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Contrite Metal Guy: It’s Beginning to Look a Lot Like Wrongness, Volume the Second
By Cherd
The life of the unpaid, overworked metal reviewer is not an easy one. Cascading promos, unreasonable deadlines, draconian editors, and the unwashed metal mobs – it makes for a swirling maelstrom of music and madness. In all that tumult, errors are bound to happen and sometimes our initial impression of an album may not be completely accurate. With time and distance comes wisdom, and so we’ve decided to pull back the confessional curtain and reveal our biggest blunders, missteps, oversights and ratings face-plants. Consider this our sincere AMGea culpa. Redemption is retroactive, forgiveness is mandatory.
As those of us who follow the Gregorian calendar and partake in Judeo/Christian cultural traditions prepare to face the final bosses of the holiday season, we experience a wide range of feelings. Anticipation, at the prospect of gorging on holiday treats as we shuffle from one party to another thrown by family and friends. Nostalgia, of course, as we uphold our traditions and reflect on the celebrations of yesteryear. And, for those who write music reviews for a non-living, contrition. Intense embarrassment and remorse as we prepare for Listurnalia, revisiting records we thought we had judicated accurately only to discover the depth of our wrongheadedness. Sometimes our self-reproach has nothing to do with impending lists. Sometimes, shortly after writing a review, an ember of doubt will ignite, smoldering just under our calm exteriors, growing until we want to shriek “Dissemble no more! I admit the deed! — tear up the planks! — here, here! — it is the beating of his hideous heart!” It’s been over three years since the last time we unloaded our disgrace onto you, the unsuspecting reader, so expect this to be a long self-flagellation session.
– Cherd
Carcharodon
Verses in contrition
Earlier this year, I described Hulder’s Verses in Oath as spellbinding, going on to ward it a lofty 4.5. I’ve taken a fair amount of stick for that in the months since, both in the comments and round the staffroom feeding trough. And while that’s fine—you’ve all been wrong before and I have absolutely no doubt you’ll all be wrong again—it’s only fair that such consistent criticism should cause me to reflect a little. And reflect I have. Now, it’s true that, as I said in my review, Verses in Oath is dark and vicious, but also haunting and ethereal. But it’s also true that, although well executed, it lacks true originality and I got carried away. It happens. I loved all the constituent elements of the record and I still think that they are woven together with skill and good songcraft. However, it’s not an album I’ve returned to as much as I thought I would and (spoilers!) it’s not going to make my year end list. Which makes it rather hard to defend the 4.5 any longer. So I won’t. It’s a very good album but no more than that.
Original score: 4.5
Adjusted score: 3.5We came here to apologize
Minnesota’s Ashbringer has always been a band of shades, shifting between atmo-black, shoegaze, post-metal, and more. On last year’s We Came Here to Grieve, they added heavily fuzzed blues melodies and languid Incubus-esque post-rock, which I lapped up. Looking, and of course listening, back, there’s still a lot to like about the album but—and it’s a big but—I wince at those clean vocals. I suggested in my review that, while the cleans were not great, there was a sort of vulnerable authenticity to Nick Stanger’s voice that meant he just about got away with it. I can only think I was in a very vulnerable place at the time because he absolutely does not get away with it, nor should he be allowed to. Much as I enjoy Stanger’s harsh post-hardcore vox, his cleans are outright bad in places, which should have placed a very hard ceiling on the score that the album could achieve. Somehow, We Came Here to Grieve shattered that ceiling. It must now be repaired.
Original score: 4.0
Adjusted score: 3.0Glare of the Noise
To more recent errors: in September, I did an injustice to Glare of the Sun’s TAL. I’m ashamed to say it but I went into that review looking for flaws—and I did find a couple—because I’d already done what you would all see next: Kanonenfieber. I didn’t lightly award that 5.0 and I stand by it but I was painfully conscious of it sitting there, on the assembly line and that affected my assessment of Glare of the Sun. While I think TAL could, and probably should, have been shorter and that there were a couple of less impactful songs (“Leaving Towards Spring,” for example), there are no real missteps here and it’s a great album. I stand by the words in my review but not the score, which should have been a 4.0.
Original score: 3.5
Adjusted score: 4.0Noisy remorse
I can keep this brief because I’ve already publicly admitted to underscoring Leiþa’s Reue. I gave it a 3.5 but knew at the time that it deserved a 4.0, something duly confirmed by AMG Himself, when he awarded it Record o’ the Month for January 2023, hinting that he might even have supported a 4.5. I think that might be going a touch far but, when I look back at my review, it reads like a 4.0 and it should’ve been a 4.0. The only reason it wasn’t, was that Noise (of Kanonenfieber, Leiþa and Non Est Deus) just makes too much damned good black metal, much of which I’d already gushed about. Ironically, given it was also a Noise project that led to me shortchanging Glare of the Sun, here his excellence also caused me to underrate his own album. Fool.
Original score: 3.5
Adjusted score: 4.0Dear Hollow
Iconic in a different universe
Rarely do I bestow 4.0s out of spite, but that’s exactly what happened with Fractal Generator. While I have liked their follow-up Convergence much more for its punishingly dense palette, I simply could not find any distinct fault with Macrocosmos. In hindsight, the album’s inhuman technicality and dissonance doesn’t play nice with the organicity and warmth the production offers, but more glaringly, I never returned to the album. Sure, some tracks really stand out and rip a hole in the space-time continuum (“Aeon,” “Chaosphere,” “Shadows of Infinity”), but for all its experimentalism and alien dissonance paired with deathgrind, Fractal Generator’s debut was simply unmemorable. Deathgrind bruisers like Knoll and Vermin Womb simply do it better, as the Italians never quite cut loose in the same way deathgrind ought to. What’s left is largely a pale imitation of Misery Index with an added shot of Portal’s IONian dissonance. It’s still good and improved with Convergence, but it is not the cosmos wrecker I thought it was.
Original score: 4.0
Adjusted score: 2.5Cold ‘n’ what?
I have a bad habit of pretense, and Calligram’s The Eye is the First Circle was one hell of a pretense. Bestowing the same honor to Position | Momentum seemed like an open-and-shut case, but like Fractal Generator, I never returned to it and it never made any appearances on any year-end lists. It boasts more icy punk-infused black metal that would be sure to get the, like, four fans of Darkthrone’s Circle the Wagons or the underground cult of the gone-but-unforgotten Young and In the Way going, but it more exemplified the way-too-safe crash back to earth after The Eye. The experimental focus is still there with melancholic jazz (“Ostranenie”) and post-rock crescendos (“Seminari Dieci”), and the blackened punk is still a barnstormer (“Sul Dolore,” “Tebe”), but the absence of the two-ton sludge that weighted The Eye is felt – as if Calligram got blown away in a blizzard. In many ways, Position | Momentum is the Italian act’s more kvlt offering, but it alienates its widespread appeal with its now-limited audience. Great for some, less for others.
Original score: 4.0
Adjusted score: 3.0TAKE ME TO FUCKIN’ CHURCH
Reverend Kristin Michael Hayter’s past in Lingua Ignota is certainly noteworthy, but when she dispels all the bells and whistles, we’re left with the horror of SAVED! It’s stripped to the bone, deceptively straightforward, with only some experimental tricks to make the subtle shift from Jesus lover to Jesus hater. Likely the most returned-to album I’ve ever reviewed,1 vicious and jaded sardonicism (“All My Friends Are Going to Hell”), hymns crashing into uncanny valley (“There is Power in the Blood,” “Nothing But the Blood”), and ominous dirges (“Idumea,” “The Poor Wayfaring Stranger”) all collide in a subtle yet earth-shaking affair that I have yet to shake. This is not even mentioning some of the most punishing sounds to shake Appalachia with Pentecostal and blasphemous fury: truly, the dissonant swell of “I Will Be With You Always” and Hayter’s tortured screaming and glossolalia in “How Can I Keep From Singing” have never left me. While the sentiment of a 3.5 is certainly merited in its divisive approach, the impact of SAVED! cannot be understated.
Original score: 3.5
Adjusted score: 4.5Thus Spoke
Meditations on contrition
In my first year as a newly promoted writer, I let the chill vibes of a summer holiday get to my head with Bong-Ra’s Meditations. It’s a good album, that much is still true. It is, as I pointed out at the time, immersive and engaging despite being totally instrumental. It’s also undeniably unique thanks to Bong-Ra’s choice to combine saxophone and oud with piano and guitar, and the striking way that volume is used to build tension. I do think I over-emphasized this novelty and strength, but it’s there regardless. Have I revisited it since 2022? The answer is no, and it is mainly for this reason that I concede I overrated it.
Original score: Excellent
Adjusted score: Very GoodBetween the scores of right and wrong
I think I must have been in an exceptionally bad mood the week I wrote my review of Between the Worlds of Life and Death. Yes, Vale of Pnath disappointed a little with a turn in the direction of deathcore, but the result is hardly itself disappointing. My first inkling I’d done Between the Worlds of Life and Death a disservice was when I realized I’d been listening to it in the gym an awful lot, several months after giving my official score. I gestured towards anticlimactic song structures and distracting theatricality, and while I still think Vale of Pnath could have refined their templates, these compositions have stood the test of time, and of leg day. It may take them one more record to solidify their new sound, but this was a cracking record I was evidently in the wrong mindset to appreciate when it first landed in my hands.
Original score: Good
Adjusted score: Very GoodCutting the throat of an incorrect score
When my review of Cutting the Throat of God went live, I noticed several questions in the comments to the effect of “where’d the ‘Iconic’ get lost?” Well, here I am, barely six months later, to set things right. After spending the best part of that time listening and relistening daily; after seeing the band live this October and falling in love all over again; after running through the band’s back catalogue and confirming that I do indeed like this one best, I can no longer deny what I knew from the start. Call me over-eager, fawning, blinded by infatuation. I don’t care. Ulcerate are the undisputed masters of their craft and this is an album I’ll be listening to for the next ten years at least. My only regret is not doing this the first time around.
Original score: Excellent
Adjusted score: IconicSparagmos (of my original rating)
In line with my habit of taking the least linear route possible into a subgenre, I became enamored with what I now know to be basically ‘diSEMBOWELMENT-core’ before ever listening to diSEMBOWELMENT themself. Think Worm, Tomb Mold, and the current subject, Spectral Voice. Without the obvious reference point, the undeniably crushing, cavernous might of Sparagmos stunned me perhaps more than it had any right to. Make no mistake, Sparagmos remains a behemoth of intensely frightening doom death, one that’s fully capable of dragging me into its abyssal depths. And its ability to immerse in spite of its length and creeping pace still impresses me. But now that the ritual haze has lifted a little, I can recognize that it’s not quite the pinnacle of perfection I was fooled into believing it was.
Original score: Excellent
Adjusted score: GreatScore of unreason
I’m not sure exactly what held me back from awarding a higher score to Age of Unreason, especially considering that a quick look at my average would show I’m not usually one for restraint. Whatever the reason, I deemed ColdCell to have taken a slight step down from their previous effort, The Greater Evil, but with the benefit of hindsight, I see I had this entirely the wrong way around. Age of Unreason is emotionally poignant and refreshingly vulnerable, and it’s delivered in a unique, compelling black metal package. Dark and somewhat mysterious, like all of ColdCell’s output, it has the benefit of being much sharper, and more skilfully edited, which makes it endlessly relistenable. I recognize now that this is, in fact, ColdCell’s best album.
Original score: Very Good
Adjusted score: GreatDolphin Revisioner
Premature coagulation
It’s not that Coagulated Bliss doesn’t contain any great music. Between the heavier bright and fiery noise rock cuts (“Half Life Changelings”), martial stomps (“Doors to Mental Agony”), and Discordance Axis powergrind (“Vomiting Glass”) it represents among the best stretches of Full of Hell offerings. Coagulated Bliss also boasts a fantastic soundstage. As a rhythmically interesting band with more to say than simple blast beats and hammer shows, Full of Hell brings it with the powerviolence escalations (“Transmuting Chemical Burns”) and sliding grooves (“Schizoid Rapture”) in a clear and punchy manner for which I’d always hoped. But as time marched on and I continued to revel in these many reasons to celebrate Full of Hell, I came too to find a distaste for the most pandering and unnecessary tracks—cameo performances that rob the luster of Full of Hell’s raw energy. Does it feel silly to say that a twenty-five-minute album runs almost five minutes too long? No, not at all when that five minutes of completely avoidable downtime kills a historic run. As such, I’m left to remember Coagulated Bliss more for its near greatness, its finish line stumble— yet, I long for where this puts Full of Hell next.
Original score: 4.0
Adjusted score: 3.5Third eye open
Emergent is unbelievably dense for an album that lets shrill, alien leads dance about the spaciousness of a booming, metallic floor—a bass-rich, industrial pulse that has allowed Autarkh’s sophomore strike to rattle with an upward energy. An album doesn’t always lend itself well to the constraint of a review cycle, especially when its biggest boom rests in amplification, loudness, and feeling. While I try to cycle everything I review through a number of listening platforms, a extra abandon on extended commutes allows cranked tones to work their wonders. And in Emergent’s meticulous design I’ve continued to discover swirling and diving synth chirps, buzzing and scuzzing low-end traps, all of which frame their eerie and jazzy progressive howl with unshakable, unrelenting rhythms. Intention lives in every panning channel hum, emotion lives in every broken-voiced, discordant cry, and exploration lives both in the bulge of every swell and spread of every break. Though Emergent received two scores in its initial stand, it would seem that neither I nor Kenfren had the proper perspective to grant Autarkh the right score. But time settles all debts, and with nothing in the metalverse sounding quite like Autarkh, Emergent holds an esteemed and flourishing spot in my rotation.
Original score: Very Good.
Adjusted score: Great!Mystikus Hugebeard
Traverse the regret
I have made no secret of my contrition over Sgaile’s Traverse the Bealach (my regret was even deep enough to mention it on the 15 year anniversary piece). Both commenters and staff alike recognized my underrating, but the miserable truth is I knew it before even they did. In my review, I allowed every perceived flaw to become a glaring boil out of some misguided belief that I had to be hypercritical of something I loved lest I not be taken seriously as a Super Important Music Reviewer. I do think Traverse the Bealach’s second half isn’t quite as strong as the first half, but it’s nowhere near as damaging as I’d initially tried to convince myself. Sgaile’s Traverse the Bealach is never anything less than a delightful listen with some of the most cohesive, satisfying songwriting from any band I’ve heard, and is just as enjoyable a year later as it was on release. Tune in to next year’s Contrite Metal Guy when I adjust the score even higher, but for now just call me Mystikus Absolvedbeard.
Original Score: 3.5
Adjusted Score: 4.0#2024 #AgeOfUnreason #Ashbringer #Autarkh #BetweenTheWorldsOfLifeAndDeath #BongRa #Calligram #CoagulatedBliss #ColdCell #ContriteMetalGuy #Convergence #CuttingTheThroatOfGod #Emergent #FractalGenerator #FullOfHell #GlareOfTheSun #Hulder #Leitha #Meditations #Reue #ReverendKristinMichaelHayter #Saved_ #Sgaile #TAL #TheEyeIsTheFirstCircle #TraverseTheBealach #Ulcerate #ValeOfPnath #VersesInOath #WeCameHereToGrieve
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Contrite Metal Guy: It’s Beginning to Look a Lot Like Wrongness, Volume the Second
By Cherd
The life of the unpaid, overworked metal reviewer is not an easy one. Cascading promos, unreasonable deadlines, draconian editors, and the unwashed metal mobs – it makes for a swirling maelstrom of music and madness. In all that tumult, errors are bound to happen and sometimes our initial impression of an album may not be completely accurate. With time and distance comes wisdom, and so we’ve decided to pull back the confessional curtain and reveal our biggest blunders, missteps, oversights and ratings face-plants. Consider this our sincere AMGea culpa. Redemption is retroactive, forgiveness is mandatory.
As those of us who follow the Gregorian calendar and partake in Judeo/Christian cultural traditions prepare to face the final bosses of the holiday season, we experience a wide range of feelings. Anticipation, at the prospect of gorging on holiday treats as we shuffle from one party to another thrown by family and friends. Nostalgia, of course, as we uphold our traditions and reflect on the celebrations of yesteryear. And, for those who write music reviews for a non-living, contrition. Intense embarrassment and remorse as we prepare for Listurnalia, revisiting records we thought we had judicated accurately only to discover the depth of our wrongheadedness. Sometimes our self-reproach has nothing to do with impending lists. Sometimes, shortly after writing a review, an ember of doubt will ignite, smoldering just under our calm exteriors, growing until we want to shriek “Dissemble no more! I admit the deed! — tear up the planks! — here, here! — it is the beating of his hideous heart!” It’s been over three years since the last time we unloaded our disgrace onto you, the unsuspecting reader, so expect this to be a long self-flagellation session.
– Cherd
Carcharodon
Verses in contrition
Earlier this year, I described Hulder’s Verses in Oath as spellbinding, going on to ward it a lofty 4.5. I’ve taken a fair amount of stick for that in the months since, both in the comments and round the staffroom feeding trough. And while that’s fine—you’ve all been wrong before and I have absolutely no doubt you’ll all be wrong again—it’s only fair that such consistent criticism should cause me to reflect a little. And reflect I have. Now, it’s true that, as I said in my review, Verses in Oath is dark and vicious, but also haunting and ethereal. But it’s also true that, although well executed, it lacks true originality and I got carried away. It happens. I loved all the constituent elements of the record and I still think that they are woven together with skill and good songcraft. However, it’s not an album I’ve returned to as much as I thought I would and (spoilers!) it’s not going to make my year end list. Which makes it rather hard to defend the 4.5 any longer. So I won’t. It’s a very good album but no more than that.
Original score: 4.5
Adjusted score: 3.5We came here to apologize
Minnesota’s Ashbringer has always been a band of shades, shifting between atmo-black, shoegaze, post-metal, and more. On last year’s We Came Here to Grieve, they added heavily fuzzed blues melodies and languid Incubus-esque post-rock, which I lapped up. Looking, and of course listening, back, there’s still a lot to like about the album but—and it’s a big but—I wince at those clean vocals. I suggested in my review that, while the cleans were not great, there was a sort of vulnerable authenticity to Nick Stanger’s voice that meant he just about got away with it. I can only think I was in a very vulnerable place at the time because he absolutely does not get away with it, nor should he be allowed to. Much as I enjoy Stanger’s harsh post-hardcore vox, his cleans are outright bad in places, which should have placed a very hard ceiling on the score that the album could achieve. Somehow, We Came Here to Grieve shattered that ceiling. It must now be repaired.
Original score: 4.0
Adjusted score: 3.0Glare of the Noise
To more recent errors: in September, I did an injustice to Glare of the Sun’s TAL. I’m ashamed to say it but I went into that review looking for flaws—and I did find a couple—because I’d already done what you would all see next: Kanonenfieber. I didn’t lightly award that 5.0 and I stand by it but I was painfully conscious of it sitting there, on the assembly line and that affected my assessment of Glare of the Sun. While I think TAL could, and probably should, have been shorter and that there were a couple of less impactful songs (“Leaving Towards Spring,” for example), there are no real missteps here and it’s a great album. I stand by the words in my review but not the score, which should have been a 4.0.
Original score: 3.5
Adjusted score: 4.0Noisy remorse
I can keep this brief because I’ve already publicly admitted to underscoring Leiþa’s Reue. I gave it a 3.5 but knew at the time that it deserved a 4.0, something duly confirmed by AMG Himself, when he awarded it Record o’ the Month for January 2023, hinting that he might even have supported a 4.5. I think that might be going a touch far but, when I look back at my review, it reads like a 4.0 and it should’ve been a 4.0. The only reason it wasn’t, was that Noise (of Kanonenfieber, Leiþa and Non Est Deus) just makes too much damned good black metal, much of which I’d already gushed about. Ironically, given it was also a Noise project that led to me shortchanging Glare of the Sun, here his excellence also caused me to underrate his own album. Fool.
Original score: 3.5
Adjusted score: 4.0Dear Hollow
Iconic in a different universe
Rarely do I bestow 4.0s out of spite, but that’s exactly what happened with Fractal Generator. While I have liked their follow-up Convergence much more for its punishingly dense palette, I simply could not find any distinct fault with Macrocosmos. In hindsight, the album’s inhuman technicality and dissonance doesn’t play nice with the organicity and warmth the production offers, but more glaringly, I never returned to the album. Sure, some tracks really stand out and rip a hole in the space-time continuum (“Aeon,” “Chaosphere,” “Shadows of Infinity”), but for all its experimentalism and alien dissonance paired with deathgrind, Fractal Generator’s debut was simply unmemorable. Deathgrind bruisers like Knoll and Vermin Womb simply do it better, as the Italians never quite cut loose in the same way deathgrind ought to. What’s left is largely a pale imitation of Misery Index with an added shot of Portal’s IONian dissonance. It’s still good and improved with Convergence, but it is not the cosmos wrecker I thought it was.
Original score: 4.0
Adjusted score: 2.5Cold ‘n’ what?
I have a bad habit of pretense, and Calligram’s The Eye is the First Circle was one hell of a pretense. Bestowing the same honor to Position | Momentum seemed like an open-and-shut case, but like Fractal Generator, I never returned to it and it never made any appearances on any year-end lists. It boasts more icy punk-infused black metal that would be sure to get the, like, four fans of Darkthrone’s Circle the Wagons or the underground cult of the gone-but-unforgotten Young and In the Way going, but it more exemplified the way-too-safe crash back to earth after The Eye. The experimental focus is still there with melancholic jazz (“Ostranenie”) and post-rock crescendos (“Seminari Dieci”), and the blackened punk is still a barnstormer (“Sul Dolore,” “Tebe”), but the absence of the two-ton sludge that weighted The Eye is felt – as if Calligram got blown away in a blizzard. In many ways, Position | Momentum is the Italian act’s more kvlt offering, but it alienates its widespread appeal with its now-limited audience. Great for some, less for others.
Original score: 4.0
Adjusted score: 3.0TAKE ME TO FUCKIN’ CHURCH
Reverend Kristin Michael Hayter’s past in Lingua Ignota is certainly noteworthy, but when she dispels all the bells and whistles, we’re left with the horror of SAVED! It’s stripped to the bone, deceptively straightforward, with only some experimental tricks to make the subtle shift from Jesus lover to Jesus hater. Likely the most returned-to album I’ve ever reviewed,1 vicious and jaded sardonicism (“All My Friends Are Going to Hell”), hymns crashing into uncanny valley (“There is Power in the Blood,” “Nothing But the Blood”), and ominous dirges (“Idumea,” “The Poor Wayfaring Stranger”) all collide in a subtle yet earth-shaking affair that I have yet to shake. This is not even mentioning some of the most punishing sounds to shake Appalachia with Pentecostal and blasphemous fury: truly, the dissonant swell of “I Will Be With You Always” and Hayter’s tortured screaming and glossolalia in “How Can I Keep From Singing” have never left me. While the sentiment of a 3.5 is certainly merited in its divisive approach, the impact of SAVED! cannot be understated.
Original score: 3.5
Adjusted score: 4.5Thus Spoke
Meditations on contrition
In my first year as a newly promoted writer, I let the chill vibes of a summer holiday get to my head with Bong-Ra’s Meditations. It’s a good album, that much is still true. It is, as I pointed out at the time, immersive and engaging despite being totally instrumental. It’s also undeniably unique thanks to Bong-Ra’s choice to combine saxophone and oud with piano and guitar, and the striking way that volume is used to build tension. I do think I over-emphasized this novelty and strength, but it’s there regardless. Have I revisited it since 2022? The answer is no, and it is mainly for this reason that I concede I overrated it.
Original score: Excellent
Adjusted score: Very GoodBetween the scores of right and wrong
I think I must have been in an exceptionally bad mood the week I wrote my review of Between the Worlds of Life and Death. Yes, Vale of Pnath disappointed a little with a turn in the direction of deathcore, but the result is hardly itself disappointing. My first inkling I’d done Between the Worlds of Life and Death a disservice was when I realized I’d been listening to it in the gym an awful lot, several months after giving my official score. I gestured towards anticlimactic song structures and distracting theatricality, and while I still think Vale of Pnath could have refined their templates, these compositions have stood the test of time, and of leg day. It may take them one more record to solidify their new sound, but this was a cracking record I was evidently in the wrong mindset to appreciate when it first landed in my hands.
Original score: Good
Adjusted score: Very GoodCutting the throat of an incorrect score
When my review of Cutting the Throat of God went live, I noticed several questions in the comments to the effect of “where’d the ‘Iconic’ get lost?” Well, here I am, barely six months later, to set things right. After spending the best part of that time listening and relistening daily; after seeing the band live this October and falling in love all over again; after running through the band’s back catalogue and confirming that I do indeed like this one best, I can no longer deny what I knew from the start. Call me over-eager, fawning, blinded by infatuation. I don’t care. Ulcerate are the undisputed masters of their craft and this is an album I’ll be listening to for the next ten years at least. My only regret is not doing this the first time around.
Original score: Excellent
Adjusted score: IconicSparagmos (of my original rating)
In line with my habit of taking the least linear route possible into a subgenre, I became enamored with what I now know to be basically ‘diSEMBOWELMENT-core’ before ever listening to diSEMBOWELMENT themself. Think Worm, Tomb Mold, and the current subject, Spectral Voice. Without the obvious reference point, the undeniably crushing, cavernous might of Sparagmos stunned me perhaps more than it had any right to. Make no mistake, Sparagmos remains a behemoth of intensely frightening doom death, one that’s fully capable of dragging me into its abyssal depths. And its ability to immerse in spite of its length and creeping pace still impresses me. But now that the ritual haze has lifted a little, I can recognize that it’s not quite the pinnacle of perfection I was fooled into believing it was.
Original score: Excellent
Adjusted score: GreatScore of unreason
I’m not sure exactly what held me back from awarding a higher score to Age of Unreason, especially considering that a quick look at my average would show I’m not usually one for restraint. Whatever the reason, I deemed ColdCell to have taken a slight step down from their previous effort, The Greater Evil, but with the benefit of hindsight, I see I had this entirely the wrong way around. Age of Unreason is emotionally poignant and refreshingly vulnerable, and it’s delivered in a unique, compelling black metal package. Dark and somewhat mysterious, like all of ColdCell’s output, it has the benefit of being much sharper, and more skilfully edited, which makes it endlessly relistenable. I recognize now that this is, in fact, ColdCell’s best album.
