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#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#athroneinhazeaworldablaze #bongripper #cometogrief #conan #doommetal #goblinsmoker

Angry Metal Guy @[email protected] · 2025-07-29 · 20:15 UTC

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#athroneinhazeaworldablaze #bongripper #cometogrief #conan #doommetal #goblinsmoker

Angry Metal Guy @[email protected] · 2025-07-29 · 20:15 UTC

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#athroneinhazeaworldablaze #bongripper #cometogrief #conan #doommetal #goblinsmoker

Angry Metal Guy @[email protected] · 2025-07-29 · 20:15 UTC

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#truckfighters #thou #thekingseternalthrone #stonerdoom #stoner #reviews

Angry Metal Guy @[email protected] · 2025-07-29 · 20:15 UTC

#2025 #35 #AThroneInHazeAWorldAblaze #Bongripper #ComeToGrief #Conan #DoomMetal #Goblinsmoker #Jul25 #Review #Reviews #Stoner #StonerDoom #TheKingSEternalThrone #Thou #Truckfighters

By Angry Metal Guy

By: Nameless_n00b_602

Concept albums inherently have higher aspirations than the average release and therefore necessitate an elevated standard of critique. Not only must the music delight, but everything on the album—lyrics, instruments, tone, track placement, pace—must support a well-developed central narrative. Enter Goblinsmoker. This Durham, UK, duo tells the legend of the exiled Toad King, who inhales the fumes of his willingly self-immolating subjects for…reasons. The first two installments of this trilogy, Toad King and A Throne in Haze, a World Ablaze, recount the establishment of the goblin army and subsequent annihilation of the ruling toad kingdom. Goblinsmoker now concludes the story with The King’s Eternal Throne. Breathe in and join the king’s court.

The King’s Eternal Throne is an album of two halves. From “Shamanic Rites” through the midpoint of “Burn Him,” Goblinsmoker hauls you face-first through Conan’s prehistoric tar pits. Vocals are sparse, and riffs drag their knuckles and rattle teeth. Vitriolic like Thou or Come to Grief, multi-instrumentalist and vocalist Adam Kennedy rasps that not all is well in the kingdom (“Shamanic Rites”). The Shaman, having manipulated the Toad King to achieve his goal of toadal destruction, now seeks to eliminate the pawn. Drummer Michael Guthrie embodies the Shaman’s contempt for the Toad King with lurching, powerful kit work, and Kennedy, deftly wielding strings and vocals, manifests both the cold, insurrectionist plotting of “Shamanic Rites” and the searing violence of “Burn Him.” On the latter, Guthrie viciously punctuates his bandmate’s vocal attacks with snares and cymbals, fanning the flames of goblin fervor. Meanwhile, Kennedy’s guitar and bass march inexorably toward the pyre, dragging the King like a caveman drags dead game.

Then the Toad King burns, and everything changes. Backs straighten, eyes look skyward, and at the 6:00 mark of “Burn Him,” Goblinsmoker evolves from Bongripper to Truckfighters. As flames consume the Toad King, an upbeat lead and energetic fill give way to the greatest bass hook I have ever heard.1 The Shaman calls, his goblins respond, and they dance rapturously in this hazy Valley of the Sun. Where the Toad King once ruled only as a panacea for misanthropy, the Shaman reigns exultant, evinced by prime musical synergy. A suitably psychedelic bass solo chronicles the Shaman’s first taste of power as he takes “The King’s Eternal Throne” and inhales the sacred smoke. Kennedy’s funky axe work dispels the darkness of the Toad King’s rule, cruising through the Goblin Forest to spread the good news. Guthrie drives these tidings, bumping and grooving with the boom-bap sensibility of golden age hip hop. This combination creates a sound at once nostalgic, swaggering, and as infinite as the new goblin kingdom.

