brewing control seemed incredibly natural.
Viewing a shot as it develops is extremely easy on this machine – there are no blocked ‘sight lines’. Because of the nature of the exposed grouphead and groupcap, the portafilter spouts sit out in the open, not obscured in any way by other parts of the machine. People sitting to the side of the machine can see a shot develop just as well as the operator or people standing in front.
Let me focus on one particular aspect of usability – steaming. This machine is of course a manual steamer, meaning you control the steam through a variable control dial handle, and there are no gizmos or froth aiders to help impede things. The steam boiler is rated to handle 3.0+ bar of pressure (most commercial machines top out at 1.8 or 2.2bar) meaning that it is a complete steam monster in terms of power – it comes factory preset to run at around 2.3bar, and you can easily modify the steam boiler’s PID up or down by removing the left side panel and accessing it.
The machine ships with two steaming tips – the stock one (the “Speedster tip”) is a bit of a limiter in that the four holes are small and restrict the full steaming pressure somewhat, making it easy to steam 12oz pitchers. The other included tip (the “Mirage tip”) has four bigger holes and will fully utilize the steam boiler’s ample steam production.
I definitely do not need the bigger-hole tip. With the slightly restricted tip, I was steaming and frothing in 24oz pitchers (starting with about 12oz of milk) in under 15 seconds. Doing 5oz of milk in a 12oz pitcher takes less than 10 seconds (I haven’t timed it yet, but it is closer to 7 seconds than 10). What amazed me was that, even for all that power (the GS/3 takes twice as long), I was creating beautiful microfoam and had great control over the steaming from the very first pitcher. Part of it is the valve system the Speedster uses – there’s actually quite a bit of control over the amount of steam you use via the dial. Where most steam knob dials go from nothing to full power with very little turn, you have a radius of at least 2 hours (ie from noon to 2pm on a clock face) adjustment possible on the Speedster to fine tune how much steam you’re releasing down the pipe. I have not found another machine with more fine tuning control over the volume of steam.
The machine is also extremely serviceable. As mentioned previously, 4 side bolts (twist off by hand) and three hex bolts at the back of the machine are all that are needed to remove before you can take off the side panels and top plate. I’ve done it in under 1 minute. Almost everything is accessible at this point, save for the water line connections. For me this is a huge usability gain.
Ordering aSpeedster
If you want a Speedster you can order it direct from Kees van der Westen, or order one through a local distributor.
Two things to factor in. This machine costs 4,975 Euros (approximately $7,800 Canadian dollars, or $7,200 US dollars as of this writing), and you will have to pay shipping ($350 sea, $620 air), duties and taxes (9% duty in Canada plus your local PST and GST), bringing the cost close to $10,000 Canadian dollars, or around $9,000 US once it is set up in your home, office, cafe or roastery.
EDIT 2024: Things sure have changed. This machine now costs between $12,900 and $15,000USD in the United States. It is close to $20,000 in Canada.
The second thing to factor in is a waiting list – a long one. You may have to wait up to six months to get a Speedster. van der Westen only builds a few each month and the waiting list last time I checked was over 4 months long.
Some distributors may charge a premium over van der Westen’s 4,975 Euro price + shipping + taxes, some may not, but it is best to go through a distributor because they usually include installation as part of the price, and local servicing and warranty is included.
If you order direct, they will take your name and put you into the queue. You may have to put a deposit down at that time. Once the machine is being built, they will ask for the full amount paid via wire transfer. The machines are shipped COD for delivery costs, so expect to pay the full delivery charge when it arrives. Machines are well crated (82kg incl. crate) and will ship to your nearest Intl’ airport, or if coming by sea, to a major shipping destination (again usually an airport).
There are plenty of variants you can order when getting the Speedster. They include, but are not limited to the following:
- Black powder-coated side plates (black where you see red and yellow on our model)(
- Chopped portafilter instead of spouted model
- Wide cup rail instead of narrow one
- Mirror finish body work instead of perlage style
- All black body panels, powder coated finish matching the legs
In addition, van der Westen debuted a lever version (yes!!!) at the Cologne World of Coffee Expo during the Summer of 2009. It is a prototype, but may go into production for 2010.
EDIT 2024: The Lever Speedster was never realised. But they did make an Idromatic version. See it here.
Here’s what a shot looks like with the Speedster, including preinfusion time.
This video shows a HD rendition of an espresso shot on a Speedster espresso machine, using a factory-modified chopped portafilter.
This particular shot was done using manual preinfusion, which does tend to muck up the shot timing overall – with pump pressure, it was around 22 seconds, but I’d call it about 30 seconds total including the preinfusion time. One thing I’d love to see on the Speedster in the future is one or two speedometer style gauges that show shot times for both full shot (including manual or pump driven preinfusion) and pump “on” time.
