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By Saunders
Revocation makes me feeling fucking old. It’s difficult to believe fifteen odd years have passed since stumbling across their phenomenal sophomore effort, Existence is Futile. It became instantly clear Revocation were one of the fresher, most exciting bands emerging in the modern metal scene of the era. Their career seemed to propel in fast forward as they pumped out top notch album after album, maintaining an impressive work rate and exceptional consistency, while refusing to repeat themselves. Couple of minor bumps along the way notwithstanding, Revocation’s vibrant, signature combination of technical death-thrash, infectious songwriting and acrobatic guitar hero shreddage from mastermind Dave Davidson has long cemented Revocation as a titanic force in the crowded realms of the modern metalverse.
Formed in 2006, the Bostonites unleashed their brash and confident debut Empire of the Obscene in 2008. From humble but exciting beginnings the Revo boys have proceeded to go on an absolute fucking tear across multiple albums, the most recent being the darker pathways and heavier pastures of 2022’s Netherheaven, arguably a return to form. Though in fairness Revocation have never dropped a dud, and despite a couple of minor career lulls, they have remained a dependably consistent force to be reckoned with.
September 26th, 2025 ushers in Revocation’s ninth LP, New Gods, New Masters. As anticipation grows for the star packed opus, what better time for our resident Revocation fanboys; including the return of the illustrious Kronos, who so eloquently championed the band on these very pages across multiple releases with his insightful wordsmithery and critical analysis, to unload our collective opinions on the band’s formidable discography. Nearly twenty years since their formation and boasting a catalog of rare consistency and power, we have our work cut out for us. Strap yourselves in…
Disclaimer: After careful consideration we have actioned the Human Waste/Despise the Sun Ranking Law of including Revocation’s highly regarded Teratogenesis EP from 2012 due to the consensus this is a meaty and essential mini-platter in the power packed Revocation repertoire.
The Rankings
Saunders
#9. The Outer Ones (2018) – While difficult to pinpoint, The Outer Ones remains an elusive Revocation album, and one I reach for least frequently, despite being one their more recent offerings. Although The Outer Ones doesn’t deviate savagely from the vice-tight yet elastic formula Revocation long since mastered, it leans deeper into murkier blackened death forays and features a cold, clinical and dissonant edge. Its darkly menacing sheen and blasty, death forward approach is responsible for some rousing moments and it’s easy to admire the album’s frantic, calculated intensity. Tunes like the rip-roaring opener “Of Unworldly Origin,” chunky brawler “The Outer Ones” and the thrashy, proggy blackened death of “Luciferous” highlight an album that has grown on me but ultimately falls short of the band’s other works.
#8. Empire of the Obscene (2008) – A bold and potential-packed debut, Empire of the Obscene rises well beyond a mere curiosity or roughshod early edition of Revocation’s rapidly evolving sound. I came to the debut after being first enamored by Existence is Futile and Chaos of Forms, both superior examples of the band’s exceptional early career highs. Still, Empire of the Obscene is a killer debut and refreshing, slashing technical thrash opus, with a healthy smattering of death. The vibrant, raging “Tail from the Crypt” is an early career highpoint, while other choice cuts include the bizarro “Suffer These Wounds,” and rippling axerobatics of “Exhumed Identity.” It’s solid stuff, yet inconsistencies creep in and some of the writing feels a tad overcooked, falling short of the ripping high standards and impeccable writing featured across the Revocation career arc
#7. Great is Our Sin (2016) – Perhaps the first time upon release a Revocation release failed to gain immediate traction. Again the sheer strength and power of its predecessors found Great is Our Sin fall a fraction short of the impeccable standards maintained during the first half dozen or so years of the band’s recording career. And it feels like an outlier merging the band’s different eras, pre and post-Revocation. Playful tech thrash energy, proggy dabbling, and darker, deathly pummels are in abundance, as per expectations. I appreciate the more thrash-centric turns, less prominent in their later era. Great is Our Sin features many of the strong attributes listeners have come to expect, sounding like a melodically mature yet overly familiar and safe album. The songwriting is consistently solid, featuring the odd flirtation with greatness. Old school flavored thrasher “Arbiters of the Apocalypse,” the prog-infused death-thrash of “Communion,” sinister, punishing thrust of “Only the Spineless Survive,” and epic, experimental rumble of “Cleaving Giants of Ice” are nuggety examples of the album’s finer moments.
#6. Netherheaven (2022) – Netherheaven marked a refreshing return to form after the solid if underwhelming, The Outer Ones. Kronos hit the nail on the head when he proclaimed Netherheaven to be the natural successor to Deathless, as similarities in tone, mood and execution are evident. Revocation flexed their deathly muscles and advanced musicianship in service of complex, yet undoubtedly catchy compositions, such as the brutally groovy throes of “Nihilistic Violence,” labyrinthine trip of “Strange and Eternal” and blast-addled, vocal trade-off on scorching closer “Re-Crucified.” Despite being enveloped with shadowy, sinister atmospheres, Netherheaven is imbued with a fun, adventurous spirit, also resulting in one of Revocation’s heaviest offerings. Davidson’s ever inspiring axework never ceases to amaze and songwriting finds a real sweet spot between grooving, chunky chugs, technical mastery, and throwbacks to their thrashy roots. Meanwhile, his increasingly versatile and confident vocals remain a somewhat underrated aspect of the Revocation experience. Not a career high point, but a great album nonetheless.
#5. Deathless (2014) – Revocation’s distinctive formula has long separated them from the hordes of tech death and thrash bands in the scene. One of Revocation’s greatest attributes is their ability to manipulate their craft and pivot in versatile directions. Deathless emerged as a darker, sinister trip down a fittingly deathlier path, creating a welcome stylistic deviation to evolve and keep any semblance of stagnation at bay. Though follow-up Great is Our Sin slightly deviated, Deathless marked the beginning of Revocation embracing the darker corners of their psyche, charting murkier, heavier and altogether more brutal, unforgiving terrain. Thankfully, Deathless didn’t abandon their knack for penning challenging, infectious, thrash-powered tech-death jams. Nor does Deathless forget how to have fun, as evidenced by the shout-along chorus and straightforward headbangable riffs adorning the title track. However, Deathless’ most impactful, jolting moments are delivered elsewhere. Classic opener “A Debt Owed to the Grave” and the cutthroat “Scorched Earth Policy” unleash vicious yet eloquently delivered evidence Revocation still thrash with the best of them. While the immense “Madness Opus” channels Revocation’s progressive inclinations within a barbed, death metal shell. Top-tier stuff.