My qualms feel like nitpicks in the face of a tale so well told. Clocking in at 30 minutes, The King’s Eternal Throne is short, especially for a doom record. Even with three tracks exceeding eight minutes, it’s easily digestible and doesn’t overstay its welcome, but it could still benefit from some trimming. Fade-ins and fadeouts can linger, which is expected for the genre and isn’t too bothersome on a casual listen, but repeated spins find me impatient for the next chapter to begin. Closer “Toad King (Forest Synth Offering)” is a rework of the eponymous track from Goblinsmoker’s debut, and while it’s good dungeon forest synth, it has no narrative value. It’s a decent enough palate cleanser after inhaling the fumes of so many burning bodies, but it ultimately weakens the impact of the should-be closer “The King’s Eternal Throne.”2

Writing a successful concept album—and the conclusion of a concept trilogy—is no easy feat, but Kennedy and Guthrie are up to the task. From the brooding riffage of “Shamanic Rites” to the triumphant groove of the title track, Goblinsmoker handles storytelling, tonal shifts, and musical evolutions with aplomb. The only things keeping this album from a coveted 4.03 are minor but tough to ignore. Luckily, those quibbles can be resolved with little more than a hacksaw and some glue. I’m not sure where their path leads from here, but with The King’s Eternal Throne, Goblinsmoker puts to rest the legend of the Toad King and any doubts they could tell it.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: Bandcamp | Instagram | Facebook
Releases Worldwide: July 25th, 2025

#athroneinhazeaworldablaze #bongripper #cometogrief #conan #doommetal #goblinsmoker

Miguel Afonso Caetano @[email protected] · 2025-07-19 · 23:36 UTC

"Digital technology may be harnessed by forces on the political right, but there is nothing inherently right-wing about digital technologies, right? Right?!?!?

Wrong.

At least, that is the response given by David Golumbia in his vital and provocative book Cyberlibertairnism: The Right-Wing Politics of Digital Technology. It is a book in which Golumbia argues that the core politics coded into digital technologies are overwhelmingly right-wing, and in which he further argues that—knowingly or not—by defending and idealizing digital technologies many left-leaning groups and individuals have wound up disseminating and entrenching the very right-wing politics they oppose. In Golumbia’s estimation, and argumentation, the issue is not only that the way we talk about digital technologies tends to advance right-wing politics, but that these technologies themselves continually advance right-wing politics, with this advancement often occurring under a veneer of appeals to freedom and liberation.

In contrast to the numerous works by left-wing, and left-leaning, academics and activists arguing that the liberatory potential of digital technologies has been warped by right-wing billionaires and by business interests, Golumbia’s Cyberlitertarianism argues that the problem is not only with the billionaires or the business interests but with the technology itself. At the core of Cyberlibertianism is the argument that not only is digital technology not neutral, but that by this point we are fooling ourselves by refusing to admit what its politics actually are."

https://librarianshipwreck.wordpress.com/2025/07/18/digital-technologies-will-not-set-you-free-a-review-of-david-golumbias-cyberlibertarianism-the-right-wing-politics-of-digital-technology/

#Cyberlibertarianism #Neoluddism #DigitalTechnology #Neoluddites

#cyberlibertarianism #neoluddism #digitaltechnology #neoluddites

Miguel Afonso Caetano @[email protected] · 2025-07-19 · 23:36 UTC

"Digital technology may be harnessed by forces on the political right, but there is nothing inherently right-wing about digital technologies, right? Right?!?!?

Wrong.

At least, that is the response given by David Golumbia in his vital and provocative book Cyberlibertairnism: The Right-Wing Politics of Digital Technology. It is a book in which Golumbia argues that the core politics coded into digital technologies are overwhelmingly right-wing, and in which he further argues that—knowingly or not—by defending and idealizing digital technologies many left-leaning groups and individuals have wound up disseminating and entrenching the very right-wing politics they oppose. In Golumbia’s estimation, and argumentation, the issue is not only that the way we talk about digital technologies tends to advance right-wing politics, but that these technologies themselves continually advance right-wing politics, with this advancement often occurring under a veneer of appeals to freedom and liberation.

In contrast to the numerous works by left-wing, and left-leaning, academics and activists arguing that the liberatory potential of digital technologies has been warped by right-wing billionaires and by business interests, Golumbia’s Cyberlitertarianism argues that the problem is not only with the billionaires or the business interests but with the technology itself. At the core of Cyberlibertianism is the argument that not only is digital technology not neutral, but that by this point we are fooling ourselves by refusing to admit what its politics actually are."

https://librarianshipwreck.wordpress.com/2025/07/18/digital-technologies-will-not-set-you-free-a-review-of-david-golumbias-cyberlibertarianism-the-right-wing-politics-of-digital-technology/

#Cyberlibertarianism #Neoluddism #DigitalTechnology #Neoluddites

#cyberlibertarianism #neoluddism #digitaltechnology #neoluddites

Miguel Afonso Caetano @[email protected] · 2025-07-19 · 23:36 UTC

"Digital technology may be harnessed by forces on the political right, but there is nothing inherently right-wing about digital technologies, right? Right?!?!?