Original score: Very Good
Adjusted score: GreatDolphin Revisioner
Premature coagulation
It’s not that Coagulated Bliss doesn’t contain any great music. Between the heavier bright and fiery noise rock cuts (“Half Life Changelings”), martial stomps (“Doors to Mental Agony”), and Discordance Axis powergrind (“Vomiting Glass”) it represents among the best stretches of Full of Hell offerings. Coagulated Bliss also boasts a fantastic soundstage. As a rhythmically interesting band with more to say than simple blast beats and hammer shows, Full of Hell brings it with the powerviolence escalations (“Transmuting Chemical Burns”) and sliding grooves (“Schizoid Rapture”) in a clear and punchy manner for which I’d always hoped. But as time marched on and I continued to revel in these many reasons to celebrate Full of Hell, I came too to find a distaste for the most pandering and unnecessary tracks—cameo performances that rob the luster of Full of Hell’s raw energy. Does it feel silly to say that a twenty-five-minute album runs almost five minutes too long? No, not at all when that five minutes of completely avoidable downtime kills a historic run. As such, I’m left to remember Coagulated Bliss more for its near greatness, its finish line stumble— yet, I long for where this puts Full of Hell next.
Original score: 4.0
Adjusted score: 3.5Third eye open
Emergent is unbelievably dense for an album that lets shrill, alien leads dance about the spaciousness of a booming, metallic floor—a bass-rich, industrial pulse that has allowed Autarkh’s sophomore strike to rattle with an upward energy. An album doesn’t always lend itself well to the constraint of a review cycle, especially when its biggest boom rests in amplification, loudness, and feeling. While I try to cycle everything I review through a number of listening platforms, a extra abandon on extended commutes allows cranked tones to work their wonders. And in Emergent’s meticulous design I’ve continued to discover swirling and diving synth chirps, buzzing and scuzzing low-end traps, all of which frame their eerie and jazzy progressive howl with unshakable, unrelenting rhythms. Intention lives in every panning channel hum, emotion lives in every broken-voiced, discordant cry, and exploration lives both in the bulge of every swell and spread of every break. Though Emergent received two scores in its initial stand, it would seem that neither I nor Kenfren had the proper perspective to grant Autarkh the right score. But time settles all debts, and with nothing in the metalverse sounding quite like Autarkh, Emergent holds an esteemed and flourishing spot in my rotation.
Original score: Very Good.
Adjusted score: Great!Mystikus Hugebeard
Traverse the regret
I have made no secret of my contrition over Sgaile’s Traverse the Bealach (my regret was even deep enough to mention it on the 15 year anniversary piece). Both commenters and staff alike recognized my underrating, but the miserable truth is I knew it before even they did. In my review, I allowed every perceived flaw to become a glaring boil out of some misguided belief that I had to be hypercritical of something I loved lest I not be taken seriously as a Super Important Music Reviewer. I do think Traverse the Bealach’s second half isn’t quite as strong as the first half, but it’s nowhere near as damaging as I’d initially tried to convince myself. Sgaile’s Traverse the Bealach is never anything less than a delightful listen with some of the most cohesive, satisfying songwriting from any band I’ve heard, and is just as enjoyable a year later as it was on release. Tune in to next year’s Contrite Metal Guy when I adjust the score even higher, but for now just call me Mystikus Absolvedbeard.
Original Score: 3.5
Adjusted Score: 4.0#2024 #AgeOfUnreason #Ashbringer #Autarkh #BetweenTheWorldsOfLifeAndDeath #BongRa #Calligram #CoagulatedBliss #ColdCell #ContriteMetalGuy #Convergence #CuttingTheThroatOfGod #Emergent #FractalGenerator #FullOfHell #GlareOfTheSun #Hulder #Leitha #Meditations #Reue #ReverendKristinMichaelHayter #Saved_ #Sgaile #TAL #TheEyeIsTheFirstCircle #TraverseTheBealach #Ulcerate #ValeOfPnath #VersesInOath #WeCameHereToGrieve
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Contrite Metal Guy: It’s Beginning to Look a Lot Like Wrongness, Volume the Second
By Cherd
The life of the unpaid, overworked metal reviewer is not an easy one. Cascading promos, unreasonable deadlines, draconian editors, and the unwashed metal mobs – it makes for a swirling maelstrom of music and madness. In all that tumult, errors are bound to happen and sometimes our initial impression of an album may not be completely accurate. With time and distance comes wisdom, and so we’ve decided to pull back the confessional curtain and reveal our biggest blunders, missteps, oversights and ratings face-plants. Consider this our sincere AMGea culpa. Redemption is retroactive, forgiveness is mandatory.
As those of us who follow the Gregorian calendar and partake in Judeo/Christian cultural traditions prepare to face the final bosses of the holiday season, we experience a wide range of feelings. Anticipation, at the prospect of gorging on holiday treats as we shuffle from one party to another thrown by family and friends. Nostalgia, of course, as we uphold our traditions and reflect on the celebrations of yesteryear. And, for those who write music reviews for a non-living, contrition. Intense embarrassment and remorse as we prepare for Listurnalia, revisiting records we thought we had judicated accurately only to discover the depth of our wrongheadedness. Sometimes our self-reproach has nothing to do with impending lists. Sometimes, shortly after writing a review, an ember of doubt will ignite, smoldering just under our calm exteriors, growing until we want to shriek “Dissemble no more! I admit the deed! — tear up the planks! — here, here! — it is the beating of his hideous heart!” It’s been over three years since the last time we unloaded our disgrace onto you, the unsuspecting reader, so expect this to be a long self-flagellation session.
– Cherd
Carcharodon
Verses in contrition
Earlier this year, I described Hulder’s Verses in Oath as spellbinding, going on to ward it a lofty 4.5. I’ve taken a fair amount of stick for that in the months since, both in the comments and round the staffroom feeding trough. And while that’s fine—you’ve all been wrong before and I have absolutely no doubt you’ll all be wrong again—it’s only fair that such consistent criticism should cause me to reflect a little. And reflect I have. Now, it’s true that, as I said in my review, Verses in Oath is dark and vicious, but also haunting and ethereal. But it’s also true that, although well executed, it lacks true originality and I got carried away. It happens. I loved all the constituent elements of the record and I still think that they are woven together with skill and good songcraft. However, it’s not an album I’ve returned to as much as I thought I would and (spoilers!) it’s not going to make my year end list. Which makes it rather hard to defend the 4.5 any longer. So I won’t. It’s a very good album but no more than that.
Original score: 4.5
Adjusted score: 3.5We came here to apologize
Minnesota’s Ashbringer has always been a band of shades, shifting between atmo-black, shoegaze, post-metal, and more. On last year’s We Came Here to Grieve, they added heavily fuzzed blues melodies and languid Incubus-esque post-rock, which I lapped up. Looking, and of course listening, back, there’s still a lot to like about the album but—and it’s a big but—I wince at those clean vocals. I suggested in my review that, while the cleans were not great, there was a sort of vulnerable authenticity to Nick Stanger’s voice that meant he just about got away with it. I can only think I was in a very vulnerable place at the time because he absolutely does not get away with it, nor should he be allowed to. Much as I enjoy Stanger’s harsh post-hardcore vox, his cleans are outright bad in places, which should have placed a very hard ceiling on the score that the album could achieve. Somehow, We Came Here to Grieve shattered that ceiling. It must now be repaired.
Original score: 4.0
Adjusted score: 3.0Glare of the Noise
To more recent errors: in September, I did an injustice to Glare of the Sun’s TAL. I’m ashamed to say it but I went into that review looking for flaws—and I did find a couple—because I’d already done what you would all see next: Kanonenfieber. I didn’t lightly award that 5.0 and I stand by it but I was painfully conscious of it sitting there, on the assembly line and that affected my assessment of Glare of the Sun. While I think TAL could, and probably should, have been shorter and that there were a couple of less impactful songs (“Leaving Towards Spring,” for example), there are no real missteps here and it’s a great album. I stand by the words in my review but not the score, which should have been a 4.0.
Original score: 3.5
Adjusted score: 4.0Noisy remorse
I can keep this brief because I’ve already publicly admitted to underscoring Leiþa’s Reue. I gave it a 3.5 but knew at the time that it deserved a 4.0, something duly confirmed by AMG Himself, when he awarded it Record o’ the Month for January 2023, hinting that he might even have supported a 4.5. I think that might be going a touch far but, when I look back at my review, it reads like a 4.0 and it should’ve been a 4.0. The only reason it wasn’t, was that Noise (of Kanonenfieber, Leiþa and Non Est Deus) just makes too much damned good black metal, much of which I’d already gushed about. Ironically, given it was also a Noise project that led to me shortchanging Glare of the Sun, here his excellence also caused me to underrate his own album. Fool.
Original score: 3.5
Adjusted score: 4.0Dear Hollow
Iconic in a different universe
Rarely do I bestow 4.0s out of spite, but that’s exactly what happened with Fractal Generator. While I have liked their follow-up Convergence much more for its punishingly dense palette, I simply could not find any distinct fault with Macrocosmos. In hindsight, the album’s inhuman technicality and dissonance doesn’t play nice with the organicity and warmth the production offers, but more glaringly, I never returned to the album. Sure, some tracks really stand out and rip a hole in the space-time continuum (“Aeon,” “Chaosphere,” “Shadows of Infinity”), but for all its experimentalism and alien dissonance paired with deathgrind, Fractal Generator’s debut was simply unmemorable. Deathgrind bruisers like Knoll and Vermin Womb simply do it better, as the Italians never quite cut loose in the same way deathgrind ought to. What’s left is largely a pale imitation of Misery Index with an added shot of Portal’s IONian dissonance. It’s still good and improved with Convergence, but it is not the cosmos wrecker I thought it was.
Original score: 4.0
Adjusted score: 2.5Cold ‘n’ what?
I have a bad habit of pretense, and Calligram’s The Eye is the First Circle was one hell of a pretense. Bestowing the same honor to Position | Momentum seemed like an open-and-shut case, but like Fractal Generator, I never returned to it and it never made any appearances on any year-end lists. It boasts more icy punk-infused black metal that would be sure to get the, like, four fans of Darkthrone’s Circle the Wagons or the underground cult of the gone-but-unforgotten Young and In the Way going, but it more exemplified the way-too-safe crash back to earth after The Eye. The experimental focus is still there with melancholic jazz (“Ostranenie”) and post-rock crescendos (“Seminari Dieci”), and the blackened punk is still a barnstormer (“Sul Dolore,” “Tebe”), but the absence of the two-ton sludge that weighted The Eye is felt – as if Calligram got blown away in a blizzard. In many ways, Position | Momentum is the Italian act’s more kvlt offering, but it alienates its widespread appeal with its now-limited audience. Great for some, less for others.
Original score: 4.0
Adjusted score: 3.0TAKE ME TO FUCKIN’ CHURCH
Reverend Kristin Michael Hayter’s past in Lingua Ignota is certainly noteworthy, but when she dispels all the bells and whistles, we’re left with the horror of SAVED! It’s stripped to the bone, deceptively straightforward, with only some experimental tricks to make the subtle shift from Jesus lover to Jesus hater. Likely the most returned-to album I’ve ever reviewed,1 vicious and jaded sardonicism (“All My Friends Are Going to Hell”), hymns crashing into uncanny valley (“There is Power in the Blood,” “Nothing But the Blood”), and ominous dirges (“Idumea,” “The Poor Wayfaring Stranger”) all collide in a subtle yet earth-shaking affair that I have yet to shake. This is not even mentioning some of the most punishing sounds to shake Appalachia with Pentecostal and blasphemous fury: truly, the dissonant swell of “I Will Be With You Always” and Hayter’s tortured screaming and glossolalia in “How Can I Keep From Singing” have never left me. While the sentiment of a 3.5 is certainly merited in its divisive approach, the impact of SAVED! cannot be understated.
Original score: 3.5
Adjusted score: 4.5Thus Spoke
Meditations on contrition
In my first year as a newly promoted writer, I let the chill vibes of a summer holiday get to my head with Bong-Ra’s Meditations. It’s a good album, that much is still true. It is, as I pointed out at the time, immersive and engaging despite being totally instrumental. It’s also undeniably unique thanks to Bong-Ra’s choice to combine saxophone and oud with piano and guitar, and the striking way that volume is used to build tension. I do think I over-emphasized this novelty and strength, but it’s there regardless. Have I revisited it since 2022? The answer is no, and it is mainly for this reason that I concede I overrated it.
Original score: Excellent
Adjusted score: Very GoodBetween the scores of right and wrong
I think I must have been in an exceptionally bad mood the week I wrote my review of Between the Worlds of Life and Death. Yes, Vale of Pnath disappointed a little with a turn in the direction of deathcore, but the result is hardly itself disappointing. My first inkling I’d done Between the Worlds of Life and Death a disservice was when I realized I’d been listening to it in the gym an awful lot, several months after giving my official score. I gestured towards anticlimactic song structures and distracting theatricality, and while I still think Vale of Pnath could have refined their templates, these compositions have stood the test of time, and of leg day. It may take them one more record to solidify their new sound, but this was a cracking record I was evidently in the wrong mindset to appreciate when it first landed in my hands.
Original score: Good
Adjusted score: Very GoodCutting the throat of an incorrect score
When my review of Cutting the Throat of God went live, I noticed several questions in the comments to the effect of “where’d the ‘Iconic’ get lost?” Well, here I am, barely six months later, to set things right. After spending the best part of that time listening and relistening daily; after seeing the band live this October and falling in love all over again; after running through the band’s back catalogue and confirming that I do indeed like this one best, I can no longer deny what I knew from the start. Call me over-eager, fawning, blinded by infatuation. I don’t care. Ulcerate are the undisputed masters of their craft and this is an album I’ll be listening to for the next ten years at least. My only regret is not doing this the first time around.
Original score: Excellent
Adjusted score: IconicSparagmos (of my original rating)
In line with my habit of taking the least linear route possible into a subgenre, I became enamored with what I now know to be basically ‘diSEMBOWELMENT-core’ before ever listening to diSEMBOWELMENT themself. Think Worm, Tomb Mold, and the current subject, Spectral Voice. Without the obvious reference point, the undeniably crushing, cavernous might of Sparagmos stunned me perhaps more than it had any right to. Make no mistake, Sparagmos remains a behemoth of intensely frightening doom death, one that’s fully capable of dragging me into its abyssal depths. And its ability to immerse in spite of its length and creeping pace still impresses me. But now that the ritual haze has lifted a little, I can recognize that it’s not quite the pinnacle of perfection I was fooled into believing it was.
Original score: Excellent
Adjusted score: GreatScore of unreason
I’m not sure exactly what held me back from awarding a higher score to Age of Unreason, especially considering that a quick look at my average would show I’m not usually one for restraint. Whatever the reason, I deemed ColdCell to have taken a slight step down from their previous effort, The Greater Evil, but with the benefit of hindsight, I see I had this entirely the wrong way around. Age of Unreason is emotionally poignant and refreshingly vulnerable, and it’s delivered in a unique, compelling black metal package. Dark and somewhat mysterious, like all of ColdCell’s output, it has the benefit of being much sharper, and more skilfully edited, which makes it endlessly relistenable. I recognize now that this is, in fact, ColdCell’s best album.
Original score: Very Good
Adjusted score: GreatDolphin Revisioner
Premature coagulation
It’s not that Coagulated Bliss doesn’t contain any great music. Between the heavier bright and fiery noise rock cuts (“Half Life Changelings”), martial stomps (“Doors to Mental Agony”), and Discordance Axis powergrind (“Vomiting Glass”) it represents among the best stretches of Full of Hell offerings. Coagulated Bliss also boasts a fantastic soundstage. As a rhythmically interesting band with more to say than simple blast beats and hammer shows, Full of Hell brings it with the powerviolence escalations (“Transmuting Chemical Burns”) and sliding grooves (“Schizoid Rapture”) in a clear and punchy manner for which I’d always hoped. But as time marched on and I continued to revel in these many reasons to celebrate Full of Hell, I came too to find a distaste for the most pandering and unnecessary tracks—cameo performances that rob the luster of Full of Hell’s raw energy. Does it feel silly to say that a twenty-five-minute album runs almost five minutes too long? No, not at all when that five minutes of completely avoidable downtime kills a historic run. As such, I’m left to remember Coagulated Bliss more for its near greatness, its finish line stumble— yet, I long for where this puts Full of Hell next.
Original score: 4.0
Adjusted score: 3.5Third eye open
Emergent is unbelievably dense for an album that lets shrill, alien leads dance about the spaciousness of a booming, metallic floor—a bass-rich, industrial pulse that has allowed Autarkh’s sophomore strike to rattle with an upward energy. An album doesn’t always lend itself well to the constraint of a review cycle, especially when its biggest boom rests in amplification, loudness, and feeling. While I try to cycle everything I review through a number of listening platforms, a extra abandon on extended commutes allows cranked tones to work their wonders. And in Emergent’s meticulous design I’ve continued to discover swirling and diving synth chirps, buzzing and scuzzing low-end traps, all of which frame their eerie and jazzy progressive howl with unshakable, unrelenting rhythms. Intention lives in every panning channel hum, emotion lives in every broken-voiced, discordant cry, and exploration lives both in the bulge of every swell and spread of every break. Though Emergent received two scores in its initial stand, it would seem that neither I nor Kenfren had the proper perspective to grant Autarkh the right score. But time settles all debts, and with nothing in the metalverse sounding quite like Autarkh, Emergent holds an esteemed and flourishing spot in my rotation.
Original score: Very Good.
Adjusted score: Great!Mystikus Hugebeard
Traverse the regret
I have made no secret of my contrition over Sgaile’s Traverse the Bealach (my regret was even deep enough to mention it on the 15 year anniversary piece). Both commenters and staff alike recognized my underrating, but the miserable truth is I knew it before even they did. In my review, I allowed every perceived flaw to become a glaring boil out of some misguided belief that I had to be hypercritical of something I loved lest I not be taken seriously as a Super Important Music Reviewer. I do think Traverse the Bealach’s second half isn’t quite as strong as the first half, but it’s nowhere near as damaging as I’d initially tried to convince myself. Sgaile’s Traverse the Bealach is never anything less than a delightful listen with some of the most cohesive, satisfying songwriting from any band I’ve heard, and is just as enjoyable a year later as it was on release. Tune in to next year’s Contrite Metal Guy when I adjust the score even higher, but for now just call me Mystikus Absolvedbeard.
Original Score: 3.5
Adjusted Score: 4.0#2024 #AgeOfUnreason #Ashbringer #Autarkh #BetweenTheWorldsOfLifeAndDeath #BongRa #Calligram #CoagulatedBliss #ColdCell #ContriteMetalGuy #Convergence #CuttingTheThroatOfGod #Emergent #FractalGenerator #FullOfHell #GlareOfTheSun #Hulder #Leitha #Meditations #Reue #ReverendKristinMichaelHayter #Saved_ #Sgaile #TAL #TheEyeIsTheFirstCircle #TraverseTheBealach #Ulcerate #ValeOfPnath #VersesInOath #WeCameHereToGrieve
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Zuckerman vs: Zuckerberg: why and how this is a battle of the public understanding of APIs, and why Zuckerman needs to lose and Meta needs to win
Imagine that you’re a cool, high-school, technocultural teenager; you’ve been raised reading Cory Doctorow’s “Little Brother” series, you have a 3D printer, a soldering iron, you hack on Arduino control systems for fun, and you really, really want a big strobe light in your bedroom to go with the music that you blast-out when your parents are away.
So you build a stepper-motor with a wheel and a couple of little arms, link it to a microphone circuit which does a FFT of ambient sound, and hot-glue the whole thing to your bedroom lightswitch so that the wheel’s arms can flick the lightswitch on-and-off in time to the beat.
If you’re lucky the whole thing will work for a minute or two and then the switch will break, because it wasn’t designed to be flicked on-and-off ten times per second; or maybe you’ll blow the lightbulb. If you’re very unlucky the entire switch and wiring will get really hot, arc, and set fire to the building. And if you share, distribute, and encourage your friends to do the same then you’re likely to be held liable in one of several ways if any of them suffer cost or harm.
Who am I?
My name’s Alec. I am a long-term blogger and an information, network and cyber security expert. From 1992-2009 I worked for Sun Microsystems, from 2013-16 I worked for Facebook, and today I am a full-time stay at home dad and part-time consultant. For more information please see my “about” page.
What does this have to do with APIs?
Before I begin I want to acknowledge the work of Kin Lane, The API Evangelist, who has been writing about the politics of APIs for many years. I will not claim that Kin and I share the same views on everything, but we appear to overlap perspectives on a bunch of topics and a lot of the discussion surrounding his work resonates with my perspectives. Go read his stuff, it’s illuminating.
So what is an API? My personal definition is broad but I would describe an API as any mechanism that offers a public or private contract to observe (query, read) or manipulate (set, create, update, delete) the state of a resource (device, file, or data).
In other words: a lightswitch. You can use it to turn the light on if it’s off, or off if it’s on, and maybe there’s a “dimmer” to set the brightness if the bulb is compatible; but lightswitches have their physical limitations and expected modes of use, and they need to be chosen or designed to fit the desired usage model and purpose.
Perhaps to some this definition sounds a little too broad because it would literally include referring to (e.g.) “in-browser HTML widgets and ‘submit’ buttons for deleting friendships” as an “API”; but the history of computing is rife with human-interface elements being repurposed as application-interfaces, such as banking where it was once fashionable to link new systems to old backend mainframes by using software that pretends to be a traditional IBM 3270 terminal and then screen-scraping responses to queries which were “typed” into the terminal by the new system.
The modern equivalent for web-browsers is called Selenium WebDriver and is widely used by both automated software testers and criminal bot-farms, to name but two purposes.
So yes: the tech industry — or perhaps: the tech hacker/user community — has a long history of wiring programmable motors to lightswitches and hoping that their house does not catch on fire… but we should really aspire to do better than that… and that’s where we come to the history of EBay and Twitter.
History of Public APIs
In the early 2000s there was a proliferation of platforms that offered various services — “I can buy books over the internet? That’s amazing!” — and this was all before the concept of a “Public API” was invented.
People wanted to “add-value” or “auto-submit” or “retrieve data” from those platforms, or even to build “alternative clients”; so they examined the HTML, reverse-engineered the functions of Internal or Private APIs which made the platform work, wrote and shared ad-hoc tools that posted and scraped data, and published their work as hackerly acts of radical empowerment “on behalf of the users” … except for those tools which stole or misused your data.
Kin Lane particularly describes the launch of the Public APIs for EBay in November 2000 and for Twitter in September 2006; about the former he writes:
The eBay API was originally rolled out to only a select number of licensed eBay partners and developers. […] The eBay API was a response to the growing number of applications that were already relying on its site either legitimately or illegitimately. The API aimed to standardize how applications integrated with eBay, and make it easier for partners and developers to build a business around the eBay ecosystem.
…and regarding the latter:
On September 20, 2006 Twitter introduced the Twitter API to the world. Much like the release of the eBay API, Twitter’s API release was in response to the growing usage of Twitter by those scraping the site or creating rogue APIs.
…both of which hint at some issues:
- an ecosystem of ad-hoc tools that attempt to blindly and retrospectively track EBay’s own platform development would not offer standardisation across the tools that use those APIs, and so would thereby actually limit potential for third-party client development; each tool would be working with different assumed “contracts” of behaviour that were never meant to be fixed or exposed to the public, and would also replicate work
- proliferation of man-in-the-middle “services” that would act “on your behalf” — and with your credentials — on the Twitter and EBay platforms, presented both a massive trust and security risk to the user (fraudulent purchases? fake tweets? stolen credentials?) with consequent reputational risk to the platform
Why do Public APIs exist?
In short: to solve these problems. Kin Lane writes a great summary on the pros-and-cons of Public APIs and how they are used both to enable, but also to (possibly unfairly) limit, the power of third party clients that offer extra value to a platform’s users.
But at the most fundamental level: Public APIs exist in order to formalise contracts of adequate means by which third-parties can observe or manipulate “state” (e.g.; user data, postings, friendships, …) on the platform.
By offering a Public API the platform frees itself also to develop and use Private APIs which can service other or new aspects of platform functionality, and it’s in a position to build and “ring-fence” the Public API service in the expectation of both heavy use and abuse being submitted through it.
Similarly: the Private APIs can be engineered more simply to act like domestic light-switches: to be used in limited ways and at human speeds; it turns out that this can be important for matters like privacy and safety.
Third parties benefit from Public APIs by having a guaranteed set of features to work with, proper documentation of API behaviour, and confidence that the API will behave in a way that they can reason about, and an API lifecycle management process with which will enable them to make their own guarantees regarding their work.
What is the Zuckerman lawsuit?
First, let me start with a few references:
- The Tweet
- The Announcement
- The Legal Complaint
- The Wired Article
- Some Background from 2021
- A Relevant Podcast
The shortest summary of the lawsuit that I have heard from one of its ardent supporters, is that the lawsuit:
[…] seeks immunity from [the Computer Fraud and Abuse Act] and [the Digital Millennium Copyright Act] [for legal] claims [against third parties or users] for automating a browser [to use Private APIs to obtain extra “value” from a website] and [the lawsuit also] does not seek state mandated APIs, or, indeed, any APIs
(private communication)
To make a strawman analogy so that we can defend its accuracy:
Let’s build and distribute motors to flick lightswitches on and off to make strobe lights, because what’s the worst that could happen? And we want people to have a fundamental right to do this, because Section 230 says we have such a right. We won’t be requiring any new switches to be installed, we just want to be allowed to use the ones that are already there, so it’s easy and low-cost to ask for, and there’s no risk to us doing this. But we also want legal immunity just in case what we provide happens to burn someone’s house down.
In other words: a return to the ways of the early 2000s, where scraping data and poking undocumented Private APIs was an accepted way to hack extra value into a website platform. To a particular mindset — especially the “big tech is irredeemably evil” folk — this sounds great, because clearly Meta intentionally prevents your having full, automated remote control over your user data on the grounds that it’s terribly valuable to them, and their having it keeps you addicted, so it helps them make money …
And you know what? To a very limited extent I agree with that premise — or at least that some of the Facebook user-interface is unnecessarily painful to use.
E.g. I feel there is little (some, but little) practical excuse for the heavy user friction which Facebook imposes upon editing of the “topics you may be interested in receiving adverts about“; but the way to address this is not to encourage proliferation of browser plugins (of dubious provenance regarding privacy and regulatory compliance, let alone uncertain behaviour) which manipulate undocumented Private APIs.