#4: Revocation (2013) – The dark horse and underrated gem in the Revocation kit bag, their self-titled effort sparkled between the stunning Teratogenesis EP and the brooding tones and violent stomp of Deathless. Though not regularly mentioned amongst the band’s finer works, Revocation demands regular attention amidst an increasingly stacked catalog. Following up Chaos of Forms was always going to be a tough ask, however, Revocation proved up to the challenge. Revocation is a playful, quirky, fun-filled blast from go to whoa, keeping Revocation’s ever-evolving formula fresh and inspired. The versatile songwriting makes for a consistently gripping listen and one of their more diverse offerings. Whether belting out aggressive, full-throttle tech-thrash workouts (“The Hive,” “Numbing Agents”), warped tech death beatdowns (“Fracked,” “Scattering the Flock”), banjo-infected riff monsters (“Invidious”) or mosh-ready juggernauts (“Archfiend”), Revocation has all bases covered. A slightly more stock backend the only thing diminishing an otherwise top-notch album.
#3. Teratogenesis (2012) – Only the most curmudgeony, glass-half-empty pessimist discounts the short and sweet value of the often underrated EP format. Continuing a creatively booming and prolific hot streak, Teratogenesis is a wild, breakneck ride featuring the Revocation lads operating at the peak of their powers. New and old listeners alike would be foolish to neglect this action-packed beauty. If there is something slightly lacking in Revocation’s later career, it misses the outrageously fun and turbo-charged thrashiness and technically dazzling though infectious spirit so prevalent on Teratogenesis and surrounding releases. Revocation’s eye-popping instrumental prowess and whipsmart songwriting serve genuinely well-crafted, catchy songcraft and a bevy of sharp turning dynamic twists and killer riffs. “The Grip Tightens” bottles everything great about the Revocation sound into a career stunner. Elsewhere, “Manically Unleashed” unleashes cracking bursts of tech thrash precision amidst intricate melodic breaks and soul-searching solos, while “Bound By Desire” closes proceedings with a blast and thrash-riddled bang, replete with gorgeous melodic soloing and proggy touches.
#2. Chaos of Forms (2011) – Weirdly enough, I recall being fleetingly underwhelmed when Chaos of Forms dropped. Expectations were sky high, and Chaos of Forms represented a different beast to its immediate predecessor. Featuring an aggressive though more lighthearted, freewheeling tone and experimental streak, Chaos has long since become a personal favorite and modern metal classic. It is also rather simply the most fun Revocation album. Davidson is in his element, firing off some of the finest solos of his career to decorate fast-paced, quirky tech death-thrash compositions, aided by an unstoppable line-up, including the first to feature guitarist/vocalist Dan Gargiulo (Artificial Brain), adding an exciting extra dimension to the band’s sound. Unleashing a trio of instant Revocation classics right off the bat courtesy of “Cretin,” “Grave Robber” and “Harlot”, any notion Chaos of Forms being front-loaded is swiftly demolished as the album unfurls with banger after banger. From the melodic, singalong chorus of “No Funeral,” through to the brainy, twisting riffage of the title track, zippy, thrash-laden charge of “Beloved Horrifier,” and densely packed, stuttering tech death of “Reprogrammed,” Chaos is a versatile, sparkling jewel in the Revocation canon.
#1. Existence is Futile (2009) – Beyond the endearing factor, this was my first Revocation album and the warm fuzzy nostalgia associated; Revocation’s astonishing sophomore belter Existence is Futile emerged as a bottled lightning moment. Revocation’s impressively acrobatic musicianship and technical prowess was accelerated to new heights. However, the bulletproof songwriting and smart, yet dazzlingly intriguing arrangements were grounded by tight and aggressive songs that pulled no punches. An astonishing leap forward from an already exciting and accomplished debut, Existence is Futile has a raw energy and speedy, exhilarating urgency backed by polished, intricate songwriting, parasitic hooks and the warped, unmatched musicianship and advanced shreddery we have now long come to expect from Davidson and crew. Songs are largely stripped back in length from the debut, pared down to the bare essentials, maximizing impact. Davidson’s underrated vocals sound as vital as ever. A thoroughly gripping listen front to back, with the likes of “Pestilence Reigns,” “Deathonomics,” “The Brain Scramblers,” “Reanimaniac,” “Dismantle the Dictator” and ambitious closer “The Tragedy of Modern Ages” a handful of essential cuts.
Kronos
“Please help!” prayed my erstwhile colleagues, “our taste is underdeveloped to a near-blastular degree, and we are oh so disdraught! We seek but a simple ordination of technical death-thrash records but lack the True Knowledge of quality!”
Now moved, I descend from on high, gracing them not just with my presence but with my very acknowledgement of their pitiful existence: in one hand my catechism, in the other my nose. For those enlightened beyond the reflexive need to communicate the truths of quality, the ordering of Revocation records is a simple thing. One needs only to recognize the generational talent and drive of a one Dave Davidson, the extraordinary caliber of musicians that he has surrounded himself with, and analyze the triumphs and, shall we say, try-umphs, of their many recordings with an objective eye informed by a coherent understanding of the material and aesthetic universe in which they occur.
# 9 The Outer Ones (2018) – Revocation built a career based on an inseparable trinity of inventive riffs, creative songwriting, and infectious fun. In 2018 they denied this trinity and were cast into oblivion for four years thereafter; sentenced to relentless touring in which they played The Outer Ones lethargic and self-serious tech death alongside probably fifty other bands peddling similar stuff but more committed to it. That The Outer Ones seems to be their most popular release is a testament to the essential wickedness of our heathen age, that so many will follow a false prophecy.