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I don’t know if I’ll ever post a full detailed review on the Speedster or not – hence this super long “first look”. It’s quite an exclusive machine and a major expense – possibly the biggest expense someone would make for their home outside of actually buying the home or buying a car.
At the start of this First Look I hinted this may be the best espresso machine in the world. Of course that is a subjective opinion and not rooted in any fact, but here are some real world things about the machine: The Speedster has been installed and operating for five weeks now and has been viewed, used and experienced by at least 30 people, including many professional baristas, restaurant owners, sommeliers, bartenders and cafe owners.
One thing all had in common – to a one they all felt it was the most beautiful and intriguing espresso machine they’d ever seen. At times I had them observe and use both the Speedster and GS/3 Paddle Group and while the more technologically savvy baristas recognized the GS/3’s ground breaking design and electronics, the Speedster was the constant first pick.
Usability is first rate. It’s obviously a hands on machine allowing a certain amount of latitude in how shots are brewed, but where you want automated control (in temperatures and pressures and stability), the machine has very few equals.
What could be better? At this point, only the addition of a few niceties might improve the machine, but they’d be minor things. I’d like to see a shot timer incorporated into the machine – perhaps, keeping with the retro feel, an analog stopwatch / speedometer kind of dial that engages as soon as the pump does, perhaps even two such devices – one on the left for overall shot time, and one on the right showing just the pump activation time. It would keep with the automobile / racing plane theme of the front and sides of the machine.Other than that, the machine is just about perfect. For us at least, it is the best espresso machine in the world. Nothing else, save for perhaps other Kees van der Westen machines, come close.
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“Yes, it’s quite insane. I think it hurts my brain.” John Buss, @repeat1968
Good Day, Sky Dancers!
I stayed up too late last night watching Hurricane Helene come on shore. It’s difficult to explain that dual feeling of relief that it went east of you while realizing the number of people whose lives have been turned upside down. I get a flashback full of feelings about my hurricane and tornado experience. I’ve been fortunate to date even though Hurricane Katrina upended my life; it was nothing compared to many, many others’ lives.
I remember sitting on the dorm hall floor at the University of Nebraska at Lincoln during the massive 1975 Omaha Hurricane. I was one of the few with a TV and a phone in my room. Those of us who had such luxuries were surrounded by others who took turns trying to call home and watching to see if there was news available on the limited number of channels then on my tiny black and white portable. The only way we really got to know was to pack up and go back home. Almost everyone I knew living along the 72nd Street corridor had severe damage. Fortunately, living in Hurricane Alley meant you had basements. Friends of mine in apartments did less well. I’ve also driven alongside, almost into, and surrounded by tornadoes. I became interested in severe weather early in my teens when I watched an oversized double garage door spin over my house in Omaha from the basement window while strumming and singing, “The answer, my friend, is blowing in the wind.” This was 1968. Irony and sarcasm have always been my friend and best defense when in the middle of these terrifying events.
I am still waiting to hear from family and friends. Even though Helene was still a Cat 2 Hurricane in Georgia, JJ and her family are okay. We’ll be hearing more from many folks north of Florida who also took a hit of intense rain and wind. Thank goodness the guy with the Sharpie isn’t in charge of the Federal response to all of this in all those states. And yes, De Santis has those white boots on again.
The severe damage and the death toll in Florida today should humble us all. We can build all kinds of places, but the sciences of climatology and meteorology show that we can only do so much with these massive storms. “Hurricane Helene ravages the Southeast, killing at least 22 and leaving millions without power. The storm made landfall overnight as a Category 4 hurricane, bringing devastating flooding and high-speed winds.” This is from NBC News.
Hurricane Helene killed at least 22 people and left millions without power across the Southeast before weakening on its way north Friday morning, officials said.
Widespread damage was expected in Florida’s Big Bend region, where Helene made landfall as a Category 4 shortly after 11 p.m. ET on Thursday. It was the strongest storm to ever strike the area, which connects Florida’s panhandle and peninsula.
Water levels in some parts of the region reached more than 15 ft. above ground level, the National Hurricane Center said, citing preliminary storm surge models.
In Perry, Florida, where officials urged residents who refused to evacuate to write their information on their bodies for identification, police chief Jamie Cruse braced himself for the storm’s aftermath as first responders began rescue operations.
“We’re starting to get the first glimpse of what we actually have laying on the ground and what we’re going to be dealing with,” he told NBC News. “The only regret I have at this moment is we weren’t aggressive enough in the notification to tell people to evacuate the areas that were prone to flooding.”