Apart from any other reason, as alluded above, Private APIs are built in the expectation of being used in a particular way — e.g. by humans, at a particular cadence and frequency — and on advanced platforms like Facebook they are engineered with those expectations enforced by rate limits not only for efficiency but also for availability, security and privacy reasons.
This is something which I partially described in a presentation on behalf of Facebook at PasswordCon in 2014, but the short version is: if an API is expected to be used primarily by a human being, then for security and trust purposes it makes sense to limit it to human rates of activity.
If you start driving these Private APIs at rates which are inhuman — 10s or 100s of actions per second — then you should and will expect them to either be rate-limited, or else possibly break the platform in much the same way that flicking a lightswitch at such a rate would break that lightswitch or bulb.
With this we can describe the error in one of the proponent’s claims: We aren’t requiring any new [APIs] to be installed, we just want to be allowed to use the ones that are already there — but if the Private API is neither intended nor capable of being driven at automated speeds then either something (the platform?) will break, or else there will be loud demands that the Private APIs be re-engineered to remove “bottlenecks” (rate limits) to the detriment of availability and security.
But if you will be calling for the formalisation of Private APIs to provide functionality, why are you not instead calling for an obligation upon the platform to provide a Public API?
Private APIs are not Public APIs, and Public APIs may demand registration
The general theme of the lawsuit is to demand that any API which a platform implements — even undocumented Private ones — should be legally treated as a Public API, open for use by third party implementors, without reciprocal obligation that the third-party client obtain an “API Key” to identify itself, nor to abide by particular behaviour or rate-limits.
In short: the lawsuit demands that all APIs, both Public and Private, should become “fair game” to third party implementors, and the Platforms should have no business to distinguish between one third-party or another, even in the instance that one or more of them are malicious.
This is a dangerous proposal. Platforms innovate new functionality and change their Private API behaviour at a relatively rapid speed, and there is currently nothing to prevent that; but if a true “right to use” for a Private API becomes somehow enshrined, what happens next?
Obviously: any behaviour which interferes with a public right-to-use is illegal, so it will therefore become illegal to change or remove Private APIs — or at very least any attempt to do so will lead to claims of “anticompetitive behaviour” and yet more punitive lawsuits. The free-speech rights of the platform will be abridged by compulsion to never change APIs, or to support legacy-publicly-used-yet-undocumented APIs forever more.
So, again, why not cut this Gordian knot by compelling platforms to make available a Public API that supports the desired functionality? After all, even Mastodon obligates developers of third-party apps to register their apps before use; but somehow big platforms should accept and and all non-human usage of Private APIs without discrimination?
Summary
I don’t want to keep flogging this horse, so I am just going to try and summarise in a few bullets:
- Private APIs exist to provide functionality to directly support a platform; they are implemented in ways which reflect their expected (usually: human) modes of use, they are not publicly documented, they can come and go, and this is normal and okay
- Public APIs exist to provide functionality to support third-party value-add to a platform; they are documented and offer some form of public “contract” or guarantee of behaviour, capability, and reliability. They are often designed in expectation of automated or bulk usage.
- Private APIs do not offer such a public contract; they are not meant to be built upon other than by the platform itself. They are meant to be able to “go away” without fuss, but if their use becomes a guaranteed “right” then how can they ever be deprecated?
- If third parties want to start using Private APIs as if they were Public APIs then the Private APIs will probably need to be re-engineered to support the weight of automated or bulk usage; but if they are going to be re-engineered anyway, why not push for them to become Public APIs?
- If Private APIs are not re-engineered and their excessive automated use by third party tools breaks the platform, why should the tool-user or the tool-provider not be held at least partly responsible as would happen in any other form of intentional or unintentional Denial-of-Service attack?
- If some (in-browser) third party tools claim to be acting “for the public good” then presumably they will have no problem in identifying themselves in order to differentiate themselves from (in-browser) evil cookie-stealing malware and worms; but to differentiate themselves would require use of an API Key and a Public API — so why are the third-party tool authors not calling to have the necessary Public APIs?
Just because an academic says “I wrote a script and I think it will work and that I [or one of your users] should be allowed to run it against your service without fear of reprisal even though [we] don’t understand how the back end system will scale with it”— does not mean that they should be permitted to do so willy-nilly, not against Facebook nor against your local community Mastodon instance.
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If you like the idea of using #AI Assistance with writing code you might like this article
https://2point0.ai/posts/continue-groq-llama3-superpowers
It describes how instead of #Chatgpt you can use the #LLama3 model with Continue in #VSCode (or the no telemetry #codium version) through the blindingly fast and currently free of financial cost #GroqCloud service.
Apart from the utility it means you could switch directly to self hosting with #Ollama in the future.
Narrator: AI Code may be subtly or dramatically wrong.
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Hoping those familiar with #LaTeX can give me some advice here. I've started using it to create my assignments for school. I'm not writing technical papers yet, but I find using LaTeX with #Zotero in #VSCode more #accessible with a #ScreenReader than most other setups I've tried.
Since my discussion posts have to follow #APA style, I’m using LaTeX for those as well as full papers. That part is going well—but I’m running into trouble when I need to actually post what I’ve written.
My school uses Brightspace, which allows discussion posts in either rich text or #HTML. I have #Pandoc installed, so I tried converting my LaTeX source to HTML and pasting the code. But Pandoc didn’t include my references section in the output.
I also tried copying from the PDF, but that stripped all formatting.
Does anyone know how I can get a clean HTML version of my work—with references included—that I can paste into Brightspace?
Here’s the command I’ve been using:
pandoc main.tex \
--bibliography=references. Bib \
--csl=apa.csl \
--standalone \
-o main.html
It creates the HTML file, but the references section is missing.
Any tips?
#Accessibility #AssistiveTech #Pandoc #APAstyle #Brightspace #EdTech #AcademicWriting #InclusiveTech #BlindTech #HigherEd #CitationTools #OpenSource #WritingWorkflow -
Hoping those familiar with #LaTeX can give me some advice here. I've started using it to create my assignments for school. I'm not writing technical papers yet, but I find using LaTeX with #Zotero in #VSCode more #accessible with a #ScreenReader than most other setups I've tried.
Since my discussion posts have to follow #APA style, I’m using LaTeX for those as well as full papers. That part is going well—but I’m running into trouble when I need to actually post what I’ve written.
My school uses Brightspace, which allows discussion posts in either rich text or #HTML. I have #Pandoc installed, so I tried converting my LaTeX source to HTML and pasting the code. But Pandoc didn’t include my references section in the output.
I also tried copying from the PDF, but that stripped all formatting.
Does anyone know how I can get a clean HTML version of my work—with references included—that I can paste into Brightspace?
Here’s the command I’ve been using:
pandoc main.tex \
--bibliography=references. Bib \
--csl=apa.csl \
--standalone \
-o main.html
It creates the HTML file, but the references section is missing.
Any tips?
#Accessibility #AssistiveTech #Pandoc #APAstyle #Brightspace #EdTech #AcademicWriting #InclusiveTech #BlindTech #HigherEd #CitationTools #OpenSource #WritingWorkflow -
Hoping those familiar with #LaTeX can give me some advice here. I've started using it to create my assignments for school. I'm not writing technical papers yet, but I find using LaTeX with #Zotero in #VSCode more #accessible with a #ScreenReader than most other setups I've tried.
Since my discussion posts have to follow #APA style, I’m using LaTeX for those as well as full papers. That part is going well—but I’m running into trouble when I need to actually post what I’ve written.
My school uses Brightspace, which allows discussion posts in either rich text or #HTML. I have #Pandoc installed, so I tried converting my LaTeX source to HTML and pasting the code. But Pandoc didn’t include my references section in the output.
I also tried copying from the PDF, but that stripped all formatting.
Does anyone know how I can get a clean HTML version of my work—with references included—that I can paste into Brightspace?
Here’s the command I’ve been using:
pandoc main.tex \
--bibliography=references. Bib \
--csl=apa.csl \
--standalone \
-o main.html
It creates the HTML file, but the references section is missing.
Any tips?
#Accessibility #AssistiveTech #Pandoc #APAstyle #Brightspace #EdTech #AcademicWriting #InclusiveTech #BlindTech #HigherEd #CitationTools #OpenSource #WritingWorkflow -
Hoping those familiar with #LaTeX can give me some advice here. I've started using it to create my assignments for school. I'm not writing technical papers yet, but I find using LaTeX with #Zotero in #VSCode more #accessible with a #ScreenReader than most other setups I've tried.
Since my discussion posts have to follow #APA style, I’m using LaTeX for those as well as full papers. That part is going well—but I’m running into trouble when I need to actually post what I’ve written.
My school uses Brightspace, which allows discussion posts in either rich text or #HTML. I have #Pandoc installed, so I tried converting my LaTeX source to HTML and pasting the code. But Pandoc didn’t include my references section in the output.
I also tried copying from the PDF, but that stripped all formatting.
Does anyone know how I can get a clean HTML version of my work—with references included—that I can paste into Brightspace?
Here’s the command I’ve been using:
pandoc main.tex \
--bibliography=references. Bib \
--csl=apa.csl \
--standalone \
-o main.html
It creates the HTML file, but the references section is missing.
Any tips?
#Accessibility #AssistiveTech #Pandoc #APAstyle #Brightspace #EdTech #AcademicWriting #InclusiveTech #BlindTech #HigherEd #CitationTools #OpenSource #WritingWorkflow -
I know that I hung on that windswept tree, with all the worlds in its branches. Nine days and nine nights I wore the deadman’s collar. Nine days and nine nights I bled from a spear-wound in my side.
A wound I put there. An offering of self to self.
The hubris.
I swung, lashed by storm and chafed by rope, bound and blinded. Nine days. Nine nights.
No one came looking for me. No one came to help me. I cried out from hunger, from thirst, before the end.
There was no answer.
Then at last I came unto the edge of the Abyss that is Death, and there at the precipice of an eternal night so dark I felt only my own soul reflected back into me and nearly went mad (again) with the effort of holding my own gaze at last I saw-
THE RUNES
and they burned so bright before my eyes I raised my hands to shield them, to seize them, and I took them up screaming-
and I awoke, soaked through and bloody, tangled in the branches of Yggdrasil, the runes burnt into my skin and my memory,
the noose still hanging limply around my neck.
(My spin on Odin's discovery of the runes, did my best to do the original justice)
#MythologyMonday #trees #yggdrasil #WorldTree #Odin #runes #NorseMythology #mythology #writing #original
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Daily writing prompt What gives you direction in life? View all responsesGPS. Get it?? Damn, am I funny! WOOHOO!
I don’t know what gives me direction in life. Does anyone? Does anyone have any direction or are we all just flailing away, blind and clueless? Are the people who claim to have direction just deluded and chasing fairy tales around through life? It seems that way to me.
I guess, like everything else in my universe, what direction I get comes from my family. Jen and the kids. Where they go, I follow. When they need, I try to get. Simple as that. I probably take direction from work too, but is that life or just profession? Is there a difference?
I can say for sure that I do not take direction from the stars or the calendar or any fairy tales. I am as clear on that as clear can be. It makes me sad that I know that a significant portion of the responses to this daily prompt are going to say exactly that. That is pretty depressing to me. Is such a reaction in some part a source of direction? No, I don’t think so.
I’m more and more on team flailing away blind and clueless here. What’s a red head to do, you know?
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Volcandra – The Way of Ancients Review
By Kenstrosity
My roommate and good friend once got to meet Kentucky melodic black metal troupe Volcandra at work while I was stuck doing something infinitely less fun, I’m sure. I know this because she, familiar with how deeply entrenched I am in the metal scene, messaged me to ask, “Hey, do you know this band called Volcandra?” I, of course, responded, “Yeah, they’re pretty good! Why?” She replied, to paraphrase, “Yeah, I just got to meet them, and they seem really cool and nice.” Imagine my thinly veiled jealousy as I came back with, “Oh that’s super cool!” She then told me that upon informing them I liked the cut of their jib.1 They said that that “made their day.”2 Now that I have their follow-up, The Way of Ancients, in my grasp, I can keep the good-vibes train rolling, as it has made my week!
The tags list “melodic black metal.” While that is accurate, Volcandra’s style isn’t your garden variety, cookie-cutter, toothless shlock. Fans of high-energy, potently venomous metal akin to The Black Dahlia Murder, Frozen Dawn, Carnosus, and Skeletonwitch should find much to love in The Way of Ancients’ deathly blend of thrashy, riffy, emotive black metal. As much as River Jordan’s and Jamie DeMar’s exciting guitar work evokes great beauty, so too does it wreak total havoc upon the Earth (“Birth of the Nephalem”). Whether pummeling the ground with blistering speed or ambling forward with relaxed grace, drummer Mike Hargrave performs with aplomb as the acrobatic driving force behind the album’s propulsive momentum (“Fouled Sanctity”). In his quest for compelling counterpoint and maximal heft, bassist Andrew Casciato weaves and wefts in and out of riffs and rhythms to create a consistent thread of interesting low-end fancies (“The Blackened Temple”). Atop it all, vocalist Dave Palenske runs the gamut of harsh styles, providing dynamics to best characterize these well-written stories of our hero, fighting valiantly against unknowable forces and horrid creatures (“Seven Tombs”).
If that all sounds enticing, that’s because it is. Throughout its tight forty-three-minute runtime, The Way of Ancients rips and roars relentlessly through eclectic melodic black metal soundscapes. While many of its best riffs populate pit-ready bangers, like “Birth of the Nephalim,” “Fouled Sanctity,” “Seven Tombs,” and “The Blackened Temple,” other strong offerings, like “Maiden of Anguish,” channel an ethereal thread of Mare Cognitum-esque beauty through affecting tremolos—creating a wonderfully engaging contrast. This particular approach, which already worked well on the debut, Into the Azure, integrates more smoothly into the whole this time around—transitioning between intensity and introspection, becoming almost seamless. For example, note how well the closer, “The Way of Ancients,” blends into the tender opening of “Birth of the Nephalem”. As a result, The Way of Ancients simply melts into your brain and blinds you to the passage of time, making revisits effortless and highly rewarding.
That leaves very little to criticize at first, but with more time and more focused spins, certain small quibbles arise. Loath though I am to speak on production most of the time, I do wonder if The Way of Ancients suffers at the hands of a strangely inconsistent bass kick tone. It sounds unnatural in some spots (“Seven Tombs”), but perfectly organic in others (“Not Even Death”), which occasionally disrupts my immersion. With Dave’s capable vox so far forward, certain sections of tremolo-heavy or cymbal-centric music clutter the soundstage slightly, especially noticeable after repeat spins (“Not Even Death” and “The Way of Ancients”). Additionally, there is one—but only one—song featured here that fails to make a memorable impact. “Nemesis Confession,” despite being competently written and fervently performed, stumbles just enough to derail album flow. I think the underlying issue is that, despite valiant attempts to blend swaths of eerie atmoblack with thrashy hints of dissonance, the result doesn’t mesh nearly as smoothly as The Way of Ancients’ best numbers.
Nonetheless, Volcandra is a very capable band writing highly compelling melodic black metal for those who want a beast with their beauty. The Way of Ancients is that beast. While it’s not perfect, it will more than satisfy fans of the style and could even bring in a few new converts. Don’t miss it!
Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: volcandra.bandcamp.com | facebook.com/volcandra
Releases Worldwide: March 1st, 2024#2024 #35 #AmericanMetal #BlackMetal #Carnosus #FrozenDawn #Mar24 #MareCognitum #MelodicBlackMetal #ProstheticRecords #Review #Reviews #Skeletonwitch #TheBlackDahliaMurder #TheWayOfAncients #Volcandra
-
Volcandra – The Way of Ancients Review
By Kenstrosity
My roommate and good friend once got to meet Kentucky melodic black metal troupe Volcandra at work while I was stuck doing something infinitely less fun, I’m sure. I know this because she, familiar with how deeply entrenched I am in the metal scene, messaged me to ask, “Hey, do you know this band called Volcandra?” I, of course, responded, “Yeah, they’re pretty good! Why?” She replied, to paraphrase, “Yeah, I just got to meet them, and they seem really cool and nice.” Imagine my thinly veiled jealousy as I came back with, “Oh that’s super cool!” She then told me that upon informing them I liked the cut of their jib.1 They said that that “made their day.”2 Now that I have their follow-up, The Way of Ancients, in my grasp, I can keep the good-vibes train rolling, as it has made my week!
The tags list “melodic black metal.” While that is accurate, Volcandra’s style isn’t your garden variety, cookie-cutter, toothless shlock. Fans of high-energy, potently venomous metal akin to The Black Dahlia Murder, Frozen Dawn, Carnosus, and Skeletonwitch should find much to love in The Way of Ancients’ deathly blend of thrashy, riffy, emotive black metal. As much as River Jordan’s and Jamie DeMar’s exciting guitar work evokes great beauty, so too does it wreak total havoc upon the Earth (“Birth of the Nephalem”). Whether pummeling the ground with blistering speed or ambling forward with relaxed grace, drummer Mike Hargrave performs with aplomb as the acrobatic driving force behind the album’s propulsive momentum (“Fouled Sanctity”). In his quest for compelling counterpoint and maximal heft, bassist Andrew Casciato weaves and wefts in and out of riffs and rhythms to create a consistent thread of interesting low-end fancies (“The Blackened Temple”). Atop it all, vocalist Dave Palenske runs the gamut of harsh styles, providing dynamics to best characterize these well-written stories of our hero, fighting valiantly against unknowable forces and horrid creatures (“Seven Tombs”).
If that all sounds enticing, that’s because it is. Throughout its tight forty-three-minute runtime, The Way of Ancients rips and roars relentlessly through eclectic melodic black metal soundscapes. While many of its best riffs populate pit-ready bangers, like “Birth of the Nephalim,” “Fouled Sanctity,” “Seven Tombs,” and “The Blackened Temple,” other strong offerings, like “Maiden of Anguish,” channel an ethereal thread of Mare Cognitum-esque beauty through affecting tremolos—creating a wonderfully engaging contrast. This particular approach, which already worked well on the debut, Into the Azure, integrates more smoothly into the whole this time around—transitioning between intensity and introspection, becoming almost seamless. For example, note how well the closer, “The Way of Ancients,” blends into the tender opening of “Birth of the Nephalem”. As a result, The Way of Ancients simply melts into your brain and blinds you to the passage of time, making revisits effortless and highly rewarding.
That leaves very little to criticize at first, but with more time and more focused spins, certain small quibbles arise. Loath though I am to speak on production most of the time, I do wonder if The Way of Ancients suffers at the hands of a strangely inconsistent bass kick tone. It sounds unnatural in some spots (“Seven Tombs”), but perfectly organic in others (“Not Even Death”), which occasionally disrupts my immersion. With Dave’s capable vox so far forward, certain sections of tremolo-heavy or cymbal-centric music clutter the soundstage slightly, especially noticeable after repeat spins (“Not Even Death” and “The Way of Ancients”). Additionally, there is one—but only one—song featured here that fails to make a memorable impact. “Nemesis Confession,” despite being competently written and fervently performed, stumbles just enough to derail album flow. I think the underlying issue is that, despite valiant attempts to blend swaths of eerie atmoblack with thrashy hints of dissonance, the result doesn’t mesh nearly as smoothly as The Way of Ancients’ best numbers.
Nonetheless, Volcandra is a very capable band writing highly compelling melodic black metal for those who want a beast with their beauty. The Way of Ancients is that beast. While it’s not perfect, it will more than satisfy fans of the style and could even bring in a few new converts. Don’t miss it!
Rating: Very Good!
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: volcandra.bandcamp.com | facebook.com/volcandra
Releases Worldwide: March 1st, 2024#2024 #35 #AmericanMetal #BlackMetal #Carnosus #FrozenDawn #Mar24 #MareCognitum #MelodicBlackMetal #ProstheticRecords #Review #Reviews #Skeletonwitch #TheBlackDahliaMurder #TheWayOfAncients #Volcandra
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Saunders and Felagund’s Top Ten(ish) of 2024
By Dr. A.N. Grier
Saunders
Rather than delve into the not-so-good parts of a rollercoaster 2024, which had its share of rough circumstances, I’m using this rare soapbox moment to focus on the positives of another action-packed year of metal. Celebrating ten years of writing at Angry Metal Guy was an achievement that crept up. All these years later I remain beyond stoked and privileged to still be contributing in a small way as the blog has snowballed into the juggernaut it is today.
Unfortunately, I haven’t quite fulfilled my writing productivity goals in 2024. However, even when motivation slips, it still gives me great satisfaction to have a platform to share my thoughts and opinions on the music I love. I cannot match the writing chops or word smithery of our most esteemed scribes. However, honing my craft within my own abilities and drawing inspiration from the excellence of my fellow writers continues to motivate me and hopefully steer listeners toward some great music.
While it may not compete with some of the top-shelf individual years over the past decade, 2024 featured a lot of top-shelf stuff across a multitude of genres sprawled over the heavy spectrum. As per usual, the plethora of releases was overwhelming and again I stumble into the end-of-year chaos with a hefty list of stuff I need to check out or spend more time with. Nevertheless, from the numerous albums, I spent quality time with throughout the year, I eventually arrived at the releases that mattered the most to me, with many gems to no doubt uncover in the end-of-year wash-up. This is probably one of the more eclectic lists I’ve cultivated during my time here. Not sure exactly why that was the case, but a year of fluctuating, uneasy shifts on personal and professional fronts perhaps contributed to the more diverse listening rotation.
To wrap up, a heartfelt thank you to our beloved readership for making this all worthwhile and to all my colleagues/writing buddies and general crew of awesome people comprising the ever-expanding blog. Also shout-out to my list buddy Felagund, here’s hoping our combined powers partially align or otherwise complement and provide some listening inspiration. Lastly, a special heads-up to Angry Metal Guy, Steel Druhm, and the rest of the AMG editors and brains trust for whipping us all into order and doing the behind-the-scenes heavy lifting to keep this great thing chugging along. Cheers.
#ish: Anciients // Beyond the Reach of the Sun – Personal dramas, line-up shuffles, and an extended stint away from the studio failed to hamper the triumphant return of Canada’s progressive-stoner-sludge heavyweights Anciients. Beyond the Reach of the Sun marks a strong return that expands the band’s songwriting vision through a standout collection of ambitious, heavily prog-leaning cuts. Loaded with dazzling guitar work and gripping songwriting, Beyond the Reach of the Sun finds the band recalibrating and hitting their songwriting straps without compromising the genre-splicing traits and character they formed across their first couple of albums. It is not a perfect album by any means, with some niggling elements rearing their head, mostly via the way of some bloat, sequencing issues, and a flat production job. But with songs of the outstanding quality of “Despoiled,” “Is it Your God,” and “The Torch” leading the way, the album’s issues fail to extinguish my overall enthusiasm.
#10. Madder Mortem // Old Eyes New Heart – I came to veteran Norwegian progressive metal outfit Madder Mortem late in the game, just as they appeared to be hitting modern-era career peaks via Red in Tooth and Claw, and most recent album, 2018’s Marrow. Six long years in the wilderness and Madder Mortem return without missing a beat, continuing to pump out expressive, powerfully composed jams of their trademark mix of Goth-tinged progressive/alt metal. Although I enjoyed the album from the outset, if anything it has grown in stature since its early year release. The album’s subtleties and bevy of emotion-charged hooks bury deeper into the brain upon repeat doses. The tough period the band endured prior to the unleashing of Old Eyes New Heart is reflected in the album’s raw, potent swell of emotions and overall depth. This is further reflected in the diverse nature of the colorful songwriting, swinging from bluesy, melancholic restraint (“Cold Hard Rain”), pop-infected prog (‘Here and Now”) to urgent, dramatic, and infectious rock powerhouses (“The Head That Wears the Crown,” “Towers”).
#9. Opeth // The Last Will and Testament – As a longtime Opeth fanboy, it is a cool feeling to be genuinely enthused about a new LP, nearly three decades since their underrated Orchid debut. All the pre-release buzz centered on the return of Åkerfeldt’s famed death growls. While certainly a cool and unexpected touch, the fourteenth album The Last Will and Testament is not merely a nostalgic throwback to the band’s glory days. Instead, Opeth fuses those quirky, vintage prog tools from their modern-era material and fuses them into an intricate concept album that is a significant step up from the past couple of uneven efforts and easily their best work since at least 2014’s Pale Communion. Dazzling musicianship, jazzy licks, and inventively crafted, yet notably more focused and concise writing marked an album that features better production and tighter, punchier songs than the band has written in a while. It is also Opeth’s heaviest, most riff-centric release in many moons. Despite the trademark melancholic moods and darker shades, it also sounds as if the band is having real fun, reinforced by the abundance of bouncy, infectious riffs, shreddy solos, and boisterous grooves littering the album. Likely would have earned higher honors with time, as I still feel there is much more to discover.
#8. Oceans of Slumber // Where Gods Fear to Speak – Previously enjoyed the idea of Texan progressive metal powerhouse Oceans of Slumber, more than the execution and finished product. In particular, 2016’s Winter has grown in stature over the years. Yet for much of their career, it has felt like a case of incredible talent and potential not fully realized. That changed on Where Gods Fear to Speak, arguably the band’s most complete, consistent, and hook-laden release. When I felt the prog itch throughout 2024, Where Gods Fear to Speak was often the go-to. An album of lush, moody, drama-filled compositions, deftly contrasting soaring melodies, and skyscraping hooks with muscular riffage and heftier bouts of aggression, the writing is tighter and more compelling than previous efforts. Cammie Beverly’s scene-stealing vocals may take center stage, but this is very much a complete effort, where the rich soundscapes, brooding atmospheres, and technical musicianship shine brightly. Loaded with killer jams, including stirring highlights, “Don’t Come Back from Hell Empty Handed,” “Wish,” and “Poem of Ecstasy,” Where Gods Fear to Speak finally finds Oceans of Slumber firing on all cylinders.
