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Happy 100th birthday, György Kurtág!
On 19 February, György Kurtág hopes to celebrate his 100th birthday. That very day the Muziekgebouw aan het IJ will organise the concert Happy 100 György!, featuring music by Kurtág himself and kindred spirits, as well as three new pieces by Dutch composers. The day after, Die Stechardin, his second opera, will premiere in Budapest.
György Kurtág, the Hungarian grandmaster of incisive aphorisms (Budapest, 1926), is no stranger in the Netherlands. As early as the 1970s, pianist Geoffrey Madge and the Residentie Orkest championed his existentialist music. Yet he rose to true fame in the 1990s, when Reinbert de Leeuw started advocating his music, dedicating many memorable concerts to the amiable composer, with whom he forged a close bond.
In 2016, the Muziekgebouw honoured Kurtág on the occasion of his 90th birthday. During a festive portrait concert, De Leeuw conducted the Asko|Schönberg through works by Webern (a great inspiration for Kurtág), György Ligeti, his namesake and compatriot, and works by Kurtág himself. In the birthday concert on 19 February 2026 again a work by Ligeti will be played: his groundbreaking Poème Symphonique, whose music consists of the ticking of 100 metronomes wound to different tempos.
Kurtág and Reinbert de Leeuw
In 2016, Kurtág and his inseparable wife Márta were too frail to travel from Budapest to Amsterdam for the concert. However, they did appear in a preview of the documentary The Three Kurtágs, made by their niece Judit. This was unique: György and Márta Kurtág often performed as a piano duo, but they never became public figures like Ligeti; they lived a secluded life.
Sitting comfortably together on their sofa, the two discuss the progress of the CD recordings of a large part of Kurtág’s work, which Reinbert de Leeuw has been working on since 2013. They charmingly bounce off each other in a lively conversation, in which a sentence started by one is naturally finished by the other – as if they were literally speaking with one voice. Their love for each other and for De Leeuw is palpable.
They regret not being able to be physically present during the recordings, but because Reinbert plays these back over the phone after each session and also visits them regularly in person, they are still able to comment on them. The notoriously critical Kurtág, who sometimes calls out ‘Nein, nicht so!’ when Reinbert merely raises his arms to begin a piece, is now full of praise. ‘It’s as if they recorded the music in their mother tongue,’ he says with shining eyes.
Musical mother tongue
The three-disc CD box containing all of Kurtág’s conducted choral and ensemble works was released a year later. In the accompanying booklet Kurtág gratefully refers to it as “a royal gift”. That is no exaggeration, because on this release from the German label ECM, Reinbert de Leeuw once again surpassed himself. With his relentless determination to get to the heart of the matter, he leads Asko|Schönberg, Groot Omroepkoor, Cappella Amsterdam and a selection of soloists to intense performances, that allow Kurtág’s soul-piercing sounds to penetrate to the very core.
This unique historical document is still available for purchase for less than forty euros – a bargain. Kurtág’s suggestion that the musicians and singers perform his music as if it were their own mother tongue is no idle chatter. Language is extremely important to the sensitive Hungarian composer – in more ways than one.
He often refers to Béla Bartók as “my musical mother tongue”. But he has created his own unique grammar from poignant, aphoristic bursts of sound that spring from a deep inner necessity. He is a great lover of poetry and literature: of the eleven pieces on the compilation, seven are vocal. Kurtág even learned Russian so that he could read Dostoevsky; three cycles on the CD box set are in this language.
The best known of these is Messages from the Late Miss R.V. Trussova, with which he made his breakthrough in Western Europe in the 1980s. In 21 miniatures, a soprano sings of bitter experiences of love. The longest song lasts 3 minutes, the shortest 22 seconds. In that short span of time, Kurtág sketches an entire novel. Unfortunately none of the three vocal cycles will be performed in the concert Happy 100 György! on 19 February. Het Muziek, successor to Asko|Schönberg, will however perform Akrostichon – Wortspiel for soprano and ensemble by Unsuk Chin.
Kurtág’s first opera causes a sensation
In 2016 the 90-year-old Kurtág was still working on his first and so far only opera, Fin de Partie (Endgame), based on Samuel Beckett’s play of the same name. He had seen it in Paris in 1957 on Ligeti’s recommendation and called it “one of the most powerful experiences of my life”. The opera was commissioned by Teatro alla Scala Milan in 2010, and he had been working on it ever since. Together with Mártá, he significantly condensed the story; only sixty percent of the original text remained. On the other hand, they added Beckett’s poem Roundelay as a prologue.
This prologue premiered during a festival in honour of his 90th birthday at the Liszt Academy in Budapest, where he himself once studied. The world premiere of the complete opera took place in November 2018 at the Teatro alla Scala, directed by Pierre Audi, who died last year, with Markus Stenz conducting. Kurtág and his wife Mártá were again unable to attend; she died a year later.
This first work by the then 92-year-old composer caused a real sensation. The absurd libretto, which barely has any plot and revolves around four people waiting for an indeterminate ending, was immediately hailed as a classic by the international press. In March 2019, the opera was also performed at the Dutch National Opera in Amsterdam, with the Radio Philharmonic Orchestra and again Markus Stenz. Theaterkrant called it “a true musical masterpiece”, while de Volkskrant saw how “supreme aimlessness can lead to supreme beauty”. Unfortunately, I had to miss the performance due to illness.
Fin de Partie (c) Ruth WaltzEver-expanding piano series Jatékok (Games)
For Kurtág’s 95th birthday in 2021, the Muziekgebouw organised an ambitious three-day festival, which was unfortunately cancelled due to the Covid pandemic. Instead, pianist Pierre-Laurent Aimard played excerpts from Jatékok (Games) via a live stream. In this ever-expanding series of miniatures for one and/or two pianos – which he himself calls “pedagogical performance pieces” – Kurtág explores a musical idea or portrays a friend.
He frequently played these with Mártá, and they recorded a number of them on CD. In 2021, Aimard presented several brand-new miniatures, because even at the age of 95, Kurtág was still composing every day. During the concert Happy 100 György! on 19 February, Het Muziek will play a selection from Jatékok in an arrangement by Olivier Cuendet. This organist and composer previously made an orchestral version of Zwiegespräch for string quartet and electronics, which Kurtág composed together with his son of the same name.
The icing on the cake is the rarely performed Lebenslauf for two pianos tuned a quarter-tone apart and two basset horns. Kurtág’s works are placed in context with Ligeti’s Poème symphonique mentioned above and works by Unsuk Chin and Thomas Adès. There are also three world premieres, inspired by the number one hundred. Mayke Nas wrote 100 seconds, Huba de Graaff composed 100 notes, and Jasper de Bock made 100 years (I, II, III, IV).
Kurtág finishes second opera at the age of 99
Kurtág completed his first opera when he was 92 years old, but he did not rest on his laurels afterwards. Commissioned by the Budapest Music Centre, he composed a new opera, Die Stechardin, which will premiere on 20 February 2026 during a birthday festival in Budapest.
The libretto is based on letters and writings by the German scientist Georg Christoph Lindberg, who had a relationship with his student Maria Dorothea Stechard, twenty years his junior. Although she died at the age of seventeen and he later remarried, she always remained his great love. ‘She reconciled me with all of humanity,’ Lindberg wrote to a friend.
The libretto poses recognisable questions about life. Is there an afterlife? Does our soul live on after our death? Is there love that transcends the grave? The action is set in another world – heaven, an alternative reality? – where Maria waits for her beloved to rejoin her.
Kurtág completed this three-part monologue for soprano and orchestra in June 2025 and orchestrated it together with Zsolt Serei. Maria Husmann, who has been working with Kurtág for decades, sings the title role, accompanied by the Concerto Budapest Orchestra under András Keller.
Farewell
It is not surprising that Kurtág was drawn to this theme: in 2019, he lost Mártá, who had been his partner for 72 years and remained his inspiration throughout his life. While his opera Fin de partie can be viewed as an artistic testament, Die Stechardin may be considered a farewell, celebrating the beauty of life and love. It expresses reconciliation with death and Kurtág’s hope for a speedy reunion with his beloved.
May he be able to attend the world premiere on 20 February 2026 in Budapest, and then join Márta, wherever she may be.
On 19 February, I will moderate the introduction to the birthday concert Happy 100 György in the Muziekgebouw aan ‘t IJ. Starting at 7.15 p.m., admission free. I will speak with Fedor Teunisse, artistic director of Het Muziek, and the composers De Bock, De Graaff and Nas.
#DieStechardin #GyörgyKurtág #GyörgyLigeti #HubaDeGraaff #MaykeNas #UnsukChin -
Happy 100th birthday, György Kurtág!
On 19 February, György Kurtág hopes to celebrate his 100th birthday. That very day the Muziekgebouw aan het IJ will organise the concert Happy 100 György!, featuring music by Kurtág himself and kindred spirits, as well as three new pieces by Dutch composers. The day after, Die Stechardin, his second opera, will premiere in Budapest.
György Kurtág, the Hungarian grandmaster of incisive aphorisms (Budapest, 1926), is no stranger in the Netherlands. As early as the 1970s, pianist Geoffrey Madge and the Residentie Orkest championed his existentialist music. Yet he rose to true fame in the 1990s, when Reinbert de Leeuw started advocating his music, dedicating many memorable concerts to the amiable composer, with whom he forged a close bond.
In 2016, the Muziekgebouw honoured Kurtág on the occasion of his 90th birthday. During a festive portrait concert, De Leeuw conducted the Asko|Schönberg through works by Webern (a great inspiration for Kurtág), György Ligeti, his namesake and compatriot, and works by Kurtág himself. In the birthday concert on 19 February 2026 again a work by Ligeti will be played: his groundbreaking Poème Symphonique, whose music consists of the ticking of 100 metronomes wound to different tempos.
Kurtág and Reinbert de Leeuw
In 2016, Kurtág and his inseparable wife Márta were too frail to travel from Budapest to Amsterdam for the concert. However, they did appear in a preview of the documentary The Three Kurtágs, made by their niece Judit. This was unique: György and Márta Kurtág often performed as a piano duo, but they never became public figures like Ligeti; they lived a secluded life.
Sitting comfortably together on their sofa, the two discuss the progress of the CD recordings of a large part of Kurtág’s work, which Reinbert de Leeuw has been working on since 2013. They charmingly bounce off each other in a lively conversation, in which a sentence started by one is naturally finished by the other – as if they were literally speaking with one voice. Their love for each other and for De Leeuw is palpable.
They regret not being able to be physically present during the recordings, but because Reinbert plays these back over the phone after each session and also visits them regularly in person, they are still able to comment on them. The notoriously critical Kurtág, who sometimes calls out ‘Nein, nicht so!’ when Reinbert merely raises his arms to begin a piece, is now full of praise. ‘It’s as if they recorded the music in their mother tongue,’ he says with shining eyes.
Musical mother tongue
The three-disc CD box containing all of Kurtág’s conducted choral and ensemble works was released a year later. In the accompanying booklet Kurtág gratefully refers to it as “a royal gift”. That is no exaggeration, because on this release from the German label ECM, Reinbert de Leeuw once again surpassed himself. With his relentless determination to get to the heart of the matter, he leads Asko|Schönberg, Groot Omroepkoor, Cappella Amsterdam and a selection of soloists to intense performances, that allow Kurtág’s soul-piercing sounds to penetrate to the very core.
This unique historical document is still available for purchase for less than forty euros – a bargain. Kurtág’s suggestion that the musicians and singers perform his music as if it were their own mother tongue is no idle chatter. Language is extremely important to the sensitive Hungarian composer – in more ways than one.
He often refers to Béla Bartók as “my musical mother tongue”. But he has created his own unique grammar from poignant, aphoristic bursts of sound that spring from a deep inner necessity. He is a great lover of poetry and literature: of the eleven pieces on the compilation, seven are vocal. Kurtág even learned Russian so that he could read Dostoevsky; three cycles on the CD box set are in this language.
The best known of these is Messages from the Late Miss R.V. Trussova, with which he made his breakthrough in Western Europe in the 1980s. In 21 miniatures, a soprano sings of bitter experiences of love. The longest song lasts 3 minutes, the shortest 22 seconds. In that short span of time, Kurtág sketches an entire novel. Unfortunately none of the three vocal cycles will be performed in the concert Happy 100 György! on 19 February. Het Muziek, successor to Asko|Schönberg, will however perform Akrostichon – Wortspiel for soprano and ensemble by Unsuk Chin.
Kurtág’s first opera causes a sensation
In 2016 the 90-year-old Kurtág was still working on his first and so far only opera, Fin de Partie (Endgame), based on Samuel Beckett’s play of the same name. He had seen it in Paris in 1957 on Ligeti’s recommendation and called it “one of the most powerful experiences of my life”. The opera was commissioned by Teatro alla Scala Milan in 2010, and he had been working on it ever since. Together with Mártá, he significantly condensed the story; only sixty percent of the original text remained. On the other hand, they added Beckett’s poem Roundelay as a prologue.
This prologue premiered during a festival in honour of his 90th birthday at the Liszt Academy in Budapest, where he himself once studied. The world premiere of the complete opera took place in November 2018 at the Teatro alla Scala, directed by Pierre Audi, who died last year, with Markus Stenz conducting. Kurtág and his wife Mártá were again unable to attend; she died a year later.
This first work by the then 92-year-old composer caused a real sensation. The absurd libretto, which barely has any plot and revolves around four people waiting for an indeterminate ending, was immediately hailed as a classic by the international press. In March 2019, the opera was also performed at the Dutch National Opera in Amsterdam, with the Radio Philharmonic Orchestra and again Markus Stenz. Theaterkrant called it “a true musical masterpiece”, while de Volkskrant saw how “supreme aimlessness can lead to supreme beauty”. Unfortunately, I had to miss the performance due to illness.
Fin de Partie (c) Ruth WaltzEver-expanding piano series Jatékok (Games)
For Kurtág’s 95th birthday in 2021, the Muziekgebouw organised an ambitious three-day festival, which was unfortunately cancelled due to the Covid pandemic. Instead, pianist Pierre-Laurent Aimard played excerpts from Jatékok (Games) via a live stream. In this ever-expanding series of miniatures for one and/or two pianos – which he himself calls “pedagogical performance pieces” – Kurtág explores a musical idea or portrays a friend.
He frequently played these with Mártá, and they recorded a number of them on CD. In 2021, Aimard presented several brand-new miniatures, because even at the age of 95, Kurtág was still composing every day. During the concert Happy 100 György! on 19 February, Het Muziek will play a selection from Jatékok in an arrangement by Olivier Cuendet. This organist and composer previously made an orchestral version of Zwiegespräch for string quartet and electronics, which Kurtág composed together with his son of the same name.
The icing on the cake is the rarely performed Lebenslauf for two pianos tuned a quarter-tone apart and two basset horns. Kurtág’s works are placed in context with Ligeti’s Poème symphonique mentioned above and works by Unsuk Chin and Thomas Adès. There are also three world premieres, inspired by the number one hundred. Mayke Nas wrote 100 seconds, Huba de Graaff composed 100 notes, and Jasper de Bock made 100 years (I, II, III, IV).
Kurtág finishes second opera at the age of 99
Kurtág completed his first opera when he was 92 years old, but he did not rest on his laurels afterwards. Commissioned by the Budapest Music Centre, he composed a new opera, Die Stechardin, which will premiere on 20 February 2026 during a birthday festival in Budapest.
The libretto is based on letters and writings by the German scientist Georg Christoph Lindberg, who had a relationship with his student Maria Dorothea Stechard, twenty years his junior. Although she died at the age of seventeen and he later remarried, she always remained his great love. ‘She reconciled me with all of humanity,’ Lindberg wrote to a friend.
The libretto poses recognisable questions about life. Is there an afterlife? Does our soul live on after our death? Is there love that transcends the grave? The action is set in another world – heaven, an alternative reality? – where Maria waits for her beloved to rejoin her.
Kurtág completed this three-part monologue for soprano and orchestra in June 2025 and orchestrated it together with Zsolt Serei. Maria Husmann, who has been working with Kurtág for decades, sings the title role, accompanied by the Concerto Budapest Orchestra under András Keller.
Farewell
It is not surprising that Kurtág was drawn to this theme: in 2019, he lost Mártá, who had been his partner for 72 years and remained his inspiration throughout his life. While his opera Fin de partie can be viewed as an artistic testament, Die Stechardin may be considered a farewell, celebrating the beauty of life and love. It expresses reconciliation with death and Kurtág’s hope for a speedy reunion with his beloved.
May he be able to attend the world premiere on 20 February 2026 in Budapest, and then join Márta, wherever she may be.
On 19 February, I will moderate the introduction to the birthday concert Happy 100 György in the Muziekgebouw aan ‘t IJ. Starting at 7.15 p.m., admission free. I will speak with Fedor Teunisse, artistic director of Het Muziek, and the composers De Bock, De Graaff and Nas.
#DieStechardin #GyörgyKurtág #GyörgyLigeti #HubaDeGraaff #MaykeNas #UnsukChin -
Happy 100th birthday, György Kurtág!
On 19 February, György Kurtág hopes to celebrate his 100th birthday. That very day the Muziekgebouw aan het IJ will organise the concert Happy 100 György!, featuring music by Kurtág himself and kindred spirits, as well as three new pieces by Dutch composers. The day after, Die Stechardin, his second opera, will premiere in Budapest.
György Kurtág, the Hungarian grandmaster of incisive aphorisms (Budapest, 1926), is no stranger in the Netherlands. As early as the 1970s, pianist Geoffrey Madge and the Residentie Orkest championed his existentialist music. Yet he rose to true fame in the 1990s, when Reinbert de Leeuw started advocating his music, dedicating many memorable concerts to the amiable composer, with whom he forged a close bond.
In 2016, the Muziekgebouw honoured Kurtág on the occasion of his 90th birthday. During a festive portrait concert, De Leeuw conducted the Asko|Schönberg through works by Webern (a great inspiration for Kurtág), György Ligeti, his namesake and compatriot, and works by Kurtág himself. In the birthday concert on 19 February 2026 again a work by Ligeti will be played: his groundbreaking Poème Symphonique, whose music consists of the ticking of 100 metronomes wound to different tempos.
Kurtág and Reinbert de Leeuw
In 2016, Kurtág and his inseparable wife Márta were too frail to travel from Budapest to Amsterdam for the concert. However, they did appear in a preview of the documentary The Three Kurtágs, made by their niece Judit. This was unique: György and Márta Kurtág often performed as a piano duo, but they never became public figures like Ligeti; they lived a secluded life.
Sitting comfortably together on their sofa, the two discuss the progress of the CD recordings of a large part of Kurtág’s work, which Reinbert de Leeuw has been working on since 2013. They charmingly bounce off each other in a lively conversation, in which a sentence started by one is naturally finished by the other – as if they were literally speaking with one voice. Their love for each other and for De Leeuw is palpable.
They regret not being able to be physically present during the recordings, but because Reinbert plays these back over the phone after each session and also visits them regularly in person, they are still able to comment on them. The notoriously critical Kurtág, who sometimes calls out ‘Nein, nicht so!’ when Reinbert merely raises his arms to begin a piece, is now full of praise. ‘It’s as if they recorded the music in their mother tongue,’ he says with shining eyes.
Musical mother tongue
The three-disc CD box containing all of Kurtág’s conducted choral and ensemble works was released a year later. In the accompanying booklet Kurtág gratefully refers to it as “a royal gift”. That is no exaggeration, because on this release from the German label ECM, Reinbert de Leeuw once again surpassed himself. With his relentless determination to get to the heart of the matter, he leads Asko|Schönberg, Groot Omroepkoor, Cappella Amsterdam and a selection of soloists to intense performances, that allow Kurtág’s soul-piercing sounds to penetrate to the very core.
This unique historical document is still available for purchase for less than forty euros – a bargain. Kurtág’s suggestion that the musicians and singers perform his music as if it were their own mother tongue is no idle chatter. Language is extremely important to the sensitive Hungarian composer – in more ways than one.
He often refers to Béla Bartók as “my musical mother tongue”. But he has created his own unique grammar from poignant, aphoristic bursts of sound that spring from a deep inner necessity. He is a great lover of poetry and literature: of the eleven pieces on the compilation, seven are vocal. Kurtág even learned Russian so that he could read Dostoevsky; three cycles on the CD box set are in this language.
The best known of these is Messages from the Late Miss R.V. Trussova, with which he made his breakthrough in Western Europe in the 1980s. In 21 miniatures, a soprano sings of bitter experiences of love. The longest song lasts 3 minutes, the shortest 22 seconds. In that short span of time, Kurtág sketches an entire novel. Unfortunately none of the three vocal cycles will be performed in the concert Happy 100 György! on 19 February. Het Muziek, successor to Asko|Schönberg, will however perform Akrostichon – Wortspiel for soprano and ensemble by Unsuk Chin.
Kurtág’s first opera causes a sensation
In 2016 the 90-year-old Kurtág was still working on his first and so far only opera, Fin de Partie (Endgame), based on Samuel Beckett’s play of the same name. He had seen it in Paris in 1957 on Ligeti’s recommendation and called it “one of the most powerful experiences of my life”. The opera was commissioned by Teatro alla Scala Milan in 2010, and he had been working on it ever since. Together with Mártá, he significantly condensed the story; only sixty percent of the original text remained. On the other hand, they added Beckett’s poem Roundelay as a prologue.
This prologue premiered during a festival in honour of his 90th birthday at the Liszt Academy in Budapest, where he himself once studied. The world premiere of the complete opera took place in November 2018 at the Teatro alla Scala, directed by Pierre Audi, who died last year, with Markus Stenz conducting. Kurtág and his wife Mártá were again unable to attend; she died a year later.
This first work by the then 92-year-old composer caused a real sensation. The absurd libretto, which barely has any plot and revolves around four people waiting for an indeterminate ending, was immediately hailed as a classic by the international press. In March 2019, the opera was also performed at the Dutch National Opera in Amsterdam, with the Radio Philharmonic Orchestra and again Markus Stenz. Theaterkrant called it “a true musical masterpiece”, while de Volkskrant saw how “supreme aimlessness can lead to supreme beauty”. Unfortunately, I had to miss the performance due to illness.
Fin de Partie (c) Ruth WaltzEver-expanding piano series Jatékok (Games)
For Kurtág’s 95th birthday in 2021, the Muziekgebouw organised an ambitious three-day festival, which was unfortunately cancelled due to the Covid pandemic. Instead, pianist Pierre-Laurent Aimard played excerpts from Jatékok (Games) via a live stream. In this ever-expanding series of miniatures for one and/or two pianos – which he himself calls “pedagogical performance pieces” – Kurtág explores a musical idea or portrays a friend.
He frequently played these with Mártá, and they recorded a number of them on CD. In 2021, Aimard presented several brand-new miniatures, because even at the age of 95, Kurtág was still composing every day. During the concert Happy 100 György! on 19 February, Het Muziek will play a selection from Jatékok in an arrangement by Olivier Cuendet. This organist and composer previously made an orchestral version of Zwiegespräch for string quartet and electronics, which Kurtág composed together with his son of the same name.
The icing on the cake is the rarely performed Lebenslauf for two pianos tuned a quarter-tone apart and two basset horns. Kurtág’s works are placed in context with Ligeti’s Poème symphonique mentioned above and works by Unsuk Chin and Thomas Adès. There are also three world premieres, inspired by the number one hundred. Mayke Nas wrote 100 seconds, Huba de Graaff composed 100 notes, and Jasper de Bock made 100 years (I, II, III, IV).
Kurtág finishes second opera at the age of 99
Kurtág completed his first opera when he was 92 years old, but he did not rest on his laurels afterwards. Commissioned by the Budapest Music Centre, he composed a new opera, Die Stechardin, which will premiere on 20 February 2026 during a birthday festival in Budapest.
The libretto is based on letters and writings by the German scientist Georg Christoph Lindberg, who had a relationship with his student Maria Dorothea Stechard, twenty years his junior. Although she died at the age of seventeen and he later remarried, she always remained his great love. ‘She reconciled me with all of humanity,’ Lindberg wrote to a friend.
The libretto poses recognisable questions about life. Is there an afterlife? Does our soul live on after our death? Is there love that transcends the grave? The action is set in another world – heaven, an alternative reality? – where Maria waits for her beloved to rejoin her.
Kurtág completed this three-part monologue for soprano and orchestra in June 2025 and orchestrated it together with Zsolt Serei. Maria Husmann, who has been working with Kurtág for decades, sings the title role, accompanied by the Concerto Budapest Orchestra under András Keller.
Farewell
It is not surprising that Kurtág was drawn to this theme: in 2019, he lost Mártá, who had been his partner for 72 years and remained his inspiration throughout his life. While his opera Fin de partie can be viewed as an artistic testament, Die Stechardin may be considered a farewell, celebrating the beauty of life and love. It expresses reconciliation with death and Kurtág’s hope for a speedy reunion with his beloved.
May he be able to attend the world premiere on 20 February 2026 in Budapest, and then join Márta, wherever she may be.
On 19 February, I will moderate the introduction to the birthday concert Happy 100 György in the Muziekgebouw aan ‘t IJ. Starting at 7.15 p.m., admission free. I will speak with Fedor Teunisse, artistic director of Het Muziek, and the composers De Bock, De Graaff and Nas.
#DieStechardin #GyörgyKurtág #GyörgyLigeti #HubaDeGraaff #MaykeNas #UnsukChin -
REVIEW: Our Town, Swansea Grand Theatre
⭐⭐⭐⭐
By Pierre DonahueSwansea Grand was buzzing for opening night of Thornton Wilder’s classic play Our Town, the very first production by Welsh National Theatre. With Welsh cultural icons Charlotte Church, Melanie Walters, Steffan Rhodri, Luke Evans and Iwan Rheon in the audience adding a sense of occasion, the anticipation was palpable, but all eyes were on Michael Sheen. Sheen, who has single handedly driven this relaunch of national theatre in Wales, also takes the starring role here.
Thornton Wilder’s Pulitzer prize winning play first opened on Broadway in 1938, and has since become a beloved part of American theatre repertoire. It’s a tender portrait of small town America and set in New Hampshire. So it seems, on the surface, a bold choice of material for a brand new Welsh company. On explaining why this particular piece was chosen Michael said “Our Town is about life, love and community. That’s what matters to us in Wales. It’s a play that compels us to celebrate the everyday, to hold the ones we cherish.”
Opening with Sheen as the ‘stage manager’, striding alone onto the stage with the house lights up, he signifies for the lights to dim, and we begin. Wilder’s stage instructions specify ‘No curtain, no scenery’, but here they have been creative. Hayley Grindle’s production design is subtle but effective. The cast use planks of wood, step ladders and plants painting an impression of buildings and furniture and movement. It’s very physical. No doubt the cast have had to work hard in rehearsals. With Swansea natives Francesca Goodridge as director and Russell T Davies creative associate, it is beautifully staged and lit.
Michael Sheen stands alone in the spotlight during Our Town, delivering one of the play’s most poignant reflections. Image: Welsh National Theatre.It may be set in America in 1901, but it’s clear that this is a Welsh community with Welsh accents. Early Welsh settlers did move over in the 17th century, so they do exist. In fact the state of Pennsylvania has some well known areas with names such as Bryn Mawr, Bala Cynwyd, Narberth and Gwynedd that prove it. However, here it’s a somewhat awkward mix. Phrases like ‘playing ball’ and ice cream ‘soda’ make you a little unsure where this fictional town is supposed to be.
Grovers Corners, we are told, is a place where nothing ever happens. This is comically reinforced by listing the mundane aspects of small town life. But it’s also a place where Emily (Yasemin Ozdemir) and George (Peter Devlin) are destined to fall in love. Together we learn that life is precious but fleeting. Sheen, in magnetic form here, tells us early on that some of the characters will die. But not who or when. So when we find out who it has a real emotional impact.
Wilder originally intended for the audience to see themselves on common ground, unified by being in each other’s presence, alive at that moment. This is definitely keenly felt by me and many in attendance. This is my hometown, my people, my community, and the power of seeing this less than a mile from where I was born cannot be underestimated. My thoughts turn to my family and my loved ones and pretty soon I’m a blubbering wreck. That’s not to say it’s depressing. Far from it. It’s uplifting in its celebration of the beauty in all of our daily lives that perhaps go unnoticed. There is a line that has stayed with me “Does anyone ever realise life, while they live it..every minute?”
Actors perform a choreographed sequence with wooden frames in Our Town, blending rural imagery with theatrical precision. (Image: Welsh National Theatre.)Is it sentimental? Yes. Is it a little dated? probably. But it holds up well. There is a clear parallel to Dylan Thomas’s play for voices Under Milk Wood. Which is perhaps no coincidence as Thomas was known to be a big fan of Wilder’s work and the two are known to have met. However whilst Thomas’s work is darker and he delves deeper into the secret lives of a town’s residents, Wilder’s is much simpler but with no less a poetic punch.
When the play first opened in 1938, Wilder wrote “Our Town is an attempt to find a value without price for the smallest events in our daily life”. In a troubled world on the eve of World War II, this was a revelation, and it seems a comfort for many. With world events taking a dark turn in 2026, it is perhaps then no coincidence that audiences may well take the same comfort from this play as I do.
As the lights go out, I wipe the tears from my eyes and stand to applaud Michael Sheen and the cast who get a deserved standing ovation. I’m not sure I’ve ever seen something so sweet and warm and quietly devastating. I’m quite sure it will be a great success. Michael deserves immense credit for getting all of this off the ground. Theatre in Wales is in safe hands.
#GrandTheatre #MichaelSheen #OurTown #PierreDonahue #theatre #TheatreReview #ThorntonWilder #WelshNationalTheatre -
CW: Spoilers for "Angels Before Man" and some negligible spoilers for "Angels and Man"
Book 1 is #AngelsBeforeMan
It covers the story of the Fall of Lucifer. It's technically not canon, but it's treated by many as if it is. Funnily enough there's a quote in book 3 that's relevant to discussing the common experience with many religious folks.
> had always found their faith more in whims and what their own parents had taught them, rather than anything in the scripture itself.
Anyway, it's a good read. Starts from when Lucifer is created. How he develops, observing the ambient culture. I definitely know some folks that can relate to certain vibes.
> He climbed back to the second floor, then went to his room and flopped over the bed. For a moment, he stared at the ceiling as he had done before, then rolled over so that he could snuggle into the obscene amount of things there. Rubbing his face against a plush pillow, tugging quilts and blankets over himself, he thought of everything.
God even tells him how he "planted a garden" inside Lucifer. It's both beautiful and very much ominous.
Then the little quirks start appearing like the emphasis on staying clean, what it means to be civilized, how one needs to have a dedicated purpose, etc.
> “There is nothing more important than remaining clean. An angel that becomes impure becomes unworthy to live in paradise.”
Luci is quickly a favorite. Everyone loves him. Angels are genderless, but He/Him are the only pronouns that exist for now. Angel of Beauty, Angel of Worship. This angel is terribly self-conscious and full of guilt and shame over attributes beyond his control, like being so distracting to everyone.
> Sometimes Lucifer wished being the angel of beauty wasn’t so distracting for everyone.
Another popular angel is Michael, ArchAngel of Strength, Chief Prince. Two wildly popular and attractive angels getting caught up in each other's gravity fields. Almost as if they were made for each other.
> Briefly , the younger angel remembered a moment on Earth: them arguing playfully, Michael grabbing him, hoisting him over one shoulder, and Lucifer kicking helplessly, screaming in embarrassment. The prince had brought him back to the grotto, settled Lucifer over the blanket, and chuckled that the angel of worship weighed nothing to him. Lucifer — laying there with all the fever of meekness, feeling like he’d just been kidnapped, feeling like he was about to be devoured, feeling happy, despite it all.
Yes, it's so very gay. Even through I was already familiar with how this story will end, I still let it make my queer little heart happy.
There's an interlude after which things start getting... wilder, we'll say.
The interlude has so much creative imagery. It's a dream. I want to highlight a couple of pieces
> Whispering — “I daydream of you, of loving you.”
> “How do you love me?”
> “Like this.” Yearning mouth — it’d press soft to the smooth of his tunic. “Like a flower, like a symphony, trapped in my throat, like you’re an eternity, and I need you in my veins.”This dream ends with both angels running away as God approaches
> Gathering their clothes, taking each other’s hands, and laughing, they’d run away from Him, as fast they could. So that He doesn’t see, doesn’t notice. Two angels creating love, creating.
This is important because it symbolizes exactly how their dynamic is at this time.
I'm skipping most of the other themes and just about all of part 2 of this book. At least for this post. Would need several more content warnings that makes it more suitable for a different one.
Anyway, by the end of book 1, Michael is ripping off Lucifers wings like it's Luci's heart ripping away from his own. And he casts him down out of Eden towards Earth.
Book 2 is #AngelsAndMan
Lucifer is much less the innocent angel from Book 1 and is calling himself Satan. Discussing the full arc across the books is basically an essay I do not have the time to write. The books are right there y'all, and I'm not even close to being as good of a writer.
There's a snippet in the interlude of Book 2, that so very closely echoes Book 1. Complete with all the flowery imagery, but also
> I love you, he was saying, no one will ever hurt me like you have.
and then very shortly after...
> In a shaking desperation, he swore to the dazed, unfinished angel: “I dreamed of you, of loving you.”
> “How did you love me?”
> “Not like this.”To quote @xYourEmoGFx this was "Devastingly beautiful"
Like the dream in the interlude of Book 1, it ends with God approaching. This time, only Luci runs, with Michael encouraging him, telling him to run for safety but staying put himself.
I won't go into details beyond that, but I will say that Michael is a simp. Like, wow. The evolution of Moocifer (Michael+Lucifer) through the books really steals the show imo. The drama and angst is popcorn worthy, and if it's the chapter I just read in book 3, you can probably use my skin to pop the popcorn, because it got pretty toasty.
Happy reading! The books also get pretty dark in places, so definitely consult some content warnings beforehand.
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Steel Druhm’s Top Ten(ish) of 2025 By Steel DruhmFirst things first: 2025 was not what I consider a lodestar of great metal. I was much more miserly than usual with my high scores, and though there were a lot of albums I liked, there were not many I truly loved. I had fewer issues curating my Top Ten than usual, with a smaller pool of contenders jockeying for slots. That likely means 2026 will be an overwhelming pornocopia of metal goodness, as flat years are usually followed by market booms. Let’s hope the historic trends continue.
On the AMG front, we had a great many seasoned staffers bow out and take time away from the site, which is always a sad event, but we got a healthy infusion of new blood, too. Hopefully, the blend of new and old will provide new perspectives, but it’s sure to result in some awful takes, too. We apologize for that in advance. Fear not, though, for I have it on good authority that a few long-absent writers will be making a shocking return in the new year.
Personally, 2025 was my least productive year in a while as far as the sheer number of reviews churned out. This was mostly due to my taking on the enormous duties of promo sump management, which takes up a significant amount of time weekly. I’ve gotten faster and more efficient at the promo herding over the year, so I hope to push my review production back up to massive aggressive levels in 2026. I love this little blog, and I invest a lot of myself in it each day. It gives me peace and comfort through challenging times, and more importantly, it keeps me off the streets looking for seedy, low-rent metal blogs to write for.
As I do every year, I want to extend a big thank you to all the readers who grace our pages, comment on our reviews, complain about scores, and generally raise a ruckus. We appreciate you, tolerate you, and continue to do our best to entertain you. Behind the scenes, though, we think you are a bunch of overrating, high-maintenance, diva do-nothings. Keep up the good work and tell your friends about us!