#8 Great Is Our Sin (2016) – Indeed, but Revocation’s Slayer-worship record might have been better named Great Will Be Our Sin, given that its follow-up was The Outer Ones. But the title gets the point across; this was at the time their nastiest, deathiest album. Muscular and mean, Great Is Our Sin attempted brute-force repentance with burly but brainy tracks like “Monolithic Ignorance” serving up festering fun and “Only the Spineless Survive” providing the band’s most brutal beating until Netherheaven. Cruel as a crucifixion, Great is Our Sin is a treat, but not a joy, to experience, with too much of its runtime given to grinding grooves that don’t showcase the band’s strengths.
#7 Empire of the Obscene (2008) – In a way, it’s stunning to see how far Revocation have come since their debut: not far at all. In this we are confronted by the theopneustic nature of their art; seventeen years on, we can expect New Gods, New Masters to sound basically like Empire of the Obscene. This is death thrash that, while more fun than a barrel of monkeys and twice as rowdy, is impossible to find corny because it’s just too perfectly executed. For a young band, Revocation have a self-assuredness that evades many veteran groups, even as the death-thrash trinity’s endless invention pushes fast-moving songs up to and past the five-minute mark. From the dry but clear production, grinning art-school riffing to the waggling, showboat jazz soloing, every surface of the Revocation mold is here for the band to crack and ooze out of and pull away from on future recordings.
#6 Netherheaven (2022) – Netherheaven saw Revocation a three-piece for the first time since Chaos of Forms, and on firm footing as ever to make their first devoted death metal record. Netherheaven’s highlights (“Galleries of Morbid Artistry” and “Re-Crucified”) unfold like intricate torture machines from a macabre storybook, but mean, mid-paced grooves stick together and weigh down far too much of the record’s runtime. Netherheaven recovered much of the charm that The Outer Ones jettisoned but doubts as to the band’s future form remain.
#5 Existence is Futile (2009) – Empire of the Obscene really didn’t need to be improved upon, but Revocation are moved not by need but possibility. Existence is Futile’s leaner, focused writing got the band out of their own way. While some sections can come across a bit sparse, the difference in memorability between Empire and Existence is marked, with tracks like Deathonomics and Dismantle the Dictator becoming staple songs. Gruesome tech-thrash tracks like “Pestillence Reigns” and “The Brain Scramblers” were a revelation, and bruisers like “Dismantle the Dictator” and “Anthem of the Betrayed” gained the group countless new adherents.
#4 Revocation (2013) – One of the lesser-appreciated joys of the Revocation discography are the band’s actual texts, and nowhere are they more compelling than on their self-titled record. Whether railing against the rich, oil companies, or the American media environment, Revocation pairs incisive sing-alongs with inspiring musicianship; Davidson even pulls out a Banjo to parody cable news (“Invidious”). Revocation capped the first era of the Revocation discography in impeccable form with their most front-to-back memorable LP.
#3 Deathless (2014) – Deathless was a turning point for Revocation; having played every riff possible on six strings, Davidson and Gargiulo turned fully to seven, beginning a more sinister version of Revocation that persists to this day. Yet Deathless isn’t heavy just for the sake of being heavy; it’s just as lithe and unpredictable as the records before it, but with a grim grace to its winding songs and some of the band’s most emotionally resonant solo work (see “Witch Trials”) and most poignant political criticism (“Beholden to their corporate masters/ politicians privatizing genocide/ condolences offered by the same who pulled the trigger” – “The Fix”). Without the grating title track, the record would be just about perfect.
#2 Teratogenesis (2012) – Many will argue (incorrectly) that Teratogenesis, Revocation’s 2012 EP hot off of the release of Chaos of Forms, is the group’s magnum opus. Granted, “The Grip Tightens” might be their best song, and, granted again, “Spurn the Outstretched Hand” might be their second-best song. But after that one-two punch of career-defining greats, they only go on to deliver three more. Paltry! Sure, the sinister “Teratogenesis” would prove to be the blueprint for the rest of their career, and “Bound By Desire” would shame thousands of aspiring axe-smiths with its sheer pummeling speed, but in context, Teratogenesis is dessert, a follow-up to what came just before. And there’s no horn section!
#1 Chaos of Forms (2011) – That Chaos of Forms is the highest among the Revocation records is almost axiomatic. From the opening bass slide of “Cretin” to the raving closing of “Reprogrammed,” there’s not a second of Chaos of Forms that doesn’t reach out and pull you into a rictus grin. Every song is packed to the brim with creative riffs, brilliant musicianship and playful twists. Take, for instance, “Cradle Robber,” which tips a playful chorus riff repeatedly into an absolute vortex of synchronized drumming and trem-picking until it spills over, then transitions into a spectacular solo courtesy of the newly-joined Dan Gargioulo. It’s put in its place by a brain-melting Davidson solo seconds later, for which the whole band actually speeds up, seemingly just to one-up the new guy. The pair return together with a showboat riff half-consumed by synchronized harmonics. Music really does not get much more fun than this, especially when it’s narrated by the Grim Reaper. The only time it does is when the music is “The Watchers,” which breaks out into a gallop halfway through before stampeding its way into a big, brassy introduction for producer Pete Rutcho’s funky little organ solo. Simply divine.
Maddog
In 2012, my metal taste was impressionable but ravenous. I spotted a death-thrash EP from an unfamiliar band, available for free download via the now-defunct label Scion A/V. Teratogenesis’ balance of death-thrash riffs and thoughtful melodies swept me off my feet.
In 2015, I had imbibed deeply of extreme metal, but never been to a show. One frigid night in February, I timidly headed to Brighton Music Hall in Boston. While Fallujah fell victim to sound issues, the final opener Revocation smashed me to pieces. It was a watershed moment in my metamorphosis from metal fan to metal adorer.
In 2025, Revocation is a cornerstone of my music taste. I love death metal; I love thrash’s energy; I love creative songwriting; I can’t help but love Revocation. Most of all, I love their consistency. Even the other two classic bands I’ve helped rank here (Suffocation and Dying Fetus) don’t have as deep a bench of memorable releases.
And so, perhaps you’re better off ignoring our concerted but pitiful attempts to dissect Revocation’s history. After all, this is Revocation; just listen to all of it.