#7. Pyrrhon // Exhaust – In theory, Pyrrhon should be one of my favorite bands. I used to eat up all manner of skronky, dissonant, and abrasive extreme metal. Perhaps my thirst for the weirder, experimental forms of death metal and dissonance has softened over the years. However, while largely enjoying Pyrrhon’s career up to this point, Exhaust feels like the album I have been waiting for the band to deliver. Exhaust dropped unexpectedly and that element of surprise flowed through another oddball, deranged platter of wildly inventive, chaotic, yet oddly accessible (in Pyrrhon terms) extreme metal. From cautious, challenging early listens, I found myself increasingly compelled to revisit Exhaust on a regular basis, marveling at its flexible, fractured songwriting, nimble musicianship, and raw hardcore punk edge infiltrating the dissonant, experimental death metal at the core of the Pyrrhon experience. Gritty production, perfectly unhinged vocal performance from Doug Moore, and occasional burst of groove and shred of accessibility punctuating the chaos (“First as Tragedy, Then as Farce,” “Strange Pains,” “Stress Fractures”) lend the album a refreshingly addictive edge to counterbalance its abrasive, challenging angles.
#6. Replicant // Infinite Mortality – New Jersey’s Replicant previously exhibited their brawny, yet brainy mix of gnarled dissonance, technicality, and knuckle-dragging street grooves to powerful effect. However, third album Infinite Mortality levelled the playing field as the band upped their game to elite levels of controlled chaos, while the writing remained challenging yet strangely accessible and memorable. In spirit, the ugly mix of harshness, discordance, and headbangable blockbuster grooves reminds me of the great Ion Dissonance. Meanwhile, the contrasting blend of unorthodox melody, jagged dissonance, and stuttering, complex song structures come together with cohesion and blunt force, punctuated by the occasional warped solo. Like a harsh, harrowing soundtrack to a bleak dystopian future, Infinite Mortality is a mean, chunky, technical, and deliciously primal slab of advanced disso-tech-death excellence.
#5. Noxis // Violence Inherent in the System – Notably death metal in 2024 was dominated by brutal, dissonant varieties, designed to scramble brains and challenge minds while battering the listener into submission. Refreshingly, unheralded surprise packet Noxis unloaded a killer debut LP to savor. Drawing from an array of old-school influences and ’90s touchstones without ever aping one particular band or style, Noxis unleashed a nostalgic yet unique death metal platter. Managing to at once sound raw and unclean, technical and brutal, thrashy and proggy, sharp and refined, Noxis blaze their way craftily through memorable, riff-infested wastelands with unbridled aggression, speed, and finesse, rubber-stamped by some exceptional bass work. Remnants of the classic Floridian scene mingle with powerful influences, including early Cryptopsy, later-era Death, Atheist, and Cannibal Corpse, resulting in a finished product that sounds fresh and vital, while containing an endearing, workmanlike old-school charm. It works a treat, and the top-notch and frequently inventive writing reveals impressive depth and character that rewards repeat listens.
#4. Dissimulator // Lower Form Resistance – There are some serviceable, enjoyable thrash-aligned albums in 2024, but one stood head and shoulders above the competition. Comprised of a grizzled bunch of underground Canadian musicians hellbent on fusing advanced technical thrash assaults with sick old-school death-thrash, a fuckton of killer riffs, quirky vocoder action, and razor-sharp hooks, Lower Form Resistance has consistently provided an adrenaline-filled shot of thrash when needing that specific fix. Dissimulator rewires thrash in intricate and intriguing ways, giving me the same giddy rush as past experiences with the likes of Capharnaum, Vhol, and Revocation. Excited to hear what these dudes conjure up next. In the meantime, Lower Form Resistance will continue to keep my thrash cogs oiled through potent bangers like “Warped,” “Automoil & Robotoil,” and “Hyperline Underflow.”
#3. Huntsmen // The Dry Land – After somehow sleeping on 2018 debut American Scrap and subsequently their apparent sophomore slumping second album, I finally righted my wrongs by delving into the strange and wildly unique woodlands of Chicago metal troupe Huntsmen and their phenomenal third LP, The Dry Land. A raw, rustic, and emotionally striking explosion of genre-bending excellence, where blackened sludge, doom, post, prog, folk, and Americana influences coalesce into an intoxicating and frequently thrilling musical formula, rich in detail and emotion. The skilled genre mashing is cohesive and genuine, loaded with surprises, structural twists, dramatic ebbs and flows, deep burrowing hooks, and contrasting vocal trade-offs to seal the deal on a remarkable album. Despite only a small handful of songs comprising the album (six in total), Huntsmen make every moment count, from blazing longer numbers with stunning contrasts and peaks (“This, Our Gospel,” “In Time, All things”) to plaintive folk dusted rock (“Lean Times”), through to the stunningly moving, compact power of “Rain.” Huntsmen occupy a unique space in the metalverse.
#2. Borknagar // Fall – I have a slightly odd history with Norwegian legends Borknagar. I recall being taken by their excellent 2012 album Urd, yet oddly enough I didn’t extend my listening beyond that isolated release. Things changed with 2019’s True North, a typically solid offering that inspired my explorations of portions of their vast and consistently engaging catalog. The twelfth album Fall marks their first album since True North and again features an outstanding line-up of talents, including founding mastermind Øystein Brun, multi-talented keyboardist/clean vocalist Lars Nedland, and ace up their sleeve bass/vocal powerhouse ICS Vortex. Fall smacks of a veteran band not merely content to coast on their laurels but rather carve freshly creative trajectories for their now signature blend of epic prog, triumphant Viking, and icy black metal to thrive. An extra shot of old-school blackened aggression and fuller production boosted an album of consistently high quality. Fall became a true all-occasions album in 2024; often uplifting me when I felt down or giving me a punchy charge when the need arose. Wall-to-wall prime cuts feature, headlined by the storming “Summits,” moody earworm, “The Wild Lingers”, and the striking, epic shimmer of “Moon.” Stalwarts still operating at the top of their game.
#1. Counting Hours // The Wishing Tomb – Not since Fvneral Fvkk’s remarkable Carnal Confessions debut has a doom album struck as hard as the second platter of sadboi misery perpetrated by Finland’s excellent Counting Hours. While doom and its death-doom companion may not always dominate my listening habits, when an album does hit that sweet spot, it usually leaves a profound impact. Few forms of metal generate the emotional resonance of quality doom and Counting Hours tears at the heartstrings through a riveting collection of gorgeously played and executed death-doom ditties, spearheaded by former members of the hugely underrated Rapture. Ilpo Paasela backs up the stellar musicianship, superb guitar work, and tight, addictive songwriting with a stunning mix of emotively raw, stately cleans and rugged death growls. The whole package packs an emotional wallop, yet its soulful edge and hopelessly addictive hooks and sing-along moments prevent a drop too deeply into depressive waters, as such earwormy gems as “Timeless Ones,” “All That Blooms (Needs to Die),” and “Starlit / Lifeless” attest. The Wishing Tomb is an epic album to lose yourself in.
Honorable Mentions:
- Blood Incantation // Absolute Elsewhere – Did I overrate Absolute Elsewhere? Possibly. Is it overhyped? Absolutely. Yet Blood Incantation remains a brave, adventurous band and Absolute Elsewhere represents a welcome return to form from these gifted, star-gazing space cadets. A flawed but effective fusing of their death metal roots with an increased focus on ’70s-inspired progressive rock and trippy psych flourishes.
- 200 Stab Wounds // Manual Manic Procedures – I barely took notice of Cleveland’s 200 Stab Wounds debut LP, but sophomore album Manual Manic Procedures provided one of the real surprise packets in 2024. It very nearly cracked the main list sheerly through heavy rotation. A meaty, adrenaline-charged shot of muscular death into the veins.
- Ripped to Shreds // Sanshi – Another reliably awesome slab of old-school death from Andrew Lee and co. Increasingly shreddy, extravagant solo work and a grindier edge powered one of their best albums yet.
- Nails // Every Bridge Burning – Nails is back and that is a great thing. New line-up, the same mode of short, sharp, blast-your-skin-off aggression, head-caving grooves, and hate-filled energy.
- Unhallowed Deliverance // Of Spectre and Strife – A pleasant surprise and one of the best debut albums in 2024. German tech-slam-brutal death juggernaut Unhallowed Deliverance knocked it out of the park with limited subtlety but a heap of talent, creativity, and songwriting smarts.
- Wormed // Omegon – With Ulcerate’s latest release not quite hitting me on the intense level of others, and having run out of time to properly digest and rank the obvious high-quality new Defeated Sanity, Wormed’s long-awaited return gave me my fix of calculated brutality via futuristic, slammy, technical brutal death executed in typically warped, mind-blowing fashion.
- Khirki // Κυκεώνας – Following up an impressive, well-received debut LP is no easy feat. Kenstrosity steered many of us from the AMG community onto Greek band Khirki’s Κτηνωδία debut in 2021, so I eagerly anticipated Khirki’s return for the second go around. The resulting album met expectations through a fiery, passionate, and eclectic mix of metal, rock, and traditional Greek folk.
- Sergeant Thunderhoof // The Ghost of Badon Hill – A late-year list shaker, underappreciated UK psych-prog-stoner outfit Sergeant Thunderhoof unleased a more restrained, psych-enhanced, and introspective album, showing signs of being a genuine grower since its November release, despite not quite hitting the irresistible highs of 2022’s This Sceptred Veil.
Disappointments o’ the Year:
- Several highly anticipated albums did not quite land the killer blows I was hoping for. Respectable to very good albums, but I expected better from Vola (admittedly a grower), Caligula’s Horse, Ihsahn, and especially Zeal and Ardor.
Non-Metal Picks:
- St Vincent, SIR, Michael Kiwanuka, Allie X, MGMT
Song ‘o the Year:
- Counting Hours – “Timeless Ones”
There were any number of standouts and potential Song o’ the Year candidates that could have nabbed top honors, including several counterparts from Counting Hours’ spectacular sophomore album. In the end, I settled on the (proper) album opener of my album of the year, as the tune that really hooked me initially from an album that captivated my soul. A rich, emotive piece of dark, melodic death-doom with superlative guitar melodies and a chorus for the ages. Honorable mention to Huntsmen’s “Rain.”
Felgund
I don’t know about you, but I’m tired of living in interesting times. But as that wizened sage, Gandalf so wisely reminds us: “So do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given to us.”
So what have I been doing with the time that has been given? A fair amount, as it turns out. 2024 has certainly been a tumultuous year for our small family. On the one hand, the business that I launched in 2023 has been chugging along for well over a year and a half now, and I think I’m far enough along in the process that I feel (at least somewhat) comfortable calling it a success. The baby that we brought home from the hospital is now, inexplicably, a whip-smart 7-year-old. My wife’s career continues to blossom as she continues to moonlight as my business manager. Things are good.
And yet 2024 also proved to be harder than I’d ever imagined. My dad died back in April, an experience that remains both devastating and surreal. He’d had multiple sclerosis for well over a decade, and as I’m sure many of you know, MS is a grasping, grinding petty little disease. But for as much as it stole, it proved incapable of taking away who my father was; it couldn’t quite make off with what made him him. He was my best friend before his diagnosis, and he remained my best friend up until that impossible evening in a hospital room in early April. Truth be told, he’s still my best friend, only now he’s free to walk wherever I see fit to imagine him.
Despite my best efforts, I realized pretty quickly you can’t capture a life in a few paragraphs. I couldn’t do it in his eulogy, and I certainly won’t attempt to do so on a heavy metal blog. But I will share this:
My dad was a carpenter by trade and an artist by choice; he was a fisherman and a cook; he was a handyman, a builder, a designer, and a writer; he taught himself how to play guitar, and he’s perhaps the singular reason why I’m writing for this website today. Because while he wasn’t a fan of metal himself, he instilled in me not only a love for music, but an interest in the process; in the people who create it, the minds that shape it, and the passion that births it.
He played in countless bands in his youth, and I can think of no better way to honor his memory than by sharing some of his music with you all. With Steel’s blessing, I’m embedding a two-song demo (“A Place in Time” and “Street Legal”) ripped from a cassette my old man recorded in the late 80s, so apologies in advance for the questionable quality. He composed both the music and lyrics, played guitar and bass, and sang on both tracks, which were devised when he was perhaps at his Rush fanboy peak. It’s been a delight and a balm hearing his voice again, captured as it was in a moment when he was young, vibrant, and doing what he loved.
So here we are. Despite (or perhaps because of) this, I managed to consume a fair amount of metal this year. And while I was far less productive as a writer than I’d hoped and I wasn’t able to listen to as much as I originally planned, I discovered a plethora of new music here on AMG that soothed what Neil Peart once referred to as his “baby soul.” And surprisingly, I found much of that solace in the discordant, the dissonant, and the off-kilter, as the list below probably reflects. But more importantly, I found compassion, support, and understanding amongst the writing staff here. And while they may not know it, I will be forever thankful for the folks who showed me such boundless kindness during a year that felt decidedly unkind. Thank you, my friends.
Now let’s get to to it. Here are my top ten(ish) albums of 2024.
#(ish). Beaten to Death // Sunrise Over Rigor Mortis – It almost feels like cheating to place an 18-minute album in my Top 10(ish), but here we are. 2024 proved to be a year where my interest in grind and grind-adjacent acts expanded, and this “ish” is the result. While I wasn’t aware of Beaten to Death prior to this release, I was quickly swept away by Sunrise Over Rigor Mortis’ ability to bludgeon its idiosyncratic way into my brain and coil there like the most glorious of infections. Beaten to Death has delivered a concise helping of grinding goodness, with crispy prog edges and a schmear of off-kilter humor. Back catalog, here I come!
#10. Sleepytime Gorilla Museum // Of the Last Human Being – Gardenstale’s gushing review of Sleepytime Gorilla Museum’s fourth album Of the Last Human Being was a tough endorsement to ignore, as was an invocation of Diablo Swing Orchestra. So I threw caution to the wind and leaped headlong into this experimental maelstrom. And I’m so happy I did. Don’t let the runtime dissuade you; Of the Last Human Being doesn’t feel nearly as long as it is, and over that relatively brief timespan, you’re provided with a front-row seat to the aural equivalent of perhaps the most fun kind of performance art. Hard-edged riffs, off-kilter instrumentation, ominous theatrics interlaced with beautiful, sparse melodies, and all capped off by the deranged croons of chief carnival barker Nils Frykdahl. If I’d spent more time with this record it may have placed higher, but as it is, I’m happy it’s making an appearance at the number 10 spot.
#9. Sur Austru // Datura Strǎhiarelor – Despite Twelve underrating this album, I suppose I should commend him for introducing me to Sur Austru in the first place. This Romanian outfit’s third full-length Datura Strǎhiarelor is a potent blend of rumbling, blackened fury, and melodic folk metal, with plenty of flute work, orchestration, choral elements, and plaintive keys thrown in. And, while the gruff, chanting growls might rub some listeners the wrong way, it was this aspect more than any other that first grabbed my attention, and proceeded to keep it. And while I haven’t a clue what the vocalists are shouting at me, the tone and placement in the mix feels just right, especially for this brand of folk-infused black metal. Such is the strength of Sur Austru that this album began as my “ish” before eventually working its way to ninth. Mightly bold of them.
#8. Necrowretch // Swords of Dajjal – Some of the entries on this list were either late discoveries or took some time before they got their dirty little hooks in me. Necrowretch’s Swords of Dajjal was not one of them. As soon as I spun it back in February, it was love at first listen. Swords of Dajjal focuses on the greater deceiver in Islamic mythology, and explores that tradition through the use of ferocious blackened death metal (with perhaps a dollop or two of thrash thrown in). Although, as Carcharodon rightly pointed out in his review, the “blackened” part is doing most of the heavy lifting here. And that’s not a bad thing, as Necrowretch is more than adept at crafting memorable hooks and an engaging atmosphere without sacrificing heft or freneticism. Swords of Dajjal is an unmitigated success, and my only real gripe is that Necrowretch dropped a new platter so early in the year that it may go overlooked on too many end-of-year lists.
#7. The Vision Bleak // Weird Tales – Grier and I may not see eye to eye on music, but what can I say? The man knows his way around gothic metal. So when he awarded a 4.0 to Weird Tales back in April, what was I to do? If you said wait several months before bothering to press play, you’re correct. But folks, I may have been late to the party, but it’s a rager nonetheless. The Vision Bleak has produced an emotive, memorable, downright heart-wrenching concept album; one that is both lush and harsh, both achingly melodic and morosely heavy. Weird Tales isn’t my usual cup of tea, but The Vision Bleak has rejected my assertion by doing what many similar acts appear incapable of doing: cohesively balancing “gothic” and “metal” without lessening the impact of either. A well-earned addition, indeed.
#6. Stenched // Purulence Gushing from the Coffin – While Rots-giving may have been tarnished by a less-than-stellar release from Rotpit back in November, I’ve moved on since then, and am now proudly celebrating Stenched-mas. The Manly n’ Mighty Steel reviewed this one-man grimy death outfit last month, and even though I was still smarting from my failed attempt to poach Purulence Gushing from the Coffin for myself, I can’t in good conscience deny how hard this globular mass of funerary muck rips. From the first track to the last, you’ll be rocking a near-permanent stank face, and you can’t blame that solely on the fungal miasma wafting from your speakers. The truth is, Stenched has delivered a masterclass in riff-heavy, moss-encrusted death metal; the kind that’s perfect to drag your knuckles to. Purulence Gushing from the Coffin is the exact kind of no-frills, all-guts death metal I needed in 2024, and that’s why it’s sitting pretty at 6.
#5. Aklash // Reincarnation – How are we already at the Top Five? And what better way to kick off this most treasured of positions than with the melodic black metal stylings of Aklash on their fourth album Reincarnation? Aklash received a solid write-up in June’s Stuck in the Filter by our very own Kenstrosity, and their most recent outing has continued to climb higher and higher on my list the more I’ve spun it. Part black metal, part progressive metal, part trad metal (epic choruses included), Reincarnation packs a wallop in just a short 37 minutes. overflowing with varied instrumentation and keen lyrical chops, grandiose in scope and medieval in tone, yet more personal than it has any right to be, Aklash is firing on all cylinders here, and, as such, is perfectly suited for anyone’s top 5.
#4. Devenial Verdict // Blessing of Despair – And, just like that, more death metal rears its ugly head. I’m still surprised at how high up Devenial Verdict’s sophomore album landed on my list, primarily because their 2022 debut Ash Blind failed to connect. But Blessing of Despair seems to have arrived just in time for my increasing flirtation with the cruel mistress that is dissodeath. As such, I found myself utterly taken with Devenial Verdict’s latest, overflowing as it is with equally heavy doses of discordant ferocity and mournful melodicism. And while Blessing of Despair is an undeniably heavy record, it makes sure to leave plenty of room for quieter moments, where slower sections and sparse instrumentation have room to bloom and breathe. This approach not only results in a wonderfully balanced album but ensures the bludgeoning that’s sure to follow is all the more impactful. Consider me reformed.
#3. Aborted // Vault of Horrors – I’m fairly certain that any death metal fan worth their salt is legally required to include the latest Aborted release on their end-of-year list. Over 25 years and 12 albums into their carnal career, these death metal titans need no introduction. Blood-drenched, gore-soaked, and happily grindy, Aborted are in a league all their own, and it shows on Vault of Horrors. The music remains tight and explosive, building a menacing atmosphere that pervades only the stickiest of grindhouse theaters. Besides, with songs dedicated to classics like Return of the Living Dead, Hellraiser, and The Texas Chainsaw Massacre, how could I do anything other than include this gem of an album in my top 3? I for one welcome our horror-themed overlords.
#2. Noxis // Violence Inherent in the System – What began as a random pick from the promo sump by one Kenstrosity quickly rose to become a favorite of the death metal maniacs (those with good taste, anyway) on the AMG staff. Now, more importantly, it’s nabbed the second-highest honor on my year-end list. Noxis’ first full-length album Violence Inherent in the System sounds like the product of a much more experienced band. The songwriting is top-notch, the performances are big and bold without being overwrought, and the sticky riffs stay wedged in your mind long after the album ends. And yet for all of its bombast, Noxis is still able to infuse their debut with oodles of atmosphere, not to mention a level of balance between death metal orthodoxy and fresh bells and whistles (and horns) that would make even Thanos grimace in jealousy. Special attention must also be paid to Joe Lowrie’s snare tone and Dave Kirsch’s godlike bass performance.
#1. Pyrrhon // Exhaust – I suppose I was always destined to end up here, I just didn’t know it right away. Pyrrhon’s fifth full-length Exhaust didn’t initially grab me the way some of my other entries did. However, on repeat spins, I found myself falling deeper and deeper into its frenetic, dissonant embrace, discovering both nuances and subtleties amidst the proggy cacophony. On an album that thoroughly explores the universal theme of exhaustion, be it physical, mental, social, or economic, Pyrrhon’s brand of noise-tinged death metal feels like the ideal tool with which to scrawl their livid manifesto. But what truly sets Exhaust apart is its unrelenting groove, stoked by Pyrrhon’s inventive capacity to not only feature but to uplift its unique brand of melodicism amidst the unrelenting maelstrom. It’s hard to overstate just how critical this aspect is to Exhaust’s success, especially since it would have been so easy to excise. But Exhaust’s manic ferocity, which swerves jerks, hops, and heaves, is all the better for it. And while its charms were initially lost on me, I found it easier and easier to finally succumb to its tremulous tendrils. Any record with that kind of staying power (not to mention a theme so applicable to my own experiences this past year) has more than earned my top spot for 2024.
Honorable Mentions:
- Defeated Sanity // Chronicles of Lunacy – Defeated Sanity is a brutal tech death stalwart at this point, and now seven albums in, Chronicles of Lunacy only further cements that status. Chronicles of Lunacy provides the listener with track after aggressively intricate track exploring lunacy in its many forms, but the real treat here is Lille Gruber’s masterful performance on the drums.
- Full of Hell // Coagulated Bliss – while I don’t think I’ve become a complete grind convert, albums like Full of Hell’s Coagulated Bliss and Beaten to Death’s Sunrise Over Rigor Mortis certainly set me on the path to one day become a proud proselytizer. You can’t deny Coagulated Bliss’ infectious groove and whirlwind pace, although I agree with the Dolphin’s rating adjustment.
- Undeath // More Insane – no, it’s not as good as It’s Time…to Rise from the Grave, and there’s no reason to pretend that it is. Nor does it need to be. While More Insane may not reach the lofty heights of its predecessor, it still showcases an Undeath doing what it does best, while also hinting at an undeniable ability to evolve into an even sharper, more fetid OSDM beast.
- 200 Stab Wounds // Manual Manic Procedures – while I wasn’t entirely kind in my review of 200 Stab Wounds’ debut, Mark Z suggested I take their follow-up Manual Manic Procedures for a spin, and I’m glad I did. It’s clear they’ve grown as artists, and their sophomore effort reflects that heightened maturity. Keep stabbing on, your crazy diamonds!
- Mamaleek // Vida Blue – I’m confident this album captures what it would sound like if Tom Waits listened to too much Ashenspire before leaving for the recording studio. Long, difficult, and bold, I found myself returning again and again to Vida Blue no matter how challenging I found the experience. While this album didn’t make my top 10, I’m convinced a future Mamaleek release will.
Song o’ the Year:
- Noxis – ”Skullcrushing Defilement”
This song goes hard. Exceptionally hard. In truth, there are any number of tunes from Violence Inherent in the System that fit the “Song o’ the Year” bill, but I had to give the edge to “Skullcrushing Defilement.” Not only does it begin with an absolutely searing bass solo, but it sets the stage for the four-string onslaught that’s to come. There’s a noticeable Cannibal Corpse influence that I can’t help but love here, alongside heaping doses of maniacal melodicism, turbocharged technicality, and an earworm chorus to boot. Abandon all cervical spines, ye who enter here.
#200StabWounds #2024 #Aborted #Aklash #AllieX #Anciients #Archspire #Atheist #BeatenToDeath #BlogPosts #BloodIncantation #Borknagar #CaligulaSHorse #CannibalCorpse #Capharnaum #CountingHours #Crytopsy #Death #DefeatedSanity #DevenialVerdict #DiabloSwingOrchestra #Dissimulator #Dissonance #FullOfHell #FvneralFvkk #Huntsmen #Ihsahn #Khirki #Lists #MadderMortem #Mamaleek #MGMT #MichaelKiwanuka #Nails #Necrowretch #Noxis #OceansOfSlumber #Opeth #Pyrrhon #Rapture #Replicant #Revocation #RippedToShreds #Rotpit #SaundersAndFelagundSTopTenIshOf2024 #SergeantThunderfoot #SIR #SleepytimeGorillaMuseum #StVincent #Stenched #SurAustru #TheVisionBleak #TomWaits #Ulcerate #Undeath #UnhallowedDeliverance #Vhöl #Wormed #ZealAndArdor
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Saunders and Felagund’s Top Ten(ish) of 2024
By Dr. A.N. Grier
Saunders
Rather than delve into the not-so-good parts of a rollercoaster 2024, which had its share of rough circumstances, I’m using this rare soapbox moment to focus on the positives of another action-packed year of metal. Celebrating ten years of writing at Angry Metal Guy was an achievement that crept up. All these years later I remain beyond stoked and privileged to still be contributing in a small way as the blog has snowballed into the juggernaut it is today.
Unfortunately, I haven’t quite fulfilled my writing productivity goals in 2024. However, even when motivation slips, it still gives me great satisfaction to have a platform to share my thoughts and opinions on the music I love. I cannot match the writing chops or word smithery of our most esteemed scribes. However, honing my craft within my own abilities and drawing inspiration from the excellence of my fellow writers continues to motivate me and hopefully steer listeners toward some great music.
While it may not compete with some of the top-shelf individual years over the past decade, 2024 featured a lot of top-shelf stuff across a multitude of genres sprawled over the heavy spectrum. As per usual, the plethora of releases was overwhelming and again I stumble into the end-of-year chaos with a hefty list of stuff I need to check out or spend more time with. Nevertheless, from the numerous albums, I spent quality time with throughout the year, I eventually arrived at the releases that mattered the most to me, with many gems to no doubt uncover in the end-of-year wash-up. This is probably one of the more eclectic lists I’ve cultivated during my time here. Not sure exactly why that was the case, but a year of fluctuating, uneasy shifts on personal and professional fronts perhaps contributed to the more diverse listening rotation.
To wrap up, a heartfelt thank you to our beloved readership for making this all worthwhile and to all my colleagues/writing buddies and general crew of awesome people comprising the ever-expanding blog. Also shout-out to my list buddy Felagund, here’s hoping our combined powers partially align or otherwise complement and provide some listening inspiration. Lastly, a special heads-up to Angry Metal Guy, Steel Druhm, and the rest of the AMG editors and brains trust for whipping us all into order and doing the behind-the-scenes heavy lifting to keep this great thing chugging along. Cheers.