I’d also like to thank all the old and new staff members and AMG Himself for their efforts to keep AMG the bastion of high opinions that it has become. It’s easy to suffer burnout here, and there are times when the words all seem to blur together, and it becomes a battle to formulate new ways to describe shitty, lo-fi death metal. There’s something highly satisfying about the work, though, and doing it with a bunch of lovable rejects makes it all the more so. We have a good group of misfits here, and though we bicker and argue, we love one another most of the time. Because of all this goodwill and affection, I hope none of them make me sabbaticalize them this year. The wood chipper is still clogged from last year’s bonanza of retirements, and I’m just too busy to take cadavers apart the old-fashioned way. Onward to new horizons we fly!
#ish: Nite // Cult of the Serpent Sun – Nite is a strange band that challenges me to look past some very one-dimensional vocals to find the beauty in their guitar-driven righteousness. The music they create is so perfectly in my wheelhouse, mixing the classic 80s sound of Mercyful Fate with the burly badassery of Grand Magus, then they slather their compositions with a blackened snarl that rarely shifts or adapts to the epic music. Sometimes it seems this choice holds them back from greatness, but I just kept returning to Cult of the Serpent Sun time and again in 2025. Songs like “Crow (Fear the Night),” “Carry On,” and “The Winds of Sokar” got spun to death this year, and the guitar work across the album is stellar and so metal it hurts. In a nutshell, I’m hooked on this weird little album despite the shortcomings in the vocal department. Give yourself to the Nite.
#10. Disembodiment// Spiral Crypts – One of the death metal albums that really stuck to ribs this year, Spiral Crypts just wouldn’t unstick itself or go away. Disembodiment brings the OSDM hammer down on you with a stinky, putrid sound that rips organs from all the big names to create a shambling monstrosity all their own. It’s Incantation and Autopsy up front, with a vaguely Death-like prog sheen hidden in the back. Yet this won’t impress with techy wanking, because they’re too busy fucking cadavers and eating human flesh. Nasty first wins in the House of Steel, and this shit is gross but so listenable and entertaining. The riffs are slithery, slappy, and powerful, and those vocals are as much like an industrial garbage disposal as you can get without permanent throat disaster. Get yourself some unsanitary napkins and blast this filth really loud. It’s worth the revolting mess.
#9. Helstar // The Devil’s Masquerade – I grew up loving Helstar, and their Burning Star and Remnants of War albums were in constant rotation during my high school years. They’ve had an up-and-down career since 1989’s Nosterfatu, so them hitting their stride again in 2025 on The Devil’s Masquerade was a huge thrill for Yours Steely. Their textbook blend of US power metal and prog burns bright once more, with nods to thrash mixed in liberally for added asskickery as the guitars shred and impress. Vocal legend James Rivera still sounds enormous and powerful, and the songcraft is shockingly good and consistent. Certain moments scream classic Helstar while also hinting at Rivera’s criminally underrated Destiny’s End project, and there are several nods to prime Nevermore as well. The Devil’s Masquerade does the Helstar legacy proud, and it’s easily the best thing they’ve done since Nosferatu. Let this one in for a bite.
#8. Brainstorm // Plague of Rats – Brainstorm have been one of, if not the most reliable metal acts of the last few decades. Album after album brings a muscular, burly blend of classic metal and power, and time after time they kill it with massive anthems and sick hooks you just can’t shake. Plague of Rats follows the great Wall of Skulls and almost equals it in terms of memorable songs and metal magic. Andy B. Franck continues to be one of the best vocalists in all of metal, and when given tremendous songs to work with like “Garuda (Eater Of Snakes),” The Shepherd Girl (Gitavoginda),” and “Beyond Enemy Lines,” you get molten metal gold. The writing is rock solid with several Songs o’ the Year contenders, and the riffs and vocals are a thing of savage beauty. I love these guys more than I love red meat and hobo wine (almost).
#7. Under Ruins // Age of the Void – Formed by members of the highly underappreciated Lansfear and the cheesy King Diamond wannabes, Them,1 Under Ruins bring a polished, super slick form of epic power metal to the party on their Age of the Void debut. What makes their sound so immediate for me is how it ranges from Manowar-esque chest-thumping anthems to massive epic metal like Atlantean Kodex, and on to old-timey prog metal akin to the early days of Fates Warning, with some other interesting stops along the way. It’s enough like Lansfear to hook me in, but Under Ruins operate with a much broader vision and scope. “Whispered Curses, Woe Unleashed” is my Song o’ the Year, full of melancholic emotion but still bringing the thunder in the way vintage Tad Morose and Pryamaze did. The chorus has been ringing through my head all year, and I can’t escape it. Nor should you. Get under these ruins.
#6. Ambush // Evil in All Dimensions – When traditional and power metal are done properly, they can kick your ass and provide a massive jolt of fun at the same time. That’s exactly what Sweden’s Ambush does all over Evil in All Dimensions. Taking equal measurements of trad and power, they craft rip-roaring anthems to thunder, fire, steel, and make sure the hooks are plentiful. I defy you to blast the title track, “Maskirovka,” or “Bending the Steel” and not feel a rush of power in your veins. The riffs are pure 80s magic, and let me just mention Oskar Jacobsson’s vocals, because they are HUGE. This shit is 100% balls-to-the-walls energy; the songs have legs and demand repeat spins. This is one of the most infectious albums of 2025, and I think I may have underrated it a tad. Get your sack to the partition, pronto.
#5. Anchorite // Realm of Ruin – Taking the classic doom template of Candlemass and Solitude Aeternus and injecting it with the burly machismo of trve metal usually works, and in the case of Anchorite’s Realm of Ruin, it works extra hard! Beefy riffs drive the material to epic heights as doomy harmonies decorate the war wagon. Over the top of it all, Leo Stivala delivers strident, commanding vocals to embiggen the spirit. Cuts like the massive “The Lighthouse Chronicles” merge Paradise Lost with Crypt Sermon and deliver emotional doom with a touch of Nevermore’s moody power. Standout “The Apostate’s Prayer” is a top moment of 2025, and Stivala soars to grand heights, carrying the listener along with him, and “Kingdom Undone” brings in a touch of power metal with grand results and a killer chorus. A surprisingly varied and nuanced album, and one of the top doom platters of the year.
#4. Professor Emeritus // A Land Long Gone – Professor Emeritus may have one of the worst names in the metalverse, but their take on trve epic metal and doom more than make up for that oversight. A Land Long Gone is everything a fan of the trve genre could want, with big, bombastic compositions with hooks, bells, and whistles aplenty. This stuff brings the Manowar to the Candlemass recording session, with big loincloth energy adding to the slow-burning doom power. There are hints of Doomsword and Manilla Road along the road to high adventure, and everything is kept sword-friendly and mighty. “A Corpse’s Dream” is one of my favorite songs of the year, and I love the blending of styles they achieve, and “Zosimos” brings in copious Iron Maiden influences to bedazzle the Crypt Sermon-esque doom they deliver with aplomb. This is the kind of Professor I wish I had during my school years, so listen and learn!
#3. Paradise Lost // Ascension – I’ve followed Paradise Lost since 1991s Gothic release, and I stuck with them until they became Depeche Lost circa 2000. I came back when they went metal again, and though none of their third-stage albums floored me, I liked them enough to keep buying what they sold. That pattern changed with Ascension, which is every bit as powerful, heavy, and vibrant as their glory days, while showing a maturity and sophistication even the classics lack. Let me just come out and say it: I underrated this album, and for that, I feel some degree of fault. Ascension plays like a grand tour of the varied Paradise Lost eras, but nothing ends up feeling recycled. “Serpent on the Cross” is a killer opener featuring everything I ever loved about the band, and cuts like “Tyrants Serenade” and “Salvation” are amongst the best songs of their long-running career. Where I originally felt like the back half of the album was less stellar, I’ve come to love the complete package, and I think this is among the best Paradise Lost albums. Olde dogs can still bite!
#2. Fer De Lance // Fires on the Mountainside – Competing with Anchorite and Professor Emeritus for the best trve doom album of 2025, Fer De Lance brought the biggest sword to the warfield. Fires on the Mountainside has it all; massive trveness, battle-ready classic metal, nods to black and Viking metal, it’s all here and ready for action. Take one listen ot the mammoth title track, and you’ll accumulate more back hair in 7 minutes than you did in all of 2025 as the music takes you from Crypt Sermon-esque classic doom on through Hammerheart era Bathory with touches of folk along the way.2 This is music for heroes who laugh in the face of death. When the black metal element comes forward, you get gems like “Ravens Fly (Dreams of Daidalos),” and when they dial down to the epic doom side, you get monsters like “Death Thrives (Where Walls Divide)” where vocal maniac MP Papai goes all in, and channels Lost Horizon’s Daniel Heiman. If you spin this thing and don’t gain 2 inches on your biceps, you have Chronic Untrveness Disorder.
#1. Structure // Heritage – In a year when I was merely whelmed by much of what I heard, Structure came out of nowhere to drop an industrial earth mover of atmospheric doom on my life. The brainchild of Bram Bijlhout (ex-Officium Triste), Heritage finds him delivering a massive treatise on emotionally harrowing sadness and grief, aided by the killer vocals of Pim Blankenstein (Officium Triste, ex-The 11th Hour). Over the 50 minutes of Heritage, the duo drag you to the heart of sadness, loss, and despair as only thoughtful, well-executed doom can. Yet there are faint rays of light and hope in the inky black, mostly in the form of Bram’s beautiful, delicate guitar work, which weaves ethereal magic through the dour, downtrodden material. Heritage is a very dark album, but it’s rife with genuine beauty too, just as life often is. I’ve spun this thing more than any other 2025 release, and it keeps calling me back to its black womb. There’s something truly special here, and you shouldn’t miss out on experiencing it. This is your Heritage now.
Honorable Mentions:
- An Tóramh // Echoes of Eternal Night – Massive, crushing funereary doom with a great sense of atmosphere
- Phobocosm // Gateway – One of the best slabs of oppressive cavern-core death metal you’ll be squished by this year
- Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell – One of the oddest and endearing death metal albums of late
- Depravity // Bestial Possession – Brutal, blasting, splatterifying death metal that cannot be contained or reasoned with
- Diabolizer // Murderous Revelations – Fast, brutal, burly death metal that gives no fucks as it activates your dental plan
- Guts // Nightmare Fuel – Groove-heavy death metal with big stoner rock vibes should not work, but it does here
- Black Soul Horde // Symphony of Chaos – Epic heavy/power metal with more hooks than the local meat packery run by I. M. Pinhead
- Starlight Ritual // Rogue Angels – Imagine Lemmy joined Di’Anno era Iron Maiden and wrote some epic shit
- Amorphis // Borderlands – Amorphis return to form in a fan service release full of hooks and classic Amorphy moments
- Wytch Hazel // V: Lamentations – Maybe not their best album, but you can’t escape the ear glue of their NWoBHM meets 70s prog rock style
Triumph o’ the Year:
Our little blogworks received a glowing mention in none other than Rolling Stone Magazine, and no one was more surprised than we here at AMG International. It’s nice to see our efforts getting noticed, even in the world of professional music journalism, which we don’t discuss with fans.
Tragedy o’ the Year:
The passing of Ozzy Osbourne. We all knew it was coming, but not this soon. I didn’t expect it to hit me quite as hard as it did, or for the feeling of loss to linger as long as it has. This marks the definitive end of an era and the loss of a Founding Father of metal without peer. At least he went out the way he wanted: with a loud bang and crash. Have a glorious journey into eternity, Ozzman. You will always be missed.
Song(s) o’ the Year:
Under Ruins – “Whispered Curses, Woe Unleashed” – Massive epic goodness with big emotions.
Brainstorm – “The Shepherd Girl (Gitavoginda)” – So damn metal it gives me an iron hangover.
Disappointment o’ the Year:
Dark Angel // Extinction Level Event – What a prophetic album title this was, eh? After 1991s Time Does Not Heal, Dark Angel promised a new album. They promised it while I was in college, then grad school, then law school, during my first marriage, after my divorce, and over the next several decades. When they finally deliver something, and it’s the equivalent of third-rate re-thrash with only vague nods to their original sound, calling it disappointing doesn’t begin to cover it. We received the promo for Extinction Level Event in time to review it, and I was eager to do the job. After one listen, however, I realized the public was going to brutally savage this thing, and I didn’t see the point in adding another head stomp to a band I grew up worshipping. This is now the primary example of why it’s best to leave a legacy safely in the past, where it can live evergreen.
Show 2 footnotes
- Yes, I said that, Grier. ↩
- Yes, there’s a vague hint of Ed Sheeran’s “I See Fire” in the chorus, but don’t talk about it! ↩
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Steel Druhm’s Top Ten(ish) of 2025 By Steel DruhmFirst things first: 2025 was not what I consider a lodestar of great metal. I was much more miserly than usual with my high scores, and though there were a lot of albums I liked, there were not many I truly loved. I had fewer issues curating my Top Ten than usual, with a smaller pool of contenders jockeying for slots. That likely means 2026 will be an overwhelming pornocopia of metal goodness, as flat years are usually followed by market booms. Let’s hope the historic trends continue.
On the AMG front, we had a great many seasoned staffers bow out and take time away from the site, which is always a sad event, but we got a healthy infusion of new blood, too. Hopefully, the blend of new and old will provide new perspectives, but it’s sure to result in some awful takes, too. We apologize for that in advance. Fear not, though, for I have it on good authority that a few long-absent writers will be making a shocking return in the new year.
Personally, 2025 was my least productive year in a while as far as the sheer number of reviews churned out. This was mostly due to my taking on the enormous duties of promo sump management, which takes up a significant amount of time weekly. I’ve gotten faster and more efficient at the promo herding over the year, so I hope to push my review production back up to massive aggressive levels in 2026. I love this little blog, and I invest a lot of myself in it each day. It gives me peace and comfort through challenging times, and more importantly, it keeps me off the streets looking for seedy, low-rent metal blogs to write for.
As I do every year, I want to extend a big thank you to all the readers who grace our pages, comment on our reviews, complain about scores, and generally raise a ruckus. We appreciate you, tolerate you, and continue to do our best to entertain you. Behind the scenes, though, we think you are a bunch of overrating, high-maintenance, diva do-nothings. Keep up the good work and tell your friends about us!
I’d also like to thank all the old and new staff members and AMG Himself for their efforts to keep AMG the bastion of high opinions that it has become. It’s easy to suffer burnout here, and there are times when the words all seem to blur together, and it becomes a battle to formulate new ways to describe shitty, lo-fi death metal. There’s something highly satisfying about the work, though, and doing it with a bunch of lovable rejects makes it all the more so. We have a good group of misfits here, and though we bicker and argue, we love one another most of the time. Because of all this goodwill and affection, I hope none of them make me sabbaticalize them this year. The wood chipper is still clogged from last year’s bonanza of retirements, and I’m just too busy to take cadavers apart the old-fashioned way. Onward to new horizons we fly!
#ish: Nite // Cult of the Serpent Sun – Nite is a strange band that challenges me to look past some very one-dimensional vocals to find the beauty in their guitar-driven righteousness. The music they create is so perfectly in my wheelhouse, mixing the classic 80s sound of Mercyful Fate with the burly badassery of Grand Magus, then they slather their compositions with a blackened snarl that rarely shifts or adapts to the epic music. Sometimes it seems this choice holds them back from greatness, but I just kept returning to Cult of the Serpent Sun time and again in 2025. Songs like “Crow (Fear the Night),” “Carry On,” and “The Winds of Sokar” got spun to death this year, and the guitar work across the album is stellar and so metal it hurts. In a nutshell, I’m hooked on this weird little album despite the shortcomings in the vocal department. Give yourself to the Nite.
#10. Disembodiment// Spiral Crypts – One of the death metal albums that really stuck to ribs this year, Spiral Crypts just wouldn’t unstick itself or go away. Disembodiment brings the OSDM hammer down on you with a stinky, putrid sound that rips organs from all the big names to create a shambling monstrosity all their own. It’s Incantation and Autopsy up front, with a vaguely Death-like prog sheen hidden in the back. Yet this won’t impress with techy wanking, because they’re too busy fucking cadavers and eating human flesh. Nasty first wins in the House of Steel, and this shit is gross but so listenable and entertaining. The riffs are slithery, slappy, and powerful, and those vocals are as much like an industrial garbage disposal as you can get without permanent throat disaster. Get yourself some unsanitary napkins and blast this filth really loud. It’s worth the revolting mess.
#9. Helstar // The Devil’s Masquerade – I grew up loving Helstar, and their Burning Star and Remnants of War albums were in constant rotation during my high school years. They’ve had an up-and-down career since 1989’s Nosterfatu, so them hitting their stride again in 2025 on The Devil’s Masquerade was a huge thrill for Yours Steely. Their textbook blend of US power metal and prog burns bright once more, with nods to thrash mixed in liberally for added asskickery as the guitars shred and impress. Vocal legend James Rivera still sounds enormous and powerful, and the songcraft is shockingly good and consistent. Certain moments scream classic Helstar while also hinting at Rivera’s criminally underrated Destiny’s End project, and there are several nods to prime Nevermore as well. The Devil’s Masquerade does the Helstar legacy proud, and it’s easily the best thing they’ve done since Nosferatu. Let this one in for a bite.
#8. Brainstorm // Plague of Rats – Brainstorm have been one of, if not the most reliable metal acts of the last few decades. Album after album brings a muscular, burly blend of classic metal and power, and time after time they kill it with massive anthems and sick hooks you just can’t shake. Plague of Rats follows the great Wall of Skulls and almost equals it in terms of memorable songs and metal magic. Andy B. Franck continues to be one of the best vocalists in all of metal, and when given tremendous songs to work with like “Garuda (Eater Of Snakes),” The Shepherd Girl (Gitavoginda),” and “Beyond Enemy Lines,” you get molten metal gold. The writing is rock solid with several Songs o’ the Year contenders, and the riffs and vocals are a thing of savage beauty. I love these guys more than I love red meat and hobo wine (almost).
#7. Under Ruins // Age of the Void – Formed by members of the highly underappreciated Lansfear and the cheesy King Diamond wannabes, Them,1 Under Ruins bring a polished, super slick form of epic power metal to the party on their Age of the Void debut. What makes their sound so immediate for me is how it ranges from Manowar-esque chest-thumping anthems to massive epic metal like Atlantean Kodex, and on to old-timey prog metal akin to the early days of Fates Warning, with some other interesting stops along the way. It’s enough like Lansfear to hook me in, but Under Ruins operate with a much broader vision and scope. “Whispered Curses, Woe Unleashed” is my Song o’ the Year, full of melancholic emotion but still bringing the thunder in the way vintage Tad Morose and Pryamaze did. The chorus has been ringing through my head all year, and I can’t escape it. Nor should you. Get under these ruins.
#6. Ambush // Evil in All Dimensions – When traditional and power metal are done properly, they can kick your ass and provide a massive jolt of fun at the same time. That’s exactly what Sweden’s Ambush does all over Evil in All Dimensions. Taking equal measurements of trad and power, they craft rip-roaring anthems to thunder, fire, steel, and make sure the hooks are plentiful. I defy you to blast the title track, “Maskirovka,” or “Bending the Steel” and not feel a rush of power in your veins. The riffs are pure 80s magic, and let me just mention Oskar Jacobsson’s vocals, because they are HUGE. This shit is 100% balls-to-the-walls energy; the songs have legs and demand repeat spins. This is one of the most infectious albums of 2025, and I think I may have underrated it a tad. Get your sack to the partition, pronto.
#5. Anchorite // Realm of Ruin – Taking the classic doom template of Candlemass and Solitude Aeternus and injecting it with the burly machismo of trve metal usually works, and in the case of Anchorite’s Realm of Ruin, it works extra hard! Beefy riffs drive the material to epic heights as doomy harmonies decorate the war wagon. Over the top of it all, Leo Stivala delivers strident, commanding vocals to embiggen the spirit. Cuts like the massive “The Lighthouse Chronicles” merge Paradise Lost with Crypt Sermon and deliver emotional doom with a touch of Nevermore’s moody power. Standout “The Apostate’s Prayer” is a top moment of 2025, and Stivala soars to grand heights, carrying the listener along with him, and “Kingdom Undone” brings in a touch of power metal with grand results and a killer chorus. A surprisingly varied and nuanced album, and one of the top doom platters of the year.
#4. Professor Emeritus // A Land Long Gone – Professor Emeritus may have one of the worst names in the metalverse, but their take on trve epic metal and doom more than make up for that oversight. A Land Long Gone is everything a fan of the trve genre could want, with big, bombastic compositions with hooks, bells, and whistles aplenty. This stuff brings the Manowar to the Candlemass recording session, with big loincloth energy adding to the slow-burning doom power. There are hints of Doomsword and Manilla Road along the road to high adventure, and everything is kept sword-friendly and mighty. “A Corpse’s Dream” is one of my favorite songs of the year, and I love the blending of styles they achieve, and “Zosimos” brings in copious Iron Maiden influences to bedazzle the Crypt Sermon-esque doom they deliver with aplomb. This is the kind of Professor I wish I had during my school years, so listen and learn!
#3. Paradise Lost // Ascension – I’ve followed Paradise Lost since 1991s Gothic release, and I stuck with them until they became Depeche Lost circa 2000. I came back when they went metal again, and though none of their third-stage albums floored me, I liked them enough to keep buying what they sold. That pattern changed with Ascension, which is every bit as powerful, heavy, and vibrant as their glory days, while showing a maturity and sophistication even the classics lack. Let me just come out and say it: I underrated this album, and for that, I feel some degree of fault. Ascension plays like a grand tour of the varied Paradise Lost eras, but nothing ends up feeling recycled. “Serpent on the Cross” is a killer opener featuring everything I ever loved about the band, and cuts like “Tyrants Serenade” and “Salvation” are amongst the best songs of their long-running career. Where I originally felt like the back half of the album was less stellar, I’ve come to love the complete package, and I think this is among the best Paradise Lost albums. Olde dogs can still bite!
#2. Fer De Lance // Fires on the Mountainside – Competing with Anchorite and Professor Emeritus for the best trve doom album of 2025, Fer De Lance brought the biggest sword to the warfield. Fires on the Mountainside has it all; massive trveness, battle-ready classic metal, nods to black and Viking metal, it’s all here and ready for action. Take one listen ot the mammoth title track, and you’ll accumulate more back hair in 7 minutes than you did in all of 2025 as the music takes you from Crypt Sermon-esque classic doom on through Hammerheart era Bathory with touches of folk along the way.2 This is music for heroes who laugh in the face of death. When the black metal element comes forward, you get gems like “Ravens Fly (Dreams of Daidalos),” and when they dial down to the epic doom side, you get monsters like “Death Thrives (Where Walls Divide)” where vocal maniac MP Papai goes all in, and channels Lost Horizon’s Daniel Heiman. If you spin this thing and don’t gain 2 inches on your biceps, you have Chronic Untrveness Disorder.
#1. Structure // Heritage – In a year when I was merely whelmed by much of what I heard, Structure came out of nowhere to drop an industrial earth mover of atmospheric doom on my life. The brainchild of Bram Bijlhout (ex-Officium Triste), Heritage finds him delivering a massive treatise on emotionally harrowing sadness and grief, aided by the killer vocals of Pim Blankenstein (Officium Triste, ex-The 11th Hour). Over the 50 minutes of Heritage, the duo drag you to the heart of sadness, loss, and despair as only thoughtful, well-executed doom can. Yet there are faint rays of light and hope in the inky black, mostly in the form of Bram’s beautiful, delicate guitar work, which weaves ethereal magic through the dour, downtrodden material. Heritage is a very dark album, but it’s rife with genuine beauty too, just as life often is. I’ve spun this thing more than any other 2025 release, and it keeps calling me back to its black womb. There’s something truly special here, and you shouldn’t miss out on experiencing it. This is your Heritage now.
Honorable Mentions:
- An Tóramh // Echoes of Eternal Night – Massive, crushing funereary doom with a great sense of atmosphere
- Phobocosm // Gateway – One of the best slabs of oppressive cavern-core death metal you’ll be squished by this year
- Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell – One of the oddest and endearing death metal albums of late
- Depravity // Bestial Possession – Brutal, blasting, splatterifying death metal that cannot be contained or reasoned with
- Diabolizer // Murderous Revelations – Fast, brutal, burly death metal that gives no fucks as it activates your dental plan
- Guts // Nightmare Fuel – Groove-heavy death metal with big stoner rock vibes should not work, but it does here
- Black Soul Horde // Symphony of Chaos – Epic heavy/power metal with more hooks than the local meat packery run by I. M. Pinhead
- Starlight Ritual // Rogue Angels – Imagine Lemmy joined Di’Anno era Iron Maiden and wrote some epic shit
- Amorphis // Borderlands – Amorphis return to form in a fan service release full of hooks and classic Amorphy moments
- Wytch Hazel // V: Lamentations – Maybe not their best album, but you can’t escape the ear glue of their NWoBHM meets 70s prog rock style
Triumph o’ the Year:
Our little blogworks received a glowing mention in none other than Rolling Stone Magazine, and no one was more surprised than we here at AMG International. It’s nice to see our efforts getting noticed, even in the world of professional music journalism, which we don’t discuss with fans.
Tragedy o’ the Year:
The passing of Ozzy Osbourne. We all knew it was coming, but not this soon. I didn’t expect it to hit me quite as hard as it did, or for the feeling of loss to linger as long as it has. This marks the definitive end of an era and the loss of a Founding Father of metal without peer. At least he went out the way he wanted: with a loud bang and crash. Have a glorious journey into eternity, Ozzman. You will always be missed.
Song(s) o’ the Year:
Under Ruins – “Whispered Curses, Woe Unleashed” – Massive epic goodness with big emotions.
Brainstorm – “The Shepherd Girl (Gitavoginda)” – So damn metal it gives me an iron hangover.
Disappointment o’ the Year:
Dark Angel // Extinction Level Event – What a prophetic album title this was, eh? After 1991s Time Does Not Heal, Dark Angel promised a new album. They promised it while I was in college, then grad school, then law school, during my first marriage, after my divorce, and over the next several decades. When they finally deliver something, and it’s the equivalent of third-rate re-thrash with only vague nods to their original sound, calling it disappointing doesn’t begin to cover it. We received the promo for Extinction Level Event in time to review it, and I was eager to do the job. After one listen, however, I realized the public was going to brutally savage this thing, and I didn’t see the point in adding another head stomp to a band I grew up worshipping. This is now the primary example of why it’s best to leave a legacy safely in the past, where it can live evergreen.
#2025 #Ambush #Amorphis #AnTóramh #Anchorite #BlackSoulHorde #BlogPost #Brainstorm #DarkAngel #Depravity #Diabolizer #Disembodiment #FerDeLance #Guts #Helstar #Lists #Nite #ParadiseLost #Phobocosm #Plasmodulated #ProfessorEmeritus #StarlightRitual #SteelDruhmSTopTenIshOf2025 #Structure #UnderRuins #WytchHazel -
Steel Druhm’s Top Ten(ish) of 2025 By Steel DruhmFirst things first: 2025 was not what I consider a lodestar of great metal. I was much more miserly than usual with my high scores, and though there were a lot of albums I liked, there were not many I truly loved. I had fewer issues curating my Top Ten than usual, with a smaller pool of contenders jockeying for slots. That likely means 2026 will be an overwhelming pornocopia of metal goodness, as flat years are usually followed by market booms. Let’s hope the historic trends continue.
On the AMG front, we had a great many seasoned staffers bow out and take time away from the site, which is always a sad event, but we got a healthy infusion of new blood, too. Hopefully, the blend of new and old will provide new perspectives, but it’s sure to result in some awful takes, too. We apologize for that in advance. Fear not, though, for I have it on good authority that a few long-absent writers will be making a shocking return in the new year.
Personally, 2025 was my least productive year in a while as far as the sheer number of reviews churned out. This was mostly due to my taking on the enormous duties of promo sump management, which takes up a significant amount of time weekly. I’ve gotten faster and more efficient at the promo herding over the year, so I hope to push my review production back up to massive aggressive levels in 2026. I love this little blog, and I invest a lot of myself in it each day. It gives me peace and comfort through challenging times, and more importantly, it keeps me off the streets looking for seedy, low-rent metal blogs to write for.
As I do every year, I want to extend a big thank you to all the readers who grace our pages, comment on our reviews, complain about scores, and generally raise a ruckus. We appreciate you, tolerate you, and continue to do our best to entertain you. Behind the scenes, though, we think you are a bunch of overrating, high-maintenance, diva do-nothings. Keep up the good work and tell your friends about us!
I’d also like to thank all the old and new staff members and AMG Himself for their efforts to keep AMG the bastion of high opinions that it has become. It’s easy to suffer burnout here, and there are times when the words all seem to blur together, and it becomes a battle to formulate new ways to describe shitty, lo-fi death metal. There’s something highly satisfying about the work, though, and doing it with a bunch of lovable rejects makes it all the more so. We have a good group of misfits here, and though we bicker and argue, we love one another most of the time. Because of all this goodwill and affection, I hope none of them make me sabbaticalize them this year. The wood chipper is still clogged from last year’s bonanza of retirements, and I’m just too busy to take cadavers apart the old-fashioned way. Onward to new horizons we fly!
#ish: Nite // Cult of the Serpent Sun – Nite is a strange band that challenges me to look past some very one-dimensional vocals to find the beauty in their guitar-driven righteousness. The music they create is so perfectly in my wheelhouse, mixing the classic 80s sound of Mercyful Fate with the burly badassery of Grand Magus, then they slather their compositions with a blackened snarl that rarely shifts or adapts to the epic music. Sometimes it seems this choice holds them back from greatness, but I just kept returning to Cult of the Serpent Sun time and again in 2025. Songs like “Crow (Fear the Night),” “Carry On,” and “The Winds of Sokar” got spun to death this year, and the guitar work across the album is stellar and so metal it hurts. In a nutshell, I’m hooked on this weird little album despite the shortcomings in the vocal department. Give yourself to the Nite.
#10. Disembodiment// Spiral Crypts – One of the death metal albums that really stuck to ribs this year, Spiral Crypts just wouldn’t unstick itself or go away. Disembodiment brings the OSDM hammer down on you with a stinky, putrid sound that rips organs from all the big names to create a shambling monstrosity all their own. It’s Incantation and Autopsy up front, with a vaguely Death-like prog sheen hidden in the back. Yet this won’t impress with techy wanking, because they’re too busy fucking cadavers and eating human flesh. Nasty first wins in the House of Steel, and this shit is gross but so listenable and entertaining. The riffs are slithery, slappy, and powerful, and those vocals are as much like an industrial garbage disposal as you can get without permanent throat disaster. Get yourself some unsanitary napkins and blast this filth really loud. It’s worth the revolting mess.
#9. Helstar // The Devil’s Masquerade – I grew up loving Helstar, and their Burning Star and Remnants of War albums were in constant rotation during my high school years. They’ve had an up-and-down career since 1989’s Nosterfatu, so them hitting their stride again in 2025 on The Devil’s Masquerade was a huge thrill for Yours Steely. Their textbook blend of US power metal and prog burns bright once more, with nods to thrash mixed in liberally for added asskickery as the guitars shred and impress. Vocal legend James Rivera still sounds enormous and powerful, and the songcraft is shockingly good and consistent. Certain moments scream classic Helstar while also hinting at Rivera’s criminally underrated Destiny’s End project, and there are several nods to prime Nevermore as well. The Devil’s Masquerade does the Helstar legacy proud, and it’s easily the best thing they’ve done since Nosferatu. Let this one in for a bite.
#8. Brainstorm // Plague of Rats – Brainstorm have been one of, if not the most reliable metal acts of the last few decades. Album after album brings a muscular, burly blend of classic metal and power, and time after time they kill it with massive anthems and sick hooks you just can’t shake. Plague of Rats follows the great Wall of Skulls and almost equals it in terms of memorable songs and metal magic. Andy B. Franck continues to be one of the best vocalists in all of metal, and when given tremendous songs to work with like “Garuda (Eater Of Snakes),” The Shepherd Girl (Gitavoginda),” and “Beyond Enemy Lines,” you get molten metal gold. The writing is rock solid with several Songs o’ the Year contenders, and the riffs and vocals are a thing of savage beauty. I love these guys more than I love red meat and hobo wine (almost).
#7. Under Ruins // Age of the Void – Formed by members of the highly underappreciated Lansfear and the cheesy King Diamond wannabes, Them,1 Under Ruins bring a polished, super slick form of epic power metal to the party on their Age of the Void debut. What makes their sound so immediate for me is how it ranges from Manowar-esque chest-thumping anthems to massive epic metal like Atlantean Kodex, and on to old-timey prog metal akin to the early days of Fates Warning, with some other interesting stops along the way. It’s enough like Lansfear to hook me in, but Under Ruins operate with a much broader vision and scope. “Whispered Curses, Woe Unleashed” is my Song o’ the Year, full of melancholic emotion but still bringing the thunder in the way vintage Tad Morose and Pryamaze did. The chorus has been ringing through my head all year, and I can’t escape it. Nor should you. Get under these ruins.
#6. Ambush // Evil in All Dimensions – When traditional and power metal are done properly, they can kick your ass and provide a massive jolt of fun at the same time. That’s exactly what Sweden’s Ambush does all over Evil in All Dimensions. Taking equal measurements of trad and power, they craft rip-roaring anthems to thunder, fire, steel, and make sure the hooks are plentiful. I defy you to blast the title track, “Maskirovka,” or “Bending the Steel” and not feel a rush of power in your veins. The riffs are pure 80s magic, and let me just mention Oskar Jacobsson’s vocals, because they are HUGE. This shit is 100% balls-to-the-walls energy; the songs have legs and demand repeat spins. This is one of the most infectious albums of 2025, and I think I may have underrated it a tad. Get your sack to the partition, pronto.
#5. Anchorite // Realm of Ruin – Taking the classic doom template of Candlemass and Solitude Aeternus and injecting it with the burly machismo of trve metal usually works, and in the case of Anchorite’s Realm of Ruin, it works extra hard! Beefy riffs drive the material to epic heights as doomy harmonies decorate the war wagon. Over the top of it all, Leo Stivala delivers strident, commanding vocals to embiggen the spirit. Cuts like the massive “The Lighthouse Chronicles” merge Paradise Lost with Crypt Sermon and deliver emotional doom with a touch of Nevermore’s moody power. Standout “The Apostate’s Prayer” is a top moment of 2025, and Stivala soars to grand heights, carrying the listener along with him, and “Kingdom Undone” brings in a touch of power metal with grand results and a killer chorus. A surprisingly varied and nuanced album, and one of the top doom platters of the year.
#4. Professor Emeritus // A Land Long Gone – Professor Emeritus may have one of the worst names in the metalverse, but their take on trve epic metal and doom more than make up for that oversight. A Land Long Gone is everything a fan of the trve genre could want, with big, bombastic compositions with hooks, bells, and whistles aplenty. This stuff brings the Manowar to the Candlemass recording session, with big loincloth energy adding to the slow-burning doom power. There are hints of Doomsword and Manilla Road along the road to high adventure, and everything is kept sword-friendly and mighty. “A Corpse’s Dream” is one of my favorite songs of the year, and I love the blending of styles they achieve, and “Zosimos” brings in copious Iron Maiden influences to bedazzle the Crypt Sermon-esque doom they deliver with aplomb. This is the kind of Professor I wish I had during my school years, so listen and learn!