“I just hope that when we finally discover what we’re dealing with that we don’t have a big loss of life,” he added.
Officials in Clearwater, further south along Florida’s Gulf Coast, also feared the worst after seeing overnight footage of first responders rescuing elderly locals in knee-deep flood water.
“We had some homes burn to the ground out on the island. There were some folks that we just couldn’t get to because of high waters to rescue,” Clearwater mayor Bruce Rector told NBC’s “TODAY” show.
By Friday morning, Floridians woke up to extensive damage from the devastating flooding, high-speed winds, and heavy rain.
Helene’s name will be retired and she will be one for the records. “Helene is now a tropical depression, catastrophic flooding still likely.” This is also from NBC News. More deaths are being reported in Georgia. Atlanta and Valdosta, Georgia, have a lot of flooding and are powerless.
Helene, now a tropical depression, is located 125 miles southeast of Louisville, Kentucky, with maximum sustained winds of 35 mph, moving northwest at 28 mph, according to the National Hurricane Center’s 2 p.m. ET advisory.
All tropical storm warnings have been discontinued and there are now no coastal watches or warnings in effect.
It’s forecast to slowdown and will stall over the Tennessee Valley through the weekend.
Helene will still produce more rainfall for the Central and Southern Appalachians, resulting in “catastrophic and potentially life-threatening flash and urban flooding.” Tornadoes are possible today across eastern South Carolina, central and eastern North Carolina and southern Virginia.
Many blessings to you, my American Family, on your recovery journey.
One journalist has published the Iran-hacked JD Vance dossier. X and Thread censored it after Klippenstein announced that he had published it on social media. “Read the JD Vance Dossier. We’re publishing the supposed Iran-hacked document. Here’s why.” This is from Ken Klippenstein.
Behold the dossier.
It reportedly comes from an alleged Iranian government hack of the Trump campaign, and since June, the news media has been sitting on it (and other documents), declining to publish in fear of finding itself at odds with the government’s campaign against “foreign malign influence.”
I disagree. The dossier has been offered to me and I’ve decided to publish it because it’s of keen public interest in an election season. It’s a 271-page research paper the Trump campaign prepared to vet now vice presidential candidate J.D. Vance. As far as I can tell, it hasn’t been altered, but even if it was, its contents are publicly verifiable. I’ll let it speak for itself.
“The terror regime in Iran loves the weakness and stupidity of Kamala Harris, and is terrified of the strength and resolve of President Donald J. Trump,” Steven Cheung, communications director for the Trump campaign, responded when I asked him about the hack.
If the document had been hacked by some “anonymous” like hacker group, the news media would be all over it. I’m just not a believer of the news media as an arm of the government, doing its work combatting foreign influence. Nor should it be a gatekeeper of what the public should know.
On August 19, the U.S. intelligence community issued a statement on Iranian election interference, including cyber operations attempting to gain sensitive information. “This includes the recently reported activities to compromise former President Trump’s campaign, which the IC [intelligence community] attributes to Iran.”
On September 18, the intelligence community issued another statement going into further detail about Iran’s efforts. “Iranian malicious cyber actors” were still undertaking efforts since June, the press release says, “to send stolen, non-public material associated with former President Donald Trump’s campaign to U.S. media organizations.”
The intelligence community would not confirm to me whether the stolen campaign materials included the Vance Dossier. “We don’t have anything beyond what’s noted in the September 18 joint statement,” Lauren Frost, a spokesperson for the Office of the Director of National Intelligence, told me this week.
You may download and read the document at Klippenstein’s Substack at the above link.
Today, Newsweek stood up. “JD Vance Dossier—What We Know.”
The alleged vetting documents of Ohio Senator JD Vance before he was chosen as the Republican vice presidential candidate have been made public after they were allegedly obtained via an Iranian hack on Donald Trump‘s campaign.
Journalist Ken Klippenstein published the 271-page report into Vance which was carried out by the Trump team on his Substack on Thursday.
The Vance dossier is said to have been part of a trove of sensitive materials which Iranian hackers stole from Trump’s campaign team. At least three news organizations—Politico, The New York Times and The Washington Post—were said to have received the documents, but refused to report on them.
Klippenstein said he disagreed with the suggestion that publishing the materials allegedly obtained by Iranian hackers amounted to helping a foreign country influence the outcome of the 2024 election. The FBI previously confirmed that Iran had attempted to disrupt both the Republican and Democratic presidential campaigns.
…
The report is a detailed examination of Vance’s background based on hundreds of his public statements, media interviews and available official records.
The document highlights the potential vulnerabilities Vance could face if selected as Trump’s running mate, including his previous stances and political views.