#ish: Anciients // Beyond the Reach of the Sun – Personal dramas, line-up shuffles, and an extended stint away from the studio failed to hamper the triumphant return of Canada’s progressive-stoner-sludge heavyweights Anciients. Beyond the Reach of the Sun marks a strong return that expands the band’s songwriting vision through a standout collection of ambitious, heavily prog-leaning cuts. Loaded with dazzling guitar work and gripping songwriting, Beyond the Reach of the Sun finds the band recalibrating and hitting their songwriting straps without compromising the genre-splicing traits and character they formed across their first couple of albums. It is not a perfect album by any means, with some niggling elements rearing their head, mostly via the way of some bloat, sequencing issues, and a flat production job. But with songs of the outstanding quality of “Despoiled,” “Is it Your God,” and “The Torch” leading the way, the album’s issues fail to extinguish my overall enthusiasm.
#10. Madder Mortem // Old Eyes New Heart – I came to veteran Norwegian progressive metal outfit Madder Mortem late in the game, just as they appeared to be hitting modern-era career peaks via Red in Tooth and Claw, and most recent album, 2018’s Marrow. Six long years in the wilderness and Madder Mortem return without missing a beat, continuing to pump out expressive, powerfully composed jams of their trademark mix of Goth-tinged progressive/alt metal. Although I enjoyed the album from the outset, if anything it has grown in stature since its early year release. The album’s subtleties and bevy of emotion-charged hooks bury deeper into the brain upon repeat doses. The tough period the band endured prior to the unleashing of Old Eyes New Heart is reflected in the album’s raw, potent swell of emotions and overall depth. This is further reflected in the diverse nature of the colorful songwriting, swinging from bluesy, melancholic restraint (“Cold Hard Rain”), pop-infected prog (‘Here and Now”) to urgent, dramatic, and infectious rock powerhouses (“The Head That Wears the Crown,” “Towers”).
#9. Opeth // The Last Will and Testament – As a longtime Opeth fanboy, it is a cool feeling to be genuinely enthused about a new LP, nearly three decades since their underrated Orchid debut. All the pre-release buzz centered on the return of Åkerfeldt’s famed death growls. While certainly a cool and unexpected touch, the fourteenth album The Last Will and Testament is not merely a nostalgic throwback to the band’s glory days. Instead, Opeth fuses those quirky, vintage prog tools from their modern-era material and fuses them into an intricate concept album that is a significant step up from the past couple of uneven efforts and easily their best work since at least 2014’s Pale Communion. Dazzling musicianship, jazzy licks, and inventively crafted, yet notably more focused and concise writing marked an album that features better production and tighter, punchier songs than the band has written in a while. It is also Opeth’s heaviest, most riff-centric release in many moons. Despite the trademark melancholic moods and darker shades, it also sounds as if the band is having real fun, reinforced by the abundance of bouncy, infectious riffs, shreddy solos, and boisterous grooves littering the album. Likely would have earned higher honors with time, as I still feel there is much more to discover.
#8. Oceans of Slumber // Where Gods Fear to Speak – Previously enjoyed the idea of Texan progressive metal powerhouse Oceans of Slumber, more than the execution and finished product. In particular, 2016’s Winter has grown in stature over the years. Yet for much of their career, it has felt like a case of incredible talent and potential not fully realized. That changed on Where Gods Fear to Speak, arguably the band’s most complete, consistent, and hook-laden release. When I felt the prog itch throughout 2024, Where Gods Fear to Speak was often the go-to. An album of lush, moody, drama-filled compositions, deftly contrasting soaring melodies, and skyscraping hooks with muscular riffage and heftier bouts of aggression, the writing is tighter and more compelling than previous efforts. Cammie Beverly’s scene-stealing vocals may take center stage, but this is very much a complete effort, where the rich soundscapes, brooding atmospheres, and technical musicianship shine brightly. Loaded with killer jams, including stirring highlights, “Don’t Come Back from Hell Empty Handed,” “Wish,” and “Poem of Ecstasy,” Where Gods Fear to Speak finally finds Oceans of Slumber firing on all cylinders.
#7. Pyrrhon // Exhaust – In theory, Pyrrhon should be one of my favorite bands. I used to eat up all manner of skronky, dissonant, and abrasive extreme metal. Perhaps my thirst for the weirder, experimental forms of death metal and dissonance has softened over the years. However, while largely enjoying Pyrrhon’s career up to this point, Exhaust feels like the album I have been waiting for the band to deliver. Exhaust dropped unexpectedly and that element of surprise flowed through another oddball, deranged platter of wildly inventive, chaotic, yet oddly accessible (in Pyrrhon terms) extreme metal. From cautious, challenging early listens, I found myself increasingly compelled to revisit Exhaust on a regular basis, marveling at its flexible, fractured songwriting, nimble musicianship, and raw hardcore punk edge infiltrating the dissonant, experimental death metal at the core of the Pyrrhon experience. Gritty production, perfectly unhinged vocal performance from Doug Moore, and occasional burst of groove and shred of accessibility punctuating the chaos (“First as Tragedy, Then as Farce,” “Strange Pains,” “Stress Fractures”) lend the album a refreshingly addictive edge to counterbalance its abrasive, challenging angles.
#6. Replicant // Infinite Mortality – New Jersey’s Replicant previously exhibited their brawny, yet brainy mix of gnarled dissonance, technicality, and knuckle-dragging street grooves to powerful effect. However, third album Infinite Mortality levelled the playing field as the band upped their game to elite levels of controlled chaos, while the writing remained challenging yet strangely accessible and memorable. In spirit, the ugly mix of harshness, discordance, and headbangable blockbuster grooves reminds me of the great Ion Dissonance. Meanwhile, the contrasting blend of unorthodox melody, jagged dissonance, and stuttering, complex song structures come together with cohesion and blunt force, punctuated by the occasional warped solo. Like a harsh, harrowing soundtrack to a bleak dystopian future, Infinite Mortality is a mean, chunky, technical, and deliciously primal slab of advanced disso-tech-death excellence.
#5. Noxis // Violence Inherent in the System – Notably death metal in 2024 was dominated by brutal, dissonant varieties, designed to scramble brains and challenge minds while battering the listener into submission. Refreshingly, unheralded surprise packet Noxis unloaded a killer debut LP to savor. Drawing from an array of old-school influences and ’90s touchstones without ever aping one particular band or style, Noxis unleashed a nostalgic yet unique death metal platter. Managing to at once sound raw and unclean, technical and brutal, thrashy and proggy, sharp and refined, Noxis blaze their way craftily through memorable, riff-infested wastelands with unbridled aggression, speed, and finesse, rubber-stamped by some exceptional bass work. Remnants of the classic Floridian scene mingle with powerful influences, including early Cryptopsy, later-era Death, Atheist, and Cannibal Corpse, resulting in a finished product that sounds fresh and vital, while containing an endearing, workmanlike old-school charm. It works a treat, and the top-notch and frequently inventive writing reveals impressive depth and character that rewards repeat listens.
#4. Dissimulator // Lower Form Resistance – There are some serviceable, enjoyable thrash-aligned albums in 2024, but one stood head and shoulders above the competition. Comprised of a grizzled bunch of underground Canadian musicians hellbent on fusing advanced technical thrash assaults with sick old-school death-thrash, a fuckton of killer riffs, quirky vocoder action, and razor-sharp hooks, Lower Form Resistance has consistently provided an adrenaline-filled shot of thrash when needing that specific fix. Dissimulator rewires thrash in intricate and intriguing ways, giving me the same giddy rush as past experiences with the likes of Capharnaum, Vhol, and Revocation. Excited to hear what these dudes conjure up next. In the meantime, Lower Form Resistance will continue to keep my thrash cogs oiled through potent bangers like “Warped,” “Automoil & Robotoil,” and “Hyperline Underflow.”
#3. Huntsmen // The Dry Land – After somehow sleeping on 2018 debut American Scrap and subsequently their apparent sophomore slumping second album, I finally righted my wrongs by delving into the strange and wildly unique woodlands of Chicago metal troupe Huntsmen and their phenomenal third LP, The Dry Land. A raw, rustic, and emotionally striking explosion of genre-bending excellence, where blackened sludge, doom, post, prog, folk, and Americana influences coalesce into an intoxicating and frequently thrilling musical formula, rich in detail and emotion. The skilled genre mashing is cohesive and genuine, loaded with surprises, structural twists, dramatic ebbs and flows, deep burrowing hooks, and contrasting vocal trade-offs to seal the deal on a remarkable album. Despite only a small handful of songs comprising the album (six in total), Huntsmen make every moment count, from blazing longer numbers with stunning contrasts and peaks (“This, Our Gospel,” “In Time, All things”) to plaintive folk dusted rock (“Lean Times”), through to the stunningly moving, compact power of “Rain.” Huntsmen occupy a unique space in the metalverse.
#2. Borknagar // Fall – I have a slightly odd history with Norwegian legends Borknagar. I recall being taken by their excellent 2012 album Urd, yet oddly enough I didn’t extend my listening beyond that isolated release. Things changed with 2019’s True North, a typically solid offering that inspired my explorations of portions of their vast and consistently engaging catalog. The twelfth album Fall marks their first album since True North and again features an outstanding line-up of talents, including founding mastermind Øystein Brun, multi-talented keyboardist/clean vocalist Lars Nedland, and ace up their sleeve bass/vocal powerhouse ICS Vortex. Fall smacks of a veteran band not merely content to coast on their laurels but rather carve freshly creative trajectories for their now signature blend of epic prog, triumphant Viking, and icy black metal to thrive. An extra shot of old-school blackened aggression and fuller production boosted an album of consistently high quality. Fall became a true all-occasions album in 2024; often uplifting me when I felt down or giving me a punchy charge when the need arose. Wall-to-wall prime cuts feature, headlined by the storming “Summits,” moody earworm, “The Wild Lingers”, and the striking, epic shimmer of “Moon.” Stalwarts still operating at the top of their game.
#1. Counting Hours // The Wishing Tomb – Not since Fvneral Fvkk’s remarkable Carnal Confessions debut has a doom album struck as hard as the second platter of sadboi misery perpetrated by Finland’s excellent Counting Hours. While doom and its death-doom companion may not always dominate my listening habits, when an album does hit that sweet spot, it usually leaves a profound impact. Few forms of metal generate the emotional resonance of quality doom and Counting Hours tears at the heartstrings through a riveting collection of gorgeously played and executed death-doom ditties, spearheaded by former members of the hugely underrated Rapture. Ilpo Paasela backs up the stellar musicianship, superb guitar work, and tight, addictive songwriting with a stunning mix of emotively raw, stately cleans and rugged death growls. The whole package packs an emotional wallop, yet its soulful edge and hopelessly addictive hooks and sing-along moments prevent a drop too deeply into depressive waters, as such earwormy gems as “Timeless Ones,” “All That Blooms (Needs to Die),” and “Starlit / Lifeless” attest. The Wishing Tomb is an epic album to lose yourself in.
Honorable Mentions:
- Blood Incantation // Absolute Elsewhere – Did I overrate Absolute Elsewhere? Possibly. Is it overhyped? Absolutely. Yet Blood Incantation remains a brave, adventurous band and Absolute Elsewhere represents a welcome return to form from these gifted, star-gazing space cadets. A flawed but effective fusing of their death metal roots with an increased focus on ’70s-inspired progressive rock and trippy psych flourishes.
- 200 Stab Wounds // Manual Manic Procedures – I barely took notice of Cleveland’s 200 Stab Wounds debut LP, but sophomore album Manual Manic Procedures provided one of the real surprise packets in 2024. It very nearly cracked the main list sheerly through heavy rotation. A meaty, adrenaline-charged shot of muscular death into the veins.
- Ripped to Shreds // Sanshi – Another reliably awesome slab of old-school death from Andrew Lee and co. Increasingly shreddy, extravagant solo work and a grindier edge powered one of their best albums yet.
- Nails // Every Bridge Burning – Nails is back and that is a great thing. New line-up, the same mode of short, sharp, blast-your-skin-off aggression, head-caving grooves, and hate-filled energy.
- Unhallowed Deliverance // Of Spectre and Strife – A pleasant surprise and one of the best debut albums in 2024. German tech-slam-brutal death juggernaut Unhallowed Deliverance knocked it out of the park with limited subtlety but a heap of talent, creativity, and songwriting smarts.
- Wormed // Omegon – With Ulcerate’s latest release not quite hitting me on the intense level of others, and having run out of time to properly digest and rank the obvious high-quality new Defeated Sanity, Wormed’s long-awaited return gave me my fix of calculated brutality via futuristic, slammy, technical brutal death executed in typically warped, mind-blowing fashion.
- Khirki // Κυκεώνας – Following up an impressive, well-received debut LP is no easy feat. Kenstrosity steered many of us from the AMG community onto Greek band Khirki’s Κτηνωδία debut in 2021, so I eagerly anticipated Khirki’s return for the second go around. The resulting album met expectations through a fiery, passionate, and eclectic mix of metal, rock, and traditional Greek folk.
- Sergeant Thunderhoof // The Ghost of Badon Hill – A late-year list shaker, underappreciated UK psych-prog-stoner outfit Sergeant Thunderhoof unleased a more restrained, psych-enhanced, and introspective album, showing signs of being a genuine grower since its November release, despite not quite hitting the irresistible highs of 2022’s This Sceptred Veil.
Disappointments o’ the Year:
- Several highly anticipated albums did not quite land the killer blows I was hoping for. Respectable to very good albums, but I expected better from Vola (admittedly a grower), Caligula’s Horse, Ihsahn, and especially Zeal and Ardor.
Non-Metal Picks:
- St Vincent, SIR, Michael Kiwanuka, Allie X, MGMT
Song ‘o the Year:
- Counting Hours – “Timeless Ones”
There were any number of standouts and potential Song o’ the Year candidates that could have nabbed top honors, including several counterparts from Counting Hours’ spectacular sophomore album. In the end, I settled on the (proper) album opener of my album of the year, as the tune that really hooked me initially from an album that captivated my soul. A rich, emotive piece of dark, melodic death-doom with superlative guitar melodies and a chorus for the ages. Honorable mention to Huntsmen’s “Rain.”
Felgund
I don’t know about you, but I’m tired of living in interesting times. But as that wizened sage, Gandalf so wisely reminds us: “So do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given to us.”
So what have I been doing with the time that has been given? A fair amount, as it turns out. 2024 has certainly been a tumultuous year for our small family. On the one hand, the business that I launched in 2023 has been chugging along for well over a year and a half now, and I think I’m far enough along in the process that I feel (at least somewhat) comfortable calling it a success. The baby that we brought home from the hospital is now, inexplicably, a whip-smart 7-year-old. My wife’s career continues to blossom as she continues to moonlight as my business manager. Things are good.
And yet 2024 also proved to be harder than I’d ever imagined. My dad died back in April, an experience that remains both devastating and surreal. He’d had multiple sclerosis for well over a decade, and as I’m sure many of you know, MS is a grasping, grinding petty little disease. But for as much as it stole, it proved incapable of taking away who my father was; it couldn’t quite make off with what made him him. He was my best friend before his diagnosis, and he remained my best friend up until that impossible evening in a hospital room in early April. Truth be told, he’s still my best friend, only now he’s free to walk wherever I see fit to imagine him.
Despite my best efforts, I realized pretty quickly you can’t capture a life in a few paragraphs. I couldn’t do it in his eulogy, and I certainly won’t attempt to do so on a heavy metal blog. But I will share this:
My dad was a carpenter by trade and an artist by choice; he was a fisherman and a cook; he was a handyman, a builder, a designer, and a writer; he taught himself how to play guitar, and he’s perhaps the singular reason why I’m writing for this website today. Because while he wasn’t a fan of metal himself, he instilled in me not only a love for music, but an interest in the process; in the people who create it, the minds that shape it, and the passion that births it.
He played in countless bands in his youth, and I can think of no better way to honor his memory than by sharing some of his music with you all. With Steel’s blessing, I’m embedding a two-song demo (“A Place in Time” and “Street Legal”) ripped from a cassette my old man recorded in the late 80s, so apologies in advance for the questionable quality. He composed both the music and lyrics, played guitar and bass, and sang on both tracks, which were devised when he was perhaps at his Rush fanboy peak. It’s been a delight and a balm hearing his voice again, captured as it was in a moment when he was young, vibrant, and doing what he loved.
So here we are. Despite (or perhaps because of) this, I managed to consume a fair amount of metal this year. And while I was far less productive as a writer than I’d hoped and I wasn’t able to listen to as much as I originally planned, I discovered a plethora of new music here on AMG that soothed what Neil Peart once referred to as his “baby soul.” And surprisingly, I found much of that solace in the discordant, the dissonant, and the off-kilter, as the list below probably reflects. But more importantly, I found compassion, support, and understanding amongst the writing staff here. And while they may not know it, I will be forever thankful for the folks who showed me such boundless kindness during a year that felt decidedly unkind. Thank you, my friends.
Now let’s get to to it. Here are my top ten(ish) albums of 2024.
#(ish). Beaten to Death // Sunrise Over Rigor Mortis – It almost feels like cheating to place an 18-minute album in my Top 10(ish), but here we are. 2024 proved to be a year where my interest in grind and grind-adjacent acts expanded, and this “ish” is the result. While I wasn’t aware of Beaten to Death prior to this release, I was quickly swept away by Sunrise Over Rigor Mortis’ ability to bludgeon its idiosyncratic way into my brain and coil there like the most glorious of infections. Beaten to Death has delivered a concise helping of grinding goodness, with crispy prog edges and a schmear of off-kilter humor. Back catalog, here I come!
#10. Sleepytime Gorilla Museum // Of the Last Human Being – Gardenstale’s gushing review of Sleepytime Gorilla Museum’s fourth album Of the Last Human Being was a tough endorsement to ignore, as was an invocation of Diablo Swing Orchestra. So I threw caution to the wind and leaped headlong into this experimental maelstrom. And I’m so happy I did. Don’t let the runtime dissuade you; Of the Last Human Being doesn’t feel nearly as long as it is, and over that relatively brief timespan, you’re provided with a front-row seat to the aural equivalent of perhaps the most fun kind of performance art. Hard-edged riffs, off-kilter instrumentation, ominous theatrics interlaced with beautiful, sparse melodies, and all capped off by the deranged croons of chief carnival barker Nils Frykdahl. If I’d spent more time with this record it may have placed higher, but as it is, I’m happy it’s making an appearance at the number 10 spot.
#9. Sur Austru // Datura Strǎhiarelor – Despite Twelve underrating this album, I suppose I should commend him for introducing me to Sur Austru in the first place. This Romanian outfit’s third full-length Datura Strǎhiarelor is a potent blend of rumbling, blackened fury, and melodic folk metal, with plenty of flute work, orchestration, choral elements, and plaintive keys thrown in. And, while the gruff, chanting growls might rub some listeners the wrong way, it was this aspect more than any other that first grabbed my attention, and proceeded to keep it. And while I haven’t a clue what the vocalists are shouting at me, the tone and placement in the mix feels just right, especially for this brand of folk-infused black metal. Such is the strength of Sur Austru that this album began as my “ish” before eventually working its way to ninth. Mightly bold of them.
#8. Necrowretch // Swords of Dajjal – Some of the entries on this list were either late discoveries or took some time before they got their dirty little hooks in me. Necrowretch’s Swords of Dajjal was not one of them. As soon as I spun it back in February, it was love at first listen. Swords of Dajjal focuses on the greater deceiver in Islamic mythology, and explores that tradition through the use of ferocious blackened death metal (with perhaps a dollop or two of thrash thrown in). Although, as Carcharodon rightly pointed out in his review, the “blackened” part is doing most of the heavy lifting here. And that’s not a bad thing, as Necrowretch is more than adept at crafting memorable hooks and an engaging atmosphere without sacrificing heft or freneticism. Swords of Dajjal is an unmitigated success, and my only real gripe is that Necrowretch dropped a new platter so early in the year that it may go overlooked on too many end-of-year lists.
#7. The Vision Bleak // Weird Tales – Grier and I may not see eye to eye on music, but what can I say? The man knows his way around gothic metal. So when he awarded a 4.0 to Weird Tales back in April, what was I to do? If you said wait several months before bothering to press play, you’re correct. But folks, I may have been late to the party, but it’s a rager nonetheless. The Vision Bleak has produced an emotive, memorable, downright heart-wrenching concept album; one that is both lush and harsh, both achingly melodic and morosely heavy. Weird Tales isn’t my usual cup of tea, but The Vision Bleak has rejected my assertion by doing what many similar acts appear incapable of doing: cohesively balancing “gothic” and “metal” without lessening the impact of either. A well-earned addition, indeed.
#6. Stenched // Purulence Gushing from the Coffin – While Rots-giving may have been tarnished by a less-than-stellar release from Rotpit back in November, I’ve moved on since then, and am now proudly celebrating Stenched-mas. The Manly n’ Mighty Steel reviewed this one-man grimy death outfit last month, and even though I was still smarting from my failed attempt to poach Purulence Gushing from the Coffin for myself, I can’t in good conscience deny how hard this globular mass of funerary muck rips. From the first track to the last, you’ll be rocking a near-permanent stank face, and you can’t blame that solely on the fungal miasma wafting from your speakers. The truth is, Stenched has delivered a masterclass in riff-heavy, moss-encrusted death metal; the kind that’s perfect to drag your knuckles to. Purulence Gushing from the Coffin is the exact kind of no-frills, all-guts death metal I needed in 2024, and that’s why it’s sitting pretty at 6.
#5. Aklash // Reincarnation – How are we already at the Top Five? And what better way to kick off this most treasured of positions than with the melodic black metal stylings of Aklash on their fourth album Reincarnation? Aklash received a solid write-up in June’s Stuck in the Filter by our very own Kenstrosity, and their most recent outing has continued to climb higher and higher on my list the more I’ve spun it. Part black metal, part progressive metal, part trad metal (epic choruses included), Reincarnation packs a wallop in just a short 37 minutes. overflowing with varied instrumentation and keen lyrical chops, grandiose in scope and medieval in tone, yet more personal than it has any right to be, Aklash is firing on all cylinders here, and, as such, is perfectly suited for anyone’s top 5.
#4. Devenial Verdict // Blessing of Despair – And, just like that, more death metal rears its ugly head. I’m still surprised at how high up Devenial Verdict’s sophomore album landed on my list, primarily because their 2022 debut Ash Blind failed to connect. But Blessing of Despair seems to have arrived just in time for my increasing flirtation with the cruel mistress that is dissodeath. As such, I found myself utterly taken with Devenial Verdict’s latest, overflowing as it is with equally heavy doses of discordant ferocity and mournful melodicism. And while Blessing of Despair is an undeniably heavy record, it makes sure to leave plenty of room for quieter moments, where slower sections and sparse instrumentation have room to bloom and breathe. This approach not only results in a wonderfully balanced album but ensures the bludgeoning that’s sure to follow is all the more impactful. Consider me reformed.
#3. Aborted // Vault of Horrors – I’m fairly certain that any death metal fan worth their salt is legally required to include the latest Aborted release on their end-of-year list. Over 25 years and 12 albums into their carnal career, these death metal titans need no introduction. Blood-drenched, gore-soaked, and happily grindy, Aborted are in a league all their own, and it shows on Vault of Horrors. The music remains tight and explosive, building a menacing atmosphere that pervades only the stickiest of grindhouse theaters. Besides, with songs dedicated to classics like Return of the Living Dead, Hellraiser, and The Texas Chainsaw Massacre, how could I do anything other than include this gem of an album in my top 3? I for one welcome our horror-themed overlords.
#2. Noxis // Violence Inherent in the System – What began as a random pick from the promo sump by one Kenstrosity quickly rose to become a favorite of the death metal maniacs (those with good taste, anyway) on the AMG staff. Now, more importantly, it’s nabbed the second-highest honor on my year-end list. Noxis’ first full-length album Violence Inherent in the System sounds like the product of a much more experienced band. The songwriting is top-notch, the performances are big and bold without being overwrought, and the sticky riffs stay wedged in your mind long after the album ends. And yet for all of its bombast, Noxis is still able to infuse their debut with oodles of atmosphere, not to mention a level of balance between death metal orthodoxy and fresh bells and whistles (and horns) that would make even Thanos grimace in jealousy. Special attention must also be paid to Joe Lowrie’s snare tone and Dave Kirsch’s godlike bass performance.
#1. Pyrrhon // Exhaust – I suppose I was always destined to end up here, I just didn’t know it right away. Pyrrhon’s fifth full-length Exhaust didn’t initially grab me the way some of my other entries did. However, on repeat spins, I found myself falling deeper and deeper into its frenetic, dissonant embrace, discovering both nuances and subtleties amidst the proggy cacophony. On an album that thoroughly explores the universal theme of exhaustion, be it physical, mental, social, or economic, Pyrrhon’s brand of noise-tinged death metal feels like the ideal tool with which to scrawl their livid manifesto. But what truly sets Exhaust apart is its unrelenting groove, stoked by Pyrrhon’s inventive capacity to not only feature but to uplift its unique brand of melodicism amidst the unrelenting maelstrom. It’s hard to overstate just how critical this aspect is to Exhaust’s success, especially since it would have been so easy to excise. But Exhaust’s manic ferocity, which swerves jerks, hops, and heaves, is all the better for it. And while its charms were initially lost on me, I found it easier and easier to finally succumb to its tremulous tendrils. Any record with that kind of staying power (not to mention a theme so applicable to my own experiences this past year) has more than earned my top spot for 2024.
Honorable Mentions:
- Defeated Sanity // Chronicles of Lunacy – Defeated Sanity is a brutal tech death stalwart at this point, and now seven albums in, Chronicles of Lunacy only further cements that status. Chronicles of Lunacy provides the listener with track after aggressively intricate track exploring lunacy in its many forms, but the real treat here is Lille Gruber’s masterful performance on the drums.
- Full of Hell // Coagulated Bliss – while I don’t think I’ve become a complete grind convert, albums like Full of Hell’s Coagulated Bliss and Beaten to Death’s Sunrise Over Rigor Mortis certainly set me on the path to one day become a proud proselytizer. You can’t deny Coagulated Bliss’ infectious groove and whirlwind pace, although I agree with the Dolphin’s rating adjustment.