#9. Empire of the Obscene (2008). Empire of the Obscene is merely a good album, but it lay the groundwork for Revocation’s career. While Empire isn’t as thrashy as its successor Existence Is Futile, melodeath permeates both its guitar leads and its riffs, which are textbook but punchy (“Summon the Spawn”). Despite its inconsistency, Empire of the Obscene hints at Revocation’s burgeoning strengths. The most brutal segments are death metal riffcraft at its finest (“Fields of Predation”), while the tinges of proggy song development are impressive for a new band. Even a fair helping of deathcore rears its head, remaining sporadic enough to stay fresh. Empire of the Obscene is entertaining, but with a 56-minute runtime and an overreliance on cookie-cutter death metal riffs, it struggles to stick in my mind. It’s a fun listen, but falls short of Revocation’s best.
#8. Deathless (2014). While Deathless is a worthwhile release, it doesn’t excel in any of Revocation’s usual dimensions. Frequent mid-paced riffs lose my focus throughout (“Madness Opus”), and I forget swaths of the album soon after it ends. Deathless progs with mixed success, and its creative efforts are often hindered by their length and low energy (“Apex”). The dwindling of Revocation’s thrash influences kneecaps the record. However, the exceptions save Deathless from the compost bin. The death-thrash menace “Scorched Earth Policy” houses one of Revocation’s most frantic and dangerous riffs, while the proggy adventures of “Witch Trials” hit hard because they’re tied together by punchy melodies. Deathless doesn’t top its neighbors, but it’s no slouch.
#7. Netherheaven (2022). Netherheaven’s ordinariness feels out of place. Revocation’s latest album abandons the elements that distinguished them from the death metal masses. The proggy escapades, off-kilter riffs, and melodeath influences are gone; the fretboard wizardry is dialed back; even thrash takes a back seat. And yet, Netherheaven succeeds as stone-cold death metal. Easily Revocation’s most brutal release, Netherheaven wows with the gigantic “Galleries of Morbid Artistry” and the rifftastic closer “Re-Crucified.” The occasional glimpses of Revocation’s former flair also go a long way, like the playful opening of “Strange and Eternal.” That said, Netherheaven suffers from inconsistency, with middling second-half tracks like “The 9th Chasm.” The technical spectacles feel like dispassionate exercises, and the lack of variety makes the album less replayable than Revocation’s best works. Still, there’s no shame in making rock-solid death metal. It’s telling that even my seventh-favorite Revocation album made my 2022 list.
#6. Revocation (2013). Often overlooked, Revocation’s self-titled showcases some of the band’s greatest guitar work. At this stage of their career, Revocation had mastered both the weird and the powerful. On one end, “Fracked” might be the guitar highlight of the band’s career, culminating with a virtuosic but punishing chorus and a climactic solo. Standing opposite, “Spastic” is a jazzy spectacle but holds my awe throughout. Uniting these worlds, “Invidious” blends a banjo intro, playful melodies, and a furious thrashy back half, while the shapeshifting “Archfiend” is the first and only Revocation track to make me cry. Revocation occupies a turning point, taming the insanity of Chaos of Forms without compromising its death-thrash intensity. While the midsection of Revocation shines, the record is bookended by slightly weaker cuts. Still, although it has more great songs than excellent songs, Revocation is essential in the Revocation canon.
#5. Chaos of Forms (2011). The aptly-titled Chaos of Forms is the wildest release of Revocation’s career. The infinitely thrashy tracks that kick things off are a riot, but they’re the tamest part. The album’s guitar effects (“Harlot”), lilted jazzy melodies (“Conjuring the Cataclysm”), and 1970s-inspired key digressions (“The Watchers”) are maniacal. These experiments work because Revocation is having fun every step of the way. To ward off any doubts, Chaos of Forms also features some of Revocation’s fiercest death-thrash riffs; indeed, “No Funeral” might be the greatest live performance I’ve ever witnessed. However, strangeness requires discipline, which Chaos of Forms could use more of. Fanciful digressions crop up in unexpected places, often sticking around long enough to confuse but not long enough to convince. Chaos of Forms isn’t Revocation’s most memorable record, but it’s easily the most ambitious.
#4. Teratogenesis (2012). The 22-minute Teratogenesis utilizes the EP format brilliantly, offering an action-packed tour through Revocation’s style. “The Grip Tightens” is a perfect crystallization of death-thrash, complete with both an iconic opening riff and one of metal’s most enduring music videos. Meanwhile, “Maniacally Unleashed” adventures from thrashy riffing to serene melodies as well as any other track in Revocation’s oeuvre. Teratogenesis hones the guitar pyrotechnics that would define its successor Revocation, employing them for stratospheric climaxes. While Teratogenesis loses steam as it progresses, this says more about the sky-high bar set by the first three tracks. In historical perspective, Teratogenesis feels monumental in the same way as Suffocation’s Human Waste. It isn’t flawless, but it’s an indispensable encapsulation of Revocation’s career. I can’t imagine them without it.
#3. Existence Is Futile (2009). Bridging the gap between the straightforward Empire of the Obscene and the batshit Chaos of Forms, Existence Is Futile is Revocation’s most melo- and least mellow album. Skeletonwitch looms large, and the album infects me through its chunky riffs (“Pestilence Reigns”), its jubilant solos (“Anthem of the Betrayed”), and its irresistible choruses (“Reanimaniac”). Even still, Existence Is Futile’s most enduring achievement is its thirst for adventure. The narrative evolution of the instrumental “Across Forests and Fjords” resembles Insomnium’s Winter’s Gate; in stark contrast, the proggy title track mutates so many times that I can never quite recall when it starts or ends. Not once does this ever feel like an intellectual exercise. Rather, Existence Is Futile is Revocation’s most consistently fun release, achieving immortality through the energy of thrash and the creative power of prog death. Revocation’s sophomore record isn’t immune to thrash metal’s age-old pitfalls, and the album’s weaker riffs occasionally bleed together. Even so, Existence Is Futile is the highlight of Revocation’s high-octane early career.