#3. Paradise Lost // Ascension – I’ve followed Paradise Lost since 1991s Gothic release, and I stuck with them until they became Depeche Lost circa 2000. I came back when they went metal again, and though none of their third-stage albums floored me, I liked them enough to keep buying what they sold. That pattern changed with Ascension, which is every bit as powerful, heavy, and vibrant as their glory days, while showing a maturity and sophistication even the classics lack. Let me just come out and say it: I underrated this album, and for that, I feel some degree of fault. Ascension plays like a grand tour of the varied Paradise Lost eras, but nothing ends up feeling recycled. “Serpent on the Cross” is a killer opener featuring everything I ever loved about the band, and cuts like “Tyrants Serenade” and “Salvation” are amongst the best songs of their long-running career. Where I originally felt like the back half of the album was less stellar, I’ve come to love the complete package, and I think this is among the best Paradise Lost albums. Olde dogs can still bite!
#2. Fer De Lance // Fires on the Mountainside – Competing with Anchorite and Professor Emeritus for the best trve doom album of 2025, Fer De Lance brought the biggest sword to the warfield. Fires on the Mountainside has it all; massive trveness, battle-ready classic metal, nods to black and Viking metal, it’s all here and ready for action. Take one listen ot the mammoth title track, and you’ll accumulate more back hair in 7 minutes than you did in all of 2025 as the music takes you from Crypt Sermon-esque classic doom on through Hammerheart era Bathory with touches of folk along the way.2 This is music for heroes who laugh in the face of death. When the black metal element comes forward, you get gems like “Ravens Fly (Dreams of Daidalos),” and when they dial down to the epic doom side, you get monsters like “Death Thrives (Where Walls Divide)” where vocal maniac MP Papai goes all in, and channels Lost Horizon’s Daniel Heiman. If you spin this thing and don’t gain 2 inches on your biceps, you have Chronic Untrveness Disorder.
#1. Structure // Heritage – In a year when I was merely whelmed by much of what I heard, Structure came out of nowhere to drop an industrial earth mover of atmospheric doom on my life. The brainchild of Bram Bijlhout (ex-Officium Triste), Heritage finds him delivering a massive treatise on emotionally harrowing sadness and grief, aided by the killer vocals of Pim Blankenstein (Officium Triste, ex-The 11th Hour). Over the 50 minutes of Heritage, the duo drag you to the heart of sadness, loss, and despair as only thoughtful, well-executed doom can. Yet there are faint rays of light and hope in the inky black, mostly in the form of Bram’s beautiful, delicate guitar work, which weaves ethereal magic through the dour, downtrodden material. Heritage is a very dark album, but it’s rife with genuine beauty too, just as life often is. I’ve spun this thing more than any other 2025 release, and it keeps calling me back to its black womb. There’s something truly special here, and you shouldn’t miss out on experiencing it. This is your Heritage now.
Honorable Mentions:
- An Tóramh // Echoes of Eternal Night – Massive, crushing funereary doom with a great sense of atmosphere
- Phobocosm // Gateway – One of the best slabs of oppressive cavern-core death metal you’ll be squished by this year
- Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell – One of the oddest and endearing death metal albums of late
- Depravity // Bestial Possession – Brutal, blasting, splatterifying death metal that cannot be contained or reasoned with
- Diabolizer // Murderous Revelations – Fast, brutal, burly death metal that gives no fucks as it activates your dental plan
- Guts // Nightmare Fuel – Groove-heavy death metal with big stoner rock vibes should not work, but it does here
- Black Soul Horde // Symphony of Chaos – Epic heavy/power metal with more hooks than the local meat packery run by I. M. Pinhead
- Starlight Ritual // Rogue Angels – Imagine Lemmy joined Di’Anno era Iron Maiden and wrote some epic shit
- Amorphis // Borderlands – Amorphis return to form in a fan service release full of hooks and classic Amorphy moments
- Wytch Hazel // V: Lamentations – Maybe not their best album, but you can’t escape the ear glue of their NWoBHM meets 70s prog rock style
Triumph o’ the Year:
Our little blogworks received a glowing mention in none other than Rolling Stone Magazine, and no one was more surprised than we here at AMG International. It’s nice to see our efforts getting noticed, even in the world of professional music journalism, which we don’t discuss with fans.
Tragedy o’ the Year:
The passing of Ozzy Osbourne. We all knew it was coming, but not this soon. I didn’t expect it to hit me quite as hard as it did, or for the feeling of loss to linger as long as it has. This marks the definitive end of an era and the loss of a Founding Father of metal without peer. At least he went out the way he wanted: with a loud bang and crash. Have a glorious journey into eternity, Ozzman. You will always be missed.
Song(s) o’ the Year:
Under Ruins – “Whispered Curses, Woe Unleashed” – Massive epic goodness with big emotions.
Brainstorm – “The Shepherd Girl (Gitavoginda)” – So damn metal it gives me an iron hangover.
Disappointment o’ the Year:
Dark Angel // Extinction Level Event – What a prophetic album title this was, eh? After 1991s Time Does Not Heal, Dark Angel promised a new album. They promised it while I was in college, then grad school, then law school, during my first marriage, after my divorce, and over the next several decades. When they finally deliver something, and it’s the equivalent of third-rate re-thrash with only vague nods to their original sound, calling it disappointing doesn’t begin to cover it. We received the promo for Extinction Level Event in time to review it, and I was eager to do the job. After one listen, however, I realized the public was going to brutally savage this thing, and I didn’t see the point in adding another head stomp to a band I grew up worshipping. This is now the primary example of why it’s best to leave a legacy safely in the past, where it can live evergreen.
#2025 #Ambush #Amorphis #AnTóramh #Anchorite #BlackSoulHorde #BlogPost #Brainstorm #DarkAngel #Depravity #Diabolizer #Disembodiment #FerDeLance #Guts #Helstar #Lists #Nite #ParadiseLost #Phobocosm #Plasmodulated #ProfessorEmeritus #StarlightRitual #SteelDruhmSTopTenIshOf2025 #Structure #UnderRuins #WytchHazel -
Steel Druhm’s Top Ten(ish) of 2025 By Steel DruhmFirst things first: 2025 was not what I consider a lodestar of great metal. I was much more miserly than usual with my high scores, and though there were a lot of albums I liked, there were not many I truly loved. I had fewer issues curating my Top Ten than usual, with a smaller pool of contenders jockeying for slots. That likely means 2026 will be an overwhelming pornocopia of metal goodness, as flat years are usually followed by market booms. Let’s hope the historic trends continue.
On the AMG front, we had a great many seasoned staffers bow out and take time away from the site, which is always a sad event, but we got a healthy infusion of new blood, too. Hopefully, the blend of new and old will provide new perspectives, but it’s sure to result in some awful takes, too. We apologize for that in advance. Fear not, though, for I have it on good authority that a few long-absent writers will be making a shocking return in the new year.
Personally, 2025 was my least productive year in a while as far as the sheer number of reviews churned out. This was mostly due to my taking on the enormous duties of promo sump management, which takes up a significant amount of time weekly. I’ve gotten faster and more efficient at the promo herding over the year, so I hope to push my review production back up to massive aggressive levels in 2026. I love this little blog, and I invest a lot of myself in it each day. It gives me peace and comfort through challenging times, and more importantly, it keeps me off the streets looking for seedy, low-rent metal blogs to write for.
As I do every year, I want to extend a big thank you to all the readers who grace our pages, comment on our reviews, complain about scores, and generally raise a ruckus. We appreciate you, tolerate you, and continue to do our best to entertain you. Behind the scenes, though, we think you are a bunch of overrating, high-maintenance, diva do-nothings. Keep up the good work and tell your friends about us!
I’d also like to thank all the old and new staff members and AMG Himself for their efforts to keep AMG the bastion of high opinions that it has become. It’s easy to suffer burnout here, and there are times when the words all seem to blur together, and it becomes a battle to formulate new ways to describe shitty, lo-fi death metal. There’s something highly satisfying about the work, though, and doing it with a bunch of lovable rejects makes it all the more so. We have a good group of misfits here, and though we bicker and argue, we love one another most of the time. Because of all this goodwill and affection, I hope none of them make me sabbaticalize them this year. The wood chipper is still clogged from last year’s bonanza of retirements, and I’m just too busy to take cadavers apart the old-fashioned way. Onward to new horizons we fly!
#ish: Nite // Cult of the Serpent Sun – Nite is a strange band that challenges me to look past some very one-dimensional vocals to find the beauty in their guitar-driven righteousness. The music they create is so perfectly in my wheelhouse, mixing the classic 80s sound of Mercyful Fate with the burly badassery of Grand Magus, then they slather their compositions with a blackened snarl that rarely shifts or adapts to the epic music. Sometimes it seems this choice holds them back from greatness, but I just kept returning to Cult of the Serpent Sun time and again in 2025. Songs like “Crow (Fear the Night),” “Carry On,” and “The Winds of Sokar” got spun to death this year, and the guitar work across the album is stellar and so metal it hurts. In a nutshell, I’m hooked on this weird little album despite the shortcomings in the vocal department. Give yourself to the Nite.
#10. Disembodiment// Spiral Crypts – One of the death metal albums that really stuck to ribs this year, Spiral Crypts just wouldn’t unstick itself or go away. Disembodiment brings the OSDM hammer down on you with a stinky, putrid sound that rips organs from all the big names to create a shambling monstrosity all their own. It’s Incantation and Autopsy up front, with a vaguely Death-like prog sheen hidden in the back. Yet this won’t impress with techy wanking, because they’re too busy fucking cadavers and eating human flesh. Nasty first wins in the House of Steel, and this shit is gross but so listenable and entertaining. The riffs are slithery, slappy, and powerful, and those vocals are as much like an industrial garbage disposal as you can get without permanent throat disaster. Get yourself some unsanitary napkins and blast this filth really loud. It’s worth the revolting mess.
#9. Helstar // The Devil’s Masquerade – I grew up loving Helstar, and their Burning Star and Remnants of War albums were in constant rotation during my high school years. They’ve had an up-and-down career since 1989’s Nosterfatu, so them hitting their stride again in 2025 on The Devil’s Masquerade was a huge thrill for Yours Steely. Their textbook blend of US power metal and prog burns bright once more, with nods to thrash mixed in liberally for added asskickery as the guitars shred and impress. Vocal legend James Rivera still sounds enormous and powerful, and the songcraft is shockingly good and consistent. Certain moments scream classic Helstar while also hinting at Rivera’s criminally underrated Destiny’s End project, and there are several nods to prime Nevermore as well. The Devil’s Masquerade does the Helstar legacy proud, and it’s easily the best thing they’ve done since Nosferatu. Let this one in for a bite.
#8. Brainstorm // Plague of Rats – Brainstorm have been one of, if not the most reliable metal acts of the last few decades. Album after album brings a muscular, burly blend of classic metal and power, and time after time they kill it with massive anthems and sick hooks you just can’t shake. Plague of Rats follows the great Wall of Skulls and almost equals it in terms of memorable songs and metal magic. Andy B. Franck continues to be one of the best vocalists in all of metal, and when given tremendous songs to work with like “Garuda (Eater Of Snakes),” The Shepherd Girl (Gitavoginda),” and “Beyond Enemy Lines,” you get molten metal gold. The writing is rock solid with several Songs o’ the Year contenders, and the riffs and vocals are a thing of savage beauty. I love these guys more than I love red meat and hobo wine (almost).
#7. Under Ruins // Age of the Void – Formed by members of the highly underappreciated Lansfear and the cheesy King Diamond wannabes, Them,1 Under Ruins bring a polished, super slick form of epic power metal to the party on their Age of the Void debut. What makes their sound so immediate for me is how it ranges from Manowar-esque chest-thumping anthems to massive epic metal like Atlantean Kodex, and on to old-timey prog metal akin to the early days of Fates Warning, with some other interesting stops along the way. It’s enough like Lansfear to hook me in, but Under Ruins operate with a much broader vision and scope. “Whispered Curses, Woe Unleashed” is my Song o’ the Year, full of melancholic emotion but still bringing the thunder in the way vintage Tad Morose and Pryamaze did. The chorus has been ringing through my head all year, and I can’t escape it. Nor should you. Get under these ruins.
#6. Ambush // Evil in All Dimensions – When traditional and power metal are done properly, they can kick your ass and provide a massive jolt of fun at the same time. That’s exactly what Sweden’s Ambush does all over Evil in All Dimensions. Taking equal measurements of trad and power, they craft rip-roaring anthems to thunder, fire, steel, and make sure the hooks are plentiful. I defy you to blast the title track, “Maskirovka,” or “Bending the Steel” and not feel a rush of power in your veins. The riffs are pure 80s magic, and let me just mention Oskar Jacobsson’s vocals, because they are HUGE. This shit is 100% balls-to-the-walls energy; the songs have legs and demand repeat spins. This is one of the most infectious albums of 2025, and I think I may have underrated it a tad. Get your sack to the partition, pronto.
#5. Anchorite // Realm of Ruin – Taking the classic doom template of Candlemass and Solitude Aeternus and injecting it with the burly machismo of trve metal usually works, and in the case of Anchorite’s Realm of Ruin, it works extra hard! Beefy riffs drive the material to epic heights as doomy harmonies decorate the war wagon. Over the top of it all, Leo Stivala delivers strident, commanding vocals to embiggen the spirit. Cuts like the massive “The Lighthouse Chronicles” merge Paradise Lost with Crypt Sermon and deliver emotional doom with a touch of Nevermore’s moody power. Standout “The Apostate’s Prayer” is a top moment of 2025, and Stivala soars to grand heights, carrying the listener along with him, and “Kingdom Undone” brings in a touch of power metal with grand results and a killer chorus. A surprisingly varied and nuanced album, and one of the top doom platters of the year.
#4. Professor Emeritus // A Land Long Gone – Professor Emeritus may have one of the worst names in the metalverse, but their take on trve epic metal and doom more than make up for that oversight. A Land Long Gone is everything a fan of the trve genre could want, with big, bombastic compositions with hooks, bells, and whistles aplenty. This stuff brings the Manowar to the Candlemass recording session, with big loincloth energy adding to the slow-burning doom power. There are hints of Doomsword and Manilla Road along the road to high adventure, and everything is kept sword-friendly and mighty. “A Corpse’s Dream” is one of my favorite songs of the year, and I love the blending of styles they achieve, and “Zosimos” brings in copious Iron Maiden influences to bedazzle the Crypt Sermon-esque doom they deliver with aplomb. This is the kind of Professor I wish I had during my school years, so listen and learn!
#3. Paradise Lost // Ascension – I’ve followed Paradise Lost since 1991s Gothic release, and I stuck with them until they became Depeche Lost circa 2000. I came back when they went metal again, and though none of their third-stage albums floored me, I liked them enough to keep buying what they sold. That pattern changed with Ascension, which is every bit as powerful, heavy, and vibrant as their glory days, while showing a maturity and sophistication even the classics lack. Let me just come out and say it: I underrated this album, and for that, I feel some degree of fault. Ascension plays like a grand tour of the varied Paradise Lost eras, but nothing ends up feeling recycled. “Serpent on the Cross” is a killer opener featuring everything I ever loved about the band, and cuts like “Tyrants Serenade” and “Salvation” are amongst the best songs of their long-running career. Where I originally felt like the back half of the album was less stellar, I’ve come to love the complete package, and I think this is among the best Paradise Lost albums. Olde dogs can still bite!
#2. Fer De Lance // Fires on the Mountainside – Competing with Anchorite and Professor Emeritus for the best trve doom album of 2025, Fer De Lance brought the biggest sword to the warfield. Fires on the Mountainside has it all; massive trveness, battle-ready classic metal, nods to black and Viking metal, it’s all here and ready for action. Take one listen ot the mammoth title track, and you’ll accumulate more back hair in 7 minutes than you did in all of 2025 as the music takes you from Crypt Sermon-esque classic doom on through Hammerheart era Bathory with touches of folk along the way.2 This is music for heroes who laugh in the face of death. When the black metal element comes forward, you get gems like “Ravens Fly (Dreams of Daidalos),” and when they dial down to the epic doom side, you get monsters like “Death Thrives (Where Walls Divide)” where vocal maniac MP Papai goes all in, and channels Lost Horizon’s Daniel Heiman. If you spin this thing and don’t gain 2 inches on your biceps, you have Chronic Untrveness Disorder.
#1. Structure // Heritage – In a year when I was merely whelmed by much of what I heard, Structure came out of nowhere to drop an industrial earth mover of atmospheric doom on my life. The brainchild of Bram Bijlhout (ex-Officium Triste), Heritage finds him delivering a massive treatise on emotionally harrowing sadness and grief, aided by the killer vocals of Pim Blankenstein (Officium Triste, ex-The 11th Hour). Over the 50 minutes of Heritage, the duo drag you to the heart of sadness, loss, and despair as only thoughtful, well-executed doom can. Yet there are faint rays of light and hope in the inky black, mostly in the form of Bram’s beautiful, delicate guitar work, which weaves ethereal magic through the dour, downtrodden material. Heritage is a very dark album, but it’s rife with genuine beauty too, just as life often is. I’ve spun this thing more than any other 2025 release, and it keeps calling me back to its black womb. There’s something truly special here, and you shouldn’t miss out on experiencing it. This is your Heritage now.
Honorable Mentions:
- An Tóramh // Echoes of Eternal Night – Massive, crushing funereary doom with a great sense of atmosphere
- Phobocosm // Gateway – One of the best slabs of oppressive cavern-core death metal you’ll be squished by this year
- Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell – One of the oddest and endearing death metal albums of late
- Depravity // Bestial Possession – Brutal, blasting, splatterifying death metal that cannot be contained or reasoned with
- Diabolizer // Murderous Revelations – Fast, brutal, burly death metal that gives no fucks as it activates your dental plan
- Guts // Nightmare Fuel – Groove-heavy death metal with big stoner rock vibes should not work, but it does here
- Black Soul Horde // Symphony of Chaos – Epic heavy/power metal with more hooks than the local meat packery run by I. M. Pinhead
- Starlight Ritual // Rogue Angels – Imagine Lemmy joined Di’Anno era Iron Maiden and wrote some epic shit
- Amorphis // Borderlands – Amorphis return to form in a fan service release full of hooks and classic Amorphy moments
- Wytch Hazel // V: Lamentations – Maybe not their best album, but you can’t escape the ear glue of their NWoBHM meets 70s prog rock style
Triumph o’ the Year:
Our little blogworks received a glowing mention in none other than Rolling Stone Magazine, and no one was more surprised than we here at AMG International. It’s nice to see our efforts getting noticed, even in the world of professional music journalism, which we don’t discuss with fans.
Tragedy o’ the Year:
The passing of Ozzy Osbourne. We all knew it was coming, but not this soon. I didn’t expect it to hit me quite as hard as it did, or for the feeling of loss to linger as long as it has. This marks the definitive end of an era and the loss of a Founding Father of metal without peer. At least he went out the way he wanted: with a loud bang and crash. Have a glorious journey into eternity, Ozzman. You will always be missed.
Song(s) o’ the Year:
Under Ruins – “Whispered Curses, Woe Unleashed” – Massive epic goodness with big emotions.
Brainstorm – “The Shepherd Girl (Gitavoginda)” – So damn metal it gives me an iron hangover.
Disappointment o’ the Year:
Dark Angel // Extinction Level Event – What a prophetic album title this was, eh? After 1991s Time Does Not Heal, Dark Angel promised a new album. They promised it while I was in college, then grad school, then law school, during my first marriage, after my divorce, and over the next several decades. When they finally deliver something, and it’s the equivalent of third-rate re-thrash with only vague nods to their original sound, calling it disappointing doesn’t begin to cover it. We received the promo for Extinction Level Event in time to review it, and I was eager to do the job. After one listen, however, I realized the public was going to brutally savage this thing, and I didn’t see the point in adding another head stomp to a band I grew up worshipping. This is now the primary example of why it’s best to leave a legacy safely in the past, where it can live evergreen.
#2025 #Ambush #Amorphis #AnTóramh #Anchorite #BlackSoulHorde #BlogPost #Brainstorm #DarkAngel #Depravity #Diabolizer #Disembodiment #FerDeLance #Guts #Helstar #Lists #Nite #ParadiseLost #Phobocosm #Plasmodulated #ProfessorEmeritus #StarlightRitual #SteelDruhmSTopTenIshOf2025 #Structure #UnderRuins #WytchHazel -
Steel Druhm’s Top Ten(ish) of 2025 By Steel DruhmFirst things first: 2025 was not what I consider a lodestar of great metal. I was much more miserly than usual with my high scores, and though there were a lot of albums I liked, there were not many I truly loved. I had fewer issues curating my Top Ten than usual, with a smaller pool of contenders jockeying for slots. That likely means 2026 will be an overwhelming pornocopia of metal goodness, as flat years are usually followed by market booms. Let’s hope the historic trends continue.
On the AMG front, we had a great many seasoned staffers bow out and take time away from the site, which is always a sad event, but we got a healthy infusion of new blood, too. Hopefully, the blend of new and old will provide new perspectives, but it’s sure to result in some awful takes, too. We apologize for that in advance. Fear not, though, for I have it on good authority that a few long-absent writers will be making a shocking return in the new year.
Personally, 2025 was my least productive year in a while as far as the sheer number of reviews churned out. This was mostly due to my taking on the enormous duties of promo sump management, which takes up a significant amount of time weekly. I’ve gotten faster and more efficient at the promo herding over the year, so I hope to push my review production back up to massive aggressive levels in 2026. I love this little blog, and I invest a lot of myself in it each day. It gives me peace and comfort through challenging times, and more importantly, it keeps me off the streets looking for seedy, low-rent metal blogs to write for.
As I do every year, I want to extend a big thank you to all the readers who grace our pages, comment on our reviews, complain about scores, and generally raise a ruckus. We appreciate you, tolerate you, and continue to do our best to entertain you. Behind the scenes, though, we think you are a bunch of overrating, high-maintenance, diva do-nothings. Keep up the good work and tell your friends about us!
I’d also like to thank all the old and new staff members and AMG Himself for their efforts to keep AMG the bastion of high opinions that it has become. It’s easy to suffer burnout here, and there are times when the words all seem to blur together, and it becomes a battle to formulate new ways to describe shitty, lo-fi death metal. There’s something highly satisfying about the work, though, and doing it with a bunch of lovable rejects makes it all the more so. We have a good group of misfits here, and though we bicker and argue, we love one another most of the time. Because of all this goodwill and affection, I hope none of them make me sabbaticalize them this year. The wood chipper is still clogged from last year’s bonanza of retirements, and I’m just too busy to take cadavers apart the old-fashioned way. Onward to new horizons we fly!
#ish: Nite // Cult of the Serpent Sun – Nite is a strange band that challenges me to look past some very one-dimensional vocals to find the beauty in their guitar-driven righteousness. The music they create is so perfectly in my wheelhouse, mixing the classic 80s sound of Mercyful Fate with the burly badassery of Grand Magus, then they slather their compositions with a blackened snarl that rarely shifts or adapts to the epic music. Sometimes it seems this choice holds them back from greatness, but I just kept returning to Cult of the Serpent Sun time and again in 2025. Songs like “Crow (Fear the Night),” “Carry On,” and “The Winds of Sokar” got spun to death this year, and the guitar work across the album is stellar and so metal it hurts. In a nutshell, I’m hooked on this weird little album despite the shortcomings in the vocal department. Give yourself to the Nite.
#10. Disembodiment// Spiral Crypts – One of the death metal albums that really stuck to ribs this year, Spiral Crypts just wouldn’t unstick itself or go away. Disembodiment brings the OSDM hammer down on you with a stinky, putrid sound that rips organs from all the big names to create a shambling monstrosity all their own. It’s Incantation and Autopsy up front, with a vaguely Death-like prog sheen hidden in the back. Yet this won’t impress with techy wanking, because they’re too busy fucking cadavers and eating human flesh. Nasty first wins in the House of Steel, and this shit is gross but so listenable and entertaining. The riffs are slithery, slappy, and powerful, and those vocals are as much like an industrial garbage disposal as you can get without permanent throat disaster. Get yourself some unsanitary napkins and blast this filth really loud. It’s worth the revolting mess.
#9. Helstar // The Devil’s Masquerade – I grew up loving Helstar, and their Burning Star and Remnants of War albums were in constant rotation during my high school years. They’ve had an up-and-down career since 1989’s Nosterfatu, so them hitting their stride again in 2025 on The Devil’s Masquerade was a huge thrill for Yours Steely. Their textbook blend of US power metal and prog burns bright once more, with nods to thrash mixed in liberally for added asskickery as the guitars shred and impress. Vocal legend James Rivera still sounds enormous and powerful, and the songcraft is shockingly good and consistent. Certain moments scream classic Helstar while also hinting at Rivera’s criminally underrated Destiny’s End project, and there are several nods to prime Nevermore as well. The Devil’s Masquerade does the Helstar legacy proud, and it’s easily the best thing they’ve done since Nosferatu. Let this one in for a bite.
#8. Brainstorm // Plague of Rats – Brainstorm have been one of, if not the most reliable metal acts of the last few decades. Album after album brings a muscular, burly blend of classic metal and power, and time after time they kill it with massive anthems and sick hooks you just can’t shake. Plague of Rats follows the great Wall of Skulls and almost equals it in terms of memorable songs and metal magic. Andy B. Franck continues to be one of the best vocalists in all of metal, and when given tremendous songs to work with like “Garuda (Eater Of Snakes),” The Shepherd Girl (Gitavoginda),” and “Beyond Enemy Lines,” you get molten metal gold. The writing is rock solid with several Songs o’ the Year contenders, and the riffs and vocals are a thing of savage beauty. I love these guys more than I love red meat and hobo wine (almost).
#7. Under Ruins // Age of the Void – Formed by members of the highly underappreciated Lansfear and the cheesy King Diamond wannabes, Them,1 Under Ruins bring a polished, super slick form of epic power metal to the party on their Age of the Void debut. What makes their sound so immediate for me is how it ranges from Manowar-esque chest-thumping anthems to massive epic metal like Atlantean Kodex, and on to old-timey prog metal akin to the early days of Fates Warning, with some other interesting stops along the way. It’s enough like Lansfear to hook me in, but Under Ruins operate with a much broader vision and scope. “Whispered Curses, Woe Unleashed” is my Song o’ the Year, full of melancholic emotion but still bringing the thunder in the way vintage Tad Morose and Pryamaze did. The chorus has been ringing through my head all year, and I can’t escape it. Nor should you. Get under these ruins.
#6. Ambush // Evil in All Dimensions – When traditional and power metal are done properly, they can kick your ass and provide a massive jolt of fun at the same time. That’s exactly what Sweden’s Ambush does all over Evil in All Dimensions. Taking equal measurements of trad and power, they craft rip-roaring anthems to thunder, fire, steel, and make sure the hooks are plentiful. I defy you to blast the title track, “Maskirovka,” or “Bending the Steel” and not feel a rush of power in your veins. The riffs are pure 80s magic, and let me just mention Oskar Jacobsson’s vocals, because they are HUGE. This shit is 100% balls-to-the-walls energy; the songs have legs and demand repeat spins. This is one of the most infectious albums of 2025, and I think I may have underrated it a tad. Get your sack to the partition, pronto.
#5. Anchorite // Realm of Ruin – Taking the classic doom template of Candlemass and Solitude Aeternus and injecting it with the burly machismo of trve metal usually works, and in the case of Anchorite’s Realm of Ruin, it works extra hard! Beefy riffs drive the material to epic heights as doomy harmonies decorate the war wagon. Over the top of it all, Leo Stivala delivers strident, commanding vocals to embiggen the spirit. Cuts like the massive “The Lighthouse Chronicles” merge Paradise Lost with Crypt Sermon and deliver emotional doom with a touch of Nevermore’s moody power. Standout “The Apostate’s Prayer” is a top moment of 2025, and Stivala soars to grand heights, carrying the listener along with him, and “Kingdom Undone” brings in a touch of power metal with grand results and a killer chorus. A surprisingly varied and nuanced album, and one of the top doom platters of the year.
#4. Professor Emeritus // A Land Long Gone – Professor Emeritus may have one of the worst names in the metalverse, but their take on trve epic metal and doom more than make up for that oversight. A Land Long Gone is everything a fan of the trve genre could want, with big, bombastic compositions with hooks, bells, and whistles aplenty. This stuff brings the Manowar to the Candlemass recording session, with big loincloth energy adding to the slow-burning doom power. There are hints of Doomsword and Manilla Road along the road to high adventure, and everything is kept sword-friendly and mighty. “A Corpse’s Dream” is one of my favorite songs of the year, and I love the blending of styles they achieve, and “Zosimos” brings in copious Iron Maiden influences to bedazzle the Crypt Sermon-esque doom they deliver with aplomb. This is the kind of Professor I wish I had during my school years, so listen and learn!
#3. Paradise Lost // Ascension – I’ve followed Paradise Lost since 1991s Gothic release, and I stuck with them until they became Depeche Lost circa 2000. I came back when they went metal again, and though none of their third-stage albums floored me, I liked them enough to keep buying what they sold. That pattern changed with Ascension, which is every bit as powerful, heavy, and vibrant as their glory days, while showing a maturity and sophistication even the classics lack. Let me just come out and say it: I underrated this album, and for that, I feel some degree of fault. Ascension plays like a grand tour of the varied Paradise Lost eras, but nothing ends up feeling recycled. “Serpent on the Cross” is a killer opener featuring everything I ever loved about the band, and cuts like “Tyrants Serenade” and “Salvation” are amongst the best songs of their long-running career. Where I originally felt like the back half of the album was less stellar, I’ve come to love the complete package, and I think this is among the best Paradise Lost albums. Olde dogs can still bite!
#2. Fer De Lance // Fires on the Mountainside – Competing with Anchorite and Professor Emeritus for the best trve doom album of 2025, Fer De Lance brought the biggest sword to the warfield. Fires on the Mountainside has it all; massive trveness, battle-ready classic metal, nods to black and Viking metal, it’s all here and ready for action. Take one listen ot the mammoth title track, and you’ll accumulate more back hair in 7 minutes than you did in all of 2025 as the music takes you from Crypt Sermon-esque classic doom on through Hammerheart era Bathory with touches of folk along the way.2 This is music for heroes who laugh in the face of death. When the black metal element comes forward, you get gems like “Ravens Fly (Dreams of Daidalos),” and when they dial down to the epic doom side, you get monsters like “Death Thrives (Where Walls Divide)” where vocal maniac MP Papai goes all in, and channels Lost Horizon’s Daniel Heiman. If you spin this thing and don’t gain 2 inches on your biceps, you have Chronic Untrveness Disorder.
#1. Structure // Heritage – In a year when I was merely whelmed by much of what I heard, Structure came out of nowhere to drop an industrial earth mover of atmospheric doom on my life. The brainchild of Bram Bijlhout (ex-Officium Triste), Heritage finds him delivering a massive treatise on emotionally harrowing sadness and grief, aided by the killer vocals of Pim Blankenstein (Officium Triste, ex-The 11th Hour). Over the 50 minutes of Heritage, the duo drag you to the heart of sadness, loss, and despair as only thoughtful, well-executed doom can. Yet there are faint rays of light and hope in the inky black, mostly in the form of Bram’s beautiful, delicate guitar work, which weaves ethereal magic through the dour, downtrodden material. Heritage is a very dark album, but it’s rife with genuine beauty too, just as life often is. I’ve spun this thing more than any other 2025 release, and it keeps calling me back to its black womb. There’s something truly special here, and you shouldn’t miss out on experiencing it. This is your Heritage now.
Honorable Mentions:
- An Tóramh // Echoes of Eternal Night – Massive, crushing funereary doom with a great sense of atmosphere
- Phobocosm // Gateway – One of the best slabs of oppressive cavern-core death metal you’ll be squished by this year
- Plasmodulated // An Ocean ov Putrid, Stinky, Vile, Disgusting Hell – One of the oddest and endearing death metal albums of late
- Depravity // Bestial Possession – Brutal, blasting, splatterifying death metal that cannot be contained or reasoned with
- Diabolizer // Murderous Revelations – Fast, brutal, burly death metal that gives no fucks as it activates your dental plan
- Guts // Nightmare Fuel – Groove-heavy death metal with big stoner rock vibes should not work, but it does here
- Black Soul Horde // Symphony of Chaos – Epic heavy/power metal with more hooks than the local meat packery run by I. M. Pinhead
- Starlight Ritual // Rogue Angels – Imagine Lemmy joined Di’Anno era Iron Maiden and wrote some epic shit
- Amorphis // Borderlands – Amorphis return to form in a fan service release full of hooks and classic Amorphy moments
- Wytch Hazel // V: Lamentations – Maybe not their best album, but you can’t escape the ear glue of their NWoBHM meets 70s prog rock style
Triumph o’ the Year:
Our little blogworks received a glowing mention in none other than Rolling Stone Magazine, and no one was more surprised than we here at AMG International. It’s nice to see our efforts getting noticed, even in the world of professional music journalism, which we don’t discuss with fans.
Tragedy o’ the Year:
The passing of Ozzy Osbourne. We all knew it was coming, but not this soon. I didn’t expect it to hit me quite as hard as it did, or for the feeling of loss to linger as long as it has. This marks the definitive end of an era and the loss of a Founding Father of metal without peer. At least he went out the way he wanted: with a loud bang and crash. Have a glorious journey into eternity, Ozzman. You will always be missed.
Song(s) o’ the Year:
Under Ruins – “Whispered Curses, Woe Unleashed” – Massive epic goodness with big emotions.
Brainstorm – “The Shepherd Girl (Gitavoginda)” – So damn metal it gives me an iron hangover.
Disappointment o’ the Year:
Dark Angel // Extinction Level Event – What a prophetic album title this was, eh? After 1991s Time Does Not Heal, Dark Angel promised a new album. They promised it while I was in college, then grad school, then law school, during my first marriage, after my divorce, and over the next several decades. When they finally deliver something, and it’s the equivalent of third-rate re-thrash with only vague nods to their original sound, calling it disappointing doesn’t begin to cover it. We received the promo for Extinction Level Event in time to review it, and I was eager to do the job. After one listen, however, I realized the public was going to brutally savage this thing, and I didn’t see the point in adding another head stomp to a band I grew up worshipping. This is now the primary example of why it’s best to leave a legacy safely in the past, where it can live evergreen.
#2025 #Ambush #Amorphis #AnTóramh #Anchorite #BlackSoulHorde #BlogPost #Brainstorm #DarkAngel #Depravity #Diabolizer #Disembodiment #FerDeLance #Guts #Helstar #Lists #Nite #ParadiseLost #Phobocosm #Plasmodulated #ProfessorEmeritus #StarlightRitual #SteelDruhmSTopTenIshOf2025 #Structure #UnderRuins #WytchHazel -
Kenstrosity’s Top Ten(ish) of 2025 By Kenstrosity
Well, here we are again! One of the longest, most eventful years in recent memory comes to a close. After all of the hardships my family, friends, and I endured at the end of last year, it was difficult to imagine what life would be like. For quite some time, it took everything in us just to continue our day-to-day existences, to reestablish or refresh our routines, and to build our lives back up. But we had tons of support, and we got through it. In fact, I’d say that we came out of everything with a better understanding of who we are, what we want out of life, and a greater drive to live more fully, more intentionally, and without regrets. Personally, I learned the value of asking more questions, making fewer assumptions, and embracing the mess of being human in today’s world. With practice in these areas, in time, I’ll grow into a better person, a better friend, and a better partner to my loved ones.