The dossier delves deep into times Vance has publicly criticized Trump over the years. Included in the document, for instance, is the transcript of an October 2016 appearance on Charlie Rose, where Vance said he was a “Never Trump guy.”
The document also cites social media posts apparently to highlight issues surrounding Vance being added to the 2024 GOP presidential ticket.
The dossier includes a reference to a tweet Vance reportedly sent in 2016 asking “what percentage of the American population has @RealDonaldTrump sexually assaulted?” The post said to be from Vance has since been deleted. Trump has been accused by multiple women of sexual assault. He has denied all the allegations against him.
The document also notes Vance’s positions on numerous issues including potentially contentious views, or what the dossier cites as “controversial” such as supporting higher taxes for people without children.
Vance’s phone number, home address, photos of his properties and email address are in the document, but have been redacted.
Klippenstein’s account on X, formerly Twitter, was suspended soon after he published the Vance dossier on his Substack.
In a statement, X said: “Ken Klippenstein was temporarily suspended for violating our rules on posting unredacted private personal information, specifically Sen. Vance’s physical addresses and the majority of his Social Security number.”
Newsweek has contacted X for further comment via email.
Users on X are prevented from sharing a link to Klippenstein’s Substack page where he posted the dossier.
Time magazine has this interesting breaking news of proposed legislation by Rep. Adam Schiff.”Exclusive: New Bill Would Prevent Trump From Quashing His Criminal Cases.”
A prominent House Democrat is introducing legislation Friday that would prevent former President Donald Trump from dismissing his ongoing criminal prosecutions if he were to win the presidency again.
The new bill, shared exclusively with TIME ahead of its release, is being led by Rep. Adam Schiff, the Democratic nominee for California’s Senate seat who has been a leading Trump antagonist. He says his bill, which would prevent a sitting President from quashing a criminal prosecution against him or herself, aims to ensure that no President can use their position to evade accountability.
“This is about protecting our democracy and ensuring a President can’t place themselves above the law,” Schiff tells TIME in a statement. “There is every indication that Donald Trump will use the Justice Department to do away with any effort to hold him accountable.”
There’s a reason Schiff feels urgency to introduce the bill now. Trump is currently facing multiple criminal prosecutions, including charges related to his alleged efforts to overturn the 2020 election results. “The need for swift passage of this bill could become even more pressing,” Schiff says, “depending on the outcome of the election.”
Some more shocking news on Vance with the vice-presidential debate on the horizon. This is from The Daily Beast. “Vance’s Pre-Debate Prep Includes Christian Nationalist Who Called Harris a Witch. The veep hopeful will hold a town hall with a notorious televangelist who said last year that opponents of Donald Trump would soon suffer “sudden deaths” at the hands of God.” You never know if you should laugh, cry, or throw a rotten tomato at these guys. This is written by Josh Fiallo.
JD Vance’s embrace of far-right Christian nationalists will reach a whole new level this weekend.
Donald Trump’s running mate is set to spend one of his final afternoons before Tuesday’s vice presidential debate by hosting a town hall with Lance Wallnau, a notorious conspiracist who recently praised the 2021 Capitol riot as “an election fraud intervention.”
Vance is set to appear alongside Wallnau at 1 p.m. Saturday, platforming the self-described “prophet” who said in earnest this month that Kamala Harris is a “Jezebel spirit” who uses “witchcraft” to emasculate Trump.
“She can look presidential and that’s—and we’ll get to this later—that’s the seduction of what I would say is witchcraft,” Wallnau said of Harris after her Sept. 10 debate. “That spirit, that occult spirit, is operating on her and through her.”
This is from Right Wing Watch. “Lance Wallnau Blames the Seduction of Witchcraft for Kamala Harris’ Success written by Kyle Mantyla.” This guy makes me want Insane Asylums back.
Shortly after President Joe Biden announced in July that he would not be running for reelection and endorsed Vice President Kamala Harris, self-proclaimed Christian nationalist and unabashed Trump cultist Lance Wallnau immediately began posting videos in which he warned that Harris represents “the spirit of Jezebel” and declared that she is “the devil’s choice.”
When Harris bested former President Donald Trump in a debate earlier this week, Wallnau was quick to blame it on “witchcraft,” and then doubled down on that attack Wednesday when he appeared on the “FirePower” show, hosted by fellow Trump cultists Mario Murillo and Todd Coconato.
“What you’re seeing now is a real Jezebel,” Wallnau declared. “When you’ve got somebody operating in manipulation, intimidation and domination—especially when it’s in a female role trying to emasculate a man who is standing up for truth—you’re dealing with the Jezebel spirit. … So, with Kamala, you have a Jezebel spirit, a characteristic in the Bible that is the personification of intimidation, seduction, domination and manipulation.”