#2. The Outer Ones (2018). Yes, if you want a party anthem, don’t look here. But fun takes many forms, and The Outer Ones’ narrative prowess stands out. The album’s Lovecraft-inspired tales and Revocation’s best-ever vocal performance hold each track together. The instruments follow suit. The riffs achieve an unholy blend of melodic weirdness (“The Outer Ones”) and raw force (“Of Unworldly Origin”). The choruses rank among Revocation’s best, peaking on the underrated blackened death spectacle “Luciferous.” Dave Davidson and Dan Gargiulo’s technical wizardry arguably reaches its apex, across both unhinged riffs and soaring solos (“Blood Atonement”). Even these highlights don’t do justice to The Outer Ones’ remarkable consistency; though it takes a small dip in “Vanitas” and peters out with “A Starless Darkness,” the album is otherwise a masterclass. While The Outer Ones disappointed some of the AMG herd, some bold commenters fought back, even demanding (rightfully) that we give Kronos a paddling. While Kronos has evaded justice so far, I hope to honor this request; The Outer Ones is one of Revocation’s creative peaks.
#1. Great Is Our Sin (2016). While each of these nine albums is impressive, nearly every one has notable flaws. Great Is Our Sin is the exception. All of Revocation’s strengths coalesce here, and every moment counts. While Netherheaven is Revocation’s most brutal album, Great Is Our Sin’s heftiest cuts can shatter steel (“Altars of Sacrifice”). While Chaos of Forms leans into the bizarre, Great Is Our Sin’s stealthy escapades are even more engaging (“The Exaltation”). While Revocation’s earlier releases emphasize the rhythm section, “Monolith of Ignorance” is a gleaming monument to bass- and drum-led evolution. While Existence Is Futile embraces the fun factor, “Altars of Sacrifice” could dunk on it with both feet planted. While Revocation showcased the emotional range of a guitar, “Cleaving Giants of Ice” stands toe-to-toe through its melodic dirge for polar ice caps. These disparate elements fuse into the masterful “Communion,” whose jazzy opening, thrashy verse, crushing chorus, and enthralling solo make it a landmark in both Revocation’s career and death metal history. Put simply, when I’m in the middle of any Great Is Our Sin track, I can’t imagine listening to anything else. That’s the surest sign of excellence.
A short, sharp primer to convince the unconvinced…
Empire of the Obscene (2008)
- “Tail from the Crypt”
Existence is Futile (2009)
- “Pestilence Reigns”
- “Reanimaniac”
Chaos of Forms (2011)
- “Cradle Robber”
- “No Funeral”
Teratogenesis (2012)
“The Grip Tightens”
- “Maniacally Unleashed”
Revocation (2013)
- “Numbing Agents”
- “Fracked”
Deathless ((2014)
- “Scorched Earth Policy”
- “Witch Trials”
Great is Our Sin (2016)
- “Arbiters of the Apocalypse”
- “Cleaving Giants of Ice”
The Outer Ones (2018)
- “The Outer Ones”
- “Luciferous”
Netherheaven (2022)
- “Strange and Eternal”
- “Nihilistic Violence”
#AmericanMetal #AMGGoesRanking #DeathMetal #Review #Reviews #Revocation #TechDeath #TechnicalThrashMetal #ThrashMetal
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Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It – ELLE Canada Magazine – Beauty, Fashion and Lifestyle Trends & Celebrity News
Health & Fitness
Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It
Anna Lembke, addiction expert and author of Dopamine Nation, calls smartphones “modern-day hypodermic needles,” as they deliver digital dopamine 24-7 and make users vulnerable to compulsive use. Is a “dopamine detox” the key to breaking the habit?
by : Jennifer Berry– Jan 6th, 2026
STOCKSYI sit down to respond to emails on my laptop. I make it through two messages before I grab my iPhone and open TikTok. I scroll through videos for five minutes (or was it 10?), send a particularly funny video skewering the faux urgency of corporate America to the group chat and put my phone away. Back to emails. A few minutes later, my phone is mysteriously in my hand again, and I’m seeing what’s happening on Instagram. Boring. I check text messages and respond to one. Ooooohhh, has the Ssense sale started yet? I stop myself. What was I supposed to be doing again?
Flashes of TikTok videos about adult women with ADHD are running through my head like a film reel when I remember an ad I was recently served for a habit-building app that promises to cure “dopamine addiction,” among other things. Am I a dopamine addict with a latent attention disorder? Or just the average chronically online (elder) millennial who’s glued to their phone for work and entertainment?
Harvard Medical School defines dopamine as a neuro-transmitter that helps us feel pleasure as part of the brain’s reward system. You know that flutter of good vibes you feel when clicking “purchase” in your favourite shopping app or after you’ve had a good old-fashioned roll in the hay? That’s a release of dopamine, or a “dopamine rush.”
While one can’t technically be addicted to dopamine itself, the role dopamine plays in addiction is very real, says Anna Lembke, professor of psychiatry at Stanford University School of Medicine, chief of the Stanford Addiction Medicine Dual Diagnosis Clinic and author of the book Dopamine Nation: Finding Balance in the Age of Indulgence. “Dopamine is the ‘go’ signal,” she explains—the one that tells our brains we should keep doing a particular behaviour. And over time, our brains get accustomed to high dopamine levels, which means we require more intense stimuli to feel the same amount of pleasure. “This leads to tolerance, where now we need more reinforcing substances and behaviours to feel any kind of interest or salience or pleasure at all,” says Lembke. “And when we’re not using, we’re in withdrawal.” This explains why scrolling sessions can get longer and longer—the behaviour needs to escalate to generate the same rush.
Lembke studies all forms of addiction, from drugs and sex to online gambling and digital devices. She’s one of many authors and academics, like The Anxious Generation’s Jonathan Haidt, who caution against our reliance on screens and algorithms and the quick, cheap hits of dopamine they’re laced with.
When I ask Lembke if my habitual phone-grabbing could be an addiction, she doesn’t attempt to diagnose me in a 30-minute interview but says that her threshold for a smartphone addiction would be much higher than what I’d described. (Phew.) “There’s problematic or risky behaviour that I would say most of us fall prey to, even if we’re not meeting the criteria for addiction,” she says. That doesn’t mean treating the device like an appendage is without consequences—like frying your attention span, which it seems to be doing to me.