Musically, I experienced a bit of a shift. I don’t know exactly when this shift happened, but I could feel my desire for unfamiliar or less-traveled territory build. I desired weird, long, or messy records that called to me on a more personal level above all else. I craved pieces that showcased artists who wrote what they wanted (or needed) to, regardless of what others might think or say. Authenticity, creativity, memorability, imperfection, and artistic integrity became my core values when approaching new music this year.
Aside from all of that, the thing I want to do most is offer my deepest heartfelt thanks to everyone who’s stuck by me and been my support system this year. To Alex, a wonderful and gorgeous man who continually shows me more love, patience, and attention than I ever dared to ask for—and who challenges me to grow with every passing day. To Ally, Thea, Kaja, Ashe, Sophie, Chris (both of them), Sean, Malachi, Brandon, Michelle, and Jeff for being the best meatspace friends a guy could ask for, and who also show me more love than I ever dared to ask for. To new meatspace friends (Jhierry, Adrien, Forest, Logan, Nick, Zach, Brett, Blue, Brian, and Shawn) who further enrich my life with each interaction, I am excited to see how our relationships develop! To my therapist, Clint, who has helped pull me from the brink more times than I can count. To my family, Mom, Dad, and Kathy, I don’t know what I would do if they were not here with me. To Lise and Victoria, who have been and continue to be the best supervisors—and all-around cool, brilliant, creative, and inspiring people—I’ve ever known. To AMG Himself, Steel Druhm, Dr. A. N. Grier, and Sentynel for running the greatest blog on the planet and being an invaluable resource for my continued growth as a writer and contributor. To all of my fellow writers and editors, both active and inactive, who make this blog the wonderland it is and whose contributions and company continually uplift and motivate me. To the readers, our Discord members, and the metal community writ large, we wouldn’t be here without you!
Lastly, I’d like to give a shout to all the bands who released awesome records this year that fought valiantly for a spot on my list/HMs, in alphabetical order: 1914, Ancient Death, …and Oceans, Astronoid, Aversed, Blind Equation, Bodybox, Buried Realm, Cave Sermon, Changeling, Death Whore, Gloombound, The Halo Effect, Havukruunu, Helms Deep, Inoculation, Maud the Moth, Mutagenic Host, Nephylim, Pedestal for Leviathan, Proscription, Rothadás, Sarastus, Serenity in Murder, Structure, Tower, Tribunal, Vittra, Yellow Eyes. Despite these gems losing a place on my list proper for any number of reasons, I know I’ll return to them with great relish.
With all of that said, I invite all of you to bear witness to my absolutely unhinged Top Ten(ish) selections for 2025. May the rabble commence!
#ish. Epica // Aspiral – Epica is my favorite symphonic metal band. It’s no secret. They’ve been at the grindstone churning out quality records for almost 25 years with a remarkably stable lineup, and there’s every reason to expect Angry Metal Guy’s Law of Diminishing Recordings™ to catch up with them someday. Today is not that day. Aspiral is easily my favorite record since The Quantum Enigma, full of memorable songs and standout performances. It may be hookier and poppier than anything they’ve put out in the past, but accessibility looks great on Epica.
#10. Citadel // Descension – Every time I thought I knew how I felt about this record, I’d go back to it and discover more reasons to love it. Descension follows the same school of melodic death metal with long-form constructions that bands like An Abstract Illusion practice, but there’s a smoky, gothic twist to it that embodies darkness and light as a merged entity. It’s a delicate balance that Citadel treads with grace and athleticism. That feat is what ultimately elevated Descension to my Top 10 proper.
#9. Depravity // Bestial Possession – Depravity really fucked around with my cutoff for list consideration, coming in clutch one week before Turkey Day. But I am the one who found out. Riffs made to break bones and minds alike, Bestial Possession is lean, mean, and bloodthirsty. And yet, it’s smooth, refined, and streamlined. This is the work of a band that understands exactly what they want to write, and knows how to execute that vision with devastating precision. It’s death metal as we know and love it, weaponized for mass destruction.
#8. In Mourning // The Immortal –The Immortal surprised me. I fully expected it to be good. After all, In Mourning haven’t released a bad album to date. But against all odds, they managed to capture lightning in a bottle here, with songs that are impossible to resist and even harder to forget. It represents everything I love about the sadboi side of melodic death without skimping on hooks or on teeth. The Immortal might just be the pinnacle of In Mourning’s career. Who would’ve expected that after 25 years?
#7. An Abstract Illusion // The Sleeping City – In recent years, I often found myself gravitating towards concise, to-the-point records. I wanted hooks. I wanted brevity. I wanted unrelenting intensity. In 2025, that shifted. The long form became my home away from home. Epic yarns and gentle movements brought comfort and warmth to my listening schedule. With The Sleeping City, An Abstract Illusion managed to capture both the intensity I craved before and the sweeping arcs that I look for now. That it is beautiful without compromising either of those traits is nothing short of awe-inspiring. And so, here we are.
#6. Igorrr // Amen – When I look at my Top 10ish, I notice two things. Firstly, a fair number of these selections are, in some shape or form, weird or niche. Secondly, the gaps that separate one album from the other at this point are paper-thin, aside from my AotY. For French wild cards, Igorrr, accessibility ultimately put Amen here with my faves of 2025. Whimsically weird, savagely smart, and wholly unpredictable, Igorrr achieved a buttery smoothness and an unflinching confidence with these 12 absolute bangers that they’ve never shown before. A high-water mark for an act with an established reputation for excellence.
#5. Tómarúm // Beyond Obsidian Euphoria – My relationship with Beyond Obsidian Euphoria followed much the same trajectory as my relationship with its predecessor, Ash in Realms of Stone Icons. I felt confident in my score, then I started doubting its accuracy, then I’d revisit the record and feel vindicated in my original evaluation—rinse and repeat. It’s a vicious cycle, but at the end of the day, Beyond Obsidian Euphoria was always destined for my Top 5. Its epic, sprawling constructs demand so many of my spoons; emotionally, physically, and spiritually. But it gives just as many back, plus just enough extra to compel me to spin it again. It’s one helluva journey, but that’s what makes it excellent!
#4. Qrixkuor // The Womb of the World – In the world of symphonic death metal, Qrixkuor is singular. Nobody else sounds like them, and I’m convinced nobody else could. Dramatic, violent, and grotesque, but at the same time possessing a disturbing beauty, The Womb of the World sets a new standard for lushly orchestrated death metal. It’s not for the faint of heart, nor for those looking for a quick fix. But once it’s infected your mind, you belong to it. An album to be feared as much as it is to be adored.
#3. Cam Girl // Flesh & Chrome – Deciding where to slot this was a difficult process for me. The people-pleaser that lives in my brain—who is jacked, devastatingly handsome, and incredibly charismatic—tried to move Cam Girl’s sophomore LP down a couple of notches, purely to protect me from those who would (and likely will) tell me this kind of record is undeserving of such high placement here. But the reality is I don’t fucking want to. Flesh & Chrome is a staggering improvement on Cam Girl’s already winning formula, with an invincible selection of super-sticky and subversive tunes that haven’t left my brain since the first half of 2025. It’s among the most fun records I’ve had the pleasure of covering on this site. Above all, Flesh & Chrome earned its rightful place in my Top 3. So it is, so it shall be.
#2. ByoNoiseGenerator // Subnormal Dives – This was not on my bingo card for 2025. I used to despise everything about ByoNoiseGenerator’s brand of brutal jazzgrind. After spinning Subnormal Dives roughly 10^230049 times in the span of a few short months, with a mind-broken grin plastered permanently on my face, something snapped. It wasn’t a gradual affinity borne of a studious and painstaking process. It was a total, implosive disintegration of everything I held true. The result? BYONG is now one of my favorite bands, and I’ve come to love their previous work, too. Not many albums wield that much power. Subnormal Dives does.
#1. Flummox // Southern Progress – This is easily my biggest surprise of 2025. I never heard of Flummox before seeing this cover art on my Bandcamp feed, and I was thoroughly bamboozled by my first spin. The mix was bizarre, the songwriting highly unorthodox compared to anything I’ve heard this side of Devin Townsend, and Flummox’s refusal to settle into any one style was confounding. Yet, I simply could not stop spinning it. All year long, Southern Progress was my go-to, even on days when I just felt so numb that I didn’t want to listen to anything at all. With that commitment came understanding. Southern Progress is, simply put, a fully realized and inspired work of art, complete with relevant societal commentary. Steeped in messaging that spotlights systematic and social prejudices that plague the queer, and particularly the trans/nonbinary/gender-fluid, community (especially in the American South)—and deftly integrating branched subplots that exhibit the wide-reaching complications that neurodivergence, late-stage capitalism, and religion-based upbringings contribute to that experience—Flummox’s fifth LP greatly affected me on a personal level. More so than any other record released this year, Southern Progress feels important, not just to me, and not just to Flummox. I strongly believe everyone could learn something from this bizarre, wild, and untamable barnstormer and have a blast doing it. For these reasons, and so much more, I gratefully award Southern Progress my 2025 Album o’ the Year. Thank you, Flummox, for this wonderful gift!
Honorable Mentions
- Barren Path // Grieving – Deathgrind never sounded this good, or felt this vicious.
- Bianca // Bianca – The beauty and the beast returns, reimagined and rekindled.
- Calva Louise // Edge of the Abyss – Fiercely creative and vividly memorable, this is what happens when artists use neurodivergence and cultural diversity as assets.
- Dagdrøm // Schauder – Passionate melodic black metal for those who are looking for something a bit outside convention.
- Dawn of Ouroboros // Bioluminescence – The best vocal performance of the year meets some of the coolest progressive death songwriting I’ve heard in a minute.
- Imperial Triumphant // Goldstar – The gritty, twisted, sprawling city-dweller with a shady story to tell, and yet it glitters like the purest gold.
- Messa // The Spin – Emotive, sultry, and nuanced doom, compelling enough to seduce even the coldest heart.
- Psychonaut // World Maker – Thoughtful and deeply personal, but still crushingly heavy, post-metal from one of the best acts in the scene.
Songs o’ the Year
- Cam Girl – “Flesh & Chrome” – Simplicity and a curated collection of razor-sharp hooks will win my heart faster than anything else, and few songs this year upheld that virtue better than “Flesh & Chrome.” I haven’t been able to stop singing it to myself literally every single day since I first got my hands on this promo half a year ago, and yet the serotonin production it generates in my burned-out brain almost overwhelms me still. From the white-hot brightness of its lead melodies to the soaring brass of its addictive1 chorus and tight writing, “Flesh & Chrome” just makes me happy. Simple as.
- Citadel – “Sorrow of the Thousandth Death” – I didn’t expect to include this song on my list, but something happened once I started revisiting Descension more often. I found myself completely blown back by the artistry, the expressiveness, and the fluidity exhibited by Citadel’s epic “Sorrow of the Thousandth Death.” This unexpected emotional response completely shifted my perspective on what I was looking for in my Song o’ the Year candidates. Once I contemplated those requirements more deeply, it became clear in short order that “Sorrow of the Thousandth Death” was worthy and then some. Incredible.
- In Mourning – “As Long as the Twilight Stays” – While songs like “Flesh & Chrome” make me happy beyond all reason, others like “As Long as the Twilight Stays” break my bleeding heart. Every time the lyrics “Breathe and open your eyes / When darkness falls, a new dawn will rise / Reveal the secrets you keep / There is still hope as long as twilight stays” pierce through my eardrums, something deep from within my soul surges. That pull, strong enough to rip my heart from its bony cage, and further strengthened by weeping, layered tremolo harmonies, melts me. This is power; it is magic. I am helpless to resist.
- Flummox – “Long Pork” – Southern Progress is swimming in great songs, all of which make a strong claim for inclusion here. Ultimately, “Long Pork” won the blue ribbon for its unhinged songwriting, bizarre vocal acrobatics, harrowing instrumentation, and metamorphic storytelling. The cutting and clever lyrics may seem whimsical at first blush, but the critique they level at humanity’s gross exploitation, not only for the vast overproduction and dysfunctional distribution of food—and the systematic abuse of animals to meet that unsustainable demand—but also to the gluttony of late-stage capitalism and the chasmic wealth divide it perpetuates, sends chills through my nervous system. Sensational!
- Messa – “The Dress” – Of all the great songs 2025 had to offer, “The Dress” was the first one I felt earned a nod here. It is classy beyond all comprehension, sultry and sophisticated without being busy or especially complex. Moreover, it captivates my attention completely. An unqualified success of songwriting prowess, excellence in execution and performance, and spirited delivery, “The Dress” flows between melodies, moods, and modes as mana from otherworldly realms. I would not be surprised if, ten years from now, I still feel its magic as strongly as I do today, immune to the eroding force of time.
Non-Metal Album o’ the Year:
- Lady Gaga // Mayhem – I am absolutely obsessed with this album. I’ve been a fan of Lady Gaga for a long time, but never before did I feel so wholly ensnared by one of her records. This absolute triumph of modern pop explodes with energy, killer hooks, and an unfuckwithable vocal display that makes not singing along to each and every track entirely impossible. Mainstream though it is, Mayhem is a force, and I’ll be listening to it with glee for years to come.
Shakes Fist at Cloud Album of 2025
- Pedestal for Leviathan // Enter: Vampyric Manifestation – There will never be a day when I don’t rue how late I encountered this record, and how lame it felt to realize it had been self-released months before I picked up a December promo for it. It is listworthy, and that I treated it as if it missed my yearly cutoff because of a simple lack of awareness makes me want to shake my fists at the clouds!
-
Kenstrosity’s Top Ten(ish) of 2025 By Kenstrosity
Well, here we are again! One of the longest, most eventful years in recent memory comes to a close. After all of the hardships my family, friends, and I endured at the end of last year, it was difficult to imagine what life would be like. For quite some time, it took everything in us just to continue our day-to-day existences, to reestablish or refresh our routines, and to build our lives back up. But we had tons of support, and we got through it. In fact, I’d say that we came out of everything with a better understanding of who we are, what we want out of life, and a greater drive to live more fully, more intentionally, and without regrets. Personally, I learned the value of asking more questions, making fewer assumptions, and embracing the mess of being human in today’s world. With practice in these areas, in time, I’ll grow into a better person, a better friend, and a better partner to my loved ones.
Musically, I experienced a bit of a shift. I don’t know exactly when this shift happened, but I could feel my desire for unfamiliar or less-traveled territory build. I desired weird, long, or messy records that called to me on a more personal level above all else. I craved pieces that showcased artists who wrote what they wanted (or needed) to, regardless of what others might think or say. Authenticity, creativity, memorability, imperfection, and artistic integrity became my core values when approaching new music this year.
Aside from all of that, the thing I want to do most is offer my deepest heartfelt thanks to everyone who’s stuck by me and been my support system this year. To Alex, a wonderful and gorgeous man who continually shows me more love, patience, and attention than I ever dared to ask for—and who challenges me to grow with every passing day. To Ally, Thea, Kaja, Ashe, Sophie, Chris (both of them), Sean, Malachi, Brandon, Michelle, and Jeff for being the best meatspace friends a guy could ask for, and who also show me more love than I ever dared to ask for. To new meatspace friends (Jhierry, Adrien, Forest, Logan, Nick, Zach, Brett, Blue, Brian, and Shawn) who further enrich my life with each interaction, I am excited to see how our relationships develop! To my therapist, Clint, who has helped pull me from the brink more times than I can count. To my family, Mom, Dad, and Kathy, I don’t know what I would do if they were not here with me. To Lise and Victoria, who have been and continue to be the best supervisors—and all-around cool, brilliant, creative, and inspiring people—I’ve ever known. To AMG Himself, Steel Druhm, Dr. A. N. Grier, and Sentynel for running the greatest blog on the planet and being an invaluable resource for my continued growth as a writer and contributor. To all of my fellow writers and editors, both active and inactive, who make this blog the wonderland it is and whose contributions and company continually uplift and motivate me. To the readers, our Discord members, and the metal community writ large, we wouldn’t be here without you!
Lastly, I’d like to give a shout to all the bands who released awesome records this year that fought valiantly for a spot on my list/HMs, in alphabetical order: 1914, Ancient Death, …and Oceans, Astronoid, Aversed, Blind Equation, Bodybox, Buried Realm, Cave Sermon, Changeling, Death Whore, Gloombound, The Halo Effect, Havukruunu, Helms Deep, Inoculation, Maud the Moth, Mutagenic Host, Nephylim, Pedestal for Leviathan, Proscription, Rothadás, Sarastus, Serenity in Murder, Structure, Tower, Tribunal, Vittra, Yellow Eyes. Despite these gems losing a place on my list proper for any number of reasons, I know I’ll return to them with great relish.
With all of that said, I invite all of you to bear witness to my absolutely unhinged Top Ten(ish) selections for 2025. May the rabble commence!
#ish. Epica // Aspiral – Epica is my favorite symphonic metal band. It’s no secret. They’ve been at the grindstone churning out quality records for almost 25 years with a remarkably stable lineup, and there’s every reason to expect Angry Metal Guy’s Law of Diminishing Recordings™ to catch up with them someday. Today is not that day. Aspiral is easily my favorite record since The Quantum Enigma, full of memorable songs and standout performances. It may be hookier and poppier than anything they’ve put out in the past, but accessibility looks great on Epica.
#10. Citadel // Descension – Every time I thought I knew how I felt about this record, I’d go back to it and discover more reasons to love it. Descension follows the same school of melodic death metal with long-form constructions that bands like An Abstract Illusion practice, but there’s a smoky, gothic twist to it that embodies darkness and light as a merged entity. It’s a delicate balance that Citadel treads with grace and athleticism. That feat is what ultimately elevated Descension to my Top 10 proper.
#9. Depravity // Bestial Possession – Depravity really fucked around with my cutoff for list consideration, coming in clutch one week before Turkey Day. But I am the one who found out. Riffs made to break bones and minds alike, Bestial Possession is lean, mean, and bloodthirsty. And yet, it’s smooth, refined, and streamlined. This is the work of a band that understands exactly what they want to write, and knows how to execute that vision with devastating precision. It’s death metal as we know and love it, weaponized for mass destruction.
#8. In Mourning // The Immortal –The Immortal surprised me. I fully expected it to be good. After all, In Mourning haven’t released a bad album to date. But against all odds, they managed to capture lightning in a bottle here, with songs that are impossible to resist and even harder to forget. It represents everything I love about the sadboi side of melodic death without skimping on hooks or on teeth. The Immortal might just be the pinnacle of In Mourning’s career. Who would’ve expected that after 25 years?
#7. An Abstract Illusion // The Sleeping City – In recent years, I often found myself gravitating towards concise, to-the-point records. I wanted hooks. I wanted brevity. I wanted unrelenting intensity. In 2025, that shifted. The long form became my home away from home. Epic yarns and gentle movements brought comfort and warmth to my listening schedule. With The Sleeping City, An Abstract Illusion managed to capture both the intensity I craved before and the sweeping arcs that I look for now. That it is beautiful without compromising either of those traits is nothing short of awe-inspiring. And so, here we are.
#6. Igorrr // Amen – When I look at my Top 10ish, I notice two things. Firstly, a fair number of these selections are, in some shape or form, weird or niche. Secondly, the gaps that separate one album from the other at this point are paper-thin, aside from my AotY. For French wild cards, Igorrr, accessibility ultimately put Amen here with my faves of 2025. Whimsically weird, savagely smart, and wholly unpredictable, Igorrr achieved a buttery smoothness and an unflinching confidence with these 12 absolute bangers that they’ve never shown before. A high-water mark for an act with an established reputation for excellence.
#5. Tómarúm // Beyond Obsidian Euphoria – My relationship with Beyond Obsidian Euphoria followed much the same trajectory as my relationship with its predecessor, Ash in Realms of Stone Icons. I felt confident in my score, then I started doubting its accuracy, then I’d revisit the record and feel vindicated in my original evaluation—rinse and repeat. It’s a vicious cycle, but at the end of the day, Beyond Obsidian Euphoria was always destined for my Top 5. Its epic, sprawling constructs demand so many of my spoons; emotionally, physically, and spiritually. But it gives just as many back, plus just enough extra to compel me to spin it again. It’s one helluva journey, but that’s what makes it excellent!
#4. Qrixkuor // The Womb of the World – In the world of symphonic death metal, Qrixkuor is singular. Nobody else sounds like them, and I’m convinced nobody else could. Dramatic, violent, and grotesque, but at the same time possessing a disturbing beauty, The Womb of the World sets a new standard for lushly orchestrated death metal. It’s not for the faint of heart, nor for those looking for a quick fix. But once it’s infected your mind, you belong to it. An album to be feared as much as it is to be adored.
#3. Cam Girl // Flesh & Chrome – Deciding where to slot this was a difficult process for me. The people-pleaser that lives in my brain—who is jacked, devastatingly handsome, and incredibly charismatic—tried to move Cam Girl’s sophomore LP down a couple of notches, purely to protect me from those who would (and likely will) tell me this kind of record is undeserving of such high placement here. But the reality is I don’t fucking want to. Flesh & Chrome is a staggering improvement on Cam Girl’s already winning formula, with an invincible selection of super-sticky and subversive tunes that haven’t left my brain since the first half of 2025. It’s among the most fun records I’ve had the pleasure of covering on this site. Above all, Flesh & Chrome earned its rightful place in my Top 3. So it is, so it shall be.
#2. ByoNoiseGenerator // Subnormal Dives – This was not on my bingo card for 2025. I used to despise everything about ByoNoiseGenerator’s brand of brutal jazzgrind. After spinning Subnormal Dives roughly 10^230049 times in the span of a few short months, with a mind-broken grin plastered permanently on my face, something snapped. It wasn’t a gradual affinity borne of a studious and painstaking process. It was a total, implosive disintegration of everything I held true. The result? BYONG is now one of my favorite bands, and I’ve come to love their previous work, too. Not many albums wield that much power. Subnormal Dives does.
#1. Flummox // Southern Progress – This is easily my biggest surprise of 2025. I never heard of Flummox before seeing this cover art on my Bandcamp feed, and I was thoroughly bamboozled by my first spin. The mix was bizarre, the songwriting highly unorthodox compared to anything I’ve heard this side of Devin Townsend, and Flummox’s refusal to settle into any one style was confounding. Yet, I simply could not stop spinning it. All year long, Southern Progress was my go-to, even on days when I just felt so numb that I didn’t want to listen to anything at all. With that commitment came understanding. Southern Progress is, simply put, a fully realized and inspired work of art, complete with relevant societal commentary. Steeped in messaging that spotlights systematic and social prejudices that plague the queer, and particularly the trans/nonbinary/gender-fluid, community (especially in the American South)—and deftly integrating branched subplots that exhibit the wide-reaching complications that neurodivergence, late-stage capitalism, and religion-based upbringings contribute to that experience—Flummox’s fifth LP greatly affected me on a personal level. More so than any other record released this year, Southern Progress feels important, not just to me, and not just to Flummox. I strongly believe everyone could learn something from this bizarre, wild, and untamable barnstormer and have a blast doing it. For these reasons, and so much more, I gratefully award Southern Progress my 2025 Album o’ the Year. Thank you, Flummox, for this wonderful gift!
Honorable Mentions
- Barren Path // Grieving – Deathgrind never sounded this good, or felt this vicious.
- Bianca // Bianca – The beauty and the beast returns, reimagined and rekindled.
- Calva Louise // Edge of the Abyss – Fiercely creative and vividly memorable, this is what happens when artists use neurodivergence and cultural diversity as assets.
- Dagdrøm // Schauder – Passionate melodic black metal for those who are looking for something a bit outside convention.
- Dawn of Ouroboros // Bioluminescence – The best vocal performance of the year meets some of the coolest progressive death songwriting I’ve heard in a minute.
- Imperial Triumphant // Goldstar – The gritty, twisted, sprawling city-dweller with a shady story to tell, and yet it glitters like the purest gold.
- Messa // The Spin – Emotive, sultry, and nuanced doom, compelling enough to seduce even the coldest heart.
- Psychonaut // World Maker – Thoughtful and deeply personal, but still crushingly heavy, post-metal from one of the best acts in the scene.
Songs o’ the Year
- Cam Girl – “Flesh & Chrome” – Simplicity and a curated collection of razor-sharp hooks will win my heart faster than anything else, and few songs this year upheld that virtue better than “Flesh & Chrome.” I haven’t been able to stop singing it to myself literally every single day since I first got my hands on this promo half a year ago, and yet the serotonin production it generates in my burned-out brain almost overwhelms me still. From the white-hot brightness of its lead melodies to the soaring brass of its addictive1 chorus and tight writing, “Flesh & Chrome” just makes me happy. Simple as.
- Citadel – “Sorrow of the Thousandth Death” – I didn’t expect to include this song on my list, but something happened once I started revisiting Descension more often. I found myself completely blown back by the artistry, the expressiveness, and the fluidity exhibited by Citadel’s epic “Sorrow of the Thousandth Death.” This unexpected emotional response completely shifted my perspective on what I was looking for in my Song o’ the Year candidates. Once I contemplated those requirements more deeply, it became clear in short order that “Sorrow of the Thousandth Death” was worthy and then some. Incredible.
- In Mourning – “As Long as the Twilight Stays” – While songs like “Flesh & Chrome” make me happy beyond all reason, others like “As Long as the Twilight Stays” break my bleeding heart. Every time the lyrics “Breathe and open your eyes / When darkness falls, a new dawn will rise / Reveal the secrets you keep / There is still hope as long as twilight stays” pierce through my eardrums, something deep from within my soul surges. That pull, strong enough to rip my heart from its bony cage, and further strengthened by weeping, layered tremolo harmonies, melts me. This is power; it is magic. I am helpless to resist.
- Flummox – “Long Pork” – Southern Progress is swimming in great songs, all of which make a strong claim for inclusion here. Ultimately, “Long Pork” won the blue ribbon for its unhinged songwriting, bizarre vocal acrobatics, harrowing instrumentation, and metamorphic storytelling. The cutting and clever lyrics may seem whimsical at first blush, but the critique they level at humanity’s gross exploitation, not only for the vast overproduction and dysfunctional distribution of food—and the systematic abuse of animals to meet that unsustainable demand—but also to the gluttony of late-stage capitalism and the chasmic wealth divide it perpetuates, sends chills through my nervous system. Sensational!
- Messa – “The Dress” – Of all the great songs 2025 had to offer, “The Dress” was the first one I felt earned a nod here. It is classy beyond all comprehension, sultry and sophisticated without being busy or especially complex. Moreover, it captivates my attention completely. An unqualified success of songwriting prowess, excellence in execution and performance, and spirited delivery, “The Dress” flows between melodies, moods, and modes as mana from otherworldly realms. I would not be surprised if, ten years from now, I still feel its magic as strongly as I do today, immune to the eroding force of time.
Non-Metal Album o’ the Year:
- Lady Gaga // Mayhem – I am absolutely obsessed with this album. I’ve been a fan of Lady Gaga for a long time, but never before did I feel so wholly ensnared by one of her records. This absolute triumph of modern pop explodes with energy, killer hooks, and an unfuckwithable vocal display that makes not singing along to each and every track entirely impossible. Mainstream though it is, Mayhem is a force, and I’ll be listening to it with glee for years to come.
Shakes Fist at Cloud Album of 2025
- Pedestal for Leviathan // Enter: Vampyric Manifestation – There will never be a day when I don’t rue how late I encountered this record, and how lame it felt to realize it had been self-released months before I picked up a December promo for it. It is listworthy, and that I treated it as if it missed my yearly cutoff because of a simple lack of awareness makes me want to shake my fists at the clouds!
-
Kenstrosity’s Top Ten(ish) of 2025 By Kenstrosity
Well, here we are again! One of the longest, most eventful years in recent memory comes to a close. After all of the hardships my family, friends, and I endured at the end of last year, it was difficult to imagine what life would be like. For quite some time, it took everything in us just to continue our day-to-day existences, to reestablish or refresh our routines, and to build our lives back up. But we had tons of support, and we got through it. In fact, I’d say that we came out of everything with a better understanding of who we are, what we want out of life, and a greater drive to live more fully, more intentionally, and without regrets. Personally, I learned the value of asking more questions, making fewer assumptions, and embracing the mess of being human in today’s world. With practice in these areas, in time, I’ll grow into a better person, a better friend, and a better partner to my loved ones.
Musically, I experienced a bit of a shift. I don’t know exactly when this shift happened, but I could feel my desire for unfamiliar or less-traveled territory build. I desired weird, long, or messy records that called to me on a more personal level above all else. I craved pieces that showcased artists who wrote what they wanted (or needed) to, regardless of what others might think or say. Authenticity, creativity, memorability, imperfection, and artistic integrity became my core values when approaching new music this year.
Aside from all of that, the thing I want to do most is offer my deepest heartfelt thanks to everyone who’s stuck by me and been my support system this year. To Alex, a wonderful and gorgeous man who continually shows me more love, patience, and attention than I ever dared to ask for—and who challenges me to grow with every passing day. To Ally, Thea, Kaja, Ashe, Sophie, Chris (both of them), Sean, Malachi, Brandon, Michelle, and Jeff for being the best meatspace friends a guy could ask for, and who also show me more love than I ever dared to ask for. To new meatspace friends (Jhierry, Adrien, Forest, Logan, Nick, Zach, Brett, Blue, Brian, and Shawn) who further enrich my life with each interaction, I am excited to see how our relationships develop! To my therapist, Clint, who has helped pull me from the brink more times than I can count. To my family, Mom, Dad, and Kathy, I don’t know what I would do if they were not here with me. To Lise and Victoria, who have been and continue to be the best supervisors—and all-around cool, brilliant, creative, and inspiring people—I’ve ever known. To AMG Himself, Steel Druhm, Dr. A. N. Grier, and Sentynel for running the greatest blog on the planet and being an invaluable resource for my continued growth as a writer and contributor. To all of my fellow writers and editors, both active and inactive, who make this blog the wonderland it is and whose contributions and company continually uplift and motivate me. To the readers, our Discord members, and the metal community writ large, we wouldn’t be here without you!
Lastly, I’d like to give a shout to all the bands who released awesome records this year that fought valiantly for a spot on my list/HMs, in alphabetical order: 1914, Ancient Death, …and Oceans, Astronoid, Aversed, Blind Equation, Bodybox, Buried Realm, Cave Sermon, Changeling, Death Whore, Gloombound, The Halo Effect, Havukruunu, Helms Deep, Inoculation, Maud the Moth, Mutagenic Host, Nephylim, Pedestal for Leviathan, Proscription, Rothadás, Sarastus, Serenity in Murder, Structure, Tower, Tribunal, Vittra, Yellow Eyes. Despite these gems losing a place on my list proper for any number of reasons, I know I’ll return to them with great relish.
With all of that said, I invite all of you to bear witness to my absolutely unhinged Top Ten(ish) selections for 2025. May the rabble commence!
#ish. Epica // Aspiral – Epica is my favorite symphonic metal band. It’s no secret. They’ve been at the grindstone churning out quality records for almost 25 years with a remarkably stable lineup, and there’s every reason to expect Angry Metal Guy’s Law of Diminishing Recordings™ to catch up with them someday. Today is not that day. Aspiral is easily my favorite record since The Quantum Enigma, full of memorable songs and standout performances. It may be hookier and poppier than anything they’ve put out in the past, but accessibility looks great on Epica.
#10. Citadel // Descension – Every time I thought I knew how I felt about this record, I’d go back to it and discover more reasons to love it. Descension follows the same school of melodic death metal with long-form constructions that bands like An Abstract Illusion practice, but there’s a smoky, gothic twist to it that embodies darkness and light as a merged entity. It’s a delicate balance that Citadel treads with grace and athleticism. That feat is what ultimately elevated Descension to my Top 10 proper.
#9. Depravity // Bestial Possession – Depravity really fucked around with my cutoff for list consideration, coming in clutch one week before Turkey Day. But I am the one who found out. Riffs made to break bones and minds alike, Bestial Possession is lean, mean, and bloodthirsty. And yet, it’s smooth, refined, and streamlined. This is the work of a band that understands exactly what they want to write, and knows how to execute that vision with devastating precision. It’s death metal as we know and love it, weaponized for mass destruction.
#8. In Mourning // The Immortal –The Immortal surprised me. I fully expected it to be good. After all, In Mourning haven’t released a bad album to date. But against all odds, they managed to capture lightning in a bottle here, with songs that are impossible to resist and even harder to forget. It represents everything I love about the sadboi side of melodic death without skimping on hooks or on teeth. The Immortal might just be the pinnacle of In Mourning’s career. Who would’ve expected that after 25 years?
#7. An Abstract Illusion // The Sleeping City – In recent years, I often found myself gravitating towards concise, to-the-point records. I wanted hooks. I wanted brevity. I wanted unrelenting intensity. In 2025, that shifted. The long form became my home away from home. Epic yarns and gentle movements brought comfort and warmth to my listening schedule. With The Sleeping City, An Abstract Illusion managed to capture both the intensity I craved before and the sweeping arcs that I look for now. That it is beautiful without compromising either of those traits is nothing short of awe-inspiring. And so, here we are.
#6. Igorrr // Amen – When I look at my Top 10ish, I notice two things. Firstly, a fair number of these selections are, in some shape or form, weird or niche. Secondly, the gaps that separate one album from the other at this point are paper-thin, aside from my AotY. For French wild cards, Igorrr, accessibility ultimately put Amen here with my faves of 2025. Whimsically weird, savagely smart, and wholly unpredictable, Igorrr achieved a buttery smoothness and an unflinching confidence with these 12 absolute bangers that they’ve never shown before. A high-water mark for an act with an established reputation for excellence.
#5. Tómarúm // Beyond Obsidian Euphoria – My relationship with Beyond Obsidian Euphoria followed much the same trajectory as my relationship with its predecessor, Ash in Realms of Stone Icons. I felt confident in my score, then I started doubting its accuracy, then I’d revisit the record and feel vindicated in my original evaluation—rinse and repeat. It’s a vicious cycle, but at the end of the day, Beyond Obsidian Euphoria was always destined for my Top 5. Its epic, sprawling constructs demand so many of my spoons; emotionally, physically, and spiritually. But it gives just as many back, plus just enough extra to compel me to spin it again. It’s one helluva journey, but that’s what makes it excellent!
#4. Qrixkuor // The Womb of the World – In the world of symphonic death metal, Qrixkuor is singular. Nobody else sounds like them, and I’m convinced nobody else could. Dramatic, violent, and grotesque, but at the same time possessing a disturbing beauty, The Womb of the World sets a new standard for lushly orchestrated death metal. It’s not for the faint of heart, nor for those looking for a quick fix. But once it’s infected your mind, you belong to it. An album to be feared as much as it is to be adored.
#3. Cam Girl // Flesh & Chrome – Deciding where to slot this was a difficult process for me. The people-pleaser that lives in my brain—who is jacked, devastatingly handsome, and incredibly charismatic—tried to move Cam Girl’s sophomore LP down a couple of notches, purely to protect me from those who would (and likely will) tell me this kind of record is undeserving of such high placement here. But the reality is I don’t fucking want to. Flesh & Chrome is a staggering improvement on Cam Girl’s already winning formula, with an invincible selection of super-sticky and subversive tunes that haven’t left my brain since the first half of 2025. It’s among the most fun records I’ve had the pleasure of covering on this site. Above all, Flesh & Chrome earned its rightful place in my Top 3. So it is, so it shall be.