Wrong.

At least, that is the response given by David Golumbia in his vital and provocative book Cyberlibertairnism: The Right-Wing Politics of Digital Technology. It is a book in which Golumbia argues that the core politics coded into digital technologies are overwhelmingly right-wing, and in which he further argues that—knowingly or not—by defending and idealizing digital technologies many left-leaning groups and individuals have wound up disseminating and entrenching the very right-wing politics they oppose. In Golumbia’s estimation, and argumentation, the issue is not only that the way we talk about digital technologies tends to advance right-wing politics, but that these technologies themselves continually advance right-wing politics, with this advancement often occurring under a veneer of appeals to freedom and liberation.

In contrast to the numerous works by left-wing, and left-leaning, academics and activists arguing that the liberatory potential of digital technologies has been warped by right-wing billionaires and by business interests, Golumbia’s Cyberlitertarianism argues that the problem is not only with the billionaires or the business interests but with the technology itself. At the core of Cyberlibertianism is the argument that not only is digital technology not neutral, but that by this point we are fooling ourselves by refusing to admit what its politics actually are."

https://librarianshipwreck.wordpress.com/2025/07/18/digital-technologies-will-not-set-you-free-a-review-of-david-golumbias-cyberlibertarianism-the-right-wing-politics-of-digital-technology/

#Cyberlibertarianism #Neoluddism #DigitalTechnology #Neoluddites

#cyberlibertarianism #neoluddism #digitaltechnology #neoluddites

Miguel Afonso Caetano @[email protected] · 2025-07-19 · 23:36 UTC

"Digital technology may be harnessed by forces on the political right, but there is nothing inherently right-wing about digital technologies, right? Right?!?!?

Wrong.

At least, that is the response given by David Golumbia in his vital and provocative book Cyberlibertairnism: The Right-Wing Politics of Digital Technology. It is a book in which Golumbia argues that the core politics coded into digital technologies are overwhelmingly right-wing, and in which he further argues that—knowingly or not—by defending and idealizing digital technologies many left-leaning groups and individuals have wound up disseminating and entrenching the very right-wing politics they oppose. In Golumbia’s estimation, and argumentation, the issue is not only that the way we talk about digital technologies tends to advance right-wing politics, but that these technologies themselves continually advance right-wing politics, with this advancement often occurring under a veneer of appeals to freedom and liberation.

In contrast to the numerous works by left-wing, and left-leaning, academics and activists arguing that the liberatory potential of digital technologies has been warped by right-wing billionaires and by business interests, Golumbia’s Cyberlitertarianism argues that the problem is not only with the billionaires or the business interests but with the technology itself. At the core of Cyberlibertianism is the argument that not only is digital technology not neutral, but that by this point we are fooling ourselves by refusing to admit what its politics actually are."

https://librarianshipwreck.wordpress.com/2025/07/18/digital-technologies-will-not-set-you-free-a-review-of-david-golumbias-cyberlibertarianism-the-right-wing-politics-of-digital-technology/

#Cyberlibertarianism #Neoluddism #DigitalTechnology #Neoluddites

#neoluddites #digitaltechnology #neoluddism #cyberlibertarianism

Miguel Afonso Caetano @[email protected] · 2025-07-19 · 23:36 UTC

"Digital technology may be harnessed by forces on the political right, but there is nothing inherently right-wing about digital technologies, right? Right?!?!?

Wrong.

At least, that is the response given by David Golumbia in his vital and provocative book Cyberlibertairnism: The Right-Wing Politics of Digital Technology. It is a book in which Golumbia argues that the core politics coded into digital technologies are overwhelmingly right-wing, and in which he further argues that—knowingly or not—by defending and idealizing digital technologies many left-leaning groups and individuals have wound up disseminating and entrenching the very right-wing politics they oppose. In Golumbia’s estimation, and argumentation, the issue is not only that the way we talk about digital technologies tends to advance right-wing politics, but that these technologies themselves continually advance right-wing politics, with this advancement often occurring under a veneer of appeals to freedom and liberation.