- Undeath // More Insane – no, it’s not as good as It’s Time…to Rise from the Grave, and there’s no reason to pretend that it is. Nor does it need to be. While More Insane may not reach the lofty heights of its predecessor, it still showcases an Undeath doing what it does best, while also hinting at an undeniable ability to evolve into an even sharper, more fetid OSDM beast.
- 200 Stab Wounds // Manual Manic Procedures – while I wasn’t entirely kind in my review of 200 Stab Wounds’ debut, Mark Z suggested I take their follow-up Manual Manic Procedures for a spin, and I’m glad I did. It’s clear they’ve grown as artists, and their sophomore effort reflects that heightened maturity. Keep stabbing on, your crazy diamonds!
- Mamaleek // Vida Blue – I’m confident this album captures what it would sound like if Tom Waits listened to too much Ashenspire before leaving for the recording studio. Long, difficult, and bold, I found myself returning again and again to Vida Blue no matter how challenging I found the experience. While this album didn’t make my top 10, I’m convinced a future Mamaleek release will.
Song o’ the Year:
- Noxis – ”Skullcrushing Defilement”
This song goes hard. Exceptionally hard. In truth, there are any number of tunes from Violence Inherent in the System that fit the “Song o’ the Year” bill, but I had to give the edge to “Skullcrushing Defilement.” Not only does it begin with an absolutely searing bass solo, but it sets the stage for the four-string onslaught that’s to come. There’s a noticeable Cannibal Corpse influence that I can’t help but love here, alongside heaping doses of maniacal melodicism, turbocharged technicality, and an earworm chorus to boot. Abandon all cervical spines, ye who enter here.
#200StabWounds #2024 #Aborted #Aklash #AllieX #Anciients #Archspire #Atheist #BeatenToDeath #BlogPosts #BloodIncantation #Borknagar #CaligulaSHorse #CannibalCorpse #Capharnaum #CountingHours #Crytopsy #Death #DefeatedSanity #DevenialVerdict #DiabloSwingOrchestra #Dissimulator #Dissonance #FullOfHell #FvneralFvkk #Huntsmen #Ihsahn #Khirki #Lists #MadderMortem #Mamaleek #MGMT #MichaelKiwanuka #Nails #Necrowretch #Noxis #OceansOfSlumber #Opeth #Pyrrhon #Rapture #Replicant #Revocation #RippedToShreds #Rotpit #SaundersAndFelagundSTopTenIshOf2024 #SergeantThunderfoot #SIR #SleepytimeGorillaMuseum #StVincent #Stenched #SurAustru #TheVisionBleak #TomWaits #Ulcerate #Undeath #UnhallowedDeliverance #Vhöl #Wormed #ZealAndArdor
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Ah, the dream of a garbage collector that doesn't implode without a safety net. 🤡 Rust devs swoon over the #fantasy of avoiding 'unsafe', writing libraries that *almost* hide their unsafe code... except where it counts. 🚀 Good luck enumerating those GC edges; it's like herding cats blindfolded! 🐱👤
https://fitzgen.com/2024/02/06/safe-gc.html #RustLang #GarbageCollector #UnsafeCode #Programming #HackerNews #ngated -
Ah, the dream of a garbage collector that doesn't implode without a safety net. 🤡 Rust devs swoon over the #fantasy of avoiding 'unsafe', writing libraries that *almost* hide their unsafe code... except where it counts. 🚀 Good luck enumerating those GC edges; it's like herding cats blindfolded! 🐱👤
https://fitzgen.com/2024/02/06/safe-gc.html #RustLang #GarbageCollector #UnsafeCode #Programming #HackerNews #ngated -
Ah, the dream of a garbage collector that doesn't implode without a safety net. 🤡 Rust devs swoon over the #fantasy of avoiding 'unsafe', writing libraries that *almost* hide their unsafe code... except where it counts. 🚀 Good luck enumerating those GC edges; it's like herding cats blindfolded! 🐱👤
https://fitzgen.com/2024/02/06/safe-gc.html #RustLang #GarbageCollector #UnsafeCode #Programming #HackerNews #ngated -
Ah, the dream of a garbage collector that doesn't implode without a safety net. 🤡 Rust devs swoon over the #fantasy of avoiding 'unsafe', writing libraries that *almost* hide their unsafe code... except where it counts. 🚀 Good luck enumerating those GC edges; it's like herding cats blindfolded! 🐱👤
https://fitzgen.com/2024/02/06/safe-gc.html #RustLang #GarbageCollector #UnsafeCode #Programming #HackerNews #ngated -
Everything You Need To Build A Personal Website | The Resource Archive
This page is your launchpad! Everything you need to begin crafting your own personal corner of the web lives right here; from tools and guidance to creative sparks that will help you bring your vision to life. Feel free to use the table of contents below to help you more easily find what you’re looking for.
Lastly, if you find this page valuable, don’t forget to bookmark it so you can return to it later!Table of Contents
Beginning Your Web Mastery Journey.
DEFINITION: Web Mastery refers to the skill and expertise in creating, managing, designing, and optimizing websites. When you create your own website, you become a Web Master.
Becoming a Web Master is an incredibly empowering journey! Whether you’ve chosen this path to break free from corporate control, big tech’s privacy invasive web culture, or simply just want to create a space that is fun and personal for you; becoming a Web Master gives you the freedom to create on your own terms, color outside the box, and create a space that’s as weird, wonderful, and as unique as you are!
Web Hosting
The first thing you’ll need to get your personal website online is a website host — essentially, a space where your website’s files, images, and code will “live” so others can access them on the internet. Think of it as your website’s home.
There are several different ways to host a website, and the method you choose will depend on your comfort level with technology, your creative goals, and how much control you want over your site.
Managed Hosting Platforms
These are services that handle most of the technical setup for you. You just sign up, pick a template or upload your files, and you’re good to go. They’re great for beginners who want to focus on content and design without worrying about servers or code — but they often come with limitations and paywalls on customization, and may not give you full ownership of your data.
If Managed Hosting sounds like your jam, here are some popular platforms to help get you started.
► [*]This is an affiliate link! I only recommend products or services I personally use or truly believe are reputable and helpful. Should you choose to make a purchase using my affiliate link, I may receive a small commission at no extra cost to you. This helps cover my own website’s hosting costs, so thank you to anyone who chooses to support me in this way!
WordPress
► [*]This is an affiliate link! I only recommend products or services I personally use or truly believe are reputable and helpful. Should you choose to make a purchase using my affiliate link, I may receive a small commission at no extra cost to you. This helps cover my own website’s hosting costs, so thank you to anyone who chooses to support me in this way!
Carrd
► Wix
► MMM.page
► Straw.page
► HotglueSelf-Hosted Solutions
This gives you more control and flexibility. You rent space from a web host and upload your site files, often using tools like cPanel, FTP, or a CMS like WordPress.org. This method requires a bit more technical setup, but it gives you greater freedom, especially if you want to build something custom or use your own domain name without restrictions.
Self-Hosted Solutions is the path I personally chose for myself and highly recommend it. It’s given me flexibility, freedom, and control over my own website, and also a security blanket. I don’t know how many times I’ve nearly wiped my entire website and my hosting provider has always come to the rescue to fix it. They won’t do everything for you, but a good hosting provider will hold your hand and guide you in the right direction. If you’re a seasoned beginner or intermediate at website development, this is a great option.
► [*]This is an affiliate link! I only recommend products or services I personally use or truly believe are reputable and helpful. Should you choose to make a purchase using my affiliate link, I may receive a small commission at no extra cost to you. This helps cover my own website’s hosting costs, so thank you to anyone who chooses to support me in this way! Hostinger
This is the hosting provider I use. I’ve been with them for 5+ years, best customer service, highly recommend. Hostinger has their own website builder, as well as a WordPress installation setup (what I use).Static Hosting
If your site is made with simple HTML, CSS, and JavaScript — no backend or databases — you can host it for free using services like GitHub Pages, Netlify, or Cloudflare Pages. These platforms are fast, reliable, and often used by coders or minimalist creators. You may need to learn how to use Git or drag-and-drop upload tools, but once you’re familiar, it’s one of the most empowering (and affordable) ways to host a site.
If you’re reading to get your hands dirty and code a static website from scratch, here are some reputable static hosting providers.
► Neocities
► Nekoweb
► Marigold Town
► Leprd
► Teacake
► Ichi
► Codeberg Pages
► Github PagesSelf-Hosting at Home
For the ultra-sovereign route, you can even host your website on your own hardware — like a Raspberry Pi or a spare computer. This gives you complete control, but it requires technical know-how and consistent internet uptime. It’s not for everyone, but it’s a powerful choice for those who value digital independence and want to learn how the web really works.
Whichever method you choose, the most important thing is this: your site is yours. Hosting is just the foundation — what you build on it is entirely up to you.
If you’re interested in getting started with hosting a static html website from home, or even a wordress website from home, check out the following links to get started.
► Guide to Self Hosting
This is the first thing you’re going to want to do before setting up anything else.► Simple Port Forwarding Guide
Port forwarding comes up briefly in the previous guide but doesn’t go into much detail. This guide will give you a bit more direction on how to access your port forwarding settings. Once you’ve successfully accessed your port forwarding settings, continue following the instructions in the first guide.► LocalWP
LocalWP is a super easy solution if you want to first develop and preview your WordPress site before you put it online for the world to see.► Visual Studio Code
If you intend to code your website from scratch and create a static website, I highly recommend using Visual Studio Code. It’s fantastic for programming in a variety of different languages and even has a preview mode so you can easily see how your code functions live.Domain Names
Depending on which web hosting route you’ve chosen to go with, you may or may not need to purchase a domain name. A domain name is your website’s address. It is the URL people will type in their browser to go to your website (ex. my domain name is thecozy.cat).
With many managed hosting platforms and static hosting platforms, users often will receive a free subdomain to host their website, saving you the cost of having to purchase one. However, if you choose to self host, whether that be via renting from a hosting provider or choosing to self-host from home, you will likely need to purchase a domain name. Hosting providers often come with promotional offers that bundle a domain into a deal with their hosting plans. This is great and saves you from having to purchase one separately. If they do not, however, or you choose to self host from home, you will need to purchase a domain from a reputable registrar.
Luckily, I have already done the leg work for you. Below are some highly praised, reputable domain registrars to help you get started.
► Gandi
► Hover
Building Your Website.
Foundational Resources for Static Web Building
Now that you’ve chosen your web hosting and domain name, it’s time to start actually building your website! If you’ve chosen to build a static website (as opposed to using a CMS such as wordpress, or a drag-and-drop website builder) you’re probably going to want to learn how to code a little bit! Learning to code HTML and CSS may seem like a daunting task, but it’s incredibly easy to get the hang of with a little practice. Below are some great HTML/CSS coding resources if you’re interested in learning. Don’t be afraid to utilize chatGPT too if you have any code related questions or need help building something!
► Interneting Is Hard
A well-structured, beginner-first resource that balances conceptual clarity, practical examples, and a gentle introduction to the modern craft of web development. Ideal if you’re learning from scratch or brushing up on HTML/CSS fundamentals.► W3 Schools
W3Schools is a free, enduring, and accessible portal great for learning basics, practicing with live examples, and getting started through hosting. It’s not a deep dive resource, but it’s an exceptional launchpad into the web world.► Udemy
If you prefer a more structured learning style, getting a cheap HTML/CSS course on Udemy is a great learning path. Upon completion, you even get certified; allowing you to potentially turn web development hobby into a career!Accessibility
Website accessibility means designing and building your site so that everyone — including people with disabilities — can use it easily. This includes people who are blind or have low vision, are deaf or hard of hearing, have mobility or cognitive impairments, or use assistive technologies like screen readers, keyboard navigation, or speech input. Given the nature of building personal websites, it isn’t a requirement to make your website accessible. However, you’ll reach a lot more people if you do!
► Accessible Net Directory
Pinkvampyr hosts an impressive collection of resources in their Accessible Net Directory. This is a great starting point to learn more about web accessibility and how to start implementing it on your website.► Accessibility Testing Tool
ANDI (Accessible Name & Description Inspector) is a free accessibility testing tool. It provides automated detection of accessibility issues, reveal what a screen reader should say for interactive elements, and give practical suggestions to improve accessibility and check 508 compliance.Building your first layout
If you’re ready to start diving into laying down the bones of your website, it’s time to start building a layout! If you aren’t sure what kind of layout you want, feel free to site hope across personal websites and get inspiration from others! There’s no shame in taking creative ideas from other people, you just have to give those ideas your own unique twist to make them your own.
► sadgrl’s Layout Builder
If you’re not very experienced with coding, no fear! Sadgrl has created a really awesome responsive layout builder that you can use and customize to your liking.► Templaterr
Eggramen has created a bunch of free layouts and stylesheets for folks to use. This is another fantastic resource if you’re new to coding and want a layout that’s ready to go.► CSS Grid Generator
Start creating your own CSS Grid Layouts simply and easily with this magic tool. Define your grid, select the areas and get the code!► CSS Flexbox Layout Guide
This complete guide explains everything about flexbox, focusing on all the different possible properties for the parent element (the flex container) and the child elements (the flex items). It also includes history, demos, patterns, and a browser support chart.Customizing Your Website
Here’s the fun part – decorating your website! There’s a lot of ways you can customize your website and truly make it your own. A big part of that is the use of visuals and graphics. Below is an extensive library of websites, tools, and widgets that are free for personal use.
Mixed Graphics
► StarlightMKS (archived)
Mixed free-to-use resources: backgrounds, banners, glitter text, dolls, etc.► DollieCrave (archived)
Mixed free-to-use resources: quotes, tumblr themes, cursors, backgrounds, and graphics.► CommentsLive
Free-to-use backgrounds, graphics, and image generators.► Glitter Graphics
Free-to-use backgrounds, blinkies, dolls, dividers, gifs, and various other graphics.► Simple-Repeat
Free-to-use repeatable background patterns.► CuteKawaiiResources
Free-to-use icons, emoticons, wallpapers, and other graphics.► Tenshiikisu
Collection of 500+ free-to-use backgrounds.► EasyDoll (archived)
Free-to-use backgrounds, dividers, blinkies, doll makers, and other graphics. Also has some useful tutorials.► Beetlecraft Freebies
Free-to-use background tiles and other graphics.► Lukovrurshldr
Free-to-use backgrounds, blinkies, avatars, button templates, and other graphics.► Cute Web Graphics
Free-to-use mini backgrounds. Many other free-to-use graphic resources planned as well.► Sadgrl BG Tiles
Free-to-use tile backgrounds.► Glitter Groovy
Large collection of free-to-use glitter graphics, blinkies, and gifs.► Reshot
Free Icons & Illustrations. Design freely with instant downloads and commercial licenses.► Open Clipart
An online media collection of more than 160 000 vectorial graphics, entirely in the public domain.Free Stock Images
► Unsplash
One of the most popular free stock photo sites, offering a wide variety of high-quality images.► Pexels
Another widely known platform, offering free photos and videos with a large collection that is free to use without attribution.► Pixabay
Provides over 2.4 million stock photos, videos, and music, all free for personal and commercial use.► Burst (by Shopify)
A free stock photo platform for entrepreneurs, providing high-resolution images with a focus on business-related photos.► Stocksnap.io
Offers a massive amount of high-resolution free photos, categorized and searchable.► Gratisography
Known for its quirky and fun free stock photos, offering creative options that are more artistic.► Kaboompics
Offers a wide range of free stock photos and color palettes, making it perfect for design work.► Foodiesfeed
Specializes in high-quality free stock food photos for food bloggers, restaurant owners, or food-related projects.► Picjumbo
A popular free stock photo site offering a wide range of categories, including business, nature, technology, and more.► New Old Stock
Offers vintage photos from public archives, free to use and ideal for nostalgic or historical projects.► LibreShot
A collection of free high-resolution photos for commercial and personal use.► Life of Pix
Features high-resolution photography donated by photographers, free for both personal and commercial use.► ISO Republic
Provides high-quality free stock photos and videos for creative projects.► Styled Stock
Offers free feminine-themed stock photography, ideal for lifestyle and business websites.► Skitterphoto
Provides free high-resolution photos taken by amateur photographers and available under the CC0 license.► Openverse
A tool that allows openly licensed and public domain works to be discovered and used by everyone.► Public.Work
A search engine for public domain content. Explore 100,000+ copyright-free images from The MET, New York Public Library, and other sources.Gifs
► GifCities
GifCities is a special project of the Internet Archive to celebrate 20 years of preserving the web.► Gif Neconomicon
A spooky collection of gifs. Great for Halloween!► CoolGifs
A scrolling page of gifs. Save your favorites before they float away!► Cute Gif
A collection of cute gifs in various categories.► GIPHY
The content on GIPHY’s website, app, and API is all of the best and most popular GIFs on the web, along with content created by talented GIF artists and world-class brands. Includes a Gif search to help you find what you’re looking for.► Momg
A collection of gifs displayed to look like an art gallery. As of the time of this writing, Momg currently houses 99,969 gifs in their collection.► 99 Gif Shop
An online catalogue of gifs designed to mimic a web store. It hosts a fairly large collection of gifs.► PicGifs
PicGifs hosts a large collection of gifs, wallpapers, avatars, and other graphics. It also includes a search to help you find what you’re looking for.► Blingee
A free online photo editor known for helping people make fun animated graphics.Doll Makers
► Style Dollz
► Blossom.nu
► ViolaBlu
► TudorDollies
► EasyDoll (archived)
► ThuggnDivazDollz (archived)
► Mystic’s Creations (archived)
► Dollz Revival
► Veriria’s Palace
► Desdemona’s dollmaker
► Beetlecraft Dollmaker
► Amara’s Goth Dollmaker
► Dollz
► Dolls.com.brStamps, Buttons, Blinkies
► Raining-Starss Stamps
► Y2K Stamps
► AllyRatWorld Stamps
► DeviantArt Stamps
► Gligar Stamps
► Internet Button Archive
► Anlucas Buttons
► Internet Bumper Stickers
► Button Wall
► Suppi
► BlinkiesCafe
► MyBlinky
► Blossom.nu
► Netlify
► Animated-Gifs Blinky Maker
► Blinky Hoard
► Blinkies
► BlinkiesYay
► Adians Blinky Collection
► Hekate Button MakerImage Tools
► Dither Me This
Use this tool to reduce the file size of an image… but in a stylish old-school way. It uses dithering to reduce the colors in an image, and places dots to emulate the missing shades. Dithering is used to display images on screens with limited colors palettes — it has the modern advantage of making web pages load faster.► Dithermark
Do you love pixel art, needlepoint or retro video games? Dithermark uses the magic of image dithering algorithms to let you easily achieve a similar effect using your own photos, right in your browser.► Online Image Editor
The Free Online Image Editor lets you Resize or Crop all (animated gif) images, Merge, Blend and Overlay Images, Add Text with your own fonts to an (animated) image, and much more!► Imgur
Imgur is an online image host. Simply upload your photos, copy the image links, and use them on your site.► Gif Maker
Gif Maker allows you to create animated gifs, slideshows, and video animations with music online freely and easily, no registration required.► EZGif
Ezgif.com is a simple, free online GIF maker and toolset for basic animated image editing.
Here you can create, edit and convert GIF, APNG, WebP, MNG and AVIF animations.► Wobble Paint
Wobble Paint allows you to create animated drawings that ‘wobble’.► Cloud Paint
Cloud Paint is an online art and image editing tool for both painting and photo editing that functions similarly to Adobe Photoshop.► JS Paint
JS Paint is a clone of the old Windows 98 paint program. You can draw and download your creations.► Photopea
Photopea is a free online photo editor that works similarly to Adobe Photoshop.► Piskel
Piskel is a free online pixel art creation tool.► LoSpec Pixel Art Scaler
This tools helps you scale pixel art to bigger sizes without filtering for game development, social media or personal uses.► PixilArt
A safe social platform for everyone. Create beautiful pixel art, share, collaborate, shop and more!► Pixlr
The suite for all your creative photo and design editing needs directly in your web browser, on your smartphone, or on your desktop, all free. The only limit is your imagination!► Remove BG
No matter if you want to make a background transparent (PNG), add a white background to a photo, extract or isolate the subject, or get the cutout of a photo – you can do all this and more with remove.bg► Patternico
Create cool pattern images and backgrounds!► ACA Button Maker
A handy 80x15px button maker you can customize for all of your tiny button-making needs.Text Generators
► CoolText
► Flaming Text
► Giga Glitters
► Tell.wtf
► Patorjk Gradient Text
► ASCII Generator
► ACMR Label MakerWidgets
► Status.Cafe
Status Cafe is a micro blog that you can embed on your website. If you know how to use RSS/Atom feeds, Status Cafe uses Atom so you can follow your favorite feeds, and others can subscribe to yours as well.► iMood
A simple mood widget you can embed on your website to share with others how you are feeling.► WebNeko
A cute cat widget that chases your cursor around your web page.► Microblog
A script you can use on a web page to create your own microblog that is RSS reader compatible.► MF2FM
Fun Javascript and DHTML effects for your page. Give your page some extra pizazz!► Zonelets
Zonelets is a simple, free blogging engine for everyone.► Dantendo DSI
Interactive bio widget that looks like a Nintendo DSI console.Adoptables
► Final Outpost
► Dragon Cave
► Gify Pet
► Tamanotchi World
► PokeFarm
► Chicken Smoothie
► Animal Crossing Pixel Friends
► Wobble TownGet Connected: Make it Social.
You’ve put a ton of love and effort into your website, but one question still remains; how the heck is anyone going to find it? How is anyone going to see what you’ve made? On social media, there are algorithms that sometimes boost your content to be seen in front of other people. But here, on the Sovereign Web it works a bit differently. We don’t have algorithms here or hashtags that will launch our content in front of the eyes of other people. And let’s face it, while having a personal website is fun on its own, it can get a little bit lonely if it’s never seen.
Don’t worry, I’ve got you. Below are a list of proven strategies to help you get your website out there and seen by others.
Webrings
A webring is a collection of websites linked together in a circular structure, like a ring. Each site in the ring includes a small widget or set of buttons (usually at the bottom of the page) that lets visitors navigate to the next, previous, or a random site in the ring — or view a central hub listing all member sites.
Webrings were super popular in the late 1990s and early 2000s — especially on personal sites, fan pages, and blogs — before social media became dominant. They helped people discover like-minded creators, niche communities, and hidden gems across the web. On social media such as Facebook for example, groups are generally used to bring people together over common interests or niches. Similarly, a webring’s purpose is the same. They’re generally focused around a specific interest or niche, and they link together a bunch of websites that share that common interest/niche.
Webrings are one of the many great ways to create a sense of community without the need for centralized platforms.
Join A Webring
► Brisray’s Webring List
THE BEST webring archive I’ve stumbled across to date is Brisray’s. He keeps a fantastic archive and is very active with seeing which webrings are kept up to date and which webrings are no longer active. A highly valued resource and will likely be your #1 go-to for finding active webrings to join.► Free Speech Webring (I host this webring)
This webring is dedicated to everyone who supports free speech. We come from all walks of life and believe everyone deserves a voice, even the unpopular opinions!► The Book Ring (I host this webring)
This webring is for bibliophiles everywhere. Whether you love reading OR writing fiction, fan finction, classic literature, poetry, manga, and everything bookish inbetween, this webring welcomes you.Make A Webring
If you have the motivation to actively maintain a webring, I highly recommend making one! Making a webring and hosting it on your site is not only a fantastic way to bring more visits to your site, but also meet and connect with people who share the same interests as you.
► Webri.ng
This platform gives creators the ability to create, and manage their own webrings, without needing to worry about the difficulties of developing the platform, or the complexities of hosting their own infrastructure.
They provide a simple control panel that webring owners can use to add sites to their webring, and provide useful, short links that they can give to users to navigate their webring. A fantastic choice if you’re hosting a webring for the first time!► OnionRing
This is what I currently use to host my webrings. OnionRing is a self-hosted webring system that’s composed of a few javascript files you download, edit, and upload to your website. It is very simple to maintain and a great solution if you prefer to self-host your creations.► Netlify Webring
From my understanding (I’ve never used this webring system before), the Netlify Webring system is a serverless webring manager you can host on Netlify. Instead of running a complex server, everything works using Netlify Functions (a.k.a. AWS Lambda behind the scenes) and JSON data files.► Maxboeck Webring Starter Kit
A lightweight, GitHub‑based webring template for static websites (built with Eleventy or other static site generators). It uses a simple JSON file and a small JavaScript embed to create navigation between sites. This system may be a bit complicated for those unfamiliar with Github, but it is a fairly popular webring system.► RainRing
A no-frills, community-led static webring platform (hosted on Demon‑Sushi.com) using a JSON list of sites, simple JS for nav logic, and an embeddable banner snippet. It supports site-to-site hopping via “Prev/Next/Random” links, and membership is handled through edits to the shared repo.► Viatrix / Cuddler Ring
Viatrix provides a user-friendly tutorial specifically for creators using Netlify and Git-based workflows to build a lightweight, modern webring. It mirrors systems like Brob’s Netlify Webring but includes more guidance for deploying and managing your own ring as you grow.► Intro to Webrings
Brisray offers some fantastic information, resources, and even more webring systems you can try.Directories & Cliques
Many webrings have their own members directory, but not every directory has a webring. Standalone website directories are another great way to discover cool websites, gain organic visitors to your website, and easily find webmasters with similar interests.
Alternatively, if you’re artistically inclined, you might be interested in joining or even starting a clique! Cliques are a sort of club in which each member creates a unique button centered around a specific theme. It’s common place with personal independent websites to partake in these cliques as it’s just a really fun, creative way to share other people’s websites and get discovered.