#2. ByoNoiseGenerator // Subnormal Dives – This was not on my bingo card for 2025. I used to despise everything about ByoNoiseGenerator’s brand of brutal jazzgrind. After spinning Subnormal Dives roughly 10^230049 times in the span of a few short months, with a mind-broken grin plastered permanently on my face, something snapped. It wasn’t a gradual affinity borne of a studious and painstaking process. It was a total, implosive disintegration of everything I held true. The result? BYONG is now one of my favorite bands, and I’ve come to love their previous work, too. Not many albums wield that much power. Subnormal Dives does.
#1. Flummox // Southern Progress – This is easily my biggest surprise of 2025. I never heard of Flummox before seeing this cover art on my Bandcamp feed, and I was thoroughly bamboozled by my first spin. The mix was bizarre, the songwriting highly unorthodox compared to anything I’ve heard this side of Devin Townsend, and Flummox’s refusal to settle into any one style was confounding. Yet, I simply could not stop spinning it. All year long, Southern Progress was my go-to, even on days when I just felt so numb that I didn’t want to listen to anything at all. With that commitment came understanding. Southern Progress is, simply put, a fully realized and inspired work of art, complete with relevant societal commentary. Steeped in messaging that spotlights systematic and social prejudices that plague the queer, and particularly the trans/nonbinary/gender-fluid, community (especially in the American South)—and deftly integrating branched subplots that exhibit the wide-reaching complications that neurodivergence, late-stage capitalism, and religion-based upbringings contribute to that experience—Flummox’s fifth LP greatly affected me on a personal level. More so than any other record released this year, Southern Progress feels important, not just to me, and not just to Flummox. I strongly believe everyone could learn something from this bizarre, wild, and untamable barnstormer and have a blast doing it. For these reasons, and so much more, I gratefully award Southern Progress my 2025 Album o’ the Year. Thank you, Flummox, for this wonderful gift!
Honorable Mentions
- Barren Path // Grieving – Deathgrind never sounded this good, or felt this vicious.
- Bianca // Bianca – The beauty and the beast returns, reimagined and rekindled.
- Calva Louise // Edge of the Abyss – Fiercely creative and vividly memorable, this is what happens when artists use neurodivergence and cultural diversity as assets.
- Dagdrøm // Schauder – Passionate melodic black metal for those who are looking for something a bit outside convention.
- Dawn of Ouroboros // Bioluminescence – The best vocal performance of the year meets some of the coolest progressive death songwriting I’ve heard in a minute.
- Imperial Triumphant // Goldstar – The gritty, twisted, sprawling city-dweller with a shady story to tell, and yet it glitters like the purest gold.
- Messa // The Spin – Emotive, sultry, and nuanced doom, compelling enough to seduce even the coldest heart.
- Psychonaut // World Maker – Thoughtful and deeply personal, but still crushingly heavy, post-metal from one of the best acts in the scene.
Songs o’ the Year
- Cam Girl – “Flesh & Chrome” – Simplicity and a curated collection of razor-sharp hooks will win my heart faster than anything else, and few songs this year upheld that virtue better than “Flesh & Chrome.” I haven’t been able to stop singing it to myself literally every single day since I first got my hands on this promo half a year ago, and yet the serotonin production it generates in my burned-out brain almost overwhelms me still. From the white-hot brightness of its lead melodies to the soaring brass of its addictive1 chorus and tight writing, “Flesh & Chrome” just makes me happy. Simple as.
- Citadel – “Sorrow of the Thousandth Death” – I didn’t expect to include this song on my list, but something happened once I started revisiting Descension more often. I found myself completely blown back by the artistry, the expressiveness, and the fluidity exhibited by Citadel’s epic “Sorrow of the Thousandth Death.” This unexpected emotional response completely shifted my perspective on what I was looking for in my Song o’ the Year candidates. Once I contemplated those requirements more deeply, it became clear in short order that “Sorrow of the Thousandth Death” was worthy and then some. Incredible.
- In Mourning – “As Long as the Twilight Stays” – While songs like “Flesh & Chrome” make me happy beyond all reason, others like “As Long as the Twilight Stays” break my bleeding heart. Every time the lyrics “Breathe and open your eyes / When darkness falls, a new dawn will rise / Reveal the secrets you keep / There is still hope as long as twilight stays” pierce through my eardrums, something deep from within my soul surges. That pull, strong enough to rip my heart from its bony cage, and further strengthened by weeping, layered tremolo harmonies, melts me. This is power; it is magic. I am helpless to resist.
- Flummox – “Long Pork” – Southern Progress is swimming in great songs, all of which make a strong claim for inclusion here. Ultimately, “Long Pork” won the blue ribbon for its unhinged songwriting, bizarre vocal acrobatics, harrowing instrumentation, and metamorphic storytelling. The cutting and clever lyrics may seem whimsical at first blush, but the critique they level at humanity’s gross exploitation, not only for the vast overproduction and dysfunctional distribution of food—and the systematic abuse of animals to meet that unsustainable demand—but also to the gluttony of late-stage capitalism and the chasmic wealth divide it perpetuates, sends chills through my nervous system. Sensational!
- Messa – “The Dress” – Of all the great songs 2025 had to offer, “The Dress” was the first one I felt earned a nod here. It is classy beyond all comprehension, sultry and sophisticated without being busy or especially complex. Moreover, it captivates my attention completely. An unqualified success of songwriting prowess, excellence in execution and performance, and spirited delivery, “The Dress” flows between melodies, moods, and modes as mana from otherworldly realms. I would not be surprised if, ten years from now, I still feel its magic as strongly as I do today, immune to the eroding force of time.
Non-Metal Album o’ the Year:
- Lady Gaga // Mayhem – I am absolutely obsessed with this album. I’ve been a fan of Lady Gaga for a long time, but never before did I feel so wholly ensnared by one of her records. This absolute triumph of modern pop explodes with energy, killer hooks, and an unfuckwithable vocal display that makes not singing along to each and every track entirely impossible. Mainstream though it is, Mayhem is a force, and I’ll be listening to it with glee for years to come.
Shakes Fist at Cloud Album of 2025
- Pedestal for Leviathan // Enter: Vampyric Manifestation – There will never be a day when I don’t rue how late I encountered this record, and how lame it felt to realize it had been self-released months before I picked up a December promo for it. It is listworthy, and that I treated it as if it missed my yearly cutoff because of a simple lack of awareness makes me want to shake my fists at the clouds!
-
Kenstrosity’s Top Ten(ish) of 2025 By Kenstrosity
Well, here we are again! One of the longest, most eventful years in recent memory comes to a close. After all of the hardships my family, friends, and I endured at the end of last year, it was difficult to imagine what life would be like. For quite some time, it took everything in us just to continue our day-to-day existences, to reestablish or refresh our routines, and to build our lives back up. But we had tons of support, and we got through it. In fact, I’d say that we came out of everything with a better understanding of who we are, what we want out of life, and a greater drive to live more fully, more intentionally, and without regrets. Personally, I learned the value of asking more questions, making fewer assumptions, and embracing the mess of being human in today’s world. With practice in these areas, in time, I’ll grow into a better person, a better friend, and a better partner to my loved ones.
Musically, I experienced a bit of a shift. I don’t know exactly when this shift happened, but I could feel my desire for unfamiliar or less-traveled territory build. I desired weird, long, or messy records that called to me on a more personal level above all else. I craved pieces that showcased artists who wrote what they wanted (or needed) to, regardless of what others might think or say. Authenticity, creativity, memorability, imperfection, and artistic integrity became my core values when approaching new music this year.
Aside from all of that, the thing I want to do most is offer my deepest heartfelt thanks to everyone who’s stuck by me and been my support system this year. To Alex, a wonderful and gorgeous man who continually shows me more love, patience, and attention than I ever dared to ask for—and who challenges me to grow with every passing day. To Ally, Thea, Kaja, Ashe, Sophie, Chris (both of them), Sean, Malachi, Brandon, Michelle, and Jeff for being the best meatspace friends a guy could ask for, and who also show me more love than I ever dared to ask for. To new meatspace friends (Jhierry, Adrien, Forest, Logan, Nick, Zach, Brett, Blue, Brian, and Shawn) who further enrich my life with each interaction, I am excited to see how our relationships develop! To my therapist, Clint, who has helped pull me from the brink more times than I can count. To my family, Mom, Dad, and Kathy, I don’t know what I would do if they were not here with me. To Lise and Victoria, who have been and continue to be the best supervisors—and all-around cool, brilliant, creative, and inspiring people—I’ve ever known. To AMG Himself, Steel Druhm, Dr. A. N. Grier, and Sentynel for running the greatest blog on the planet and being an invaluable resource for my continued growth as a writer and contributor. To all of my fellow writers and editors, both active and inactive, who make this blog the wonderland it is and whose contributions and company continually uplift and motivate me. To the readers, our Discord members, and the metal community writ large, we wouldn’t be here without you!
Lastly, I’d like to give a shout to all the bands who released awesome records this year that fought valiantly for a spot on my list/HMs, in alphabetical order: 1914, Ancient Death, …and Oceans, Astronoid, Aversed, Blind Equation, Bodybox, Buried Realm, Cave Sermon, Changeling, Death Whore, Gloombound, The Halo Effect, Havukruunu, Helms Deep, Inoculation, Maud the Moth, Mutagenic Host, Nephylim, Pedestal for Leviathan, Proscription, Rothadás, Sarastus, Serenity in Murder, Structure, Tower, Tribunal, Vittra, Yellow Eyes. Despite these gems losing a place on my list proper for any number of reasons, I know I’ll return to them with great relish.
With all of that said, I invite all of you to bear witness to my absolutely unhinged Top Ten(ish) selections for 2025. May the rabble commence!
#ish. Epica // Aspiral – Epica is my favorite symphonic metal band. It’s no secret. They’ve been at the grindstone churning out quality records for almost 25 years with a remarkably stable lineup, and there’s every reason to expect Angry Metal Guy’s Law of Diminishing Recordings™ to catch up with them someday. Today is not that day. Aspiral is easily my favorite record since The Quantum Enigma, full of memorable songs and standout performances. It may be hookier and poppier than anything they’ve put out in the past, but accessibility looks great on Epica.
#10. Citadel // Descension – Every time I thought I knew how I felt about this record, I’d go back to it and discover more reasons to love it. Descension follows the same school of melodic death metal with long-form constructions that bands like An Abstract Illusion practice, but there’s a smoky, gothic twist to it that embodies darkness and light as a merged entity. It’s a delicate balance that Citadel treads with grace and athleticism. That feat is what ultimately elevated Descension to my Top 10 proper.
#9. Depravity // Bestial Possession – Depravity really fucked around with my cutoff for list consideration, coming in clutch one week before Turkey Day. But I am the one who found out. Riffs made to break bones and minds alike, Bestial Possession is lean, mean, and bloodthirsty. And yet, it’s smooth, refined, and streamlined. This is the work of a band that understands exactly what they want to write, and knows how to execute that vision with devastating precision. It’s death metal as we know and love it, weaponized for mass destruction.
#8. In Mourning // The Immortal –The Immortal surprised me. I fully expected it to be good. After all, In Mourning haven’t released a bad album to date. But against all odds, they managed to capture lightning in a bottle here, with songs that are impossible to resist and even harder to forget. It represents everything I love about the sadboi side of melodic death without skimping on hooks or on teeth. The Immortal might just be the pinnacle of In Mourning’s career. Who would’ve expected that after 25 years?
#7. An Abstract Illusion // The Sleeping City – In recent years, I often found myself gravitating towards concise, to-the-point records. I wanted hooks. I wanted brevity. I wanted unrelenting intensity. In 2025, that shifted. The long form became my home away from home. Epic yarns and gentle movements brought comfort and warmth to my listening schedule. With The Sleeping City, An Abstract Illusion managed to capture both the intensity I craved before and the sweeping arcs that I look for now. That it is beautiful without compromising either of those traits is nothing short of awe-inspiring. And so, here we are.
#6. Igorrr // Amen – When I look at my Top 10ish, I notice two things. Firstly, a fair number of these selections are, in some shape or form, weird or niche. Secondly, the gaps that separate one album from the other at this point are paper-thin, aside from my AotY. For French wild cards, Igorrr, accessibility ultimately put Amen here with my faves of 2025. Whimsically weird, savagely smart, and wholly unpredictable, Igorrr achieved a buttery smoothness and an unflinching confidence with these 12 absolute bangers that they’ve never shown before. A high-water mark for an act with an established reputation for excellence.
#5. Tómarúm // Beyond Obsidian Euphoria – My relationship with Beyond Obsidian Euphoria followed much the same trajectory as my relationship with its predecessor, Ash in Realms of Stone Icons. I felt confident in my score, then I started doubting its accuracy, then I’d revisit the record and feel vindicated in my original evaluation—rinse and repeat. It’s a vicious cycle, but at the end of the day, Beyond Obsidian Euphoria was always destined for my Top 5. Its epic, sprawling constructs demand so many of my spoons; emotionally, physically, and spiritually. But it gives just as many back, plus just enough extra to compel me to spin it again. It’s one helluva journey, but that’s what makes it excellent!
#4. Qrixkuor // The Womb of the World – In the world of symphonic death metal, Qrixkuor is singular. Nobody else sounds like them, and I’m convinced nobody else could. Dramatic, violent, and grotesque, but at the same time possessing a disturbing beauty, The Womb of the World sets a new standard for lushly orchestrated death metal. It’s not for the faint of heart, nor for those looking for a quick fix. But once it’s infected your mind, you belong to it. An album to be feared as much as it is to be adored.
#3. Cam Girl // Flesh & Chrome – Deciding where to slot this was a difficult process for me. The people-pleaser that lives in my brain—who is jacked, devastatingly handsome, and incredibly charismatic—tried to move Cam Girl’s sophomore LP down a couple of notches, purely to protect me from those who would (and likely will) tell me this kind of record is undeserving of such high placement here. But the reality is I don’t fucking want to. Flesh & Chrome is a staggering improvement on Cam Girl’s already winning formula, with an invincible selection of super-sticky and subversive tunes that haven’t left my brain since the first half of 2025. It’s among the most fun records I’ve had the pleasure of covering on this site. Above all, Flesh & Chrome earned its rightful place in my Top 3. So it is, so it shall be.
#2. ByoNoiseGenerator // Subnormal Dives – This was not on my bingo card for 2025. I used to despise everything about ByoNoiseGenerator’s brand of brutal jazzgrind. After spinning Subnormal Dives roughly 10^230049 times in the span of a few short months, with a mind-broken grin plastered permanently on my face, something snapped. It wasn’t a gradual affinity borne of a studious and painstaking process. It was a total, implosive disintegration of everything I held true. The result? BYONG is now one of my favorite bands, and I’ve come to love their previous work, too. Not many albums wield that much power. Subnormal Dives does.
#1. Flummox // Southern Progress – This is easily my biggest surprise of 2025. I never heard of Flummox before seeing this cover art on my Bandcamp feed, and I was thoroughly bamboozled by my first spin. The mix was bizarre, the songwriting highly unorthodox compared to anything I’ve heard this side of Devin Townsend, and Flummox’s refusal to settle into any one style was confounding. Yet, I simply could not stop spinning it. All year long, Southern Progress was my go-to, even on days when I just felt so numb that I didn’t want to listen to anything at all. With that commitment came understanding. Southern Progress is, simply put, a fully realized and inspired work of art, complete with relevant societal commentary. Steeped in messaging that spotlights systematic and social prejudices that plague the queer, and particularly the trans/nonbinary/gender-fluid, community (especially in the American South)—and deftly integrating branched subplots that exhibit the wide-reaching complications that neurodivergence, late-stage capitalism, and religion-based upbringings contribute to that experience—Flummox’s fifth LP greatly affected me on a personal level. More so than any other record released this year, Southern Progress feels important, not just to me, and not just to Flummox. I strongly believe everyone could learn something from this bizarre, wild, and untamable barnstormer and have a blast doing it. For these reasons, and so much more, I gratefully award Southern Progress my 2025 Album o’ the Year. Thank you, Flummox, for this wonderful gift!
Honorable Mentions
- Barren Path // Grieving – Deathgrind never sounded this good, or felt this vicious.
- Bianca // Bianca – The beauty and the beast returns, reimagined and rekindled.
- Calva Louise // Edge of the Abyss – Fiercely creative and vividly memorable, this is what happens when artists use neurodivergence and cultural diversity as assets.
- Dagdrøm // Schauder – Passionate melodic black metal for those who are looking for something a bit outside convention.
- Dawn of Ouroboros // Bioluminescence – The best vocal performance of the year meets some of the coolest progressive death songwriting I’ve heard in a minute.
- Imperial Triumphant // Goldstar – The gritty, twisted, sprawling city-dweller with a shady story to tell, and yet it glitters like the purest gold.
- Messa // The Spin – Emotive, sultry, and nuanced doom, compelling enough to seduce even the coldest heart.
- Psychonaut // World Maker – Thoughtful and deeply personal, but still crushingly heavy, post-metal from one of the best acts in the scene.
Songs o’ the Year
- Cam Girl – “Flesh & Chrome” – Simplicity and a curated collection of razor-sharp hooks will win my heart faster than anything else, and few songs this year upheld that virtue better than “Flesh & Chrome.” I haven’t been able to stop singing it to myself literally every single day since I first got my hands on this promo half a year ago, and yet the serotonin production it generates in my burned-out brain almost overwhelms me still. From the white-hot brightness of its lead melodies to the soaring brass of its addictive1 chorus and tight writing, “Flesh & Chrome” just makes me happy. Simple as.
- Citadel – “Sorrow of the Thousandth Death” – I didn’t expect to include this song on my list, but something happened once I started revisiting Descension more often. I found myself completely blown back by the artistry, the expressiveness, and the fluidity exhibited by Citadel’s epic “Sorrow of the Thousandth Death.” This unexpected emotional response completely shifted my perspective on what I was looking for in my Song o’ the Year candidates. Once I contemplated those requirements more deeply, it became clear in short order that “Sorrow of the Thousandth Death” was worthy and then some. Incredible.
- In Mourning – “As Long as the Twilight Stays” – While songs like “Flesh & Chrome” make me happy beyond all reason, others like “As Long as the Twilight Stays” break my bleeding heart. Every time the lyrics “Breathe and open your eyes / When darkness falls, a new dawn will rise / Reveal the secrets you keep / There is still hope as long as twilight stays” pierce through my eardrums, something deep from within my soul surges. That pull, strong enough to rip my heart from its bony cage, and further strengthened by weeping, layered tremolo harmonies, melts me. This is power; it is magic. I am helpless to resist.
- Flummox – “Long Pork” – Southern Progress is swimming in great songs, all of which make a strong claim for inclusion here. Ultimately, “Long Pork” won the blue ribbon for its unhinged songwriting, bizarre vocal acrobatics, harrowing instrumentation, and metamorphic storytelling. The cutting and clever lyrics may seem whimsical at first blush, but the critique they level at humanity’s gross exploitation, not only for the vast overproduction and dysfunctional distribution of food—and the systematic abuse of animals to meet that unsustainable demand—but also to the gluttony of late-stage capitalism and the chasmic wealth divide it perpetuates, sends chills through my nervous system. Sensational!
- Messa – “The Dress” – Of all the great songs 2025 had to offer, “The Dress” was the first one I felt earned a nod here. It is classy beyond all comprehension, sultry and sophisticated without being busy or especially complex. Moreover, it captivates my attention completely. An unqualified success of songwriting prowess, excellence in execution and performance, and spirited delivery, “The Dress” flows between melodies, moods, and modes as mana from otherworldly realms. I would not be surprised if, ten years from now, I still feel its magic as strongly as I do today, immune to the eroding force of time.
Non-Metal Album o’ the Year:
- Lady Gaga // Mayhem – I am absolutely obsessed with this album. I’ve been a fan of Lady Gaga for a long time, but never before did I feel so wholly ensnared by one of her records. This absolute triumph of modern pop explodes with energy, killer hooks, and an unfuckwithable vocal display that makes not singing along to each and every track entirely impossible. Mainstream though it is, Mayhem is a force, and I’ll be listening to it with glee for years to come.
Shakes Fist at Cloud Album of 2025
- Pedestal for Leviathan // Enter: Vampyric Manifestation – There will never be a day when I don’t rue how late I encountered this record, and how lame it felt to realize it had been self-released months before I picked up a December promo for it. It is listworthy, and that I treated it as if it missed my yearly cutoff because of a simple lack of awareness makes me want to shake my fists at the clouds!
-
Kenstrosity’s Top Ten(ish) of 2025 By Kenstrosity
Well, here we are again! One of the longest, most eventful years in recent memory comes to a close. After all of the hardships my family, friends, and I endured at the end of last year, it was difficult to imagine what life would be like. For quite some time, it took everything in us just to continue our day-to-day existences, to reestablish or refresh our routines, and to build our lives back up. But we had tons of support, and we got through it. In fact, I’d say that we came out of everything with a better understanding of who we are, what we want out of life, and a greater drive to live more fully, more intentionally, and without regrets. Personally, I learned the value of asking more questions, making fewer assumptions, and embracing the mess of being human in today’s world. With practice in these areas, in time, I’ll grow into a better person, a better friend, and a better partner to my loved ones.
Musically, I experienced a bit of a shift. I don’t know exactly when this shift happened, but I could feel my desire for unfamiliar or less-traveled territory build. I desired weird, long, or messy records that called to me on a more personal level above all else. I craved pieces that showcased artists who wrote what they wanted (or needed) to, regardless of what others might think or say. Authenticity, creativity, memorability, imperfection, and artistic integrity became my core values when approaching new music this year.
Aside from all of that, the thing I want to do most is offer my deepest heartfelt thanks to everyone who’s stuck by me and been my support system this year. To Alex, a wonderful and gorgeous man who continually shows me more love, patience, and attention than I ever dared to ask for—and who challenges me to grow with every passing day. To Ally, Thea, Kaja, Ashe, Sophie, Chris (both of them), Sean, Malachi, Brandon, Michelle, and Jeff for being the best meatspace friends a guy could ask for, and who also show me more love than I ever dared to ask for. To new meatspace friends (Jhierry, Adrien, Forest, Logan, Nick, Zach, Brett, Blue, Brian, and Shawn) who further enrich my life with each interaction, I am excited to see how our relationships develop! To my therapist, Clint, who has helped pull me from the brink more times than I can count. To my family, Mom, Dad, and Kathy, I don’t know what I would do if they were not here with me. To Lise and Victoria, who have been and continue to be the best supervisors—and all-around cool, brilliant, creative, and inspiring people—I’ve ever known. To AMG Himself, Steel Druhm, Dr. A. N. Grier, and Sentynel for running the greatest blog on the planet and being an invaluable resource for my continued growth as a writer and contributor. To all of my fellow writers and editors, both active and inactive, who make this blog the wonderland it is and whose contributions and company continually uplift and motivate me. To the readers, our Discord members, and the metal community writ large, we wouldn’t be here without you!
Lastly, I’d like to give a shout to all the bands who released awesome records this year that fought valiantly for a spot on my list/HMs, in alphabetical order: 1914, Ancient Death, …and Oceans, Astronoid, Aversed, Blind Equation, Bodybox, Buried Realm, Cave Sermon, Changeling, Death Whore, Gloombound, The Halo Effect, Havukruunu, Helms Deep, Inoculation, Maud the Moth, Mutagenic Host, Nephylim, Pedestal for Leviathan, Proscription, Rothadás, Sarastus, Serenity in Murder, Structure, Tower, Tribunal, Vittra, Yellow Eyes. Despite these gems losing a place on my list proper for any number of reasons, I know I’ll return to them with great relish.
With all of that said, I invite all of you to bear witness to my absolutely unhinged Top Ten(ish) selections for 2025. May the rabble commence!
#ish. Epica // Aspiral – Epica is my favorite symphonic metal band. It’s no secret. They’ve been at the grindstone churning out quality records for almost 25 years with a remarkably stable lineup, and there’s every reason to expect Angry Metal Guy’s Law of Diminishing Recordings™ to catch up with them someday. Today is not that day. Aspiral is easily my favorite record since The Quantum Enigma, full of memorable songs and standout performances. It may be hookier and poppier than anything they’ve put out in the past, but accessibility looks great on Epica.
#10. Citadel // Descension – Every time I thought I knew how I felt about this record, I’d go back to it and discover more reasons to love it. Descension follows the same school of melodic death metal with long-form constructions that bands like An Abstract Illusion practice, but there’s a smoky, gothic twist to it that embodies darkness and light as a merged entity. It’s a delicate balance that Citadel treads with grace and athleticism. That feat is what ultimately elevated Descension to my Top 10 proper.
#9. Depravity // Bestial Possession – Depravity really fucked around with my cutoff for list consideration, coming in clutch one week before Turkey Day. But I am the one who found out. Riffs made to break bones and minds alike, Bestial Possession is lean, mean, and bloodthirsty. And yet, it’s smooth, refined, and streamlined. This is the work of a band that understands exactly what they want to write, and knows how to execute that vision with devastating precision. It’s death metal as we know and love it, weaponized for mass destruction.
#8. In Mourning // The Immortal –The Immortal surprised me. I fully expected it to be good. After all, In Mourning haven’t released a bad album to date. But against all odds, they managed to capture lightning in a bottle here, with songs that are impossible to resist and even harder to forget. It represents everything I love about the sadboi side of melodic death without skimping on hooks or on teeth. The Immortal might just be the pinnacle of In Mourning’s career. Who would’ve expected that after 25 years?
#7. An Abstract Illusion // The Sleeping City – In recent years, I often found myself gravitating towards concise, to-the-point records. I wanted hooks. I wanted brevity. I wanted unrelenting intensity. In 2025, that shifted. The long form became my home away from home. Epic yarns and gentle movements brought comfort and warmth to my listening schedule. With The Sleeping City, An Abstract Illusion managed to capture both the intensity I craved before and the sweeping arcs that I look for now. That it is beautiful without compromising either of those traits is nothing short of awe-inspiring. And so, here we are.
#6. Igorrr // Amen – When I look at my Top 10ish, I notice two things. Firstly, a fair number of these selections are, in some shape or form, weird or niche. Secondly, the gaps that separate one album from the other at this point are paper-thin, aside from my AotY. For French wild cards, Igorrr, accessibility ultimately put Amen here with my faves of 2025. Whimsically weird, savagely smart, and wholly unpredictable, Igorrr achieved a buttery smoothness and an unflinching confidence with these 12 absolute bangers that they’ve never shown before. A high-water mark for an act with an established reputation for excellence.
#5. Tómarúm // Beyond Obsidian Euphoria – My relationship with Beyond Obsidian Euphoria followed much the same trajectory as my relationship with its predecessor, Ash in Realms of Stone Icons. I felt confident in my score, then I started doubting its accuracy, then I’d revisit the record and feel vindicated in my original evaluation—rinse and repeat. It’s a vicious cycle, but at the end of the day, Beyond Obsidian Euphoria was always destined for my Top 5. Its epic, sprawling constructs demand so many of my spoons; emotionally, physically, and spiritually. But it gives just as many back, plus just enough extra to compel me to spin it again. It’s one helluva journey, but that’s what makes it excellent!
#4. Qrixkuor // The Womb of the World – In the world of symphonic death metal, Qrixkuor is singular. Nobody else sounds like them, and I’m convinced nobody else could. Dramatic, violent, and grotesque, but at the same time possessing a disturbing beauty, The Womb of the World sets a new standard for lushly orchestrated death metal. It’s not for the faint of heart, nor for those looking for a quick fix. But once it’s infected your mind, you belong to it. An album to be feared as much as it is to be adored.
#3. Cam Girl // Flesh & Chrome – Deciding where to slot this was a difficult process for me. The people-pleaser that lives in my brain—who is jacked, devastatingly handsome, and incredibly charismatic—tried to move Cam Girl’s sophomore LP down a couple of notches, purely to protect me from those who would (and likely will) tell me this kind of record is undeserving of such high placement here. But the reality is I don’t fucking want to. Flesh & Chrome is a staggering improvement on Cam Girl’s already winning formula, with an invincible selection of super-sticky and subversive tunes that haven’t left my brain since the first half of 2025. It’s among the most fun records I’ve had the pleasure of covering on this site. Above all, Flesh & Chrome earned its rightful place in my Top 3. So it is, so it shall be.
#2. ByoNoiseGenerator // Subnormal Dives – This was not on my bingo card for 2025. I used to despise everything about ByoNoiseGenerator’s brand of brutal jazzgrind. After spinning Subnormal Dives roughly 10^230049 times in the span of a few short months, with a mind-broken grin plastered permanently on my face, something snapped. It wasn’t a gradual affinity borne of a studious and painstaking process. It was a total, implosive disintegration of everything I held true. The result? BYONG is now one of my favorite bands, and I’ve come to love their previous work, too. Not many albums wield that much power. Subnormal Dives does.
#1. Flummox // Southern Progress – This is easily my biggest surprise of 2025. I never heard of Flummox before seeing this cover art on my Bandcamp feed, and I was thoroughly bamboozled by my first spin. The mix was bizarre, the songwriting highly unorthodox compared to anything I’ve heard this side of Devin Townsend, and Flummox’s refusal to settle into any one style was confounding. Yet, I simply could not stop spinning it. All year long, Southern Progress was my go-to, even on days when I just felt so numb that I didn’t want to listen to anything at all. With that commitment came understanding. Southern Progress is, simply put, a fully realized and inspired work of art, complete with relevant societal commentary. Steeped in messaging that spotlights systematic and social prejudices that plague the queer, and particularly the trans/nonbinary/gender-fluid, community (especially in the American South)—and deftly integrating branched subplots that exhibit the wide-reaching complications that neurodivergence, late-stage capitalism, and religion-based upbringings contribute to that experience—Flummox’s fifth LP greatly affected me on a personal level. More so than any other record released this year, Southern Progress feels important, not just to me, and not just to Flummox. I strongly believe everyone could learn something from this bizarre, wild, and untamable barnstormer and have a blast doing it. For these reasons, and so much more, I gratefully award Southern Progress my 2025 Album o’ the Year. Thank you, Flummox, for this wonderful gift!
Honorable Mentions
- Barren Path // Grieving – Deathgrind never sounded this good, or felt this vicious.
- Bianca // Bianca – The beauty and the beast returns, reimagined and rekindled.
- Calva Louise // Edge of the Abyss – Fiercely creative and vividly memorable, this is what happens when artists use neurodivergence and cultural diversity as assets.
- Dagdrøm // Schauder – Passionate melodic black metal for those who are looking for something a bit outside convention.
- Dawn of Ouroboros // Bioluminescence – The best vocal performance of the year meets some of the coolest progressive death songwriting I’ve heard in a minute.
- Imperial Triumphant // Goldstar – The gritty, twisted, sprawling city-dweller with a shady story to tell, and yet it glitters like the purest gold.
- Messa // The Spin – Emotive, sultry, and nuanced doom, compelling enough to seduce even the coldest heart.
- Psychonaut // World Maker – Thoughtful and deeply personal, but still crushingly heavy, post-metal from one of the best acts in the scene.
Songs o’ the Year
- Cam Girl – “Flesh & Chrome” – Simplicity and a curated collection of razor-sharp hooks will win my heart faster than anything else, and few songs this year upheld that virtue better than “Flesh & Chrome.” I haven’t been able to stop singing it to myself literally every single day since I first got my hands on this promo half a year ago, and yet the serotonin production it generates in my burned-out brain almost overwhelms me still. From the white-hot brightness of its lead melodies to the soaring brass of its addictive1 chorus and tight writing, “Flesh & Chrome” just makes me happy. Simple as.
- Citadel – “Sorrow of the Thousandth Death” – I didn’t expect to include this song on my list, but something happened once I started revisiting Descension more often. I found myself completely blown back by the artistry, the expressiveness, and the fluidity exhibited by Citadel’s epic “Sorrow of the Thousandth Death.” This unexpected emotional response completely shifted my perspective on what I was looking for in my Song o’ the Year candidates. Once I contemplated those requirements more deeply, it became clear in short order that “Sorrow of the Thousandth Death” was worthy and then some. Incredible.
- In Mourning – “As Long as the Twilight Stays” – While songs like “Flesh & Chrome” make me happy beyond all reason, others like “As Long as the Twilight Stays” break my bleeding heart. Every time the lyrics “Breathe and open your eyes / When darkness falls, a new dawn will rise / Reveal the secrets you keep / There is still hope as long as twilight stays” pierce through my eardrums, something deep from within my soul surges. That pull, strong enough to rip my heart from its bony cage, and further strengthened by weeping, layered tremolo harmonies, melts me. This is power; it is magic. I am helpless to resist.
- Flummox – “Long Pork” – Southern Progress is swimming in great songs, all of which make a strong claim for inclusion here. Ultimately, “Long Pork” won the blue ribbon for its unhinged songwriting, bizarre vocal acrobatics, harrowing instrumentation, and metamorphic storytelling. The cutting and clever lyrics may seem whimsical at first blush, but the critique they level at humanity’s gross exploitation, not only for the vast overproduction and dysfunctional distribution of food—and the systematic abuse of animals to meet that unsustainable demand—but also to the gluttony of late-stage capitalism and the chasmic wealth divide it perpetuates, sends chills through my nervous system. Sensational!
- Messa – “The Dress” – Of all the great songs 2025 had to offer, “The Dress” was the first one I felt earned a nod here. It is classy beyond all comprehension, sultry and sophisticated without being busy or especially complex. Moreover, it captivates my attention completely. An unqualified success of songwriting prowess, excellence in execution and performance, and spirited delivery, “The Dress” flows between melodies, moods, and modes as mana from otherworldly realms. I would not be surprised if, ten years from now, I still feel its magic as strongly as I do today, immune to the eroding force of time.
Non-Metal Album o’ the Year:
- Lady Gaga // Mayhem – I am absolutely obsessed with this album. I’ve been a fan of Lady Gaga for a long time, but never before did I feel so wholly ensnared by one of her records. This absolute triumph of modern pop explodes with energy, killer hooks, and an unfuckwithable vocal display that makes not singing along to each and every track entirely impossible. Mainstream though it is, Mayhem is a force, and I’ll be listening to it with glee for years to come.
Shakes Fist at Cloud Album of 2025
- Pedestal for Leviathan // Enter: Vampyric Manifestation – There will never be a day when I don’t rue how late I encountered this record, and how lame it felt to realize it had been self-released months before I picked up a December promo for it. It is listworthy, and that I treated it as if it missed my yearly cutoff because of a simple lack of awareness makes me want to shake my fists at the clouds!
-
Seedy
Hello Friends! I missed posting yesterday because I was busy scrubbing the basement bathroom after our main sewer drain backed up Saturday. We couldn’t run water down the drains or use the bathroom all day until the plumber finally made it out at 8:30 that night. James had to wet vac the basement utility room floor and then I also had to scrub the hallway floor and spot clean the main floor where the plumber left dirty boot prints. And then I got to catch up on the laundry.