“These devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
“The fracturing of our attention [span] is something that is resulting from our use of these devices,” Lembke confirms. “They’re very engaging. So for our reward pathways, [using them is] soothing and frictionless. It’s not effortful, and it’s an instant feel-good. As a result, we’re not building up the kinds of mental calluses we need to tolerate frustration, to wait for answers, to be uncertain, to tolerate ambiguity.
“When it comes to what you described, that’s a great example of how these devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
Lembke suggests that perhaps I’m reaching for my phone (and a quick hit of instant gratification) when I’m encountering something slightly uncomfortable in my work. “If you reflect on distraction and consumption, what you’ll probably observe is that the moments when you reflexively grab your phone are moments when you’ve encountered a little bit of a roadblock in the work you’re doing—a moment when you’re not exactly sure what the next step is.” This is the crux of digital addiction: We don’t want to feel discomfort for even a moment (and that uneasiness could be boredom, tension with a co-worker or household chores you need to tackle), so we keep reaching for the thing that offers a temporary respite.
Lembke says that we have to train ourselves to accept certain levels of pain in order to feel pleasure. In the case of my constant self-interruptions, that pleasure would be the satisfaction of getting into a focused state. “The best way to deepen your work is to actually pause there and let yourself just sit in those eddying waters for a while,” she says. “Eventually, your mind will produce what the next step should be.” In regularly reaching for my emotional-support device, I’m not letting myself get into deep, challenging work. And I’m also not reaping the bigger reward that comes from doing hard things.
Continue/Read Original Article Here: Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It | ELLE Canada Magazine | Beauty, Fashion and Lifestyle Trends & Celebrity News
Tags: Attention, Attention Span, Canada, Digital, Distracting, Elle, Emotional Responses, Focus, Jennifer Berry, Lifestyle, Magazine, phones, Prevents Concentration, Risky Behavior, Wrecking
#Attention #AttentionSpan #Canada #Digital #Distracting #Elle #EmotionalResponses #Focus #JenniferBerry #Lifestyle #Magazine #phones #PreventsConcentration #RiskyBehavior #Wrecking -
Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It – ELLE Canada Magazine – Beauty, Fashion and Lifestyle Trends & Celebrity News
Health & Fitness
Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It
Anna Lembke, addiction expert and author of Dopamine Nation, calls smartphones “modern-day hypodermic needles,” as they deliver digital dopamine 24-7 and make users vulnerable to compulsive use. Is a “dopamine detox” the key to breaking the habit?
by : Jennifer Berry– Jan 6th, 2026
STOCKSYI sit down to respond to emails on my laptop. I make it through two messages before I grab my iPhone and open TikTok. I scroll through videos for five minutes (or was it 10?), send a particularly funny video skewering the faux urgency of corporate America to the group chat and put my phone away. Back to emails. A few minutes later, my phone is mysteriously in my hand again, and I’m seeing what’s happening on Instagram. Boring. I check text messages and respond to one. Ooooohhh, has the Ssense sale started yet? I stop myself. What was I supposed to be doing again?
Flashes of TikTok videos about adult women with ADHD are running through my head like a film reel when I remember an ad I was recently served for a habit-building app that promises to cure “dopamine addiction,” among other things. Am I a dopamine addict with a latent attention disorder? Or just the average chronically online (elder) millennial who’s glued to their phone for work and entertainment?
Harvard Medical School defines dopamine as a neuro-transmitter that helps us feel pleasure as part of the brain’s reward system. You know that flutter of good vibes you feel when clicking “purchase” in your favourite shopping app or after you’ve had a good old-fashioned roll in the hay? That’s a release of dopamine, or a “dopamine rush.”
While one can’t technically be addicted to dopamine itself, the role dopamine plays in addiction is very real, says Anna Lembke, professor of psychiatry at Stanford University School of Medicine, chief of the Stanford Addiction Medicine Dual Diagnosis Clinic and author of the book Dopamine Nation: Finding Balance in the Age of Indulgence. “Dopamine is the ‘go’ signal,” she explains—the one that tells our brains we should keep doing a particular behaviour. And over time, our brains get accustomed to high dopamine levels, which means we require more intense stimuli to feel the same amount of pleasure. “This leads to tolerance, where now we need more reinforcing substances and behaviours to feel any kind of interest or salience or pleasure at all,” says Lembke. “And when we’re not using, we’re in withdrawal.” This explains why scrolling sessions can get longer and longer—the behaviour needs to escalate to generate the same rush.
Lembke studies all forms of addiction, from drugs and sex to online gambling and digital devices. She’s one of many authors and academics, like The Anxious Generation’s Jonathan Haidt, who caution against our reliance on screens and algorithms and the quick, cheap hits of dopamine they’re laced with.
When I ask Lembke if my habitual phone-grabbing could be an addiction, she doesn’t attempt to diagnose me in a 30-minute interview but says that her threshold for a smartphone addiction would be much higher than what I’d described. (Phew.) “There’s problematic or risky behaviour that I would say most of us fall prey to, even if we’re not meeting the criteria for addiction,” she says. That doesn’t mean treating the device like an appendage is without consequences—like frying your attention span, which it seems to be doing to me.
“These devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
“The fracturing of our attention [span] is something that is resulting from our use of these devices,” Lembke confirms. “They’re very engaging. So for our reward pathways, [using them is] soothing and frictionless. It’s not effortful, and it’s an instant feel-good. As a result, we’re not building up the kinds of mental calluses we need to tolerate frustration, to wait for answers, to be uncertain, to tolerate ambiguity.
“When it comes to what you described, that’s a great example of how these devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
Lembke suggests that perhaps I’m reaching for my phone (and a quick hit of instant gratification) when I’m encountering something slightly uncomfortable in my work. “If you reflect on distraction and consumption, what you’ll probably observe is that the moments when you reflexively grab your phone are moments when you’ve encountered a little bit of a roadblock in the work you’re doing—a moment when you’re not exactly sure what the next step is.” This is the crux of digital addiction: We don’t want to feel discomfort for even a moment (and that uneasiness could be boredom, tension with a co-worker or household chores you need to tackle), so we keep reaching for the thing that offers a temporary respite.