“She can look presidential,” he continued. “That’s the seduction of what I would say is witchcraft. That’s the manipulation of imagery that creates an impression contrary to the truth, but it seduces you into seeing it. So that spirit, that occult spirit, I believe is operating on her and through her.”
While Harris is supposedly operating under an occult Jezebel spirit, Wallnau claimed that Trump has “an Elijah mantle on him, probably from the intercession of a million Christians.”
“So, we have to double down in intercessory prayer in the warfare mode of Pentecostals,” Wallnau proclaimed. “We need to close ranks and actually begin to get in a superlative agreement over what we believe we’re hearing God say he wants to manifest, because this election is coming five days after Halloween—another high holy day for all the Satanist crazy people.”
“We’ve got to lean into this thing because the Elijah mantle can break the spell of witchcraft off America,” he concluded. “God can tear the veil and unless that veil is torn, we have a lot working against us.”
Yes, this guy is real. I put the CBS interview up to demonstrate he’s not a movie character. I’m not sure what’s wrong with these people, but I want them nowhere around any human being. They are insane. They run wicked cults that target the vulnerable, and it’s sickening.
This is the sheet music, and yes, I own one. It’s from 1969.
The formidable dowager Violet Crawley, Maggie Smith’s scene-stealing character in Downton Abbey, made Smith a bona fide celebrity.
“It’s ridiculous. I led a perfectly normal life until Downton Abbey,” said Smith, who has died at 89. “I’m not kidding. I’d go to theaters. I’d go to galleries. Things like that, on my own, and now I can’t. And that’s—you know—awful. It’s all… It’s truly television. I mean, I’ve been working around for a very long time before Downton Abbey. And life was fine. Nobody knew who the hell I was. Now, it’s all—it has changed.”
…
Dame Margaret Natalie Smith CH DBE was born Dec. 28, 1934 in Ilford, Essex. Her own version of her life thereafter was terse but to the point: “One went to school, one wanted to act, one started to act, and one’s still acting,” she said. “I love it. I’m privileged to do it, and I don’t know where I’d be without it.”
She was first nominated for an Oscar for her portrayal of Desdemona in the 1965 film version of Othello (in an Academy first, all four principal actors in the movie were Oscar nominees). She had originated the role in the National Theatre Company’s production in London in 1964.
Four years later she won the best actress Oscar for the title role in The Prime of Miss Jean Brodie and ten years later won a best supporting actress Oscar for California Suite, for which she also won a Golden Globe.
So, the closer we come to November 5th, the more insane it will get with the Party of Weirdos doing what they do. My birthday is the day before, and the only thing I want as a gift is for everyone and their cousins to go and vote for the Democratic Party up and down the ballot. It’s as essential as bombing NAZIs, taking the beaches, and writing The Constitution at this point. We lose all of that if they don’t win. And you don’t have to take it from me.
To say all this is unusual is an understatement.
What’s on your reading and blogging list today?
https://skydancingblog.com/2024/09/27/finally-friday-reads-12/
#SomeWeirdShit_ #Repeat1968JohnBuss #DameMaggieSmith #HurricaneHelene #Weirdos
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“Yes, it’s quite insane. I think it hurts my brain.” John Buss, @repeat1968
Good Day, Sky Dancers!
I stayed up too late last night watching Hurricane Helene come on shore. It’s difficult to explain that dual feeling of relief that it went east of you while realizing the number of people whose lives have been turned upside down. I get a flashback full of feelings about my hurricane and tornado experience. I’ve been fortunate to date even though Hurricane Katrina upended my life; it was nothing compared to many, many others’ lives.
I remember sitting on the dorm hall floor at the University of Nebraska at Lincoln during the massive 1975 Omaha Hurricane. I was one of the few with a TV and a phone in my room. Those of us who had such luxuries were surrounded by others who took turns trying to call home and watching to see if there was news available on the limited number of channels then on my tiny black and white portable. The only way we really got to know was to pack up and go back home. Almost everyone I knew living along the 72nd Street corridor had severe damage. Fortunately, living in Hurricane Alley meant you had basements. Friends of mine in apartments did less well. I’ve also driven alongside, almost into, and surrounded by tornadoes. I became interested in severe weather early in my teens when I watched an oversized double garage door spin over my house in Omaha from the basement window while strumming and singing, “The answer, my friend, is blowing in the wind.” This was 1968. Irony and sarcasm have always been my friend and best defense when in the middle of these terrifying events.