The storm was just getting started and snow was sticking to everythingTo add to all the fun, we had a winter storm blow through. James took the bus to work because of the near-blizzard wind conditions. We ended up with 5.8 inches/14.7 cm of snow, which is on the low end of what was forecast. Late yesterday afternoon when it was still lightly snowing and not yet arctic windchills, I ventured out to shovel the walkways, the path to the chicken coop and around the recycling and trash bins because today is trash day and they will skip your house if your bins are not cleared of snow.
This morning I was out before sunup shoveling the additional bit of snow that fell overnight and the snowdrifts the wind had blown across the sidewalks. Cleared a fresh path to the chicken coop and around the bins. Because there was a lot less snow than Sunday afternoon, this took not much time at all.
Now I’m sitting in a suddenly quiet house. The tile guys are here this morning working on my bathroom and the tile saw died. Kaput. So they are off buying a new one and will be back shortly to make more noise.
Last week they got two of the three sides of the shower walls done. I thought a tiny bathroom meant the work would go faster, but it turns out small spaces take longer because they have more angles and require more cutting. But today, after they get their new saw, they should be able to finish the shower wall and the floor. I don’t know if they will be able to do the grout today or whether they have to let the “mud” the tile is set into dry first. Guess I will find out.
Garden planning! I have a lot of seeds saved from last year’s garden. We really like all the tomato varieties we’ve been growing, most of the beans, cayenne peppers, garden peas, butternuts, marigolds, tulsi, and greens, but I always like to try new plants, and there are some plants that I’ve not been able to save seed from because they are biennial and I haven’t motivated myself to dig up carrots and onions and overwinter them in my basement to plant out in spring so they can flower and set seed. I’ve also not found a radish I like enough to save seeds and grow on. Maybe this will be the year carrots and onions and radish all come together?
I’ve got my new garden seed orders sorted out, but haven’t placed the orders yet in case I decide to change my mind or add something. My plan is to order them Thursday, but I’m beginning to think that leaving it open that long might be a mistake because I am not likely to remove anything from the plan, but highly likely to add. And I really don’t need to add anything else. So I’m going to declare it here and y’all can hold me to it and shame me if another seed packet or two somehow sneaks in!
Herbs:
- Cilantro. I decided I don’t like the variety I’ve been growing the last few years, so trying a new one.
- Sweet basil. I’ve been growing Genovese basil but the leaves are so small. This one has bigger leaves.
- Greek Oregano. Mostly perennial but last year’s polar vortex arctic blast killed it. I could buy a plant at the plant sale in May, but we like oregano so with seeds I can grow several plants.
- Broadleaf sage. Allegedly perennial but I have yet to get one through a winter. Instead of buying a single plant I’m going to sprout several and plant them all around the garden to increase the likelihood of winter survival.
- Elka poppy. Poppy seeds! I guess not technically an herb, but I thought it would be fun to have pretty pink poppies for the pollinators and seeds for me to use baking sourdough delights.
Peppers:
- Jalapeño. For some reason, none of the seeds I had been saving sprouted last year and I need some fresh ones.
- Poblano. James really wants peppers for stuffing, so I’m going to try growing these.
- Orange lunchbox. A small, sweet snacking pepper, also a James desire since we’ve had zero luck growing bell peppers and the one time we got any, a squirrel ate them all. Of course.
Roots:
- Early scarlet horn carrot. A pretty standard carrot and supposed to keep well.
- Dragon carrot. Purple on the outside, orange on the inside. Did you know that all carrots used to be purple? We have orange carrots because Europeans decided they were more interesting or something.
- Dakota tears yellow storage onion. I’ve not grown this variety before. It’s supposed to be very strongly flavored, thus the tears.
- Southport red globe storage onion. New to me variety with a slightly shorter season than other red varieties I’ve tried.
- Sora red round radish. Big radish that is supposedly tolerant of summer heat so I can succession plant all season.
- Spanish black radish. A spicy radish black on the outside and white on the inside. To plant at the end of July for fall harvest. I’ve not grown this variety before.
- Macomber rutabaga. I had some free rutabaga seeds from the library last year and the plants grew big and strong but I didn’t plant the seeds deep enough so just got long spindly above ground “roots” I couldn’t eat. Lesson learned and worth trying again.
Other:
- Red Kalibos cabbage. My green cabbage has been pathetic so I’m trying red. If red doesn’t do well, then I’m giving up on cabbage growing.
- Whirlygig zinnia. Birds ate all the zinnia seeds last year before I could save any so I need a refresh. I’ve never had birds eat zinnia seeds before. I will need to figure out how to protect some of the flowers next summer for seeds to plant on.
- Long pie pumpkin. Turns out the pie pumpkin I planted last year was a hybrid variety so I couldn’t save seeds. This one gets picked before it is ripe and ripens in storage. I am hoping to pull a fast one on the squirrel pirates.
- Hidasta shield pole bean. A pretty white bean with brown markings. Grown by the Hidasta people in North Dakota and good for soup and baking. I love growing beans and since I’m not growing disappointing succotash beans again, I have space to try something new.
New! New! New!
- Mother Mary’s pie melon. I’ve not had much luck growing melon in the past but this heirloom is from a woman in Minnesota and is reportedly a sweet melon good for making pie and jam. I have to try it!
- Purple Vienna kohlrabi. I’ve not grown kohlrabi before and the broccoli I tried to grow last year only produced a few small heads that almost immediately bloomed. Disappointing. I thought Kohlrabi might make a good substitute. We’ll see.
- Mexican sour gherkin, also known as cucamelon and mouse melon. Neither a cucumber nor a melon, this vining plant produces small green and white fruit that look like tiny watermelons. They supposedly taste a little like pickles, can be eaten raw or pickled and you either love them or hate them. I’m banking on loving them.
- Green striped cushaw. Also sometimes called sweet potato pumpkin. A large, sweet long-keeping green striped winter squash good for pies, squash butter, pudding, and roasting. I’m longing for the squash butter and the pudding.
There they all are. The garden is really going to be packed come summer. But then I say that every year and somehow end up with large patches of feral arugula because I didn’t have anything planted in that particular spot. Perhaps this will be the year I actually do pack the garden.
I had originally planned to also try growing fava beans after I discovered a recipe for
fava bean hot chocolate. I see the look on your face, hang with me for a second. Creamy vegan hot chocolate is a challenge. We could use coconut cream but then it tastes like coconut. We’ve used medjool dates but then it gets really sweet. Fava bean puree makes it creamy while not tasting beany.Of course I had to try it before committing to growing the beans. Sadly, my food co-op doesn’t sell fava beans, either dry or in a can. I thought to try the recipe substituting white beans instead because there are many vegan recipes that use white beans to make creamy sauces , soups, and dressings since white beans are mild and other flavors cover over the beans. We tried navy beans and it worked! I’ve been enjoying a cup of creamy hot chocolate now and then of an afternoon during my vacation time. Mmmmm.
But still, I thought I might try growing fava beans untilI I found out from the Fedco seed catalog, the only one that had fava seeds, that “In susceptible humans who have inherited a specific enzyme deficiency, within a few minutes of inhaling pollen or several hours after eating fava beans, a severe allergic reaction occurs. Most individuals have this enzyme and are not affected.”
Say what? This might explain why my food co-op doesn’t sell fava beans. I have never eaten fava beans and have no idea whether I have said enzyme deficiency, but given all my seasonal allergies and my inability to eat raw cucumbers and raw onions, I decided to not push my luck. And since navy beans are a cheap and easy substitute, well sorry fava beans.
The tile guys are back. Sawing and listening to music. Currently it’s the Violent Femmes. I haven’t heard them in ages. Blast from the past!
We’ve somehow made it to the end of 2025. What a year. Enjoy safe and happy year-end celebrations! May 2026 be filled will joy, beauty, and peace, as well as the strength and resilience to meet whatever surprises and struggles arise.
-
Seedy
Hello Friends! I missed posting yesterday because I was busy scrubbing the basement bathroom after our main sewer drain backed up Saturday. We couldn’t run water down the drains or use the bathroom all day until the plumber finally made it out at 8:30 that night. James had to wet vac the basement utility room floor and then I also had to scrub the hallway floor and spot clean the main floor where the plumber left dirty boot prints. And then I got to catch up on the laundry.
The storm was just getting started and snow was sticking to everythingTo add to all the fun, we had a winter storm blow through. James took the bus to work because of the near-blizzard wind conditions. We ended up with 5.8 inches/14.7 cm of snow, which is on the low end of what was forecast. Late yesterday afternoon when it was still lightly snowing and not yet arctic windchills, I ventured out to shovel the walkways, the path to the chicken coop and around the recycling and trash bins because today is trash day and they will skip your house if your bins are not cleared of snow.
This morning I was out before sunup shoveling the additional bit of snow that fell overnight and the snowdrifts the wind had blown across the sidewalks. Cleared a fresh path to the chicken coop and around the bins. Because there was a lot less snow than Sunday afternoon, this took not much time at all.
Now I’m sitting in a suddenly quiet house. The tile guys are here this morning working on my bathroom and the tile saw died. Kaput. So they are off buying a new one and will be back shortly to make more noise.
Last week they got two of the three sides of the shower walls done. I thought a tiny bathroom meant the work would go faster, but it turns out small spaces take longer because they have more angles and require more cutting. But today, after they get their new saw, they should be able to finish the shower wall and the floor. I don’t know if they will be able to do the grout today or whether they have to let the “mud” the tile is set into dry first. Guess I will find out.
Garden planning! I have a lot of seeds saved from last year’s garden. We really like all the tomato varieties we’ve been growing, most of the beans, cayenne peppers, garden peas, butternuts, marigolds, tulsi, and greens, but I always like to try new plants, and there are some plants that I’ve not been able to save seed from because they are biennial and I haven’t motivated myself to dig up carrots and onions and overwinter them in my basement to plant out in spring so they can flower and set seed. I’ve also not found a radish I like enough to save seeds and grow on. Maybe this will be the year carrots and onions and radish all come together?
I’ve got my new garden seed orders sorted out, but haven’t placed the orders yet in case I decide to change my mind or add something. My plan is to order them Thursday, but I’m beginning to think that leaving it open that long might be a mistake because I am not likely to remove anything from the plan, but highly likely to add. And I really don’t need to add anything else. So I’m going to declare it here and y’all can hold me to it and shame me if another seed packet or two somehow sneaks in!
Herbs:
- Cilantro. I decided I don’t like the variety I’ve been growing the last few years, so trying a new one.
- Sweet basil. I’ve been growing Genovese basil but the leaves are so small. This one has bigger leaves.
- Greek Oregano. Mostly perennial but last year’s polar vortex arctic blast killed it. I could buy a plant at the plant sale in May, but we like oregano so with seeds I can grow several plants.
- Broadleaf sage. Allegedly perennial but I have yet to get one through a winter. Instead of buying a single plant I’m going to sprout several and plant them all around the garden to increase the likelihood of winter survival.
- Elka poppy. Poppy seeds! I guess not technically an herb, but I thought it would be fun to have pretty pink poppies for the pollinators and seeds for me to use baking sourdough delights.
Peppers:
- Jalapeño. For some reason, none of the seeds I had been saving sprouted last year and I need some fresh ones.
- Poblano. James really wants peppers for stuffing, so I’m going to try growing these.
- Orange lunchbox. A small, sweet snacking pepper, also a James desire since we’ve had zero luck growing bell peppers and the one time we got any, a squirrel ate them all. Of course.
Roots:
- Early scarlet horn carrot. A pretty standard carrot and supposed to keep well.
- Dragon carrot. Purple on the outside, orange on the inside. Did you know that all carrots used to be purple? We have orange carrots because Europeans decided they were more interesting or something.
- Dakota tears yellow storage onion. I’ve not grown this variety before. It’s supposed to be very strongly flavored, thus the tears.
- Southport red globe storage onion. New to me variety with a slightly shorter season than other red varieties I’ve tried.
- Sora red round radish. Big radish that is supposedly tolerant of summer heat so I can succession plant all season.
- Spanish black radish. A spicy radish black on the outside and white on the inside. To plant at the end of July for fall harvest. I’ve not grown this variety before.
- Macomber rutabaga. I had some free rutabaga seeds from the library last year and the plants grew big and strong but I didn’t plant the seeds deep enough so just got long spindly above ground “roots” I couldn’t eat. Lesson learned and worth trying again.
Other:
- Red Kalibos cabbage. My green cabbage has been pathetic so I’m trying red. If red doesn’t do well, then I’m giving up on cabbage growing.
- Whirlygig zinnia. Birds ate all the zinnia seeds last year before I could save any so I need a refresh. I’ve never had birds eat zinnia seeds before. I will need to figure out how to protect some of the flowers next summer for seeds to plant on.
- Long pie pumpkin. Turns out the pie pumpkin I planted last year was a hybrid variety so I couldn’t save seeds. This one gets picked before it is ripe and ripens in storage. I am hoping to pull a fast one on the squirrel pirates.
- Hidasta shield pole bean. A pretty white bean with brown markings. Grown by the Hidasta people in North Dakota and good for soup and baking. I love growing beans and since I’m not growing disappointing succotash beans again, I have space to try something new.
New! New! New!
- Mother Mary’s pie melon. I’ve not had much luck growing melon in the past but this heirloom is from a woman in Minnesota and is reportedly a sweet melon good for making pie and jam. I have to try it!
- Purple Vienna kohlrabi. I’ve not grown kohlrabi before and the broccoli I tried to grow last year only produced a few small heads that almost immediately bloomed. Disappointing. I thought Kohlrabi might make a good substitute. We’ll see.
- Mexican sour gherkin, also known as cucamelon and mouse melon. Neither a cucumber nor a melon, this vining plant produces small green and white fruit that look like tiny watermelons. They supposedly taste a little like pickles, can be eaten raw or pickled and you either love them or hate them. I’m banking on loving them.
- Green striped cushaw. Also sometimes called sweet potato pumpkin. A large, sweet long-keeping green striped winter squash good for pies, squash butter, pudding, and roasting. I’m longing for the squash butter and the pudding.
There they all are. The garden is really going to be packed come summer. But then I say that every year and somehow end up with large patches of feral arugula because I didn’t have anything planted in that particular spot. Perhaps this will be the year I actually do pack the garden.
I had originally planned to also try growing fava beans after I discovered a recipe for
fava bean hot chocolate. I see the look on your face, hang with me for a second. Creamy vegan hot chocolate is a challenge. We could use coconut cream but then it tastes like coconut. We’ve used medjool dates but then it gets really sweet. Fava bean puree makes it creamy while not tasting beany.Of course I had to try it before committing to growing the beans. Sadly, my food co-op doesn’t sell fava beans, either dry or in a can. I thought to try the recipe substituting white beans instead because there are many vegan recipes that use white beans to make creamy sauces , soups, and dressings since white beans are mild and other flavors cover over the beans. We tried navy beans and it worked! I’ve been enjoying a cup of creamy hot chocolate now and then of an afternoon during my vacation time. Mmmmm.
But still, I thought I might try growing fava beans untilI I found out from the Fedco seed catalog, the only one that had fava seeds, that “In susceptible humans who have inherited a specific enzyme deficiency, within a few minutes of inhaling pollen or several hours after eating fava beans, a severe allergic reaction occurs. Most individuals have this enzyme and are not affected.”
Say what? This might explain why my food co-op doesn’t sell fava beans. I have never eaten fava beans and have no idea whether I have said enzyme deficiency, but given all my seasonal allergies and my inability to eat raw cucumbers and raw onions, I decided to not push my luck. And since navy beans are a cheap and easy substitute, well sorry fava beans.
The tile guys are back. Sawing and listening to music. Currently it’s the Violent Femmes. I haven’t heard them in ages. Blast from the past!
We’ve somehow made it to the end of 2025. What a year. Enjoy safe and happy year-end celebrations! May 2026 be filled will joy, beauty, and peace, as well as the strength and resilience to meet whatever surprises and struggles arise.
-
Seedy
Hello Friends! I missed posting yesterday because I was busy scrubbing the basement bathroom after our main sewer drain backed up Saturday. We couldn’t run water down the drains or use the bathroom all day until the plumber finally made it out at 8:30 that night. James had to wet vac the basement utility room floor and then I also had to scrub the hallway floor and spot clean the main floor where the plumber left dirty boot prints. And then I got to catch up on the laundry.
The storm was just getting started and snow was sticking to everythingTo add to all the fun, we had a winter storm blow through. James took the bus to work because of the near-blizzard wind conditions. We ended up with 5.8 inches/14.7 cm of snow, which is on the low end of what was forecast. Late yesterday afternoon when it was still lightly snowing and not yet arctic windchills, I ventured out to shovel the walkways, the path to the chicken coop and around the recycling and trash bins because today is trash day and they will skip your house if your bins are not cleared of snow.
This morning I was out before sunup shoveling the additional bit of snow that fell overnight and the snowdrifts the wind had blown across the sidewalks. Cleared a fresh path to the chicken coop and around the bins. Because there was a lot less snow than Sunday afternoon, this took not much time at all.
Now I’m sitting in a suddenly quiet house. The tile guys are here this morning working on my bathroom and the tile saw died. Kaput. So they are off buying a new one and will be back shortly to make more noise.
Last week they got two of the three sides of the shower walls done. I thought a tiny bathroom meant the work would go faster, but it turns out small spaces take longer because they have more angles and require more cutting. But today, after they get their new saw, they should be able to finish the shower wall and the floor. I don’t know if they will be able to do the grout today or whether they have to let the “mud” the tile is set into dry first. Guess I will find out.
Garden planning! I have a lot of seeds saved from last year’s garden. We really like all the tomato varieties we’ve been growing, most of the beans, cayenne peppers, garden peas, butternuts, marigolds, tulsi, and greens, but I always like to try new plants, and there are some plants that I’ve not been able to save seed from because they are biennial and I haven’t motivated myself to dig up carrots and onions and overwinter them in my basement to plant out in spring so they can flower and set seed. I’ve also not found a radish I like enough to save seeds and grow on. Maybe this will be the year carrots and onions and radish all come together?
I’ve got my new garden seed orders sorted out, but haven’t placed the orders yet in case I decide to change my mind or add something. My plan is to order them Thursday, but I’m beginning to think that leaving it open that long might be a mistake because I am not likely to remove anything from the plan, but highly likely to add. And I really don’t need to add anything else. So I’m going to declare it here and y’all can hold me to it and shame me if another seed packet or two somehow sneaks in!
Herbs:
- Cilantro. I decided I don’t like the variety I’ve been growing the last few years, so trying a new one.
- Sweet basil. I’ve been growing Genovese basil but the leaves are so small. This one has bigger leaves.
- Greek Oregano. Mostly perennial but last year’s polar vortex arctic blast killed it. I could buy a plant at the plant sale in May, but we like oregano so with seeds I can grow several plants.
- Broadleaf sage. Allegedly perennial but I have yet to get one through a winter. Instead of buying a single plant I’m going to sprout several and plant them all around the garden to increase the likelihood of winter survival.
- Elka poppy. Poppy seeds! I guess not technically an herb, but I thought it would be fun to have pretty pink poppies for the pollinators and seeds for me to use baking sourdough delights.
Peppers:
- Jalapeño. For some reason, none of the seeds I had been saving sprouted last year and I need some fresh ones.
- Poblano. James really wants peppers for stuffing, so I’m going to try growing these.
- Orange lunchbox. A small, sweet snacking pepper, also a James desire since we’ve had zero luck growing bell peppers and the one time we got any, a squirrel ate them all. Of course.
Roots:
- Early scarlet horn carrot. A pretty standard carrot and supposed to keep well.
- Dragon carrot. Purple on the outside, orange on the inside. Did you know that all carrots used to be purple? We have orange carrots because Europeans decided they were more interesting or something.
- Dakota tears yellow storage onion. I’ve not grown this variety before. It’s supposed to be very strongly flavored, thus the tears.
- Southport red globe storage onion. New to me variety with a slightly shorter season than other red varieties I’ve tried.
- Sora red round radish. Big radish that is supposedly tolerant of summer heat so I can succession plant all season.
- Spanish black radish. A spicy radish black on the outside and white on the inside. To plant at the end of July for fall harvest. I’ve not grown this variety before.
- Macomber rutabaga. I had some free rutabaga seeds from the library last year and the plants grew big and strong but I didn’t plant the seeds deep enough so just got long spindly above ground “roots” I couldn’t eat. Lesson learned and worth trying again.
Other:
- Red Kalibos cabbage. My green cabbage has been pathetic so I’m trying red. If red doesn’t do well, then I’m giving up on cabbage growing.
- Whirlygig zinnia. Birds ate all the zinnia seeds last year before I could save any so I need a refresh. I’ve never had birds eat zinnia seeds before. I will need to figure out how to protect some of the flowers next summer for seeds to plant on.
- Long pie pumpkin. Turns out the pie pumpkin I planted last year was a hybrid variety so I couldn’t save seeds. This one gets picked before it is ripe and ripens in storage. I am hoping to pull a fast one on the squirrel pirates.
- Hidasta shield pole bean. A pretty white bean with brown markings. Grown by the Hidasta people in North Dakota and good for soup and baking. I love growing beans and since I’m not growing disappointing succotash beans again, I have space to try something new.
New! New! New!
- Mother Mary’s pie melon. I’ve not had much luck growing melon in the past but this heirloom is from a woman in Minnesota and is reportedly a sweet melon good for making pie and jam. I have to try it!
- Purple Vienna kohlrabi. I’ve not grown kohlrabi before and the broccoli I tried to grow last year only produced a few small heads that almost immediately bloomed. Disappointing. I thought Kohlrabi might make a good substitute. We’ll see.
- Mexican sour gherkin, also known as cucamelon and mouse melon. Neither a cucumber nor a melon, this vining plant produces small green and white fruit that look like tiny watermelons. They supposedly taste a little like pickles, can be eaten raw or pickled and you either love them or hate them. I’m banking on loving them.
- Green striped cushaw. Also sometimes called sweet potato pumpkin. A large, sweet long-keeping green striped winter squash good for pies, squash butter, pudding, and roasting. I’m longing for the squash butter and the pudding.
There they all are. The garden is really going to be packed come summer. But then I say that every year and somehow end up with large patches of feral arugula because I didn’t have anything planted in that particular spot. Perhaps this will be the year I actually do pack the garden.
I had originally planned to also try growing fava beans after I discovered a recipe for
fava bean hot chocolate. I see the look on your face, hang with me for a second. Creamy vegan hot chocolate is a challenge. We could use coconut cream but then it tastes like coconut. We’ve used medjool dates but then it gets really sweet. Fava bean puree makes it creamy while not tasting beany.Of course I had to try it before committing to growing the beans. Sadly, my food co-op doesn’t sell fava beans, either dry or in a can. I thought to try the recipe substituting white beans instead because there are many vegan recipes that use white beans to make creamy sauces , soups, and dressings since white beans are mild and other flavors cover over the beans. We tried navy beans and it worked! I’ve been enjoying a cup of creamy hot chocolate now and then of an afternoon during my vacation time. Mmmmm.
But still, I thought I might try growing fava beans untilI I found out from the Fedco seed catalog, the only one that had fava seeds, that “In susceptible humans who have inherited a specific enzyme deficiency, within a few minutes of inhaling pollen or several hours after eating fava beans, a severe allergic reaction occurs. Most individuals have this enzyme and are not affected.”
Say what? This might explain why my food co-op doesn’t sell fava beans. I have never eaten fava beans and have no idea whether I have said enzyme deficiency, but given all my seasonal allergies and my inability to eat raw cucumbers and raw onions, I decided to not push my luck. And since navy beans are a cheap and easy substitute, well sorry fava beans.
The tile guys are back. Sawing and listening to music. Currently it’s the Violent Femmes. I haven’t heard them in ages. Blast from the past!
We’ve somehow made it to the end of 2025. What a year. Enjoy safe and happy year-end celebrations! May 2026 be filled will joy, beauty, and peace, as well as the strength and resilience to meet whatever surprises and struggles arise.
-
Seedy
Hello Friends! I missed posting yesterday because I was busy scrubbing the basement bathroom after our main sewer drain backed up Saturday. We couldn’t run water down the drains or use the bathroom all day until the plumber finally made it out at 8:30 that night. James had to wet vac the basement utility room floor and then I also had to scrub the hallway floor and spot clean the main floor where the plumber left dirty boot prints. And then I got to catch up on the laundry.
The storm was just getting started and snow was sticking to everythingTo add to all the fun, we had a winter storm blow through. James took the bus to work because of the near-blizzard wind conditions. We ended up with 5.8 inches/14.7 cm of snow, which is on the low end of what was forecast. Late yesterday afternoon when it was still lightly snowing and not yet arctic windchills, I ventured out to shovel the walkways, the path to the chicken coop and around the recycling and trash bins because today is trash day and they will skip your house if your bins are not cleared of snow.
This morning I was out before sunup shoveling the additional bit of snow that fell overnight and the snowdrifts the wind had blown across the sidewalks. Cleared a fresh path to the chicken coop and around the bins. Because there was a lot less snow than Sunday afternoon, this took not much time at all.
Now I’m sitting in a suddenly quiet house. The tile guys are here this morning working on my bathroom and the tile saw died. Kaput. So they are off buying a new one and will be back shortly to make more noise.
Last week they got two of the three sides of the shower walls done. I thought a tiny bathroom meant the work would go faster, but it turns out small spaces take longer because they have more angles and require more cutting. But today, after they get their new saw, they should be able to finish the shower wall and the floor. I don’t know if they will be able to do the grout today or whether they have to let the “mud” the tile is set into dry first. Guess I will find out.
Garden planning! I have a lot of seeds saved from last year’s garden. We really like all the tomato varieties we’ve been growing, most of the beans, cayenne peppers, garden peas, butternuts, marigolds, tulsi, and greens, but I always like to try new plants, and there are some plants that I’ve not been able to save seed from because they are biennial and I haven’t motivated myself to dig up carrots and onions and overwinter them in my basement to plant out in spring so they can flower and set seed. I’ve also not found a radish I like enough to save seeds and grow on. Maybe this will be the year carrots and onions and radish all come together?
I’ve got my new garden seed orders sorted out, but haven’t placed the orders yet in case I decide to change my mind or add something. My plan is to order them Thursday, but I’m beginning to think that leaving it open that long might be a mistake because I am not likely to remove anything from the plan, but highly likely to add. And I really don’t need to add anything else. So I’m going to declare it here and y’all can hold me to it and shame me if another seed packet or two somehow sneaks in!
Herbs:
- Cilantro. I decided I don’t like the variety I’ve been growing the last few years, so trying a new one.
- Sweet basil. I’ve been growing Genovese basil but the leaves are so small. This one has bigger leaves.
- Greek Oregano. Mostly perennial but last year’s polar vortex arctic blast killed it. I could buy a plant at the plant sale in May, but we like oregano so with seeds I can grow several plants.
- Broadleaf sage. Allegedly perennial but I have yet to get one through a winter. Instead of buying a single plant I’m going to sprout several and plant them all around the garden to increase the likelihood of winter survival.
- Elka poppy. Poppy seeds! I guess not technically an herb, but I thought it would be fun to have pretty pink poppies for the pollinators and seeds for me to use baking sourdough delights.
Peppers:
- Jalapeño. For some reason, none of the seeds I had been saving sprouted last year and I need some fresh ones.
- Poblano. James really wants peppers for stuffing, so I’m going to try growing these.
- Orange lunchbox. A small, sweet snacking pepper, also a James desire since we’ve had zero luck growing bell peppers and the one time we got any, a squirrel ate them all. Of course.
Roots:
- Early scarlet horn carrot. A pretty standard carrot and supposed to keep well.
- Dragon carrot. Purple on the outside, orange on the inside. Did you know that all carrots used to be purple? We have orange carrots because Europeans decided they were more interesting or something.
- Dakota tears yellow storage onion. I’ve not grown this variety before. It’s supposed to be very strongly flavored, thus the tears.
- Southport red globe storage onion. New to me variety with a slightly shorter season than other red varieties I’ve tried.
- Sora red round radish. Big radish that is supposedly tolerant of summer heat so I can succession plant all season.
- Spanish black radish. A spicy radish black on the outside and white on the inside. To plant at the end of July for fall harvest. I’ve not grown this variety before.
- Macomber rutabaga. I had some free rutabaga seeds from the library last year and the plants grew big and strong but I didn’t plant the seeds deep enough so just got long spindly above ground “roots” I couldn’t eat. Lesson learned and worth trying again.
Other:
- Red Kalibos cabbage. My green cabbage has been pathetic so I’m trying red. If red doesn’t do well, then I’m giving up on cabbage growing.
- Whirlygig zinnia. Birds ate all the zinnia seeds last year before I could save any so I need a refresh. I’ve never had birds eat zinnia seeds before. I will need to figure out how to protect some of the flowers next summer for seeds to plant on.
- Long pie pumpkin. Turns out the pie pumpkin I planted last year was a hybrid variety so I couldn’t save seeds. This one gets picked before it is ripe and ripens in storage. I am hoping to pull a fast one on the squirrel pirates.
- Hidasta shield pole bean. A pretty white bean with brown markings. Grown by the Hidasta people in North Dakota and good for soup and baking. I love growing beans and since I’m not growing disappointing succotash beans again, I have space to try something new.
New! New! New!
- Mother Mary’s pie melon. I’ve not had much luck growing melon in the past but this heirloom is from a woman in Minnesota and is reportedly a sweet melon good for making pie and jam. I have to try it!
- Purple Vienna kohlrabi. I’ve not grown kohlrabi before and the broccoli I tried to grow last year only produced a few small heads that almost immediately bloomed. Disappointing. I thought Kohlrabi might make a good substitute. We’ll see.
- Mexican sour gherkin, also known as cucamelon and mouse melon. Neither a cucumber nor a melon, this vining plant produces small green and white fruit that look like tiny watermelons. They supposedly taste a little like pickles, can be eaten raw or pickled and you either love them or hate them. I’m banking on loving them.
- Green striped cushaw. Also sometimes called sweet potato pumpkin. A large, sweet long-keeping green striped winter squash good for pies, squash butter, pudding, and roasting. I’m longing for the squash butter and the pudding.
There they all are. The garden is really going to be packed come summer. But then I say that every year and somehow end up with large patches of feral arugula because I didn’t have anything planted in that particular spot. Perhaps this will be the year I actually do pack the garden.
I had originally planned to also try growing fava beans after I discovered a recipe for
fava bean hot chocolate. I see the look on your face, hang with me for a second. Creamy vegan hot chocolate is a challenge. We could use coconut cream but then it tastes like coconut. We’ve used medjool dates but then it gets really sweet. Fava bean puree makes it creamy while not tasting beany.Of course I had to try it before committing to growing the beans. Sadly, my food co-op doesn’t sell fava beans, either dry or in a can. I thought to try the recipe substituting white beans instead because there are many vegan recipes that use white beans to make creamy sauces , soups, and dressings since white beans are mild and other flavors cover over the beans. We tried navy beans and it worked! I’ve been enjoying a cup of creamy hot chocolate now and then of an afternoon during my vacation time. Mmmmm.
But still, I thought I might try growing fava beans untilI I found out from the Fedco seed catalog, the only one that had fava seeds, that “In susceptible humans who have inherited a specific enzyme deficiency, within a few minutes of inhaling pollen or several hours after eating fava beans, a severe allergic reaction occurs. Most individuals have this enzyme and are not affected.”
Say what? This might explain why my food co-op doesn’t sell fava beans. I have never eaten fava beans and have no idea whether I have said enzyme deficiency, but given all my seasonal allergies and my inability to eat raw cucumbers and raw onions, I decided to not push my luck. And since navy beans are a cheap and easy substitute, well sorry fava beans.
The tile guys are back. Sawing and listening to music. Currently it’s the Violent Femmes. I haven’t heard them in ages. Blast from the past!
We’ve somehow made it to the end of 2025. What a year. Enjoy safe and happy year-end celebrations! May 2026 be filled will joy, beauty, and peace, as well as the strength and resilience to meet whatever surprises and struggles arise.
-
Seedy
Hello Friends! I missed posting yesterday because I was busy scrubbing the basement bathroom after our main sewer drain backed up Saturday. We couldn’t run water down the drains or use the bathroom all day until the plumber finally made it out at 8:30 that night. James had to wet vac the basement utility room floor and then I also had to scrub the hallway floor and spot clean the main floor where the plumber left dirty boot prints. And then I got to catch up on the laundry.
The storm was just getting started and snow was sticking to everythingTo add to all the fun, we had a winter storm blow through. James took the bus to work because of the near-blizzard wind conditions. We ended up with 5.8 inches/14.7 cm of snow, which is on the low end of what was forecast. Late yesterday afternoon when it was still lightly snowing and not yet arctic windchills, I ventured out to shovel the walkways, the path to the chicken coop and around the recycling and trash bins because today is trash day and they will skip your house if your bins are not cleared of snow.
This morning I was out before sunup shoveling the additional bit of snow that fell overnight and the snowdrifts the wind had blown across the sidewalks. Cleared a fresh path to the chicken coop and around the bins. Because there was a lot less snow than Sunday afternoon, this took not much time at all.
Now I’m sitting in a suddenly quiet house. The tile guys are here this morning working on my bathroom and the tile saw died. Kaput. So they are off buying a new one and will be back shortly to make more noise.
Last week they got two of the three sides of the shower walls done. I thought a tiny bathroom meant the work would go faster, but it turns out small spaces take longer because they have more angles and require more cutting. But today, after they get their new saw, they should be able to finish the shower wall and the floor. I don’t know if they will be able to do the grout today or whether they have to let the “mud” the tile is set into dry first. Guess I will find out.
Garden planning! I have a lot of seeds saved from last year’s garden. We really like all the tomato varieties we’ve been growing, most of the beans, cayenne peppers, garden peas, butternuts, marigolds, tulsi, and greens, but I always like to try new plants, and there are some plants that I’ve not been able to save seed from because they are biennial and I haven’t motivated myself to dig up carrots and onions and overwinter them in my basement to plant out in spring so they can flower and set seed. I’ve also not found a radish I like enough to save seeds and grow on. Maybe this will be the year carrots and onions and radish all come together?
I’ve got my new garden seed orders sorted out, but haven’t placed the orders yet in case I decide to change my mind or add something. My plan is to order them Thursday, but I’m beginning to think that leaving it open that long might be a mistake because I am not likely to remove anything from the plan, but highly likely to add. And I really don’t need to add anything else. So I’m going to declare it here and y’all can hold me to it and shame me if another seed packet or two somehow sneaks in!
Herbs:
- Cilantro. I decided I don’t like the variety I’ve been growing the last few years, so trying a new one.
- Sweet basil. I’ve been growing Genovese basil but the leaves are so small. This one has bigger leaves.
- Greek Oregano. Mostly perennial but last year’s polar vortex arctic blast killed it. I could buy a plant at the plant sale in May, but we like oregano so with seeds I can grow several plants.
- Broadleaf sage. Allegedly perennial but I have yet to get one through a winter. Instead of buying a single plant I’m going to sprout several and plant them all around the garden to increase the likelihood of winter survival.
- Elka poppy. Poppy seeds! I guess not technically an herb, but I thought it would be fun to have pretty pink poppies for the pollinators and seeds for me to use baking sourdough delights.
Peppers:
- Jalapeño. For some reason, none of the seeds I had been saving sprouted last year and I need some fresh ones.
- Poblano. James really wants peppers for stuffing, so I’m going to try growing these.
- Orange lunchbox. A small, sweet snacking pepper, also a James desire since we’ve had zero luck growing bell peppers and the one time we got any, a squirrel ate them all. Of course.