Lembke says that we have to train ourselves to accept certain levels of pain in order to feel pleasure. In the case of my constant self-interruptions, that pleasure would be the satisfaction of getting into a focused state. “The best way to deepen your work is to actually pause there and let yourself just sit in those eddying waters for a while,” she says. “Eventually, your mind will produce what the next step should be.” In regularly reaching for my emotional-support device, I’m not letting myself get into deep, challenging work. And I’m also not reaping the bigger reward that comes from doing hard things.
Continue/Read Original Article Here: Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It | ELLE Canada Magazine | Beauty, Fashion and Lifestyle Trends & Celebrity News
Tags: Attention, Attention Span, Canada, Digital, Distracting, Elle, Emotional Responses, Focus, Jennifer Berry, Lifestyle, Magazine, phones, Prevents Concentration, Risky Behavior, Wrecking
#Attention #AttentionSpan #Canada #Digital #Distracting #Elle #EmotionalResponses #Focus #JenniferBerry #Lifestyle #Magazine #phones #PreventsConcentration #RiskyBehavior #Wrecking -
Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It – ELLE Canada Magazine – Beauty, Fashion and Lifestyle Trends & Celebrity News
Health & Fitness
Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It
Anna Lembke, addiction expert and author of Dopamine Nation, calls smartphones “modern-day hypodermic needles,” as they deliver digital dopamine 24-7 and make users vulnerable to compulsive use. Is a “dopamine detox” the key to breaking the habit?
by : Jennifer Berry– Jan 6th, 2026
STOCKSYI sit down to respond to emails on my laptop. I make it through two messages before I grab my iPhone and open TikTok. I scroll through videos for five minutes (or was it 10?), send a particularly funny video skewering the faux urgency of corporate America to the group chat and put my phone away. Back to emails. A few minutes later, my phone is mysteriously in my hand again, and I’m seeing what’s happening on Instagram. Boring. I check text messages and respond to one. Ooooohhh, has the Ssense sale started yet? I stop myself. What was I supposed to be doing again?
Flashes of TikTok videos about adult women with ADHD are running through my head like a film reel when I remember an ad I was recently served for a habit-building app that promises to cure “dopamine addiction,” among other things. Am I a dopamine addict with a latent attention disorder? Or just the average chronically online (elder) millennial who’s glued to their phone for work and entertainment?
Harvard Medical School defines dopamine as a neuro-transmitter that helps us feel pleasure as part of the brain’s reward system. You know that flutter of good vibes you feel when clicking “purchase” in your favourite shopping app or after you’ve had a good old-fashioned roll in the hay? That’s a release of dopamine, or a “dopamine rush.”
While one can’t technically be addicted to dopamine itself, the role dopamine plays in addiction is very real, says Anna Lembke, professor of psychiatry at Stanford University School of Medicine, chief of the Stanford Addiction Medicine Dual Diagnosis Clinic and author of the book Dopamine Nation: Finding Balance in the Age of Indulgence. “Dopamine is the ‘go’ signal,” she explains—the one that tells our brains we should keep doing a particular behaviour. And over time, our brains get accustomed to high dopamine levels, which means we require more intense stimuli to feel the same amount of pleasure. “This leads to tolerance, where now we need more reinforcing substances and behaviours to feel any kind of interest or salience or pleasure at all,” says Lembke. “And when we’re not using, we’re in withdrawal.” This explains why scrolling sessions can get longer and longer—the behaviour needs to escalate to generate the same rush.
Lembke studies all forms of addiction, from drugs and sex to online gambling and digital devices. She’s one of many authors and academics, like The Anxious Generation’s Jonathan Haidt, who caution against our reliance on screens and algorithms and the quick, cheap hits of dopamine they’re laced with.
When I ask Lembke if my habitual phone-grabbing could be an addiction, she doesn’t attempt to diagnose me in a 30-minute interview but says that her threshold for a smartphone addiction would be much higher than what I’d described. (Phew.) “There’s problematic or risky behaviour that I would say most of us fall prey to, even if we’re not meeting the criteria for addiction,” she says. That doesn’t mean treating the device like an appendage is without consequences—like frying your attention span, which it seems to be doing to me.
“These devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
“The fracturing of our attention [span] is something that is resulting from our use of these devices,” Lembke confirms. “They’re very engaging. So for our reward pathways, [using them is] soothing and frictionless. It’s not effortful, and it’s an instant feel-good. As a result, we’re not building up the kinds of mental calluses we need to tolerate frustration, to wait for answers, to be uncertain, to tolerate ambiguity.
“When it comes to what you described, that’s a great example of how these devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
Lembke suggests that perhaps I’m reaching for my phone (and a quick hit of instant gratification) when I’m encountering something slightly uncomfortable in my work. “If you reflect on distraction and consumption, what you’ll probably observe is that the moments when you reflexively grab your phone are moments when you’ve encountered a little bit of a roadblock in the work you’re doing—a moment when you’re not exactly sure what the next step is.” This is the crux of digital addiction: We don’t want to feel discomfort for even a moment (and that uneasiness could be boredom, tension with a co-worker or household chores you need to tackle), so we keep reaching for the thing that offers a temporary respite.
Lembke says that we have to train ourselves to accept certain levels of pain in order to feel pleasure. In the case of my constant self-interruptions, that pleasure would be the satisfaction of getting into a focused state. “The best way to deepen your work is to actually pause there and let yourself just sit in those eddying waters for a while,” she says. “Eventually, your mind will produce what the next step should be.” In regularly reaching for my emotional-support device, I’m not letting myself get into deep, challenging work. And I’m also not reaping the bigger reward that comes from doing hard things.