I am still waiting to hear from family and friends. Even though Helene was still a Cat 2 Hurricane in Georgia, JJ and her family are okay. We’ll be hearing more from many folks north of Florida who also took a hit of intense rain and wind. Thank goodness the guy with the Sharpie isn’t in charge of the Federal response to all of this in all those states. And yes, De Santis has those white boots on again.
The severe damage and the death toll in Florida today should humble us all. We can build all kinds of places, but the sciences of climatology and meteorology show that we can only do so much with these massive storms. “Hurricane Helene ravages the Southeast, killing at least 22 and leaving millions without power. The storm made landfall overnight as a Category 4 hurricane, bringing devastating flooding and high-speed winds.” This is from NBC News.
Hurricane Helene killed at least 22 people and left millions without power across the Southeast before weakening on its way north Friday morning, officials said.
Widespread damage was expected in Florida’s Big Bend region, where Helene made landfall as a Category 4 shortly after 11 p.m. ET on Thursday. It was the strongest storm to ever strike the area, which connects Florida’s panhandle and peninsula.
Water levels in some parts of the region reached more than 15 ft. above ground level, the National Hurricane Center said, citing preliminary storm surge models.
In Perry, Florida, where officials urged residents who refused to evacuate to write their information on their bodies for identification, police chief Jamie Cruse braced himself for the storm’s aftermath as first responders began rescue operations.
“We’re starting to get the first glimpse of what we actually have laying on the ground and what we’re going to be dealing with,” he told NBC News. “The only regret I have at this moment is we weren’t aggressive enough in the notification to tell people to evacuate the areas that were prone to flooding.”
“I just hope that when we finally discover what we’re dealing with that we don’t have a big loss of life,” he added.
Officials in Clearwater, further south along Florida’s Gulf Coast, also feared the worst after seeing overnight footage of first responders rescuing elderly locals in knee-deep flood water.
“We had some homes burn to the ground out on the island. There were some folks that we just couldn’t get to because of high waters to rescue,” Clearwater mayor Bruce Rector told NBC’s “TODAY” show.
By Friday morning, Floridians woke up to extensive damage from the devastating flooding, high-speed winds, and heavy rain.
Helene’s name will be retired and she will be one for the records. “Helene is now a tropical depression, catastrophic flooding still likely.” This is also from NBC News. More deaths are being reported in Georgia. Atlanta and Valdosta, Georgia, have a lot of flooding and are powerless.
Helene, now a tropical depression, is located 125 miles southeast of Louisville, Kentucky, with maximum sustained winds of 35 mph, moving northwest at 28 mph, according to the National Hurricane Center’s 2 p.m. ET advisory.
All tropical storm warnings have been discontinued and there are now no coastal watches or warnings in effect.
It’s forecast to slowdown and will stall over the Tennessee Valley through the weekend.
Helene will still produce more rainfall for the Central and Southern Appalachians, resulting in “catastrophic and potentially life-threatening flash and urban flooding.” Tornadoes are possible today across eastern South Carolina, central and eastern North Carolina and southern Virginia.
Many blessings to you, my American Family, on your recovery journey.
One journalist has published the Iran-hacked JD Vance dossier. X and Thread censored it after Klippenstein announced that he had published it on social media. “Read the JD Vance Dossier. We’re publishing the supposed Iran-hacked document. Here’s why.” This is from Ken Klippenstein.
Behold the dossier.
It reportedly comes from an alleged Iranian government hack of the Trump campaign, and since June, the news media has been sitting on it (and other documents), declining to publish in fear of finding itself at odds with the government’s campaign against “foreign malign influence.”
I disagree. The dossier has been offered to me and I’ve decided to publish it because it’s of keen public interest in an election season. It’s a 271-page research paper the Trump campaign prepared to vet now vice presidential candidate J.D. Vance. As far as I can tell, it hasn’t been altered, but even if it was, its contents are publicly verifiable. I’ll let it speak for itself.
“The terror regime in Iran loves the weakness and stupidity of Kamala Harris, and is terrified of the strength and resolve of President Donald J. Trump,” Steven Cheung, communications director for the Trump campaign, responded when I asked him about the hack.
If the document had been hacked by some “anonymous” like hacker group, the news media would be all over it. I’m just not a believer of the news media as an arm of the government, doing its work combatting foreign influence. Nor should it be a gatekeeper of what the public should know.
On August 19, the U.S. intelligence community issued a statement on Iranian election interference, including cyber operations attempting to gain sensitive information. “This includes the recently reported activities to compromise former President Trump’s campaign, which the IC [intelligence community] attributes to Iran.”
On September 18, the intelligence community issued another statement going into further detail about Iran’s efforts. “Iranian malicious cyber actors” were still undertaking efforts since June, the press release says, “to send stolen, non-public material associated with former President Donald Trump’s campaign to U.S. media organizations.”