Roots:
- Early scarlet horn carrot. A pretty standard carrot and supposed to keep well.
- Dragon carrot. Purple on the outside, orange on the inside. Did you know that all carrots used to be purple? We have orange carrots because Europeans decided they were more interesting or something.
- Dakota tears yellow storage onion. I’ve not grown this variety before. It’s supposed to be very strongly flavored, thus the tears.
- Southport red globe storage onion. New to me variety with a slightly shorter season than other red varieties I’ve tried.
- Sora red round radish. Big radish that is supposedly tolerant of summer heat so I can succession plant all season.
- Spanish black radish. A spicy radish black on the outside and white on the inside. To plant at the end of July for fall harvest. I’ve not grown this variety before.
- Macomber rutabaga. I had some free rutabaga seeds from the library last year and the plants grew big and strong but I didn’t plant the seeds deep enough so just got long spindly above ground “roots” I couldn’t eat. Lesson learned and worth trying again.
Other:
- Red Kalibos cabbage. My green cabbage has been pathetic so I’m trying red. If red doesn’t do well, then I’m giving up on cabbage growing.
- Whirlygig zinnia. Birds ate all the zinnia seeds last year before I could save any so I need a refresh. I’ve never had birds eat zinnia seeds before. I will need to figure out how to protect some of the flowers next summer for seeds to plant on.
- Long pie pumpkin. Turns out the pie pumpkin I planted last year was a hybrid variety so I couldn’t save seeds. This one gets picked before it is ripe and ripens in storage. I am hoping to pull a fast one on the squirrel pirates.
- Hidasta shield pole bean. A pretty white bean with brown markings. Grown by the Hidasta people in North Dakota and good for soup and baking. I love growing beans and since I’m not growing disappointing succotash beans again, I have space to try something new.
New! New! New!
- Mother Mary’s pie melon. I’ve not had much luck growing melon in the past but this heirloom is from a woman in Minnesota and is reportedly a sweet melon good for making pie and jam. I have to try it!
- Purple Vienna kohlrabi. I’ve not grown kohlrabi before and the broccoli I tried to grow last year only produced a few small heads that almost immediately bloomed. Disappointing. I thought Kohlrabi might make a good substitute. We’ll see.
- Mexican sour gherkin, also known as cucamelon and mouse melon. Neither a cucumber nor a melon, this vining plant produces small green and white fruit that look like tiny watermelons. They supposedly taste a little like pickles, can be eaten raw or pickled and you either love them or hate them. I’m banking on loving them.
- Green striped cushaw. Also sometimes called sweet potato pumpkin. A large, sweet long-keeping green striped winter squash good for pies, squash butter, pudding, and roasting. I’m longing for the squash butter and the pudding.
There they all are. The garden is really going to be packed come summer. But then I say that every year and somehow end up with large patches of feral arugula because I didn’t have anything planted in that particular spot. Perhaps this will be the year I actually do pack the garden.
I had originally planned to also try growing fava beans after I discovered a recipe for
fava bean hot chocolate. I see the look on your face, hang with me for a second. Creamy vegan hot chocolate is a challenge. We could use coconut cream but then it tastes like coconut. We’ve used medjool dates but then it gets really sweet. Fava bean puree makes it creamy while not tasting beany.Of course I had to try it before committing to growing the beans. Sadly, my food co-op doesn’t sell fava beans, either dry or in a can. I thought to try the recipe substituting white beans instead because there are many vegan recipes that use white beans to make creamy sauces , soups, and dressings since white beans are mild and other flavors cover over the beans. We tried navy beans and it worked! I’ve been enjoying a cup of creamy hot chocolate now and then of an afternoon during my vacation time. Mmmmm.
But still, I thought I might try growing fava beans untilI I found out from the Fedco seed catalog, the only one that had fava seeds, that “In susceptible humans who have inherited a specific enzyme deficiency, within a few minutes of inhaling pollen or several hours after eating fava beans, a severe allergic reaction occurs. Most individuals have this enzyme and are not affected.”
Say what? This might explain why my food co-op doesn’t sell fava beans. I have never eaten fava beans and have no idea whether I have said enzyme deficiency, but given all my seasonal allergies and my inability to eat raw cucumbers and raw onions, I decided to not push my luck. And since navy beans are a cheap and easy substitute, well sorry fava beans.
The tile guys are back. Sawing and listening to music. Currently it’s the Violent Femmes. I haven’t heard them in ages. Blast from the past!
We’ve somehow made it to the end of 2025. What a year. Enjoy safe and happy year-end celebrations! May 2026 be filled will joy, beauty, and peace, as well as the strength and resilience to meet whatever surprises and struggles arise.
-
A list of animals who
The recent death of the great Jane Goodall brought me back to an old post about the use of who-pronouns with non-human animals, as in ‘swallows who flew past her window’, as opposed to ‘swallows that/which flew past her window’.
Goodall’s first scientific paper was returned to her with who replaced by which, and he or she replaced by it, in reference to chimpanzees. Goodall promptly reinstated her choice of pronouns, presumably seeing them as markers of the animals’ intrinsic value, and their substitution as an unwarranted moral demotion.1
Since then I’ve made note of other examples of animals who that I’ve read in books.2 This post compiles them in one place, where they form a kind of homemade menagerie of zoolinguistic solidarity. It extends, as we have seen, to swallows:
She watched the sudden, fast shadows of swallows who flew past her window in fleeting pairs, subtracting light from her room, and marvelled how living things could suspend themselves in mid-air. (Claire Keegan, ‘Men and Women’, in Antarctica)
And, from the same writer, sheep:
I sit by the window and keep an eye on the sheep who stare, bewildered, from the car.
Ducks:
‘At the place [. . .] where timid ducks, who must have been through some experiences in the ugly little gravel pool of the never-completed excavation, flew away from me . . . (Werner Herzog, Every Man for Himself and God Against All)
Cows:
I do not care for animals, except for cows, who combine supreme usefulness with a rustic kind of beauty. (Maeve Kelly, ‘The Sentimentalist’, in Orange Horses)
Kingfishers and otters:
In now distant days Iris used to return to Steeple Aston or Hartley Road full of her visit to them, and of what they had told her about their Welsh cottage, a converted schoolhouse. They told her of the pool they had built in the field behind it, the kingfishers and otters who came to visit there. (John Bayley, Iris: A Memoir of Iris Murdoch)
Rabbits:
Who was the more frightened between them? (Nicola Barker, Wide Open, when a woman is startled to meet a rabbit in a kitchen)
Tadpoles (first which, then who):
And we presented her with gallons of frogspawn which duly turned into tadpoles, which ate each other until there were just a few fat cannibal monsters left, all black belly and no sign of legs, who got poured down the sink. (Lorna Sage, Bad Blood)
Bonobos:
The researchers’ most spectacular success has been with Kanzi, a bonobo (a species closely related to chimpanzees) who apparently learned lexigrams spontaneously as an infant while watching his mother being trained. (Abby Kaplan, Women Talk More than Men: …And Other Myths about Language Explained)
Chimpanzees:
In the study by Hirata and Fuwa (2006), for example, chimpanzees who did not solicit other chimpanzees to engage in a group activity quite readily solicited a presumably more helpful human. (Michael Tomasello, Origins of Human Communication)
I make piles, like the chimp who thought he was a human. (Sara Baume, A Line Made by Walking)
Foxes:
And I look out for the fox, the fox who dropped me a rat. (Baume again)
Aardwolves and aasvogels (that’s right, aardwolves and aasvogels):
The aardvark is a peculiar African mammal whose equally peculiar double-A name has earned it its prestigious position as the first animal in the dictionary. Spare a thought, then, for its alphabetical next-door neighbours, the aardwolf and aasvogel, who are pipped into second and third place . . . (Paul Anthony Jones, Word Drops)
Horses:
But still they did not stop the mare, who cantered gaily onward. (Mary Lavin, ‘The Joy-Ride’, in In a Café)
It’s not just stallions who can become aggressive if they’re raised alone. (Temple Grandin and Catherine Johnson, Animals in Translation: Using the Mysteries of Autism to Decode Animal Behaviour)
Pigs:
The sides of the pen are solid, so the other pigs can’t reach their snouts inside and bite the tail or rear end of the pig who’s eating. (Grandin and Johnson again)
Animals generally:
All animals who live in groups – and that is most mammals – form dominance hierarchies. (Grandin and Johnson)
Consider, he [Michael Trestman] says, the category of animals who have complex active bodies. These are animals who can move quickly, and who can seize and manipulate objects. (Peter Godfrey-Smith, Other Minds: The Octopus and the Evolution of Intelligent Life)
If it is a number of animals who are being chased, and if the pack succeeds in surrounding them, then their mass flight turns into a panic, each of the hunted animals will try to escape on its own from the circle of its enemies. (Elias Canetti, Crowds and Power, translated from the German by Carol Stewart)
Wolves:
Wolves vary their hunting techniques, share food with the old who so not hunt, and give gifts to each other. (Barry Lopez, Of Wolves and Men)
A wolf who remains with his or her parents and helps raise their next litter is an alloparent. (Jeffrey Moussaieff Masson and Susan McCarthy’s When Elephants Weep: The Emotional Lives of Animals)
(Many different animals are treated thus in Moussaieff Masson and McCarthy’s book, but I neglected to keep track, aside from the example above.)
Dogs, of course, are often so honoured – the most frequently so of all the animals in Gilquin and Jacobs’s data set (footnote 1):
They could care less that I once had a dog named Woodsprite who was crushed by a backhoe. (George Saunders, ‘The 400-Pound CEO’, in CivilWarLand in Bad Decline)
The same thing applied to the first three time dogs, two of whom had actually been the favourites. (James Kelman, ‘A wide runner’, in Not Not While the Giro)
Most senses require two of things – eyes, ears, hands. But we only have one nose. This is, again, to stop us smelling dogs so much, who stink. (Philomena Cunk, Cunk on Everything: The Encyclopedia Philomena)
Molly Keane explicitly calls dogs people, in both The Rising Tide:
The only people to whom she was a little kind were her dogs and Diana.
and Loving and Giving:
The dogs loved him as he loved them. They flew to his beautiful whistle, even when on the hot line of a rabbit. Nettle, the Killer, a fierce opinionated person who would have been hero of a rat-pit had Silly Willie been sweeping chimneys, was, of the three, his favourite.
Nuala Ní Chonchúir, similarly, uses someone in reference to a dog in You:
Sinbad goes banana-boats when he sees you through the balcony door. [. . .] You kneel down on the rug and let him lick your nose with his smelly tongue. That’s how dogs kiss each other. Then you remember that they also lick each other’s bums, so you don’t let him do it any more. Still, at least someone’s glad to see you.
Even an ant can be ‘someone’:
Last week my little nephew said to his father: “Look, someone is walking under the table.” The father, thinking that his son had had a hallucination, looked under the table and saw – an ant! For the child, an ant was “someone.” I, too, have never doubted that I am one animal among others. (from ‘A Talk with Konrad Lorenz’, in In the Modern Idiom: An Introduction to Literature, ed. Leo Hamalian & Arthur Zeiger)
Rats:
The worst thing about rats, says Steve, ‘is waiting for that big wet slap on your back’. ‘No,’ says Kevin, ‘it’s knowing you’re being watched but not knowing who’s watching and from where.’ London’s sewer rats generally run away from humans. New York’s don’t. (Rose George, The Big Necessity: Adventures in the World of Human Waste)
If you thought rats were unexpected, try trees:
Mycorrhizal fungi have coevolved with trees, with whom they’ve worked out a mutually beneficial relationship in which they trade the products of their very different metabolisms. (Michael Pollan, The Omnivore’s Dilemma)
As soon as the bright sunlight increases the rate of photosynthesis and stimulates growth, the buds of those who have shot up receive more sugar. (The Hidden Life of Trees by Peter Wohlleben, translated from the German by Jane Billinghurst)
And rivers: I’ve yet to read Robert Macfarlane’s book Is a River Alive?, but I saw an excerpt that referred to meeting ‘a living, threatened river who flows from the roadless boreal forest to the sea’. These non-human, non-animal examples align with a movement to grant living systems legal rights – chiefly to protect them from destructive human action.
The menagerie could be greatly enlarged by adding examples from other sources: conversations, letters and emails, social media, the internet generally, language corpora, etc. But this thin slice is based solely on offline reading because that’s how I often pattern my notes.
Using who or personal pronouns is not something I do automatically when referring to animals. Sometimes which, that, or it seems more apt, or I could go either way, depending on context. In footnote 2 I instinctively used which in reference to sharks and decided to leave it be.
I’m sure my usage is inconsistent – it’s one of those grey areas in language that I find interesting. Maybe it’s something you’ve noticed in your own usage. In any case, it’s fun to see new animals join the who club (or the very important person club). All it needs now is some fungi and microbes.
*
1 I learned about this incident from Gaëtanelle Gilquin and George M. Jacobs’s paper ‘Elephants Who Marry Mice are Very Unusual: The Use of the Relative Pronoun Who with Nonhuman Animals’. It has lots of data-informed commentary and is well worth reading if this topic interests you.
2 Examples do occur in films and other media, naturally. There’s a fun one in Batman: The Movie (1966) when Batman, after being attacked by a shark, which then explodes, says at a press conference: ‘That was an unfortunate animal who chanced to swallow a floating mine.’ The DVD subtitles change the line, or I’d have included an image.
#anaphora #animals #birds #books #grammar #JaneGoodall #language #literature #nature #pronouns #relativePronouns #usage #which #who #writing
-
A list of animals who
The recent death of the great Jane Goodall brought me back to an old post about the use of who-pronouns with non-human animals, as in ‘swallows who flew past her window’, as opposed to ‘swallows that/which flew past her window’.
Goodall’s first scientific paper was returned to her with who replaced by which, and he or she replaced by it, in reference to chimpanzees. Goodall promptly reinstated her choice of pronouns, presumably seeing them as markers of the animals’ intrinsic value, and their substitution as an unwarranted moral demotion.1
Since then I’ve made note of other examples of animals who that I’ve read in books.2 This post compiles them in one place, where they form a kind of homemade menagerie of zoolinguistic solidarity. It extends, as we have seen, to swallows:
She watched the sudden, fast shadows of swallows who flew past her window in fleeting pairs, subtracting light from her room, and marvelled how living things could suspend themselves in mid-air. (Claire Keegan, ‘Men and Women’, in Antarctica)
And, from the same writer, sheep:
I sit by the window and keep an eye on the sheep who stare, bewildered, from the car.
Ducks:
‘At the place [. . .] where timid ducks, who must have been through some experiences in the ugly little gravel pool of the never-completed excavation, flew away from me . . . (Werner Herzog, Every Man for Himself and God Against All)
Cows:
I do not care for animals, except for cows, who combine supreme usefulness with a rustic kind of beauty. (Maeve Kelly, ‘The Sentimentalist’, in Orange Horses)
Kingfishers and otters:
In now distant days Iris used to return to Steeple Aston or Hartley Road full of her visit to them, and of what they had told her about their Welsh cottage, a converted schoolhouse. They told her of the pool they had built in the field behind it, the kingfishers and otters who came to visit there. (John Bayley, Iris: A Memoir of Iris Murdoch)
Rabbits:
Who was the more frightened between them? (Nicola Barker, Wide Open, when a woman is startled to meet a rabbit in a kitchen)
Tadpoles (first which, then who):
And we presented her with gallons of frogspawn which duly turned into tadpoles, which ate each other until there were just a few fat cannibal monsters left, all black belly and no sign of legs, who got poured down the sink. (Lorna Sage, Bad Blood)
Bonobos:
The researchers’ most spectacular success has been with Kanzi, a bonobo (a species closely related to chimpanzees) who apparently learned lexigrams spontaneously as an infant while watching his mother being trained. (Abby Kaplan, Women Talk More than Men: …And Other Myths about Language Explained)
Chimpanzees:
In the study by Hirata and Fuwa (2006), for example, chimpanzees who did not solicit other chimpanzees to engage in a group activity quite readily solicited a presumably more helpful human. (Michael Tomasello, Origins of Human Communication)
I make piles, like the chimp who thought he was a human. (Sara Baume, A Line Made by Walking)
Foxes:
And I look out for the fox, the fox who dropped me a rat. (Baume again)
Aardwolves and aasvogels (that’s right, aardwolves and aasvogels):
The aardvark is a peculiar African mammal whose equally peculiar double-A name has earned it its prestigious position as the first animal in the dictionary. Spare a thought, then, for its alphabetical next-door neighbours, the aardwolf and aasvogel, who are pipped into second and third place . . . (Paul Anthony Jones, Word Drops)
Horses:
But still they did not stop the mare, who cantered gaily onward. (Mary Lavin, ‘The Joy-Ride’, in In a Café)
It’s not just stallions who can become aggressive if they’re raised alone. (Temple Grandin and Catherine Johnson, Animals in Translation: Using the Mysteries of Autism to Decode Animal Behaviour)
Pigs:
The sides of the pen are solid, so the other pigs can’t reach their snouts inside and bite the tail or rear end of the pig who’s eating. (Grandin and Johnson again)
Animals generally:
All animals who live in groups – and that is most mammals – form dominance hierarchies. (Grandin and Johnson)
Consider, he [Michael Trestman] says, the category of animals who have complex active bodies. These are animals who can move quickly, and who can seize and manipulate objects. (Peter Godfrey-Smith, Other Minds: The Octopus and the Evolution of Intelligent Life)
If it is a number of animals who are being chased, and if the pack succeeds in surrounding them, then their mass flight turns into a panic, each of the hunted animals will try to escape on its own from the circle of its enemies. (Elias Canetti, Crowds and Power, translated from the German by Carol Stewart)
Wolves:
Wolves vary their hunting techniques, share food with the old who so not hunt, and give gifts to each other. (Barry Lopez, Of Wolves and Men)
A wolf who remains with his or her parents and helps raise their next litter is an alloparent. (Jeffrey Moussaieff Masson and Susan McCarthy’s When Elephants Weep: The Emotional Lives of Animals)
(Many different animals are treated thus in Moussaieff Masson and McCarthy’s book, but I neglected to keep track, aside from the example above.)
Dogs, of course, are often so honoured – the most frequently so of all the animals in Gilquin and Jacobs’s data set (footnote 1):
They could care less that I once had a dog named Woodsprite who was crushed by a backhoe. (George Saunders, ‘The 400-Pound CEO’, in CivilWarLand in Bad Decline)
The same thing applied to the first three time dogs, two of whom had actually been the favourites. (James Kelman, ‘A wide runner’, in Not Not While the Giro)
Most senses require two of things – eyes, ears, hands. But we only have one nose. This is, again, to stop us smelling dogs so much, who stink. (Philomena Cunk, Cunk on Everything: The Encyclopedia Philomena)
Molly Keane explicitly calls dogs people, in both The Rising Tide:
The only people to whom she was a little kind were her dogs and Diana.
and Loving and Giving:
The dogs loved him as he loved them. They flew to his beautiful whistle, even when on the hot line of a rabbit. Nettle, the Killer, a fierce opinionated person who would have been hero of a rat-pit had Silly Willie been sweeping chimneys, was, of the three, his favourite.
Nuala Ní Chonchúir, similarly, uses someone in reference to a dog in You:
Sinbad goes banana-boats when he sees you through the balcony door. [. . .] You kneel down on the rug and let him lick your nose with his smelly tongue. That’s how dogs kiss each other. Then you remember that they also lick each other’s bums, so you don’t let him do it any more. Still, at least someone’s glad to see you.
Even an ant can be ‘someone’:
Last week my little nephew said to his father: “Look, someone is walking under the table.” The father, thinking that his son had had a hallucination, looked under the table and saw – an ant! For the child, an ant was “someone.” I, too, have never doubted that I am one animal among others. (from ‘A Talk with Konrad Lorenz’, in In the Modern Idiom: An Introduction to Literature, ed. Leo Hamalian & Arthur Zeiger)
Rats:
The worst thing about rats, says Steve, ‘is waiting for that big wet slap on your back’. ‘No,’ says Kevin, ‘it’s knowing you’re being watched but not knowing who’s watching and from where.’ London’s sewer rats generally run away from humans. New York’s don’t. (Rose George, The Big Necessity: Adventures in the World of Human Waste)
If you thought rats were unexpected, try trees:
Mycorrhizal fungi have coevolved with trees, with whom they’ve worked out a mutually beneficial relationship in which they trade the products of their very different metabolisms. (Michael Pollan, The Omnivore’s Dilemma)
As soon as the bright sunlight increases the rate of photosynthesis and stimulates growth, the buds of those who have shot up receive more sugar. (The Hidden Life of Trees by Peter Wohlleben, translated from the German by Jane Billinghurst)
And rivers: I’ve yet to read Robert Macfarlane’s book Is a River Alive?, but I saw an excerpt that referred to meeting ‘a living, threatened river who flows from the roadless boreal forest to the sea’. These non-human, non-animal examples align with a movement to grant living systems legal rights – chiefly to protect them from destructive human action.
The menagerie could be greatly enlarged by adding examples from other sources: conversations, letters and emails, social media, the internet generally, language corpora, etc. But this thin slice is based solely on offline reading because that’s how I often pattern my notes.
Using who or personal pronouns is not something I do automatically when referring to animals. Sometimes which, that, or it seems more apt, or I could go either way, depending on context. In footnote 2 I instinctively used which in reference to sharks and decided to leave it be.
I’m sure my usage is inconsistent – it’s one of those grey areas in language that I find interesting. Maybe it’s something you’ve noticed in your own usage. In any case, it’s fun to see new animals join the who club (or the very important person club). All it needs now is some fungi and microbes.
*
1 I learned about this incident from Gaëtanelle Gilquin and George M. Jacobs’s paper ‘Elephants Who Marry Mice are Very Unusual: The Use of the Relative Pronoun Who with Nonhuman Animals’. It has lots of data-informed commentary and is well worth reading if this topic interests you.
2 Examples do occur in films and other media, naturally. There’s a fun one in Batman: The Movie (1966) when Batman, after being attacked by a shark, which then explodes, says at a press conference: ‘That was an unfortunate animal who chanced to swallow a floating mine.’ The DVD subtitles change the line, or I’d have included an image.
#anaphora #animals #birds #books #grammar #JaneGoodall #language #literature #nature #pronouns #relativePronouns #usage #which #who #writing
-
A list of animals who
The recent death of the great Jane Goodall brought me back to an old post about the use of who-pronouns with non-human animals, as in ‘swallows who flew past her window’, as opposed to ‘swallows that/which flew past her window’.
Goodall’s first scientific paper was returned to her with who replaced by which, and he or she replaced by it, in reference to chimpanzees. Goodall promptly reinstated her choice of pronouns, presumably seeing them as markers of the animals’ intrinsic value, and their substitution as an unwarranted moral demotion.1
Since then I’ve made note of other examples of animals who that I’ve read in books.2 This post compiles them in one place, where they form a kind of homemade menagerie of zoolinguistic solidarity. It extends, as we have seen, to swallows:
She watched the sudden, fast shadows of swallows who flew past her window in fleeting pairs, subtracting light from her room, and marvelled how living things could suspend themselves in mid-air. (Claire Keegan, ‘Men and Women’, in Antarctica)
And, from the same writer, sheep:
I sit by the window and keep an eye on the sheep who stare, bewildered, from the car.
Ducks:
‘At the place [. . .] where timid ducks, who must have been through some experiences in the ugly little gravel pool of the never-completed excavation, flew away from me . . . (Werner Herzog, Every Man for Himself and God Against All)
Cows:
I do not care for animals, except for cows, who combine supreme usefulness with a rustic kind of beauty. (Maeve Kelly, ‘The Sentimentalist’, in Orange Horses)
Kingfishers and otters:
In now distant days Iris used to return to Steeple Aston or Hartley Road full of her visit to them, and of what they had told her about their Welsh cottage, a converted schoolhouse. They told her of the pool they had built in the field behind it, the kingfishers and otters who came to visit there. (John Bayley, Iris: A Memoir of Iris Murdoch)
Rabbits:
Who was the more frightened between them? (Nicola Barker, Wide Open, when a woman is startled to meet a rabbit in a kitchen)
Tadpoles (first which, then who):
And we presented her with gallons of frogspawn which duly turned into tadpoles, which ate each other until there were just a few fat cannibal monsters left, all black belly and no sign of legs, who got poured down the sink. (Lorna Sage, Bad Blood)
Bonobos:
The researchers’ most spectacular success has been with Kanzi, a bonobo (a species closely related to chimpanzees) who apparently learned lexigrams spontaneously as an infant while watching his mother being trained. (Abby Kaplan, Women Talk More than Men: …And Other Myths about Language Explained)
Chimpanzees:
In the study by Hirata and Fuwa (2006), for example, chimpanzees who did not solicit other chimpanzees to engage in a group activity quite readily solicited a presumably more helpful human. (Michael Tomasello, Origins of Human Communication)
I make piles, like the chimp who thought he was a human. (Sara Baume, A Line Made by Walking)
Foxes:
And I look out for the fox, the fox who dropped me a rat. (Baume again)
Aardwolves and aasvogels (that’s right, aardwolves and aasvogels):
The aardvark is a peculiar African mammal whose equally peculiar double-A name has earned it its prestigious position as the first animal in the dictionary. Spare a thought, then, for its alphabetical next-door neighbours, the aardwolf and aasvogel, who are pipped into second and third place . . . (Paul Anthony Jones, Word Drops)
Horses:
But still they did not stop the mare, who cantered gaily onward. (Mary Lavin, ‘The Joy-Ride’, in In a Café)
It’s not just stallions who can become aggressive if they’re raised alone. (Temple Grandin and Catherine Johnson, Animals in Translation: Using the Mysteries of Autism to Decode Animal Behaviour)
Pigs:
The sides of the pen are solid, so the other pigs can’t reach their snouts inside and bite the tail or rear end of the pig who’s eating. (Grandin and Johnson again)
Animals generally:
All animals who live in groups – and that is most mammals – form dominance hierarchies. (Grandin and Johnson)
Consider, he [Michael Trestman] says, the category of animals who have complex active bodies. These are animals who can move quickly, and who can seize and manipulate objects. (Peter Godfrey-Smith, Other Minds: The Octopus and the Evolution of Intelligent Life)
If it is a number of animals who are being chased, and if the pack succeeds in surrounding them, then their mass flight turns into a panic, each of the hunted animals will try to escape on its own from the circle of its enemies. (Elias Canetti, Crowds and Power, translated from the German by Carol Stewart)
Wolves:
Wolves vary their hunting techniques, share food with the old who so not hunt, and give gifts to each other. (Barry Lopez, Of Wolves and Men)
A wolf who remains with his or her parents and helps raise their next litter is an alloparent. (Jeffrey Moussaieff Masson and Susan McCarthy’s When Elephants Weep: The Emotional Lives of Animals)
(Many different animals are treated thus in Moussaieff Masson and McCarthy’s book, but I neglected to keep track, aside from the example above.)
Dogs, of course, are often so honoured – the most frequently so of all the animals in Gilquin and Jacobs’s data set (footnote 1):
They could care less that I once had a dog named Woodsprite who was crushed by a backhoe. (George Saunders, ‘The 400-Pound CEO’, in CivilWarLand in Bad Decline)
The same thing applied to the first three time dogs, two of whom had actually been the favourites. (James Kelman, ‘A wide runner’, in Not Not While the Giro)
Most senses require two of things – eyes, ears, hands. But we only have one nose. This is, again, to stop us smelling dogs so much, who stink. (Philomena Cunk, Cunk on Everything: The Encyclopedia Philomena)
Molly Keane explicitly calls dogs people, in both The Rising Tide:
The only people to whom she was a little kind were her dogs and Diana.
and Loving and Giving:
The dogs loved him as he loved them. They flew to his beautiful whistle, even when on the hot line of a rabbit. Nettle, the Killer, a fierce opinionated person who would have been hero of a rat-pit had Silly Willie been sweeping chimneys, was, of the three, his favourite.
Nuala Ní Chonchúir, similarly, uses someone in reference to a dog in You:
Sinbad goes banana-boats when he sees you through the balcony door. [. . .] You kneel down on the rug and let him lick your nose with his smelly tongue. That’s how dogs kiss each other. Then you remember that they also lick each other’s bums, so you don’t let him do it any more. Still, at least someone’s glad to see you.
Even an ant can be ‘someone’:
Last week my little nephew said to his father: “Look, someone is walking under the table.” The father, thinking that his son had had a hallucination, looked under the table and saw – an ant! For the child, an ant was “someone.” I, too, have never doubted that I am one animal among others. (from ‘A Talk with Konrad Lorenz’, in In the Modern Idiom: An Introduction to Literature, ed. Leo Hamalian & Arthur Zeiger)
Rats:
The worst thing about rats, says Steve, ‘is waiting for that big wet slap on your back’. ‘No,’ says Kevin, ‘it’s knowing you’re being watched but not knowing who’s watching and from where.’ London’s sewer rats generally run away from humans. New York’s don’t. (Rose George, The Big Necessity: Adventures in the World of Human Waste)
If you thought rats were unexpected, try trees:
Mycorrhizal fungi have coevolved with trees, with whom they’ve worked out a mutually beneficial relationship in which they trade the products of their very different metabolisms. (Michael Pollan, The Omnivore’s Dilemma)
As soon as the bright sunlight increases the rate of photosynthesis and stimulates growth, the buds of those who have shot up receive more sugar. (The Hidden Life of Trees by Peter Wohlleben, translated from the German by Jane Billinghurst)
And rivers: I’ve yet to read Robert Macfarlane’s book Is a River Alive?, but I saw an excerpt that referred to meeting ‘a living, threatened river who flows from the roadless boreal forest to the sea’. These non-human, non-animal examples align with a movement to grant living systems legal rights – chiefly to protect them from destructive human action.
The menagerie could be greatly enlarged by adding examples from other sources: conversations, letters and emails, social media, the internet generally, language corpora, etc. But this thin slice is based solely on offline reading because that’s how I often pattern my notes.
Using who or personal pronouns is not something I do automatically when referring to animals. Sometimes which, that, or it seems more apt, or I could go either way, depending on context. In footnote 2 I instinctively used which in reference to sharks and decided to leave it be.
I’m sure my usage is inconsistent – it’s one of those grey areas in language that I find interesting. Maybe it’s something you’ve noticed in your own usage. In any case, it’s fun to see new animals join the who club (or the very important person club). All it needs now is some fungi and microbes.
*
1 I learned about this incident from Gaëtanelle Gilquin and George M. Jacobs’s paper ‘Elephants Who Marry Mice are Very Unusual: The Use of the Relative Pronoun Who with Nonhuman Animals’. It has lots of data-informed commentary and is well worth reading if this topic interests you.
2 Examples do occur in films and other media, naturally. There’s a fun one in Batman: The Movie (1966) when Batman, after being attacked by a shark, which then explodes, says at a press conference: ‘That was an unfortunate animal who chanced to swallow a floating mine.’ The DVD subtitles change the line, or I’d have included an image.
#anaphora #animals #birds #books #grammar #JaneGoodall #language #literature #nature #pronouns #relativePronouns #usage #which #who #writing
-
A list of animals who
The recent death of the great Jane Goodall brought me back to an old post about the use of who-pronouns with non-human animals, as in ‘swallows who flew past her window’, as opposed to ‘swallows that/which flew past her window’.
Goodall’s first scientific paper was returned to her with who replaced by which, and he or she replaced by it, in reference to chimpanzees. Goodall promptly reinstated her choice of pronouns, presumably seeing them as markers of the animals’ intrinsic value, and their substitution as an unwarranted moral demotion.1
Since then I’ve made note of other examples of animals who that I’ve read in books.2 This post compiles them in one place, where they form a kind of homemade menagerie of zoolinguistic solidarity. It extends, as we have seen, to swallows:
She watched the sudden, fast shadows of swallows who flew past her window in fleeting pairs, subtracting light from her room, and marvelled how living things could suspend themselves in mid-air. (Claire Keegan, ‘Men and Women’, in Antarctica)
And, from the same writer, sheep:
I sit by the window and keep an eye on the sheep who stare, bewildered, from the car.
Ducks:
‘At the place [. . .] where timid ducks, who must have been through some experiences in the ugly little gravel pool of the never-completed excavation, flew away from me . . . (Werner Herzog, Every Man for Himself and God Against All)
Cows:
I do not care for animals, except for cows, who combine supreme usefulness with a rustic kind of beauty. (Maeve Kelly, ‘The Sentimentalist’, in Orange Horses)
Kingfishers and otters:
In now distant days Iris used to return to Steeple Aston or Hartley Road full of her visit to them, and of what they had told her about their Welsh cottage, a converted schoolhouse. They told her of the pool they had built in the field behind it, the kingfishers and otters who came to visit there. (John Bayley, Iris: A Memoir of Iris Murdoch)
Rabbits:
Who was the more frightened between them? (Nicola Barker, Wide Open, when a woman is startled to meet a rabbit in a kitchen)
Tadpoles (first which, then who):
And we presented her with gallons of frogspawn which duly turned into tadpoles, which ate each other until there were just a few fat cannibal monsters left, all black belly and no sign of legs, who got poured down the sink. (Lorna Sage, Bad Blood)
Bonobos:
The researchers’ most spectacular success has been with Kanzi, a bonobo (a species closely related to chimpanzees) who apparently learned lexigrams spontaneously as an infant while watching his mother being trained. (Abby Kaplan, Women Talk More than Men: …And Other Myths about Language Explained)
Chimpanzees:
In the study by Hirata and Fuwa (2006), for example, chimpanzees who did not solicit other chimpanzees to engage in a group activity quite readily solicited a presumably more helpful human. (Michael Tomasello, Origins of Human Communication)
I make piles, like the chimp who thought he was a human. (Sara Baume, A Line Made by Walking)
Foxes:
And I look out for the fox, the fox who dropped me a rat. (Baume again)
Aardwolves and aasvogels (that’s right, aardwolves and aasvogels):
The aardvark is a peculiar African mammal whose equally peculiar double-A name has earned it its prestigious position as the first animal in the dictionary. Spare a thought, then, for its alphabetical next-door neighbours, the aardwolf and aasvogel, who are pipped into second and third place . . . (Paul Anthony Jones, Word Drops)
Horses:
But still they did not stop the mare, who cantered gaily onward. (Mary Lavin, ‘The Joy-Ride’, in In a Café)
It’s not just stallions who can become aggressive if they’re raised alone. (Temple Grandin and Catherine Johnson, Animals in Translation: Using the Mysteries of Autism to Decode Animal Behaviour)
Pigs:
The sides of the pen are solid, so the other pigs can’t reach their snouts inside and bite the tail or rear end of the pig who’s eating. (Grandin and Johnson again)
Animals generally:
All animals who live in groups – and that is most mammals – form dominance hierarchies. (Grandin and Johnson)
Consider, he [Michael Trestman] says, the category of animals who have complex active bodies. These are animals who can move quickly, and who can seize and manipulate objects. (Peter Godfrey-Smith, Other Minds: The Octopus and the Evolution of Intelligent Life)
If it is a number of animals who are being chased, and if the pack succeeds in surrounding them, then their mass flight turns into a panic, each of the hunted animals will try to escape on its own from the circle of its enemies. (Elias Canetti, Crowds and Power, translated from the German by Carol Stewart)
Wolves:
Wolves vary their hunting techniques, share food with the old who so not hunt, and give gifts to each other. (Barry Lopez, Of Wolves and Men)
A wolf who remains with his or her parents and helps raise their next litter is an alloparent. (Jeffrey Moussaieff Masson and Susan McCarthy’s When Elephants Weep: The Emotional Lives of Animals)
(Many different animals are treated thus in Moussaieff Masson and McCarthy’s book, but I neglected to keep track, aside from the example above.)