In contrast to the numerous works by left-wing, and left-leaning, academics and activists arguing that the liberatory potential of digital technologies has been warped by right-wing billionaires and by business interests, Golumbia’s Cyberlitertarianism argues that the problem is not only with the billionaires or the business interests but with the technology itself. At the core of Cyberlibertianism is the argument that not only is digital technology not neutral, but that by this point we are fooling ourselves by refusing to admit what its politics actually are."

https://librarianshipwreck.wordpress.com/2025/07/18/digital-technologies-will-not-set-you-free-a-review-of-david-golumbias-cyberlibertarianism-the-right-wing-politics-of-digital-technology/

#Cyberlibertarianism #Neoluddism #DigitalTechnology #Neoluddites

#cyberlibertarianism #neoluddism #digitaltechnology #neoluddites

Strypey @[email protected] · 2025-07-16 · 04:15 UTC

(1/2)

In case anyone is looking for evidence of why the 'we value your privacy' promises of proprietary platforms are inherently empty, and can't be trusted ...

"Meta servers download every shared file in Facebook Messenger and Instagram DM in full—even if it’s gigabytes in size ... Meta insisted it wasn’t a bug. When we published videos demonstrating the issue, they asked YouTube to take them down."

@mysk

https://mastodon.social/@mysk/114859726176255816

#privacy #DataFarming #Meta #InstaGram #YouTube

@1br0wn

#privacy #datafarming #meta #instagram #youtube

PSiReN-X :verified_flashing: @[email protected] · 2025-07-06 · 09:16 UTC

#DrawMeABrexit
#TheInternet is #StillOn...
#AnotherHaiku

We should #Probably have #AnotherPrideMonth, soon... #Soonish™️

1: #KnowTheRules
2: #RememberTheRules
3: #TryNotToKillAnyone

#TryNot to #UpsetTheVolcano and #RememberTheRules...

And, 4: #StopBeingHitler; #IT's #TheNewRules...

🧙:fediverse:🤖:wolfparty:🤖:fediverse:🧙 | 🏕️🦹🏵️🦄🏵️🦹🏕️

#drawmeabrexit #theinternet #stillon #anotherhaiku #see #inherentlycreative

PSiReN-X :verified_flashing: @[email protected] · 2025-07-06 · 09:16 UTC

#DrawMeABrexit
#TheInternet is #StillOn...
#AnotherHaiku

We should #Probably have #AnotherPrideMonth, soon... #Soonish™️

1: #KnowTheRules
2: #RememberTheRules
3: #TryNotToKillAnyone

#TryNot to #UpsetTheVolcano and #RememberTheRules...

And, 4: #StopBeingHitler; #IT's #TheNewRules...

🧙:fediverse:🤖:wolfparty:🤖:fediverse:🧙 | 🏕️🦹🏵️🦄🏵️🦹🏕️

#drawmeabrexit #theinternet #stillon #anotherhaiku #see #inherentlycreative

PSiReN-X :verified_flashing: @[email protected] · 2025-07-06 · 09:16 UTC

#DrawMeABrexit
#TheInternet is #StillOn...
#AnotherHaiku

We should #Probably have #AnotherPrideMonth, soon... #Soonish™️

1: #KnowTheRules
2: #RememberTheRules
3: #TryNotToKillAnyone

#TryNot to #UpsetTheVolcano and #RememberTheRules...

And, 4: #StopBeingHitler; #IT's #TheNewRules...

🧙:fediverse:🤖:wolfparty:🤖:fediverse:🧙 | 🏕️🦹🏵️🦄🏵️🦹🏕️

#drawmeabrexit #theinternet #stillon #anotherhaiku #see #inherentlycreative

PSiReN-X :verified_flashing: @[email protected] · 2025-07-06 · 09:16 UTC

#DrawMeABrexit
#TheInternet is #StillOn...
#AnotherHaiku

We should #Probably have #AnotherPrideMonth, soon... #Soonish™️

1: #KnowTheRules
2: #RememberTheRules
3: #TryNotToKillAnyone

#TryNot to #UpsetTheVolcano and #RememberTheRules...

And, 4: #StopBeingHitler; #IT's #TheNewRules...

🧙:fediverse:🤖:wolfparty:🤖:fediverse:🧙 | 🏕️🦹🏵️🦄🏵️🦹🏕️

#thenewrules #it #stopbeinghitler #upsetthevolcano #trynot #trynottokillanyone

PSiReN-X :verified_flashing: @[email protected] · 2025-07-06 · 09:16 UTC

#DrawMeABrexit
#TheInternet is #StillOn...
#AnotherHaiku

We should #Probably have #AnotherPrideMonth, soon... #Soonish™️