The intelligence community would not confirm to me whether the stolen campaign materials included the Vance Dossier. “We don’t have anything beyond what’s noted in the September 18 joint statement,” Lauren Frost, a spokesperson for the Office of the Director of National Intelligence, told me this week.
You may download and read the document at Klippenstein’s Substack at the above link.
Today, Newsweek stood up. “JD Vance Dossier—What We Know.”
The alleged vetting documents of Ohio Senator JD Vance before he was chosen as the Republican vice presidential candidate have been made public after they were allegedly obtained via an Iranian hack on Donald Trump‘s campaign.
Journalist Ken Klippenstein published the 271-page report into Vance which was carried out by the Trump team on his Substack on Thursday.
The Vance dossier is said to have been part of a trove of sensitive materials which Iranian hackers stole from Trump’s campaign team. At least three news organizations—Politico, The New York Times and The Washington Post—were said to have received the documents, but refused to report on them.
Klippenstein said he disagreed with the suggestion that publishing the materials allegedly obtained by Iranian hackers amounted to helping a foreign country influence the outcome of the 2024 election. The FBI previously confirmed that Iran had attempted to disrupt both the Republican and Democratic presidential campaigns.
…
The report is a detailed examination of Vance’s background based on hundreds of his public statements, media interviews and available official records.
The document highlights the potential vulnerabilities Vance could face if selected as Trump’s running mate, including his previous stances and political views.
The dossier delves deep into times Vance has publicly criticized Trump over the years. Included in the document, for instance, is the transcript of an October 2016 appearance on Charlie Rose, where Vance said he was a “Never Trump guy.”
The document also cites social media posts apparently to highlight issues surrounding Vance being added to the 2024 GOP presidential ticket.
The dossier includes a reference to a tweet Vance reportedly sent in 2016 asking “what percentage of the American population has @RealDonaldTrump sexually assaulted?” The post said to be from Vance has since been deleted. Trump has been accused by multiple women of sexual assault. He has denied all the allegations against him.
The document also notes Vance’s positions on numerous issues including potentially contentious views, or what the dossier cites as “controversial” such as supporting higher taxes for people without children.
Vance’s phone number, home address, photos of his properties and email address are in the document, but have been redacted.
Klippenstein’s account on X, formerly Twitter, was suspended soon after he published the Vance dossier on his Substack.
In a statement, X said: “Ken Klippenstein was temporarily suspended for violating our rules on posting unredacted private personal information, specifically Sen. Vance’s physical addresses and the majority of his Social Security number.”
Newsweek has contacted X for further comment via email.
Users on X are prevented from sharing a link to Klippenstein’s Substack page where he posted the dossier.
Time magazine has this interesting breaking news of proposed legislation by Rep. Adam Schiff.”Exclusive: New Bill Would Prevent Trump From Quashing His Criminal Cases.”
A prominent House Democrat is introducing legislation Friday that would prevent former President Donald Trump from dismissing his ongoing criminal prosecutions if he were to win the presidency again.
The new bill, shared exclusively with TIME ahead of its release, is being led by Rep. Adam Schiff, the Democratic nominee for California’s Senate seat who has been a leading Trump antagonist. He says his bill, which would prevent a sitting President from quashing a criminal prosecution against him or herself, aims to ensure that no President can use their position to evade accountability.
“This is about protecting our democracy and ensuring a President can’t place themselves above the law,” Schiff tells TIME in a statement. “There is every indication that Donald Trump will use the Justice Department to do away with any effort to hold him accountable.”
There’s a reason Schiff feels urgency to introduce the bill now. Trump is currently facing multiple criminal prosecutions, including charges related to his alleged efforts to overturn the 2020 election results. “The need for swift passage of this bill could become even more pressing,” Schiff says, “depending on the outcome of the election.”
Some more shocking news on Vance with the vice-presidential debate on the horizon. This is from The Daily Beast. “Vance’s Pre-Debate Prep Includes Christian Nationalist Who Called Harris a Witch. The veep hopeful will hold a town hall with a notorious televangelist who said last year that opponents of Donald Trump would soon suffer “sudden deaths” at the hands of God.” You never know if you should laugh, cry, or throw a rotten tomato at these guys. This is written by Josh Fiallo.
JD Vance’s embrace of far-right Christian nationalists will reach a whole new level this weekend.
Donald Trump’s running mate is set to spend one of his final afternoons before Tuesday’s vice presidential debate by hosting a town hall with Lance Wallnau, a notorious conspiracist who recently praised the 2021 Capitol riot as “an election fraud intervention.”