Dogs, of course, are often so honoured – the most frequently so of all the animals in Gilquin and Jacobs’s data set (footnote 1):
They could care less that I once had a dog named Woodsprite who was crushed by a backhoe. (George Saunders, ‘The 400-Pound CEO’, in CivilWarLand in Bad Decline)
The same thing applied to the first three time dogs, two of whom had actually been the favourites. (James Kelman, ‘A wide runner’, in Not Not While the Giro)
Most senses require two of things – eyes, ears, hands. But we only have one nose. This is, again, to stop us smelling dogs so much, who stink. (Philomena Cunk, Cunk on Everything: The Encyclopedia Philomena)
Molly Keane explicitly calls dogs people, in both The Rising Tide:
The only people to whom she was a little kind were her dogs and Diana.
and Loving and Giving:
The dogs loved him as he loved them. They flew to his beautiful whistle, even when on the hot line of a rabbit. Nettle, the Killer, a fierce opinionated person who would have been hero of a rat-pit had Silly Willie been sweeping chimneys, was, of the three, his favourite.
Nuala Ní Chonchúir, similarly, uses someone in reference to a dog in You:
Sinbad goes banana-boats when he sees you through the balcony door. [. . .] You kneel down on the rug and let him lick your nose with his smelly tongue. That’s how dogs kiss each other. Then you remember that they also lick each other’s bums, so you don’t let him do it any more. Still, at least someone’s glad to see you.
Even an ant can be ‘someone’:
Last week my little nephew said to his father: “Look, someone is walking under the table.” The father, thinking that his son had had a hallucination, looked under the table and saw – an ant! For the child, an ant was “someone.” I, too, have never doubted that I am one animal among others. (from ‘A Talk with Konrad Lorenz’, in In the Modern Idiom: An Introduction to Literature, ed. Leo Hamalian & Arthur Zeiger)
Rats:
The worst thing about rats, says Steve, ‘is waiting for that big wet slap on your back’. ‘No,’ says Kevin, ‘it’s knowing you’re being watched but not knowing who’s watching and from where.’ London’s sewer rats generally run away from humans. New York’s don’t. (Rose George, The Big Necessity: Adventures in the World of Human Waste)
If you thought rats were unexpected, try trees:
Mycorrhizal fungi have coevolved with trees, with whom they’ve worked out a mutually beneficial relationship in which they trade the products of their very different metabolisms. (Michael Pollan, The Omnivore’s Dilemma)
As soon as the bright sunlight increases the rate of photosynthesis and stimulates growth, the buds of those who have shot up receive more sugar. (The Hidden Life of Trees by Peter Wohlleben, translated from the German by Jane Billinghurst)
And rivers: I’ve yet to read Robert Macfarlane’s book Is a River Alive?, but I saw an excerpt that referred to meeting ‘a living, threatened river who flows from the roadless boreal forest to the sea’. These non-human, non-animal examples align with a movement to grant living systems legal rights – chiefly to protect them from destructive human action.
The menagerie could be greatly enlarged by adding examples from other sources: conversations, letters and emails, social media, the internet generally, language corpora, etc. But this thin slice is based solely on offline reading because that’s how I often pattern my notes.
Using who or personal pronouns is not something I do automatically when referring to animals. Sometimes which, that, or it seems more apt, or I could go either way, depending on context. In footnote 2 I instinctively used which in reference to sharks and decided to leave it be.
I’m sure my usage is inconsistent – it’s one of those grey areas in language that I find interesting. Maybe it’s something you’ve noticed in your own usage. In any case, it’s fun to see new animals join the who club (or the very important person club). All it needs now is some fungi and microbes.
*
1 I learned about this incident from Gaëtanelle Gilquin and George M. Jacobs’s paper ‘Elephants Who Marry Mice are Very Unusual: The Use of the Relative Pronoun Who with Nonhuman Animals’. It has lots of data-informed commentary and is well worth reading if this topic interests you.
2 Examples do occur in films and other media, naturally. There’s a fun one in Batman: The Movie (1966) when Batman, after being attacked by a shark, which then explodes, says at a press conference: ‘That was an unfortunate animal who chanced to swallow a floating mine.’ The DVD subtitles change the line, or I’d have included an image.
#anaphora #animals #birds #books #grammar #JaneGoodall #language #literature #nature #pronouns #relativePronouns #usage #which #who #writing
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A list of animals who
The recent death of the great Jane Goodall brought me back to an old post about the use of who-pronouns with non-human animals, as in ‘swallows who flew past her window’, as opposed to ‘swallows that/which flew past her window’.
Goodall’s first scientific paper was returned to her with who replaced by which, and he or she replaced by it, in reference to chimpanzees. Goodall promptly reinstated her choice of pronouns, presumably seeing them as markers of the animals’ intrinsic value, and their substitution as an unwarranted moral demotion.1
Since then I’ve made note of other examples of animals who that I’ve read in books.2 This post compiles them in one place, where they form a kind of homemade menagerie of zoolinguistic solidarity. It extends, as we have seen, to swallows:
She watched the sudden, fast shadows of swallows who flew past her window in fleeting pairs, subtracting light from her room, and marvelled how living things could suspend themselves in mid-air. (Claire Keegan, ‘Men and Women’, in Antarctica)
And, from the same writer, sheep:
I sit by the window and keep an eye on the sheep who stare, bewildered, from the car.
Ducks:
‘At the place [. . .] where timid ducks, who must have been through some experiences in the ugly little gravel pool of the never-completed excavation, flew away from me . . . (Werner Herzog, Every Man for Himself and God Against All)
Cows:
I do not care for animals, except for cows, who combine supreme usefulness with a rustic kind of beauty. (Maeve Kelly, ‘The Sentimentalist’, in Orange Horses)
Kingfishers and otters:
In now distant days Iris used to return to Steeple Aston or Hartley Road full of her visit to them, and of what they had told her about their Welsh cottage, a converted schoolhouse. They told her of the pool they had built in the field behind it, the kingfishers and otters who came to visit there. (John Bayley, Iris: A Memoir of Iris Murdoch)
Rabbits:
Who was the more frightened between them? (Nicola Barker, Wide Open, when a woman is startled to meet a rabbit in a kitchen)
Tadpoles (first which, then who):
And we presented her with gallons of frogspawn which duly turned into tadpoles, which ate each other until there were just a few fat cannibal monsters left, all black belly and no sign of legs, who got poured down the sink. (Lorna Sage, Bad Blood)
Bonobos:
The researchers’ most spectacular success has been with Kanzi, a bonobo (a species closely related to chimpanzees) who apparently learned lexigrams spontaneously as an infant while watching his mother being trained. (Abby Kaplan, Women Talk More than Men: …And Other Myths about Language Explained)
Chimpanzees:
In the study by Hirata and Fuwa (2006), for example, chimpanzees who did not solicit other chimpanzees to engage in a group activity quite readily solicited a presumably more helpful human. (Michael Tomasello, Origins of Human Communication)
I make piles, like the chimp who thought he was a human. (Sara Baume, A Line Made by Walking)
Foxes:
And I look out for the fox, the fox who dropped me a rat. (Baume again)
Aardwolves and aasvogels (that’s right, aardwolves and aasvogels):
The aardvark is a peculiar African mammal whose equally peculiar double-A name has earned it its prestigious position as the first animal in the dictionary. Spare a thought, then, for its alphabetical next-door neighbours, the aardwolf and aasvogel, who are pipped into second and third place . . . (Paul Anthony Jones, Word Drops)
Horses:
But still they did not stop the mare, who cantered gaily onward. (Mary Lavin, ‘The Joy-Ride’, in In a Café)
It’s not just stallions who can become aggressive if they’re raised alone. (Temple Grandin and Catherine Johnson, Animals in Translation: Using the Mysteries of Autism to Decode Animal Behaviour)
Pigs:
The sides of the pen are solid, so the other pigs can’t reach their snouts inside and bite the tail or rear end of the pig who’s eating. (Grandin and Johnson again)
Animals generally:
All animals who live in groups – and that is most mammals – form dominance hierarchies. (Grandin and Johnson)
Consider, he [Michael Trestman] says, the category of animals who have complex active bodies. These are animals who can move quickly, and who can seize and manipulate objects. (Peter Godfrey-Smith, Other Minds: The Octopus and the Evolution of Intelligent Life)
If it is a number of animals who are being chased, and if the pack succeeds in surrounding them, then their mass flight turns into a panic, each of the hunted animals will try to escape on its own from the circle of its enemies. (Elias Canetti, Crowds and Power, translated from the German by Carol Stewart)
Wolves:
Wolves vary their hunting techniques, share food with the old who so not hunt, and give gifts to each other. (Barry Lopez, Of Wolves and Men)
A wolf who remains with his or her parents and helps raise their next litter is an alloparent. (Jeffrey Moussaieff Masson and Susan McCarthy’s When Elephants Weep: The Emotional Lives of Animals)
(Many different animals are treated thus in Moussaieff Masson and McCarthy’s book, but I neglected to keep track, aside from the example above.)
Dogs, of course, are often so honoured – the most frequently so of all the animals in Gilquin and Jacobs’s data set (footnote 1):
They could care less that I once had a dog named Woodsprite who was crushed by a backhoe. (George Saunders, ‘The 400-Pound CEO’, in CivilWarLand in Bad Decline)
The same thing applied to the first three time dogs, two of whom had actually been the favourites. (James Kelman, ‘A wide runner’, in Not Not While the Giro)
Most senses require two of things – eyes, ears, hands. But we only have one nose. This is, again, to stop us smelling dogs so much, who stink. (Philomena Cunk, Cunk on Everything: The Encyclopedia Philomena)
Molly Keane explicitly calls dogs people, in both The Rising Tide:
The only people to whom she was a little kind were her dogs and Diana.
and Loving and Giving:
The dogs loved him as he loved them. They flew to his beautiful whistle, even when on the hot line of a rabbit. Nettle, the Killer, a fierce opinionated person who would have been hero of a rat-pit had Silly Willie been sweeping chimneys, was, of the three, his favourite.
Nuala Ní Chonchúir, similarly, uses someone in reference to a dog in You:
Sinbad goes banana-boats when he sees you through the balcony door. [. . .] You kneel down on the rug and let him lick your nose with his smelly tongue. That’s how dogs kiss each other. Then you remember that they also lick each other’s bums, so you don’t let him do it any more. Still, at least someone’s glad to see you.
Even an ant can be ‘someone’:
Last week my little nephew said to his father: “Look, someone is walking under the table.” The father, thinking that his son had had a hallucination, looked under the table and saw – an ant! For the child, an ant was “someone.” I, too, have never doubted that I am one animal among others. (from ‘A Talk with Konrad Lorenz’, in In the Modern Idiom: An Introduction to Literature, ed. Leo Hamalian & Arthur Zeiger)
Rats:
The worst thing about rats, says Steve, ‘is waiting for that big wet slap on your back’. ‘No,’ says Kevin, ‘it’s knowing you’re being watched but not knowing who’s watching and from where.’ London’s sewer rats generally run away from humans. New York’s don’t. (Rose George, The Big Necessity: Adventures in the World of Human Waste)
If you thought rats were unexpected, try trees:
Mycorrhizal fungi have coevolved with trees, with whom they’ve worked out a mutually beneficial relationship in which they trade the products of their very different metabolisms. (Michael Pollan, The Omnivore’s Dilemma)
As soon as the bright sunlight increases the rate of photosynthesis and stimulates growth, the buds of those who have shot up receive more sugar. (The Hidden Life of Trees by Peter Wohlleben, translated from the German by Jane Billinghurst)
And rivers: I’ve yet to read Robert Macfarlane’s book Is a River Alive?, but I saw an excerpt that referred to meeting ‘a living, threatened river who flows from the roadless boreal forest to the sea’. These non-human, non-animal examples align with a movement to grant living systems legal rights – chiefly to protect them from destructive human action.
The menagerie could be greatly enlarged by adding examples from other sources: conversations, letters and emails, social media, the internet generally, language corpora, etc. But this thin slice is based solely on offline reading because that’s how I often pattern my notes.
Using who or personal pronouns is not something I do automatically when referring to animals. Sometimes which, that, or it seems more apt, or I could go either way, depending on context. In footnote 2 I instinctively used which in reference to sharks and decided to leave it be.
I’m sure my usage is inconsistent – it’s one of those grey areas in language that I find interesting. Maybe it’s something you’ve noticed in your own usage. In any case, it’s fun to see new animals join the who club (or the very important person club). All it needs now is some fungi and microbes.
*
1 I learned about this incident from Gaëtanelle Gilquin and George M. Jacobs’s paper ‘Elephants Who Marry Mice are Very Unusual: The Use of the Relative Pronoun Who with Nonhuman Animals’. It has lots of data-informed commentary and is well worth reading if this topic interests you.
2 Examples do occur in films and other media, naturally. There’s a fun one in Batman: The Movie (1966) when Batman, after being attacked by a shark, which then explodes, says at a press conference: ‘That was an unfortunate animal who chanced to swallow a floating mine.’ The DVD subtitles change the line, or I’d have included an image.
#anaphora #animals #birds #books #grammar #JaneGoodall #language #literature #nature #pronouns #relativePronouns #usage #which #who #writing
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Book Review: The Legend of Sleepy Hollow by Washington Irving
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Washington Irving’s classic spooky short story, The Legend of Sleepy Hollow.
Click the image to find the bookThe Legend of Sleepy Hollow was originally published between 1819 and 1820 in the essay and short story collection The Sketch Book of Geoffrey Crayon, Gent. by C.S. Van Winkle and is 54 pages long.
The Plot
The story takes place in the small village of Sleepy Hollow, where we encounter Ichabod Crane, a lanky and awkward singing teacher, who becomes entangled in a peculiar love triangle. He is hopelessly besotted with the beautiful Katrina Van Tassel, the daughter of a wealthy farmer and in stiff competition with the brawny (and rather cocky) Brom Bones.Amid his romantic pursuits, the town’s tales of a ghostly Headless Horseman begin to creep into Ichabod’s thoughts, adding a potent layer of suspense. The Horseman—said to be the decapitated spirit of a Hessian soldier who lost his head during America’s Revolutionary War—is rumoured to ride at night in search of a replacement head.
Characters
Ichabod Crane
The protagonist, Ichabod Crane, is a peculiar figure. Tall, thin, and with an appetite that belies his wiry frame, he’s simultaneously ridiculous and endearing. Irving describes him with vivid detail, comparing him to a scarecrow. Ichabod’s a complex mix of ambition and vulnerability. His intellectual curiosity and beliefs in local superstitions make him a fascinating, if slightly comical, lens through which we experience the tale.Katrina Van Tassel
Katrina, while central to the story, is almost more of a symbol than a fully fleshed-out character. She’s beautiful, wealthy, and used to being admired. While Irving doesn’t give us a deep glimpse into her thoughts, it’s hinted that Katrina might be a bit of a flirt and enjoys pitting her suitors against each other. She’s a classic literary example of the sought-after “prize,” but I’d like to think there’s more to her than meets the eye.Abraham Van Brunt (Brom Bones)
Brom is the antithesis of Ichabod. Strong, athletic, and confident, Brom is a near-perfect rival. Irving’s descriptions of Brom make it clear that he’s a local favourite with a mischievous nature that adds a playful layer to his personality. The narrative suggests heavily that Brom might have orchestrated Ichabod’s final encounter with the Headless Horseman, adding to his clever and cunning reputation.The Headless Horseman
Though it’s unclear whether the Horseman is a spectral being or a fabrication, the character’s presence looms large over the tale. The image of a headless rider galloping through the night, searching for his head, is undeniably haunting. He is less of a character and more symbolic of the superstitious fears that shape the village’s identity.Writing Style
Washington Irving’s writing oozes atmosphere. You know that feeling of curling up with a soft blanket while a storm rages outside? That’s precisely the kind of cosiness his writing evokes here—with a touch of spine-tingling unease, of course.His descriptions of the landscape are so vivid you can practically feel the crisp autumn air or hear the crunch of leaves underfoot. Irving describes the scene effortlessly, turning the little village of Sleepy Hollow into an unforgettable character in its own right.
And then there’s his tone, which is gently mocking and satirical. It’s clear that Irving isn’t just writing a ghost story; he’s poking fun at human nature – our vanities, our superstitions, our endless need to compete with one another. Beneath the surface, there’s a deeper commentary about society, love, and ambition.
One aspect of Irving’s prose that modern readers might initially find frustrating is its leisurely pace. The descriptive passages can be lengthy, but these are filled with charm, offering not just details but atmosphere. His storytelling has a musical quality, with sentences that often meander pleasantly, reflecting the sleepy, timeless beauty of the Hollow itself.
Final Thoughts
If you enjoy reading American Gothic fiction, or if you’re just on the hunt for a short, atmospheric read, I can’t recommend this enough. It’s perfect for this time of the year; it’s spooky, autumnal, atmospheric and compelling. Plus, if you’re a film or TV buff, there are so many adaptations to pair with the story. From Tim Burton’s darkly whimsical 1999 film to the modern interpretation in the TV series Sleepy Hollow, Irving’s tale continues to inspire creative minds across mediums.I’m giving The Legend of Sleepy Hollow an 8/10.
Was the Headless Horseman real? Or was it Brom Bones all along? I’d love to hear your theories.
Thank you, as ever, for reading my review.
Until next time,
George
© 2025 GLT
#AmericanGothic #bookReview #gothic #horror #horse #horseman #review #spooky
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Book Review: The Legend of Sleepy Hollow by Washington Irving
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Washington Irving’s classic spooky short story, The Legend of Sleepy Hollow.
Click the image to find the bookThe Legend of Sleepy Hollow was originally published between 1819 and 1820 in the essay and short story collection The Sketch Book of Geoffrey Crayon, Gent. by C.S. Van Winkle and is 54 pages long.
The Plot
The story takes place in the small village of Sleepy Hollow, where we encounter Ichabod Crane, a lanky and awkward singing teacher, who becomes entangled in a peculiar love triangle. He is hopelessly besotted with the beautiful Katrina Van Tassel, the daughter of a wealthy farmer and in stiff competition with the brawny (and rather cocky) Brom Bones.Amid his romantic pursuits, the town’s tales of a ghostly Headless Horseman begin to creep into Ichabod’s thoughts, adding a potent layer of suspense. The Horseman—said to be the decapitated spirit of a Hessian soldier who lost his head during America’s Revolutionary War—is rumoured to ride at night in search of a replacement head.
Characters
Ichabod Crane
The protagonist, Ichabod Crane, is a peculiar figure. Tall, thin, and with an appetite that belies his wiry frame, he’s simultaneously ridiculous and endearing. Irving describes him with vivid detail, comparing him to a scarecrow. Ichabod’s a complex mix of ambition and vulnerability. His intellectual curiosity and beliefs in local superstitions make him a fascinating, if slightly comical, lens through which we experience the tale.Katrina Van Tassel
Katrina, while central to the story, is almost more of a symbol than a fully fleshed-out character. She’s beautiful, wealthy, and used to being admired. While Irving doesn’t give us a deep glimpse into her thoughts, it’s hinted that Katrina might be a bit of a flirt and enjoys pitting her suitors against each other. She’s a classic literary example of the sought-after “prize,” but I’d like to think there’s more to her than meets the eye.Abraham Van Brunt (Brom Bones)
Brom is the antithesis of Ichabod. Strong, athletic, and confident, Brom is a near-perfect rival. Irving’s descriptions of Brom make it clear that he’s a local favourite with a mischievous nature that adds a playful layer to his personality. The narrative suggests heavily that Brom might have orchestrated Ichabod’s final encounter with the Headless Horseman, adding to his clever and cunning reputation.The Headless Horseman
Though it’s unclear whether the Horseman is a spectral being or a fabrication, the character’s presence looms large over the tale. The image of a headless rider galloping through the night, searching for his head, is undeniably haunting. He is less of a character and more symbolic of the superstitious fears that shape the village’s identity.Writing Style
Washington Irving’s writing oozes atmosphere. You know that feeling of curling up with a soft blanket while a storm rages outside? That’s precisely the kind of cosiness his writing evokes here—with a touch of spine-tingling unease, of course.His descriptions of the landscape are so vivid you can practically feel the crisp autumn air or hear the crunch of leaves underfoot. Irving describes the scene effortlessly, turning the little village of Sleepy Hollow into an unforgettable character in its own right.
And then there’s his tone, which is gently mocking and satirical. It’s clear that Irving isn’t just writing a ghost story; he’s poking fun at human nature – our vanities, our superstitions, our endless need to compete with one another. Beneath the surface, there’s a deeper commentary about society, love, and ambition.
One aspect of Irving’s prose that modern readers might initially find frustrating is its leisurely pace. The descriptive passages can be lengthy, but these are filled with charm, offering not just details but atmosphere. His storytelling has a musical quality, with sentences that often meander pleasantly, reflecting the sleepy, timeless beauty of the Hollow itself.
Final Thoughts
If you enjoy reading American Gothic fiction, or if you’re just on the hunt for a short, atmospheric read, I can’t recommend this enough. It’s perfect for this time of the year; it’s spooky, autumnal, atmospheric and compelling. Plus, if you’re a film or TV buff, there are so many adaptations to pair with the story. From Tim Burton’s darkly whimsical 1999 film to the modern interpretation in the TV series Sleepy Hollow, Irving’s tale continues to inspire creative minds across mediums.I’m giving The Legend of Sleepy Hollow an 8/10.
Was the Headless Horseman real? Or was it Brom Bones all along? I’d love to hear your theories.
Thank you, as ever, for reading my review.
Until next time,
George
© 2025 GLT
#AmericanGothic #bookReview #gothic #horror #horse #horseman #review #spooky
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Book Review: The Legend of Sleepy Hollow by Washington Irving
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Washington Irving’s classic spooky short story, The Legend of Sleepy Hollow.
Click the image to find the bookThe Legend of Sleepy Hollow was originally published between 1819 and 1820 in the essay and short story collection The Sketch Book of Geoffrey Crayon, Gent. by C.S. Van Winkle and is 54 pages long.
The Plot
The story takes place in the small village of Sleepy Hollow, where we encounter Ichabod Crane, a lanky and awkward singing teacher, who becomes entangled in a peculiar love triangle. He is hopelessly besotted with the beautiful Katrina Van Tassel, the daughter of a wealthy farmer and in stiff competition with the brawny (and rather cocky) Brom Bones.Amid his romantic pursuits, the town’s tales of a ghostly Headless Horseman begin to creep into Ichabod’s thoughts, adding a potent layer of suspense. The Horseman—said to be the decapitated spirit of a Hessian soldier who lost his head during America’s Revolutionary War—is rumoured to ride at night in search of a replacement head.
Characters
Ichabod Crane
The protagonist, Ichabod Crane, is a peculiar figure. Tall, thin, and with an appetite that belies his wiry frame, he’s simultaneously ridiculous and endearing. Irving describes him with vivid detail, comparing him to a scarecrow. Ichabod’s a complex mix of ambition and vulnerability. His intellectual curiosity and beliefs in local superstitions make him a fascinating, if slightly comical, lens through which we experience the tale.Katrina Van Tassel
Katrina, while central to the story, is almost more of a symbol than a fully fleshed-out character. She’s beautiful, wealthy, and used to being admired. While Irving doesn’t give us a deep glimpse into her thoughts, it’s hinted that Katrina might be a bit of a flirt and enjoys pitting her suitors against each other. She’s a classic literary example of the sought-after “prize,” but I’d like to think there’s more to her than meets the eye.Abraham Van Brunt (Brom Bones)
Brom is the antithesis of Ichabod. Strong, athletic, and confident, Brom is a near-perfect rival. Irving’s descriptions of Brom make it clear that he’s a local favourite with a mischievous nature that adds a playful layer to his personality. The narrative suggests heavily that Brom might have orchestrated Ichabod’s final encounter with the Headless Horseman, adding to his clever and cunning reputation.The Headless Horseman
Though it’s unclear whether the Horseman is a spectral being or a fabrication, the character’s presence looms large over the tale. The image of a headless rider galloping through the night, searching for his head, is undeniably haunting. He is less of a character and more symbolic of the superstitious fears that shape the village’s identity.Writing Style
Washington Irving’s writing oozes atmosphere. You know that feeling of curling up with a soft blanket while a storm rages outside? That’s precisely the kind of cosiness his writing evokes here—with a touch of spine-tingling unease, of course.His descriptions of the landscape are so vivid you can practically feel the crisp autumn air or hear the crunch of leaves underfoot. Irving describes the scene effortlessly, turning the little village of Sleepy Hollow into an unforgettable character in its own right.
And then there’s his tone, which is gently mocking and satirical. It’s clear that Irving isn’t just writing a ghost story; he’s poking fun at human nature – our vanities, our superstitions, our endless need to compete with one another. Beneath the surface, there’s a deeper commentary about society, love, and ambition.
One aspect of Irving’s prose that modern readers might initially find frustrating is its leisurely pace. The descriptive passages can be lengthy, but these are filled with charm, offering not just details but atmosphere. His storytelling has a musical quality, with sentences that often meander pleasantly, reflecting the sleepy, timeless beauty of the Hollow itself.
Final Thoughts
If you enjoy reading American Gothic fiction, or if you’re just on the hunt for a short, atmospheric read, I can’t recommend this enough. It’s perfect for this time of the year; it’s spooky, autumnal, atmospheric and compelling. Plus, if you’re a film or TV buff, there are so many adaptations to pair with the story. From Tim Burton’s darkly whimsical 1999 film to the modern interpretation in the TV series Sleepy Hollow, Irving’s tale continues to inspire creative minds across mediums.I’m giving The Legend of Sleepy Hollow an 8/10.
Was the Headless Horseman real? Or was it Brom Bones all along? I’d love to hear your theories.
Thank you, as ever, for reading my review.
Until next time,
George
© 2025 GLT
#AmericanGothic #bookReview #gothic #horror #horse #horseman #review #spooky
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Book Review: The Legend of Sleepy Hollow by Washington Irving
Hi everyone! I hope you’re all well. Today is Friday, and it’s time for another review. Today, I’m sharing my review of Washington Irving’s classic spooky short story, The Legend of Sleepy Hollow.
Click the image to find the bookThe Legend of Sleepy Hollow was originally published between 1819 and 1820 in the essay and short story collection The Sketch Book of Geoffrey Crayon, Gent. by C.S. Van Winkle and is 54 pages long.
The Plot
The story takes place in the small village of Sleepy Hollow, where we encounter Ichabod Crane, a lanky and awkward singing teacher, who becomes entangled in a peculiar love triangle. He is hopelessly besotted with the beautiful Katrina Van Tassel, the daughter of a wealthy farmer and in stiff competition with the brawny (and rather cocky) Brom Bones.Amid his romantic pursuits, the town’s tales of a ghostly Headless Horseman begin to creep into Ichabod’s thoughts, adding a potent layer of suspense. The Horseman—said to be the decapitated spirit of a Hessian soldier who lost his head during America’s Revolutionary War—is rumoured to ride at night in search of a replacement head.
Characters
Ichabod Crane
The protagonist, Ichabod Crane, is a peculiar figure. Tall, thin, and with an appetite that belies his wiry frame, he’s simultaneously ridiculous and endearing. Irving describes him with vivid detail, comparing him to a scarecrow. Ichabod’s a complex mix of ambition and vulnerability. His intellectual curiosity and beliefs in local superstitions make him a fascinating, if slightly comical, lens through which we experience the tale.Katrina Van Tassel
Katrina, while central to the story, is almost more of a symbol than a fully fleshed-out character. She’s beautiful, wealthy, and used to being admired. While Irving doesn’t give us a deep glimpse into her thoughts, it’s hinted that Katrina might be a bit of a flirt and enjoys pitting her suitors against each other. She’s a classic literary example of the sought-after “prize,” but I’d like to think there’s more to her than meets the eye.Abraham Van Brunt (Brom Bones)
Brom is the antithesis of Ichabod. Strong, athletic, and confident, Brom is a near-perfect rival. Irving’s descriptions of Brom make it clear that he’s a local favourite with a mischievous nature that adds a playful layer to his personality. The narrative suggests heavily that Brom might have orchestrated Ichabod’s final encounter with the Headless Horseman, adding to his clever and cunning reputation.The Headless Horseman
Though it’s unclear whether the Horseman is a spectral being or a fabrication, the character’s presence looms large over the tale. The image of a headless rider galloping through the night, searching for his head, is undeniably haunting. He is less of a character and more symbolic of the superstitious fears that shape the village’s identity.Writing Style
Washington Irving’s writing oozes atmosphere. You know that feeling of curling up with a soft blanket while a storm rages outside? That’s precisely the kind of cosiness his writing evokes here—with a touch of spine-tingling unease, of course.His descriptions of the landscape are so vivid you can practically feel the crisp autumn air or hear the crunch of leaves underfoot. Irving describes the scene effortlessly, turning the little village of Sleepy Hollow into an unforgettable character in its own right.
And then there’s his tone, which is gently mocking and satirical. It’s clear that Irving isn’t just writing a ghost story; he’s poking fun at human nature – our vanities, our superstitions, our endless need to compete with one another. Beneath the surface, there’s a deeper commentary about society, love, and ambition.
One aspect of Irving’s prose that modern readers might initially find frustrating is its leisurely pace. The descriptive passages can be lengthy, but these are filled with charm, offering not just details but atmosphere. His storytelling has a musical quality, with sentences that often meander pleasantly, reflecting the sleepy, timeless beauty of the Hollow itself.
Final Thoughts
If you enjoy reading American Gothic fiction, or if you’re just on the hunt for a short, atmospheric read, I can’t recommend this enough. It’s perfect for this time of the year; it’s spooky, autumnal, atmospheric and compelling. Plus, if you’re a film or TV buff, there are so many adaptations to pair with the story. From Tim Burton’s darkly whimsical 1999 film to the modern interpretation in the TV series Sleepy Hollow, Irving’s tale continues to inspire creative minds across mediums.I’m giving The Legend of Sleepy Hollow an 8/10.
Was the Headless Horseman real? Or was it Brom Bones all along? I’d love to hear your theories.
Thank you, as ever, for reading my review.
Until next time,
George
© 2025 GLT
#AmericanGothic #bookReview #gothic #horror #horse #horseman #review #spooky
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Optimism for interstellar exploration
There’s been some attention lately to a contest on designing an interstellar generation ship, a large scale ship that humans live in for generations while it crosses interstellar space to another solar system. As Paul Gilster at Centauri Dreams notes, generation ships are a long time staple in science fiction, albeit with the common trope of the crew forgetting that they’re on a ship, or other things going horribly wrong.
But even before science fiction got into them, the generation ship was explored by early space exploration thinkers like Robert Goddard and Konstantin Tsiolkovsky. Whenever I’m tempted to dismiss current thinking about how interstellar exploration might work, I think about people like Goddard, Tsiolkovsky, Walter Hohmann, and Hermann Oberth, guys working in the early 1900s who were able to predict a lot of the space age, just by carefully thinking through known physics.
Although I find it hard to be too enthusiastic for generation ships. It’s worth thinking about what might have to be true for us to consign a group of people, who would have to be highly skilled, to spending the rest of their lives and that of their descendants in a profoundly isolated environment. It seems like we wouldn’t want to do it unless a number of factors were true.
We would likely want to know that there was a desirable destination worth pursuing. So we probably would have already sent robotic probes to the destination and would have thorough information on the environment. Otherwise the chances of ship’s descendants finding worlds no better than the other planets in our solar system would be too high.
There would also need to be some kind of ideology or religion, some type of manifest destiny involved, something that convinces a society to spend the kind of resources that would be needed for building something like a mobile space colony and accelerating it away at a velocity that allows it to reach its destination in any kind of reasonable time frame. (The contest posits one percent lightspeed, which gets it to Proxima Centauri in four centuries, but would take over a millenia to get to somewhere like Tau Ceti.)
To me, the whole endeavor is easier to imagine, and much less ethically dire, if it isn’t actually a generation ship, but a long duration mission for humans who have achieved immortality, or at least much longer lifespans.
It’s worth noting that the energy to get that large a habitat to even one percent of light (3000 kilometers per second) would be staggering. Although we might imagine it being doable with several gigantic fusion rocket stages. In calculating things like this, we always run up against the tyranny of the rocket equation, which is pitiless in revealing that fuel requirements increase exponentially the heavier our payload and the faster we want to go. (And are even yet more exponentially worse if we need to use the same method to slow down at the destination.)
Earlier this year I did a post asking where the aliens are. At the end, I noted that one possibility to explain why they’re not here, is that maybe interstellar travel is impossible, even for robots. Putting that at the end of the post led a number of people to conclude that was my argument. But I’m actually pretty bullish on the idea of robotic interstellar exploration. (Although I do fear generation, long duration, or sleeper ships might be as good as it gets for sending biological humans.)
Years ago, Paul Gilster made a comment that stuck with me. He noted that the main obstacle to interstellar exploration is energy, but we have all the energy we need in the sun. The trick is to find a way to channel it.
One of the currently most promising options is to use a laser propelled light sail, where a ground based laser, or array of lasers, propel a light sail craft to some substantial percentage of lightspeed. The beauty of approaches like this is they get around the tyranny of the rocket equation by having the energy used for acceleration remain outside of the spacecraft. This is the method envisaged by Breakthrough Starshot.
There are also hybrid approaches involving beaming power to a spacecraft which uses it to accelerate propellant, but the added weight and acceleration times increase the amount of coordination needed and opportunities for things to go wrong.
Breakthrough Starshot is currently aiming for a flyby mission, but to get enough information to support a future human mission, the craft would have to slow down and be able to explore at its destination. Slowing down, which in space takes just as much energy as accelerating, is a non-trivial problem.
A possible solution comes from an old idea. The Bussard ramjet was originally conceived of as a way for a spacecraft to gather its fuel in flight from the interstellar medium using an electromagnetic ram scoop. The problem is that the scoop has been demonstrated to likely produce as much drag as thrust. However, it leads to the idea of using a magnetic sail to break against the interstellar medium, and maybe even switching to an electric sail in the final stages to get down to interplanetary speeds.
Of course, this means a multi-sail design, which adds considerable weight, requiring larger initial light sails and laser arrays. But if we put the lasers on Mercury (as Robert Forward suggested in one of his designs), where solar power would be much more plentiful, such laser arrays start to seem more plausible.
Looking further down the road, the rocket situation could be improved if we can find a way to harness antimatter, aside from black holes, the most dense energy storage mechanism currently known. Manufacturing antimatter is often thought to be the bottleneck here, but again, if the antimatter factories were in close orbit of the sun, utilizing the solar power available there, it might be easier to imagine it happening.
All of which is to say, I don’t think interstellar exploration is impossible. I do doubt it will be practical for humans for a long time. But we seem to have multiple potential approaches for doing it robotically. While some may fizzle along the way, it’s hard to imagine all of them failing.
At least that’s how it looks to me today. But maybe I’m missing something? Are there problems with these approaches I’m overlooking? Or solid reasons to be more optimistic for sending humans?
#Future #GenerationShip #Interstellar #interstellarExploration #Space #spaceExploration