Join A Directory
► Big List of Personal Websites
A fairly large list featuring a variety of personal websites. You can also request to add your own to it!► Indieseek
A small human curated, searchable, directory of web links to both websites and to individual web pages. They try and list pages that are informative, fun, classic and useful.► Gossip’s Web
A directory of handmade webpages.► Link Lane
A regularly maintained directory of personal websites and blogs. Well established, has been around since 2004!► iWebThings
A curated directory of indie and non-commercial websites by Joe Jenett.► Non-Profit Bloggers
This directory provides a space for people who find joy in writing to share their blogs.► Ooh Directory
A place to find good blogs that interest you. Explore the categories, search blog details, flip through random blogs, or submit your own blog to the directory.► Personalsit.es
This site was built to share and revel in each others’ personal sites. You can submit your personal website to this directory by opening a pull request in their Github. If you have never used Github, pull requests may be a bit confusing.► 1MB Club
A growing collection/directory of performance-focused web pages weighing less than 1 megabyte.Join A Clique
► Teeny Towers
Teeny Towers is an ever-growing residential and commercial building where you can ‘build’ your own rooms and swap with other builders to add to your tower.► Sticker Sheet Club
The Sticker Sheet Club is a little clique where you make some small pixel stickers, collect stickers from others, and display them in a sticker sheet table!► Afternoon Tea
This is a pixel club tribute to Teahouse MB, a kawaii pixel art forum that no longer exists. Teahouse MB provided a teacup template for folks to create their own unique teacup designs. Artists would then allow a limited number of people to collect the design on a first-come-first-serve basis, usually limiting it to the first 10-20 people who posted on the thread.► Charm Bracelets Club
Welcome to a pixel-trading club (also known as a pixel clique) where you can design your own bracelet charms! The idea is to exchange charms with other members and display these charm bracelets on your website, joined together on a line.► Objets
Objets is a art exchange clique inspired by caboodles cases that were popular in the 90s. make ojects, collect objets, put in box, find new sites, make new friends, have an improved quality of life.► Compact Crayons
A simple crayon-collecting pixel clique.► Jar Jams
The original Jar Heads Club was started by Lexi, a forum user on the dollz forum TheDollersDen in early 2004. The pixel jars started as a weekly pixel challenge on the forum, but it didnt take long until the weekly event grow into its own club. This club serves as a homage to the original club.► Pocket Town
Welcome to pocket town! a cute little link exchange in the form of a city community ^^ Here at pocket town you can create your own mini town linking all your favorite places to visit! Just create your own home/store/building and start building your town! Remember, the only way to grow your town is through linking! spread the word and get friends to join! its a free link and a great way to get hits!► “Hold My Hand!” Pixel Club
A super cute pixel art clique for creating hand-holding characters.► The Kindness Rocks Pixel Project
Inspired by the real Kindess Rocks Project, this pixel trading club is a club to make and share “painted” rocks.► Lava Lounge
Welcome to the Lava Lounge, a pixel club where you create your own Lava Lamp, collect Lava Lamps from other creators, and display your collection in your own personal Lava Lounge on your website.► Kitty Friends Pixel Club
The site owner created this club in 2008 but it has since languished. It has been revived by Divergent Rays.► Fizzy Vendor
A cute vending machine themed pixel club.► Pixelbill
Pixelbills are handmade little pixelart playbills for you to add to your site! They can be based on an existsing piece of theater, or a new made up show just for fun. Embrace the theater kid phase (whether you had one as a kid or not)!► RPG Club
Welcome, weary travelers, to the RPG Club! This is a realm where adventurers, mages, artists, and heroes unite in their shared love for games and pixelated wonders. Enjoy exploring the digital realms meticulously crafted by the esteemed club members. Their enchanting sites eagerly await your presence!► Bunny Garden
Welcome to the Bunny Garden, a pixel club of bunnies! Each bunny is linked to its creator.► Pill Pals
A cute pixel clique themed around cute pills.► The Quilting Bee
The * Quilting * Bee (aka q*bee) was an interactive pixel art community that was founded on February 18th, 2000 and closed in 2014. “It was the first and original trading club dedicated to trading pixel web graphics between members. Members could collect and trade pixel patches to ‘sew’ onto their ‘quilts’” (seen above), which were akin to visual directories of creative webmasters, in addition to participating in many other activities to motivate and advance their pixeling skills, including monthly pixel art challenges. This pixel clique has been revived by lostletters.Small Search Engines
Many folks are over Google. Google has a lot of privacy invasive practices and monopolizes off of private user data. And truth be told, most personal websites are probably deeply buried in Google’s algorithms anyways. Below you’ll find independent search engines designed to help you discover others who make websites for fun. You can also submit your website to these search engines so more people can discover you!
► Wiby
The Wiby search engine is building a web of pages as it was in the earlier days of the internet. In addition, Wiby helps vintage computers to continue browsing the web, as pages indexed are more suitable for their performance.► Marginalia
Marginalia is a niche search tool focused on non-commercial content, and attempts to show you sites you perhaps weren’t aware of in favor of the sort of sites you probably already knew existed. Marginalia also features a neat website explorer where you can randomly discover other websites that are part of the Small Web.► Search My Site
Search My Site is a niche search, focusing on the “indie web” or “small web” or “digital gardens“, i.e. non-commercial content, primarily personal and independent websites.► Kagi Small Web
Kagi’s mission is to humanize the web and this project is built to help surface recent results from the small web – people and stories that typically zip by in legacy search engines. This search engine is built like a blog roll that allows users to stumble upon and explore various websites and blog posts across the small web.Other Ways To Get Connected
The Sovereign Web and similar movements are very decentralized movements, and with decentralization means we need to get a bit creative in how we discover each other and be discovered. A lot of people, when they first come to these movements, quickly end up feeling isolated because they don’t know how to get seen. It is a very different structure here than on modern social media, where algorithms largely distribute content. But if you’re willing to take the time to deploy the methods mentioned in this section, I promise you’ll start noticing a difference very quickly.
Here are a few more ways to get connected with others across the independent web.
Add A Guestbook
Guestbooks are a little old fashioned, but they are still widely used on personal websites and enables visitors to interact with you and leave a message.
► Atabook
Atabook provides a simple, free guestbook service. You can create a guestbook for your website, blog, or social media profile in minutes.► Smart Guestbook
Smart Guestbook provides a free guestbook service you can use for your website► YourWorldOfText
An infinite text wall that can be edited by your site visitors. To implement on your website, use an iframe. This makes for a really fun alternative to a guestbook.Add A Chat Box
If you want to be able to chat live with folks currently visiting your website, adding a chatbox is a great way to encourage more interaction! Placing one of these on your index page will land you the most interaction.
► Chattable
Chattable by Xobyte is a FREE, fully customizable, live chat tool for your website.Add a Button Wall Page
Most people who own a personal website also have a 88px x 31px site button for others to share. If you don’t know what a site button is, below is my personal site button as an example. (tip: click my button to be redirected to my button wall page for inspiration!)
If you have your own website, you absolutely should consider make a button for it as well and include a text area with a hyperlinked image code. This will enable people to share your button on their websites!
And this brings me to the topic of button walls. If you own a personal website, you should consider making a button wall. A button wall is simply a page where you share other people’s buttons. If you stumble across some sites you really like, add their buttons to your button wall! You can even encourage reciprocation by leaving a comment in their guestbook letting them know you love their site and you added their button to your button wall. Sometimes – not always – but sometimes, people will appreciate the gesture and add your button to their button wall as well! And Voila! You’ve just made a neighbor! Try not to take it personally if others don’t reciprocate the gesture though. Some will, some won’t, and that’s just how it goes.
► Datakra.sh Button Maker
If you’re ready to create your very own site button, here is a fantastic free 88x31px button maker.► sadgrl’s Button Maker
Here is another great 88x31px button maker, created by sadgrl.► Hekate Button Maker
I found the ease of use for this button maker a bit more difficult, but this is a decent alternative if the other two button makers aren’t to your liking.Be Engaging.
It goes a bit without saying that in order to get visits and engagement to your website, you must also visit other websites and be engaging yourself! Site hop around, discover new personal websites, and leave a comment in people’s guestbook! Many will reciprocate the gesture if you leave a link back to your site in your guestbook post.♥
Another way of being engaging is to join relevant forums and communities you resonate with across the independent web! Interact with posts, and participate in community discussion.
If you’re interested in joining a community within the personal website building niche, below are some great communities worth checking out.
Follow + Create RSS Feeds
If you’re unfamiliar with RSS or ATOM feeds, they are essentially ‘news feeds’, similarly to Facebook news feeds. But unlike Facebook, what you see in your RSS / ATOM feed isn’t limited to only seeing posts from the platform you are on. Instead, you can create feeds from ALL across the internet! So long as a website has their own RSS or ATOM feed, you can subscribe to it and see their latest posts! Pretty cool, eh?
One way to stay engaged and make friends in this decentralized system is to follow RSS feeds from your favorite sites if they have them available. That way you always see your favorite webmasters latest posts!
You can even create your own RSS / ATOM feed so others can follow you. If you’d like to learn more about RSS / ATOM feeds and how to create your own, I made a very comprehensive guide on it below.
Share Your Site
Something important to keep in mind is that if you want your website to be discovered, you have to share it. You have to put it in places that people will discover it in the first place.
Share your website link or your hyperlinked website button everywhere. If you are part of a forum/community, insert your website link/button in your forum signature.
Share your site on social media. If you have a Facebook/X/Instagram/Mastodon/etc. put a link to your website in your profile bio. If you have a 1 page link site, such as a linktr.ee or Carrd, share your website there too.
When you leave guestbook comments on other people’s websites, leave a link to your website in there at the bottom under where you sign your name. You’d be surprised how many folks site hop while visiting other people’s guestbooks!
These are all really great ways to share your website and have it be easily viewable by other people without being spammy. Simply allow yourself to be visible.
Provide Community Service & Resources
What goes around comes around. One golden tip I will leave you with today to conclude this section is that if you want to build consistent organic traffic or even a ‘following’ in this movement, is to be of service to others. What is something you can provide that will help others get their start here? OR What is something you can provide that can help others grow?
You don’t have to break your back and become a hardcore content creator, posting a 129823478234 word essay every single day. But, consider ideas that you can invest a little time into that are made to help other people.Maybe you’re really great at making layouts! There are tons of folks who don’t have a clue about building layouts but want to build a personal website. Making a few pre-made layouts to help people get their start is such a valuable resource.
Or, maybe you’re amazing at making background art! Having a page of backgrounds to offer for free use is another great example of a valuable resource.
Building communities of your own is another valuable resource! Whether that be creating your own webring centered around a specific niche, a directory, or even a resource forum. Being pro-active in building communities to help people connect with each other is incredibly important and valuable.
You could even build a resource website (such as this subdomain!) with in-depth posts such as this one around topics you’re personally knowledgeable in.
There are so many ways to provide community service and resources. ♥ You’ll help others, AND people will return to your website again and again because you have valuable offerings that genuinely help people and keep them coming back, or even sharing your website with other people for those resources! When you create space to help others, ultimately, it becomes not only a win for them, but a win for you as well.
If you like this post, consider bookmarking it for future reference and sharing with others who might find it useful! This page will continue to be updated with more information over time.
If you have any questions or would like to suggest some helpful resources to add to this page, leave a comment! Thanks for reading!
@sovereignweb @personalweb @neocities @webdev @blog @webdesign
2 Mark As Read-----
Source: https://sovereignweb.thecozy.cat/blog/resources/
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#Blog #DigitalFreedom #NekoWeb #Neocities #Personalweb #Personalwebsite #Sovereignweb #Webdev #1
-
Something big is happening in AI — and most people will be blindsided – Fortune
Matt Shumer, co-founder and CEO of OthersideAI. courtesy of OthersideAISomething big is happening in AI — and most people will be blindsided
By Matt Shumer, February 11, 2026, 9:22 AM ET
Matt Shumer is the co-founder and CEO of OthersideAI, an applied AI company building the most advanced autocomplete tools in the world, powered by large-scale AI systems like GPT-3. OthersideAI is the company behind HyperWrite, the leading AI autocomplete Chrome extension for consumers. Previously, while in high school, Matt founded Visos, a startup developing next-generation Virtual Reality software designed for medical use, and FURI, a company aiming to disrupt the sporting goods industry by creating high-performance products and selling them for fair prices.
Think back to February 2020.
A few people were talking about a virus spreading overseas. If someone told you they were stockpiling toilet paper you would have thought they’d been spending too much time on a weird corner of the internet. Then, over the course of about three weeks, the entire world changed.
I think we’re in the “this seems overblown” phase of something much, much bigger than Covid.
I’ve spent six years building an AI startup and investing in the space. I live in this world. And I’m writing this for the people in my life who don’t. I keep giving them the polite, cocktail-party version. Because the honest version sounds like I’ve lost my mind. But the gap between what I’ve been saying and what is actually happening has gotten far too big. The people I care about deserve to hear what is coming, even if it sounds crazy.
I should be clear about something up front: even though I work in AI, I have almost no influence over what’s about to happen, and neither does the vast majority of the industry. The future is being shaped by a remarkably small number of people: a few hundred researchers at a handful of companies… OpenAI, Anthropic, Google, DeepMind, and a few others.
Most of us who work in AI are building on top of foundations we didn’t lay. We’re watching this unfold the same as you… we just happen to be close enough to feel the ground shake first.
But it’s time now. Not in an “eventually we should talk about this” way. In a “this is happening right now and I need you to understand it” way.
I know this is real because it happened to me first
Here’s the thing nobody outside of tech quite understands yet: we’re not making predictions. We’re telling you what already occurred in our own jobs, and warning you that you’re next.
For years, AI had been improving steadily. Then in 2025, new techniques for building these models unlocked a much faster pace of progress. This year, something clicked. Not like a light switch… more like the moment you realize the water has been rising around you and is now at your chest.
I am no longer needed for the actual technical work of my job. I describe what I want built, in plain English, and it just… appears. Not a rough draft I need to fix. The finished thing. I tell the AI what I want, walk away from my computer for four hours, and come back to find the work done. Done well, done better than I would have done it myself, with no corrections needed. A couple of months ago, I was going back and forth with the AI, guiding it, making edits. Now I just describe the outcome and leave.
Let me give you an example so you can understand what this actually looks like in practice. I’ll tell the AI: “I want to build this app. Here’s what it should do, here’s roughly what it should look like. Figure out the user flow, the design, all of it.” And it does. It writes tens of thousands of lines of code. Then, and this is the part that would have been unthinkable a year ago, it opens the app itself. It clicks through the buttons. It tests the features. It uses the app the way a person would. If it doesn’t like how something looks or feels, it goes back and changes it, on its own. It iterates, like a developer would, fixing and refining until it’s satisfied. Only once it has decided the app meets its own standards does it come back to me and say: “It’s ready for you to test.” And when I test it, it’s usually perfect.
I’m not exaggerating. That is what my Monday looked like this week.
I’ve always been early to adopt AI tools. But the last few months have shocked me. These new AI models aren’t incremental improvements. This is a different thing entirely.
The experience that tech workers have had over the past year, of watching AI go from “helpful tool” to “does my job better than I do”, is the experience everyone else is about to have. Law, finance, medicine, accounting, consulting, writing, design, analysis, customer service. Not in 10 years. The people building these systems say one to five years. Some say less. The market was spooked enough this month that it wiped out $1 trillion worth of software value in just a week. And given what I’ve seen in just the last couple of months, I see more disruption, and soon.
“But I tried AI and it wasn’t that good”
If you tried ChatGPT in 2023 or early 2024 and thought “this makes stuff up” or “this isn’t that impressive”, you were right. Those early versions were genuinely limited. They hallucinated. They confidently said things that were nonsense.
The models available today are unrecognizable from what existed even six months ago. The debate about whether AI is “really getting better” or “hitting a wall” — which has been going on for over a year — is over. It’s done. Anyone still making that argument either hasn’t used the current models, has an incentive to downplay what’s happening, or is evaluating based on an experience from 2024 that is no longer relevant. I don’t say that to be dismissive. I say it because the gap between public perception and current reality is now enormous, and that gap is dangerous… because it’s preventing people from preparing.
Part of the problem is that most people are using the free version of AI tools. The free version is over a year behind what paying users have access to. Judging AI based on free-tier ChatGPT is like evaluating the state of smartphones by using a flip phone. The people paying for the best tools, and actually using them daily for real work, know what’s coming.
I think of my friend, who’s a lawyer. I keep telling him to try using AI at his firm, and he keeps finding reasons it won’t work. And I get it. But I’ve had partners at major law firms reach out to me for advice, because they’ve tried the current versions and they see where this is going. One of them, the managing partner at a large firm, spends hours every day using AI. He told me it’s like having a team of associates available instantly. He’s not using it because it’s a toy. He’s using it because it works. And he told me something that stuck with me: every couple of months, it gets significantly more capable for his work. He said if it stays on this trajectory, he expects it’ll be able to do most of what he does before long… and he’s a managing partner with decades of experience. He’s not panicking. But he’s paying very close attention.
Think about what that means for your work.
What this means for your job
I’m going to be direct with you because I think you deserve honesty more than comfort.
Dario Amodei, who is probably the most safety-focused CEO in the AI industry, has publicly predicted that AI will eliminate 50% of entry-level white-collar jobs within one to five years. And many people in the industry think he’s being conservative. Given what the latest models can do, the capability for massive disruption could be here by the end of this year. It’ll take some time to ripple through the economy, but the underlying ability is arriving now.
This is different from every previous wave of automation, and I need you to understand why. AI isn’t replacing one specific skill. It’s a general substitute for cognitive work. It gets better at everything simultaneously. When factories automated, a displaced worker could retrain as an office worker. When the internet disrupted retail, workers moved into logistics or services. But AI doesn’t leave a convenient gap to move into. Whatever you retrain for, it’s improving at that too.
I think the honest answer is that nothing that can be done on a computer is safe in the medium term. If your job happens on a screen (if the core of what you do is reading, writing, analyzing, deciding, communicating through a keyboard) then AI is coming for significant parts of it. The timeline isn’t “someday.” It’s already started.
Eventually, robots will handle physical work too. They’re not quite there yet. But “not quite there yet” in AI terms has a way of becoming “here” faster than anyone expects.
What you should actually do
I’m not writing this to make you feel helpless. I’m writing this because I think the single biggest advantage you can have right now is simply being early. Early to understand it. Early to use it. Early to adapt.
Editor’s Note: Read more online. This is a general AI-supportive post by Matt. And there are many others similar “heads up” posts about AI right now. Keep an eye out for further posts on the AI changes coming. Whatever your views, I recommend keeping up with AI over your own work, or job, society changes, regulations, world impacts, and more. –DrWeb
Continue/Read Original Article Here: Something big is happening in AI — and most people will be blindsided | Fortune
Tags: AI, AI Future, artificial intelligence, Big Changes, Fortune, Heads Up, Jobs Changing, Matt Shumer, Newer Models, OthersideAI, Rapid Developments in AI, Social Impacts, Technology
#AI #AIFuture #artificialIntelligence #BigChanges #Fortune #HeadsUp #JobsChanging #MattShumer #NewerModels #OthersideAI #RapidDevelopmentsInAI #SocialImpacts #Technology -
Something big is happening in AI — and most people will be blindsided – Fortune
Matt Shumer, co-founder and CEO of OthersideAI. courtesy of OthersideAISomething big is happening in AI — and most people will be blindsided
By Matt Shumer, February 11, 2026, 9:22 AM ET
Matt Shumer is the co-founder and CEO of OthersideAI, an applied AI company building the most advanced autocomplete tools in the world, powered by large-scale AI systems like GPT-3. OthersideAI is the company behind HyperWrite, the leading AI autocomplete Chrome extension for consumers. Previously, while in high school, Matt founded Visos, a startup developing next-generation Virtual Reality software designed for medical use, and FURI, a company aiming to disrupt the sporting goods industry by creating high-performance products and selling them for fair prices.
Think back to February 2020.
A few people were talking about a virus spreading overseas. If someone told you they were stockpiling toilet paper you would have thought they’d been spending too much time on a weird corner of the internet. Then, over the course of about three weeks, the entire world changed.
I think we’re in the “this seems overblown” phase of something much, much bigger than Covid.
I’ve spent six years building an AI startup and investing in the space. I live in this world. And I’m writing this for the people in my life who don’t. I keep giving them the polite, cocktail-party version. Because the honest version sounds like I’ve lost my mind. But the gap between what I’ve been saying and what is actually happening has gotten far too big. The people I care about deserve to hear what is coming, even if it sounds crazy.
I should be clear about something up front: even though I work in AI, I have almost no influence over what’s about to happen, and neither does the vast majority of the industry. The future is being shaped by a remarkably small number of people: a few hundred researchers at a handful of companies… OpenAI, Anthropic, Google, DeepMind, and a few others.
Most of us who work in AI are building on top of foundations we didn’t lay. We’re watching this unfold the same as you… we just happen to be close enough to feel the ground shake first.
But it’s time now. Not in an “eventually we should talk about this” way. In a “this is happening right now and I need you to understand it” way.
I know this is real because it happened to me first
Here’s the thing nobody outside of tech quite understands yet: we’re not making predictions. We’re telling you what already occurred in our own jobs, and warning you that you’re next.
For years, AI had been improving steadily. Then in 2025, new techniques for building these models unlocked a much faster pace of progress. This year, something clicked. Not like a light switch… more like the moment you realize the water has been rising around you and is now at your chest.
I am no longer needed for the actual technical work of my job. I describe what I want built, in plain English, and it just… appears. Not a rough draft I need to fix. The finished thing. I tell the AI what I want, walk away from my computer for four hours, and come back to find the work done. Done well, done better than I would have done it myself, with no corrections needed. A couple of months ago, I was going back and forth with the AI, guiding it, making edits. Now I just describe the outcome and leave.
Let me give you an example so you can understand what this actually looks like in practice. I’ll tell the AI: “I want to build this app. Here’s what it should do, here’s roughly what it should look like. Figure out the user flow, the design, all of it.” And it does. It writes tens of thousands of lines of code. Then, and this is the part that would have been unthinkable a year ago, it opens the app itself. It clicks through the buttons. It tests the features. It uses the app the way a person would. If it doesn’t like how something looks or feels, it goes back and changes it, on its own. It iterates, like a developer would, fixing and refining until it’s satisfied. Only once it has decided the app meets its own standards does it come back to me and say: “It’s ready for you to test.” And when I test it, it’s usually perfect.
I’m not exaggerating. That is what my Monday looked like this week.
I’ve always been early to adopt AI tools. But the last few months have shocked me. These new AI models aren’t incremental improvements. This is a different thing entirely.
The experience that tech workers have had over the past year, of watching AI go from “helpful tool” to “does my job better than I do”, is the experience everyone else is about to have. Law, finance, medicine, accounting, consulting, writing, design, analysis, customer service. Not in 10 years. The people building these systems say one to five years. Some say less. The market was spooked enough this month that it wiped out $1 trillion worth of software value in just a week. And given what I’ve seen in just the last couple of months, I see more disruption, and soon.
“But I tried AI and it wasn’t that good”
If you tried ChatGPT in 2023 or early 2024 and thought “this makes stuff up” or “this isn’t that impressive”, you were right. Those early versions were genuinely limited. They hallucinated. They confidently said things that were nonsense.
The models available today are unrecognizable from what existed even six months ago. The debate about whether AI is “really getting better” or “hitting a wall” — which has been going on for over a year — is over. It’s done. Anyone still making that argument either hasn’t used the current models, has an incentive to downplay what’s happening, or is evaluating based on an experience from 2024 that is no longer relevant. I don’t say that to be dismissive. I say it because the gap between public perception and current reality is now enormous, and that gap is dangerous… because it’s preventing people from preparing.
Part of the problem is that most people are using the free version of AI tools. The free version is over a year behind what paying users have access to. Judging AI based on free-tier ChatGPT is like evaluating the state of smartphones by using a flip phone. The people paying for the best tools, and actually using them daily for real work, know what’s coming.
I think of my friend, who’s a lawyer. I keep telling him to try using AI at his firm, and he keeps finding reasons it won’t work. And I get it. But I’ve had partners at major law firms reach out to me for advice, because they’ve tried the current versions and they see where this is going. One of them, the managing partner at a large firm, spends hours every day using AI. He told me it’s like having a team of associates available instantly. He’s not using it because it’s a toy. He’s using it because it works. And he told me something that stuck with me: every couple of months, it gets significantly more capable for his work. He said if it stays on this trajectory, he expects it’ll be able to do most of what he does before long… and he’s a managing partner with decades of experience. He’s not panicking. But he’s paying very close attention.
Think about what that means for your work.
What this means for your job
I’m going to be direct with you because I think you deserve honesty more than comfort.
Dario Amodei, who is probably the most safety-focused CEO in the AI industry, has publicly predicted that AI will eliminate 50% of entry-level white-collar jobs within one to five years. And many people in the industry think he’s being conservative. Given what the latest models can do, the capability for massive disruption could be here by the end of this year. It’ll take some time to ripple through the economy, but the underlying ability is arriving now.
This is different from every previous wave of automation, and I need you to understand why. AI isn’t replacing one specific skill. It’s a general substitute for cognitive work. It gets better at everything simultaneously. When factories automated, a displaced worker could retrain as an office worker. When the internet disrupted retail, workers moved into logistics or services. But AI doesn’t leave a convenient gap to move into. Whatever you retrain for, it’s improving at that too.
I think the honest answer is that nothing that can be done on a computer is safe in the medium term. If your job happens on a screen (if the core of what you do is reading, writing, analyzing, deciding, communicating through a keyboard) then AI is coming for significant parts of it. The timeline isn’t “someday.” It’s already started.
Eventually, robots will handle physical work too. They’re not quite there yet. But “not quite there yet” in AI terms has a way of becoming “here” faster than anyone expects.
What you should actually do
I’m not writing this to make you feel helpless. I’m writing this because I think the single biggest advantage you can have right now is simply being early. Early to understand it. Early to use it. Early to adapt.
Editor’s Note: Read more online. This is a general AI-supportive post by Matt. And there are many others similar “heads up” posts about AI right now. Keep an eye out for further posts on the AI changes coming. Whatever your views, I recommend keeping up with AI over your own work, or job, society changes, regulations, world impacts, and more. –DrWeb
Continue/Read Original Article Here: Something big is happening in AI — and most people will be blindsided | Fortune
Tags: AI, AI Future, artificial intelligence, Big Changes, Fortune, Heads Up, Jobs Changing, Matt Shumer, Newer Models, OthersideAI, Rapid Developments in AI, Social Impacts, Technology
#AI #AIFuture #artificialIntelligence #BigChanges #Fortune #HeadsUp #JobsChanging #MattShumer #NewerModels #OthersideAI #RapidDevelopmentsInAI #SocialImpacts #Technology -
Something big is happening in AI — and most people will be blindsided – Fortune
Matt Shumer, co-founder and CEO of OthersideAI. courtesy of OthersideAISomething big is happening in AI — and most people will be blindsided
By Matt Shumer, February 11, 2026, 9:22 AM ET
Matt Shumer is the co-founder and CEO of OthersideAI, an applied AI company building the most advanced autocomplete tools in the world, powered by large-scale AI systems like GPT-3. OthersideAI is the company behind HyperWrite, the leading AI autocomplete Chrome extension for consumers. Previously, while in high school, Matt founded Visos, a startup developing next-generation Virtual Reality software designed for medical use, and FURI, a company aiming to disrupt the sporting goods industry by creating high-performance products and selling them for fair prices.