Vance is set to appear alongside Wallnau at 1 p.m. Saturday, platforming the self-described “prophet” who said in earnest this month that Kamala Harris is a “Jezebel spirit” who uses “witchcraft” to emasculate Trump.
“She can look presidential and that’s—and we’ll get to this later—that’s the seduction of what I would say is witchcraft,” Wallnau said of Harris after her Sept. 10 debate. “That spirit, that occult spirit, is operating on her and through her.”
This is from Right Wing Watch. “Lance Wallnau Blames the Seduction of Witchcraft for Kamala Harris’ Success written by Kyle Mantyla.” This guy makes me want Insane Asylums back.
Shortly after President Joe Biden announced in July that he would not be running for reelection and endorsed Vice President Kamala Harris, self-proclaimed Christian nationalist and unabashed Trump cultist Lance Wallnau immediately began posting videos in which he warned that Harris represents “the spirit of Jezebel” and declared that she is “the devil’s choice.”
When Harris bested former President Donald Trump in a debate earlier this week, Wallnau was quick to blame it on “witchcraft,” and then doubled down on that attack Wednesday when he appeared on the “FirePower” show, hosted by fellow Trump cultists Mario Murillo and Todd Coconato.
“What you’re seeing now is a real Jezebel,” Wallnau declared. “When you’ve got somebody operating in manipulation, intimidation and domination—especially when it’s in a female role trying to emasculate a man who is standing up for truth—you’re dealing with the Jezebel spirit. … So, with Kamala, you have a Jezebel spirit, a characteristic in the Bible that is the personification of intimidation, seduction, domination and manipulation.”
“She can look presidential,” he continued. “That’s the seduction of what I would say is witchcraft. That’s the manipulation of imagery that creates an impression contrary to the truth, but it seduces you into seeing it. So that spirit, that occult spirit, I believe is operating on her and through her.”
While Harris is supposedly operating under an occult Jezebel spirit, Wallnau claimed that Trump has “an Elijah mantle on him, probably from the intercession of a million Christians.”
“So, we have to double down in intercessory prayer in the warfare mode of Pentecostals,” Wallnau proclaimed. “We need to close ranks and actually begin to get in a superlative agreement over what we believe we’re hearing God say he wants to manifest, because this election is coming five days after Halloween—another high holy day for all the Satanist crazy people.”
“We’ve got to lean into this thing because the Elijah mantle can break the spell of witchcraft off America,” he concluded. “God can tear the veil and unless that veil is torn, we have a lot working against us.”
Yes, this guy is real. I put the CBS interview up to demonstrate he’s not a movie character. I’m not sure what’s wrong with these people, but I want them nowhere around any human being. They are insane. They run wicked cults that target the vulnerable, and it’s sickening.
This is the sheet music, and yes, I own one. It’s from 1969.
The formidable dowager Violet Crawley, Maggie Smith’s scene-stealing character in Downton Abbey, made Smith a bona fide celebrity.
“It’s ridiculous. I led a perfectly normal life until Downton Abbey,” said Smith, who has died at 89. “I’m not kidding. I’d go to theaters. I’d go to galleries. Things like that, on my own, and now I can’t. And that’s—you know—awful. It’s all… It’s truly television. I mean, I’ve been working around for a very long time before Downton Abbey. And life was fine. Nobody knew who the hell I was. Now, it’s all—it has changed.”
…
Dame Margaret Natalie Smith CH DBE was born Dec. 28, 1934 in Ilford, Essex. Her own version of her life thereafter was terse but to the point: “One went to school, one wanted to act, one started to act, and one’s still acting,” she said. “I love it. I’m privileged to do it, and I don’t know where I’d be without it.”
She was first nominated for an Oscar for her portrayal of Desdemona in the 1965 film version of Othello (in an Academy first, all four principal actors in the movie were Oscar nominees). She had originated the role in the National Theatre Company’s production in London in 1964.
Four years later she won the best actress Oscar for the title role in The Prime of Miss Jean Brodie and ten years later won a best supporting actress Oscar for California Suite, for which she also won a Golden Globe.
So, the closer we come to November 5th, the more insane it will get with the Party of Weirdos doing what they do. My birthday is the day before, and the only thing I want as a gift is for everyone and their cousins to go and vote for the Democratic Party up and down the ballot. It’s as essential as bombing NAZIs, taking the beaches, and writing The Constitution at this point. We lose all of that if they don’t win. And you don’t have to take it from me.
To say all this is unusual is an understatement.
What’s on your reading and blogging list today?
https://skydancingblog.com/2024/09/27/finally-friday-reads-12/
#SomeWeirdShit_ #Repeat1968JohnBuss #DameMaggieSmith #HurricaneHelene #Weirdos