Think back to February 2020.
A few people were talking about a virus spreading overseas. If someone told you they were stockpiling toilet paper you would have thought they’d been spending too much time on a weird corner of the internet. Then, over the course of about three weeks, the entire world changed.
I think we’re in the “this seems overblown” phase of something much, much bigger than Covid.
I’ve spent six years building an AI startup and investing in the space. I live in this world. And I’m writing this for the people in my life who don’t. I keep giving them the polite, cocktail-party version. Because the honest version sounds like I’ve lost my mind. But the gap between what I’ve been saying and what is actually happening has gotten far too big. The people I care about deserve to hear what is coming, even if it sounds crazy.
I should be clear about something up front: even though I work in AI, I have almost no influence over what’s about to happen, and neither does the vast majority of the industry. The future is being shaped by a remarkably small number of people: a few hundred researchers at a handful of companies… OpenAI, Anthropic, Google, DeepMind, and a few others.
Most of us who work in AI are building on top of foundations we didn’t lay. We’re watching this unfold the same as you… we just happen to be close enough to feel the ground shake first.
But it’s time now. Not in an “eventually we should talk about this” way. In a “this is happening right now and I need you to understand it” way.
I know this is real because it happened to me first
Here’s the thing nobody outside of tech quite understands yet: we’re not making predictions. We’re telling you what already occurred in our own jobs, and warning you that you’re next.
For years, AI had been improving steadily. Then in 2025, new techniques for building these models unlocked a much faster pace of progress. This year, something clicked. Not like a light switch… more like the moment you realize the water has been rising around you and is now at your chest.
I am no longer needed for the actual technical work of my job. I describe what I want built, in plain English, and it just… appears. Not a rough draft I need to fix. The finished thing. I tell the AI what I want, walk away from my computer for four hours, and come back to find the work done. Done well, done better than I would have done it myself, with no corrections needed. A couple of months ago, I was going back and forth with the AI, guiding it, making edits. Now I just describe the outcome and leave.
Let me give you an example so you can understand what this actually looks like in practice. I’ll tell the AI: “I want to build this app. Here’s what it should do, here’s roughly what it should look like. Figure out the user flow, the design, all of it.” And it does. It writes tens of thousands of lines of code. Then, and this is the part that would have been unthinkable a year ago, it opens the app itself. It clicks through the buttons. It tests the features. It uses the app the way a person would. If it doesn’t like how something looks or feels, it goes back and changes it, on its own. It iterates, like a developer would, fixing and refining until it’s satisfied. Only once it has decided the app meets its own standards does it come back to me and say: “It’s ready for you to test.” And when I test it, it’s usually perfect.
I’m not exaggerating. That is what my Monday looked like this week.
I’ve always been early to adopt AI tools. But the last few months have shocked me. These new AI models aren’t incremental improvements. This is a different thing entirely.
The experience that tech workers have had over the past year, of watching AI go from “helpful tool” to “does my job better than I do”, is the experience everyone else is about to have. Law, finance, medicine, accounting, consulting, writing, design, analysis, customer service. Not in 10 years. The people building these systems say one to five years. Some say less. The market was spooked enough this month that it wiped out $1 trillion worth of software value in just a week. And given what I’ve seen in just the last couple of months, I see more disruption, and soon.
“But I tried AI and it wasn’t that good”
If you tried ChatGPT in 2023 or early 2024 and thought “this makes stuff up” or “this isn’t that impressive”, you were right. Those early versions were genuinely limited. They hallucinated. They confidently said things that were nonsense.
The models available today are unrecognizable from what existed even six months ago. The debate about whether AI is “really getting better” or “hitting a wall” — which has been going on for over a year — is over. It’s done. Anyone still making that argument either hasn’t used the current models, has an incentive to downplay what’s happening, or is evaluating based on an experience from 2024 that is no longer relevant. I don’t say that to be dismissive. I say it because the gap between public perception and current reality is now enormous, and that gap is dangerous… because it’s preventing people from preparing.
Part of the problem is that most people are using the free version of AI tools. The free version is over a year behind what paying users have access to. Judging AI based on free-tier ChatGPT is like evaluating the state of smartphones by using a flip phone. The people paying for the best tools, and actually using them daily for real work, know what’s coming.
I think of my friend, who’s a lawyer. I keep telling him to try using AI at his firm, and he keeps finding reasons it won’t work. And I get it. But I’ve had partners at major law firms reach out to me for advice, because they’ve tried the current versions and they see where this is going. One of them, the managing partner at a large firm, spends hours every day using AI. He told me it’s like having a team of associates available instantly. He’s not using it because it’s a toy. He’s using it because it works. And he told me something that stuck with me: every couple of months, it gets significantly more capable for his work. He said if it stays on this trajectory, he expects it’ll be able to do most of what he does before long… and he’s a managing partner with decades of experience. He’s not panicking. But he’s paying very close attention.
Think about what that means for your work.
What this means for your job
I’m going to be direct with you because I think you deserve honesty more than comfort.
Dario Amodei, who is probably the most safety-focused CEO in the AI industry, has publicly predicted that AI will eliminate 50% of entry-level white-collar jobs within one to five years. And many people in the industry think he’s being conservative. Given what the latest models can do, the capability for massive disruption could be here by the end of this year. It’ll take some time to ripple through the economy, but the underlying ability is arriving now.
This is different from every previous wave of automation, and I need you to understand why. AI isn’t replacing one specific skill. It’s a general substitute for cognitive work. It gets better at everything simultaneously. When factories automated, a displaced worker could retrain as an office worker. When the internet disrupted retail, workers moved into logistics or services. But AI doesn’t leave a convenient gap to move into. Whatever you retrain for, it’s improving at that too.
I think the honest answer is that nothing that can be done on a computer is safe in the medium term. If your job happens on a screen (if the core of what you do is reading, writing, analyzing, deciding, communicating through a keyboard) then AI is coming for significant parts of it. The timeline isn’t “someday.” It’s already started.
Eventually, robots will handle physical work too. They’re not quite there yet. But “not quite there yet” in AI terms has a way of becoming “here” faster than anyone expects.
What you should actually do
I’m not writing this to make you feel helpless. I’m writing this because I think the single biggest advantage you can have right now is simply being early. Early to understand it. Early to use it. Early to adapt.
Editor’s Note: Read more online. This is a general AI-supportive post by Matt. And there are many others similar “heads up” posts about AI right now. Keep an eye out for further posts on the AI changes coming. Whatever your views, I recommend keeping up with AI over your own work, or job, society changes, regulations, world impacts, and more. –DrWeb
Continue/Read Original Article Here: Something big is happening in AI — and most people will be blindsided | Fortune
Tags: AI, AI Future, artificial intelligence, Big Changes, Fortune, Heads Up, Jobs Changing, Matt Shumer, Newer Models, OthersideAI, Rapid Developments in AI, Social Impacts, Technology
#AI #AIFuture #artificialIntelligence #BigChanges #Fortune #HeadsUp #JobsChanging #MattShumer #NewerModels #OthersideAI #RapidDevelopmentsInAI #SocialImpacts #Technology -
Something big is happening in AI — and most people will be blindsided – Fortune
Matt Shumer, co-founder and CEO of OthersideAI. courtesy of OthersideAISomething big is happening in AI — and most people will be blindsided
By Matt Shumer, February 11, 2026, 9:22 AM ET
Matt Shumer is the co-founder and CEO of OthersideAI, an applied AI company building the most advanced autocomplete tools in the world, powered by large-scale AI systems like GPT-3. OthersideAI is the company behind HyperWrite, the leading AI autocomplete Chrome extension for consumers. Previously, while in high school, Matt founded Visos, a startup developing next-generation Virtual Reality software designed for medical use, and FURI, a company aiming to disrupt the sporting goods industry by creating high-performance products and selling them for fair prices.
Think back to February 2020.
A few people were talking about a virus spreading overseas. If someone told you they were stockpiling toilet paper you would have thought they’d been spending too much time on a weird corner of the internet. Then, over the course of about three weeks, the entire world changed.
I think we’re in the “this seems overblown” phase of something much, much bigger than Covid.
I’ve spent six years building an AI startup and investing in the space. I live in this world. And I’m writing this for the people in my life who don’t. I keep giving them the polite, cocktail-party version. Because the honest version sounds like I’ve lost my mind. But the gap between what I’ve been saying and what is actually happening has gotten far too big. The people I care about deserve to hear what is coming, even if it sounds crazy.
I should be clear about something up front: even though I work in AI, I have almost no influence over what’s about to happen, and neither does the vast majority of the industry. The future is being shaped by a remarkably small number of people: a few hundred researchers at a handful of companies… OpenAI, Anthropic, Google, DeepMind, and a few others.
Most of us who work in AI are building on top of foundations we didn’t lay. We’re watching this unfold the same as you… we just happen to be close enough to feel the ground shake first.
But it’s time now. Not in an “eventually we should talk about this” way. In a “this is happening right now and I need you to understand it” way.
I know this is real because it happened to me first
Here’s the thing nobody outside of tech quite understands yet: we’re not making predictions. We’re telling you what already occurred in our own jobs, and warning you that you’re next.
For years, AI had been improving steadily. Then in 2025, new techniques for building these models unlocked a much faster pace of progress. This year, something clicked. Not like a light switch… more like the moment you realize the water has been rising around you and is now at your chest.
I am no longer needed for the actual technical work of my job. I describe what I want built, in plain English, and it just… appears. Not a rough draft I need to fix. The finished thing. I tell the AI what I want, walk away from my computer for four hours, and come back to find the work done. Done well, done better than I would have done it myself, with no corrections needed. A couple of months ago, I was going back and forth with the AI, guiding it, making edits. Now I just describe the outcome and leave.
Let me give you an example so you can understand what this actually looks like in practice. I’ll tell the AI: “I want to build this app. Here’s what it should do, here’s roughly what it should look like. Figure out the user flow, the design, all of it.” And it does. It writes tens of thousands of lines of code. Then, and this is the part that would have been unthinkable a year ago, it opens the app itself. It clicks through the buttons. It tests the features. It uses the app the way a person would. If it doesn’t like how something looks or feels, it goes back and changes it, on its own. It iterates, like a developer would, fixing and refining until it’s satisfied. Only once it has decided the app meets its own standards does it come back to me and say: “It’s ready for you to test.” And when I test it, it’s usually perfect.
I’m not exaggerating. That is what my Monday looked like this week.
I’ve always been early to adopt AI tools. But the last few months have shocked me. These new AI models aren’t incremental improvements. This is a different thing entirely.
The experience that tech workers have had over the past year, of watching AI go from “helpful tool” to “does my job better than I do”, is the experience everyone else is about to have. Law, finance, medicine, accounting, consulting, writing, design, analysis, customer service. Not in 10 years. The people building these systems say one to five years. Some say less. The market was spooked enough this month that it wiped out $1 trillion worth of software value in just a week. And given what I’ve seen in just the last couple of months, I see more disruption, and soon.
“But I tried AI and it wasn’t that good”
If you tried ChatGPT in 2023 or early 2024 and thought “this makes stuff up” or “this isn’t that impressive”, you were right. Those early versions were genuinely limited. They hallucinated. They confidently said things that were nonsense.
The models available today are unrecognizable from what existed even six months ago. The debate about whether AI is “really getting better” or “hitting a wall” — which has been going on for over a year — is over. It’s done. Anyone still making that argument either hasn’t used the current models, has an incentive to downplay what’s happening, or is evaluating based on an experience from 2024 that is no longer relevant. I don’t say that to be dismissive. I say it because the gap between public perception and current reality is now enormous, and that gap is dangerous… because it’s preventing people from preparing.
Part of the problem is that most people are using the free version of AI tools. The free version is over a year behind what paying users have access to. Judging AI based on free-tier ChatGPT is like evaluating the state of smartphones by using a flip phone. The people paying for the best tools, and actually using them daily for real work, know what’s coming.
I think of my friend, who’s a lawyer. I keep telling him to try using AI at his firm, and he keeps finding reasons it won’t work. And I get it. But I’ve had partners at major law firms reach out to me for advice, because they’ve tried the current versions and they see where this is going. One of them, the managing partner at a large firm, spends hours every day using AI. He told me it’s like having a team of associates available instantly. He’s not using it because it’s a toy. He’s using it because it works. And he told me something that stuck with me: every couple of months, it gets significantly more capable for his work. He said if it stays on this trajectory, he expects it’ll be able to do most of what he does before long… and he’s a managing partner with decades of experience. He’s not panicking. But he’s paying very close attention.
Think about what that means for your work.
What this means for your job
I’m going to be direct with you because I think you deserve honesty more than comfort.
Dario Amodei, who is probably the most safety-focused CEO in the AI industry, has publicly predicted that AI will eliminate 50% of entry-level white-collar jobs within one to five years. And many people in the industry think he’s being conservative. Given what the latest models can do, the capability for massive disruption could be here by the end of this year. It’ll take some time to ripple through the economy, but the underlying ability is arriving now.
This is different from every previous wave of automation, and I need you to understand why. AI isn’t replacing one specific skill. It’s a general substitute for cognitive work. It gets better at everything simultaneously. When factories automated, a displaced worker could retrain as an office worker. When the internet disrupted retail, workers moved into logistics or services. But AI doesn’t leave a convenient gap to move into. Whatever you retrain for, it’s improving at that too.
I think the honest answer is that nothing that can be done on a computer is safe in the medium term. If your job happens on a screen (if the core of what you do is reading, writing, analyzing, deciding, communicating through a keyboard) then AI is coming for significant parts of it. The timeline isn’t “someday.” It’s already started.
Eventually, robots will handle physical work too. They’re not quite there yet. But “not quite there yet” in AI terms has a way of becoming “here” faster than anyone expects.
What you should actually do
I’m not writing this to make you feel helpless. I’m writing this because I think the single biggest advantage you can have right now is simply being early. Early to understand it. Early to use it. Early to adapt.
Editor’s Note: Read more online. This is a general AI-supportive post by Matt. And there are many others similar “heads up” posts about AI right now. Keep an eye out for further posts on the AI changes coming. Whatever your views, I recommend keeping up with AI over your own work, or job, society changes, regulations, world impacts, and more. –DrWeb
Continue/Read Original Article Here: Something big is happening in AI — and most people will be blindsided | Fortune
Tags: AI, AI Future, artificial intelligence, Big Changes, Fortune, Heads Up, Jobs Changing, Matt Shumer, Newer Models, OthersideAI, Rapid Developments in AI, Social Impacts, Technology
#AI #AIFuture #artificialIntelligence #BigChanges #Fortune #HeadsUp #JobsChanging #MattShumer #NewerModels #OthersideAI #RapidDevelopmentsInAI #SocialImpacts #Technology -
Another very good post on the backsliding of LGBTQ+ rights. A lot of the commentary on this is US centric for obvious reasons, but we are absolutely kidding ourselves if we assume that progressive parties around the world will not jump to the conclusion that throwing trans people under the buss will save them. I’m not sure what I could possibly write about on this subject that hasn’t already been written, and calling what I currently have here / Substack a platform would definitely be an overstatement, but I’ll try to think of something. Planned Action for LGBTQ+ & Allies in Response to Democrats Capitulating on Trans Rights https://open.substack.com/pub/juliaserano/p/planned-action-for-lgbtq-and-allies?r=4m0f50&utm_campaign=post&utm_medium=web Once you're done looking at that, I'd appreciate it if you could check out my Substack, and I'd appreciate it even more if you could consider subscribing, which costs nothing but gives my ego a boost, as well as sharing, which inflates my ego to medically implausible proportions. I haven't written about this issue yet, but you can certainly expect a UK themed take on this issue on December Third. I'll also be writing about my experience moving out as a blind person, accessible appliance recommendations / guides, in addition to my usual mostly incoherent ramblings about whatever topic / topics happen to hold my interest at any given moment. You can find it here: https://hailymerry.substack.com/ #trans #LGBT #USPOL #queer #backsliding
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7 books to get to know me (fiction) — or more specifically, the top 7 influences on the #scifi I've started writing!
— Invisible Cities by Italo Calvino
— The Dispossessed by Ursula Le Guin
— Stories of Your Life and Others by Ted Chiang
— Red Mars by Kim Stanley Robinson
— Dune by Frank Herbert
— The Blind Assassin by Margaret Atwood
— Labyrinths by Jorge Luis Borges#7Books #books #fiction #sciencefiction #speculativefiction #writing #writer #utopia #utopianfiction
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Two final research group meetings on this, the last day of the #IETF116 meeting in Yokohama.
Starting at 09:30 JST, the Crypto Forum Research Group has a discussion on Guidelines for writing cryptography specifications plus updates on key blinding for signature schemes, RSA Blind Signatures with Public Metadata, VDAFs, and more https://datatracker.ietf.org/meeting/116/materials/agenda-116-cfrg-04
Also at 09:30, the Human Rights Protocol Considerations group has talks by Micah Lee on "Hack Leaks and revelations" and by Leah Rosenbloom on "Cryptography for grassroots organizing", plus new work on Intimate Partner Violence Digital Considerations https://datatracker.ietf.org/meeting/116/materials/agenda-116-hrpc-00
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A Walk Down Buray Avenue
September 12, 2021
It was just past midday on Sunday when I decided to walk home, the hesitant sun peeking through thick, dark clouds like Peter Pan playing hide and seek. As I passed by the White House, where the Divine Master once lived, I couldn’t help but feel a quiet sadness. The place looked old and neglected, though here and there were traces of unfinished repairs, as if someone had tried to restore it but lost interest along the way. I wished they had preserved it properly, like Jose Rizal’s house in Calamba—somewhere people could visit, a place that carried echoes of his life. The walls, worn by time and weather, seemed to hold stories and secrets. If only they could speak. If only they could replay the voices and whispers of the past. What a gift it would be to listen through time.
The Divine Master… How could I not think of him with both sorrow and wonder? I never met him. By the time he passed, I was 12 years old, living far from here. But those who did—those who saw him, spoke with him, felt his presence—what a blessing that must have been. I don’t know why, but I’ve always been certain that the man they called the “mysterious superstar of the South” was no ordinary man.
I’ve read many books—on religion, philosophy, physics, even the so-called myths of Jesus. Scholars debate them endlessly. But in all my reading, I’ve never come across another man who could pass on his power of healing, his ability to perform miracles, to those who followed him. Pythagoras couldn’t. Moses and Elijah couldn’t. Apollonius of Tyana, the sainted Comte de St. Germain, even Cagliostro—none of them could do what he did. No one else could shift between ages, appearing as a child in the morning, a young man at noon, and an old man by dusk.
Many saints and sages throughout history have demonstrated bi-location, siddhic powers, and other supernatural feats. But only one, if he can even be called a man, could bring the dead back to life. Only one could summon a newborn from nowhere—a reincarnation materialized. If Jesus turned water into wine, Ruben Ecleo turned seawater into gasoline. He could calm storms with a word. He could stay underwater for hours.
I once heard a story about a little girl who was crying over a broken toy. Master Ruben smiled, approached her, and opened his hand—out of nowhere, a bird appeared. He handed it to the child, wiping away her tears with wonder. He made the blind see, the lame walk, the deaf hear again. With a mere pass of his hands over barren wombs, women conceived. He predicted lives, forewarned of events, and never—not once—was he wrong. He was an enigma, a mystery no scholar, no skeptic, no professional could unravel.
These thoughts drifted through my mind as I walked down Buray Avenue, lost in nostalgia. The afternoon was still and silent. I could see the road stretching all the way to the sea, empty, undisturbed. The houses stood quiet, their inhabitants either napping, watching TV, or hunched over their phones. It was a long history I was walking through, but my memories of it weren’t my own. They were secondhand—handed down through stories from those who had been there, those who had seen him with their own eyes. Their testimonies were like modern-day Canterbury Tales, fragments of something larger, something sacred.
But what makes it all the more incredible is that many of those witnesses are still alive. Some have passed on, but others remain. Years ago, I had the chance to speak with Tatay Cuper Edera, who had seen with his own eyes the three men from a yacht anchored at Cabilan Island. In ancient times, the disciples lamented the lack of books to record the deeds of the Galilean Master. Now, we have all the resources we could ever need—yet we lack the writer who can truly capture them.
I once had a dream of a book titled The Life and Times of the Divine Master. I don’t remember its contents. Maybe I read it in the dream, but upon waking, all I could recall was the title. Maybe it was an Akashic record, something only readable in the spirit world.
These thoughts weighed on me as I walked. A deep longing stirred in my heart—an ache for a past I never lived, for moments I never witnessed. I never saw the Divine Master. I never heard his voice, never observed the way he moved, the way he carried himself. And yet, for reasons I can’t explain, I feel the loss of him.
My knees ached as I walked further down Buray Avenue, a lingering pain from last year. To my right, a large black boulder sat like a relic of the past, nestled among houses both new and crumbling. Concrete homes, carefully tended, stood in contrast to older, worn-down dwellings. A shirtless man sat on a bench beneath a tree, soaking in the breeze. A ladder leaned against a street post, abandoned, perhaps, for a lineman’s lunch break. Stores lined the street, bustling in their quiet way.
And this—this was the same street the Divine Master once walked.
It’s easy to keep walking downhill, toward the sea. But doing so means turning your back on the shrine.
And then, as I passed the Admin Building, a sudden, quiet ache filled me. I missed the Grand Master. I missed everything. And that was all there was to it.
#books #DinagatIslands #family #fiction #MasterRuben #melancholia #SanJose #shortStory #writing -
Faith, Fiction, & Fairytales @faithfictionandfairytales.wordpress.com@faithfictionandfairytales.wordpress.com ·Takeover + Review Blitz: The Hidden Key of Brooke Sumner by Susan L. Tuttle
Welcome to the Takeover + Review Blitz for The Hidden Key of Brooke Sumner by Susan L. Tuttle, hosted by JustRead Publicity Tours!
About the Book
Title: The Hidden Key of Brooke Sumner
Series: Treasures of Halstead Manor #3
Author: Susan L. Tuttle
Publisher: Kregel Publications
Release Date: March 24, 2026
Genre: Mystery & Suspense / RomanceWill the key unlock more than a vault filled with treasure?
Brooke Sumner has been carefully avoiding Storm Whitlock ever since he betrayed her trust. When he joins Caspar’s mysterious treasure-hunting group, she steps away to focus on her antique shop and keep herself busy.
Then Caspar invites her back for one final assignment, and Brooke is torn. Returning to Halstead Manor to help the team find the second half of a key is intriguing. It also means she’d be working with Storm. But she doesn’t trust his motives, so she reluctantly rejoins to keep him in check.
As they dive into their expedition, Brooke finds her heart softening toward those she’d once held at arm’s length. And is it possible she misunderstood Storm’s betrayal of their friendship?“In this friends-to-more romance, we get to see the beauty of being known, being loved, and finding the people who want to walk alongside us.” —Toni Shiloh, Christy Award-winning author
PURCHASE LINKS: Goodreads | Kregel Publications | Amazon | Barnes & Noble | Christianbook | BookBub | Bookshop
More Books from this Series:
About the Author
Susan L. Tuttle is a pastor’s wife, mom, and the director of women’s ministry at her church near Grand Rapids, Michigan. Her previous writing includes The Rare Jewel of Everleigh Wheaton, The Novel Adventures of Natalie Daughtry, the Along Came Love series, and the Carol Award–finalist Love You, Truly.
Connect with Susan by visiting SusanLTuttle.com to follow her on social media or subscribe to email newsletter updates.
My Review
The Hidden Key of Brooke Sumner brings the Treasures of Halstead Manor series to a thrilling conclusion, once again taking Everleigh, Natalie, Brooke, and their entourage on a mind-bending adventure (which I’ll admit I struggled to keep up with at times). Tuttle capitalizes on found family, bodyguard, and friends to enemies to more tropes in this finale, and she held my attention from the opening pages.
Contentious as it was, I loved Storm and Brooke’s relationship and all their banter. The foundation of their childhood friendship shone through in every encounter, and I loved reading about all the ways they came through for each other as children. I will admit I was annoyed that Storm couldn’t reveal everything to Brooke until near the end of the book, but it was necessary to the plot, I suppose.
Tuttle is NOT easy on her characters. The stakes were high from page one, both for Brooke and for Storm in his own issue. Watching Brooke navigate her pain was hard at times, and I wish the faith content could have been a bit more consistent throughout–the end revelation felt a bit too neat and pretty. I liked the message that we can have peace through the storms of life when we put our trust in Jesus, but I don’t think it’s always quite so easy as simply making a choice. It’s a daily battle.
I liked the look at how the foster care system can adversely impact kiddos, especially if they’re passed from home to home and never adopted. As for the romance, the romantic tension between Brooke and Storm felt a bit excessive at times, and Storm really played into it, but I guess their friendship made it feel less bothersome than it otherwise might have been.
It was exciting to finally discover more of Caspar’s story, and the ending was shocking–it definitely tied up some loose threads I’ve been wondering about through the book and series. Overall a satisfactory read, and much cleaner than book 2 (I wasn’t comfortable with fade-to-black between a married couple, which might be fine for others!)
I voluntarily reviewed a complimentary copy of this book which I received from the author. All views expressed are my honest opinion.
Tour Giveaway
(1) winner will receive a copy of The Hidden Key of Brooke Sumner and $20 Amazon gift card!
Be sure to check out each stop on the tour for more chances to win. Full tour schedule linked below. Giveaway began at midnight April 15, 2026 and lasts through 11:59 PM EST on April 22, 2026. Winner will be notified within 2 weeks of close of the giveaway and given 48 hours to respond or risk forfeiture of prize. US only. Void where prohibited by law or logistics.
Giveaway is subject to the policies found here.
Follow along at JustRead Tours for a full list of stops!
Go check out The Ultimate Blindside!
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#author #BlogTour #books #ChristianBooks #ChristianFiction #JustReadTours #mystery #ReviewTour #SusanLTuttle #TheHiddenKeyOfBrookeSumner #TreasuresOfHalsteadManor -
Here’s my latest #author blog in the Reflections from my Writing Room series. I’ve written about my recent eye surgery and some famous writers who were blind or partially sighted. https://www.helenmatthewswriter.com/blog @bookstodon #crimewriters #mastodon