Continue/Read Original Article Here: Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It | ELLE Canada Magazine | Beauty, Fashion and Lifestyle Trends & Celebrity News
#Attention #AttentionSpan #Canada #Digital #Distracting #Elle #EmotionalResponses #Focus #JenniferBerry #Lifestyle #Magazine #phones #PreventsConcentration #RiskyBehavior #Wrecking -
Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It – ELLE Canada Magazine – Beauty, Fashion and Lifestyle Trends & Celebrity News
Health & Fitness
Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It
Anna Lembke, addiction expert and author of Dopamine Nation, calls smartphones “modern-day hypodermic needles,” as they deliver digital dopamine 24-7 and make users vulnerable to compulsive use. Is a “dopamine detox” the key to breaking the habit?
by : Jennifer Berry– Jan 6th, 2026
STOCKSYI sit down to respond to emails on my laptop. I make it through two messages before I grab my iPhone and open TikTok. I scroll through videos for five minutes (or was it 10?), send a particularly funny video skewering the faux urgency of corporate America to the group chat and put my phone away. Back to emails. A few minutes later, my phone is mysteriously in my hand again, and I’m seeing what’s happening on Instagram. Boring. I check text messages and respond to one. Ooooohhh, has the Ssense sale started yet? I stop myself. What was I supposed to be doing again?
Flashes of TikTok videos about adult women with ADHD are running through my head like a film reel when I remember an ad I was recently served for a habit-building app that promises to cure “dopamine addiction,” among other things. Am I a dopamine addict with a latent attention disorder? Or just the average chronically online (elder) millennial who’s glued to their phone for work and entertainment?
Harvard Medical School defines dopamine as a neuro-transmitter that helps us feel pleasure as part of the brain’s reward system. You know that flutter of good vibes you feel when clicking “purchase” in your favourite shopping app or after you’ve had a good old-fashioned roll in the hay? That’s a release of dopamine, or a “dopamine rush.”
While one can’t technically be addicted to dopamine itself, the role dopamine plays in addiction is very real, says Anna Lembke, professor of psychiatry at Stanford University School of Medicine, chief of the Stanford Addiction Medicine Dual Diagnosis Clinic and author of the book Dopamine Nation: Finding Balance in the Age of Indulgence. “Dopamine is the ‘go’ signal,” she explains—the one that tells our brains we should keep doing a particular behaviour. And over time, our brains get accustomed to high dopamine levels, which means we require more intense stimuli to feel the same amount of pleasure. “This leads to tolerance, where now we need more reinforcing substances and behaviours to feel any kind of interest or salience or pleasure at all,” says Lembke. “And when we’re not using, we’re in withdrawal.” This explains why scrolling sessions can get longer and longer—the behaviour needs to escalate to generate the same rush.
Lembke studies all forms of addiction, from drugs and sex to online gambling and digital devices. She’s one of many authors and academics, like The Anxious Generation’s Jonathan Haidt, who caution against our reliance on screens and algorithms and the quick, cheap hits of dopamine they’re laced with.
When I ask Lembke if my habitual phone-grabbing could be an addiction, she doesn’t attempt to diagnose me in a 30-minute interview but says that her threshold for a smartphone addiction would be much higher than what I’d described. (Phew.) “There’s problematic or risky behaviour that I would say most of us fall prey to, even if we’re not meeting the criteria for addiction,” she says. That doesn’t mean treating the device like an appendage is without consequences—like frying your attention span, which it seems to be doing to me.
“These devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
“The fracturing of our attention [span] is something that is resulting from our use of these devices,” Lembke confirms. “They’re very engaging. So for our reward pathways, [using them is] soothing and frictionless. It’s not effortful, and it’s an instant feel-good. As a result, we’re not building up the kinds of mental calluses we need to tolerate frustration, to wait for answers, to be uncertain, to tolerate ambiguity.
“When it comes to what you described, that’s a great example of how these devices have, in a sense, trained our minds to interrupt ourselves, thereby preventing the deep concentration and gratifying flow state—which are in themselves sources of healthy dopamine—we could get into if we weren’t intermittently distracted by these devices.”
Lembke suggests that perhaps I’m reaching for my phone (and a quick hit of instant gratification) when I’m encountering something slightly uncomfortable in my work. “If you reflect on distraction and consumption, what you’ll probably observe is that the moments when you reflexively grab your phone are moments when you’ve encountered a little bit of a roadblock in the work you’re doing—a moment when you’re not exactly sure what the next step is.” This is the crux of digital addiction: We don’t want to feel discomfort for even a moment (and that uneasiness could be boredom, tension with a co-worker or household chores you need to tackle), so we keep reaching for the thing that offers a temporary respite.
Lembke says that we have to train ourselves to accept certain levels of pain in order to feel pleasure. In the case of my constant self-interruptions, that pleasure would be the satisfaction of getting into a focused state. “The best way to deepen your work is to actually pause there and let yourself just sit in those eddying waters for a while,” she says. “Eventually, your mind will produce what the next step should be.” In regularly reaching for my emotional-support device, I’m not letting myself get into deep, challenging work. And I’m also not reaping the bigger reward that comes from doing hard things.
Continue/Read Original Article Here: Our Phones Are Wrecking Our Attention Span; Here’s What to Do About It | ELLE Canada Magazine | Beauty, Fashion and Lifestyle Trends & Celebrity News
#Attention #AttentionSpan #Canada #Digital #Distracting #Elle #EmotionalResponses #Focus #JenniferBerry #Lifestyle #Magazine #phones #PreventsConcentration #RiskyBehavior #Wrecking -
@Julian Fietkau I'm surprised to read that (streams) allegedly has FEP-e232 implemented. As I happen to have two (streams) channels myself, and as (streams) allows me to have a look at the whole source code of any activity (whereas Hubzilla only shows me that of the content), I've checked a fairly recent post of mine that includes a link. And while it does define the hashtags just like Mastodon and Hubzilla, it does not define links in a way that conforms to FEP-e232. Either that, or (streams)' implementation of FEP-e232 is newer than the software was when I sent that post.
Next, I wanted to see if (streams) had its way of quote-posting changed in the last seven years or so of development and forking. I expected it to quote-post like Hubzilla, namely by turning a BBcode short code into a dumb copy of the original upon sending, but I wanted to see proof. As (streams) is a fork of a fork of three forks of a fork (of a fork) of Hubzilla that's still maintained by Hubzilla's own creator, I would have been surprised if he had changed the way (streams) quote-posts at some point on the way.
So I quote-posted my own post on (streams) just to see what happens. And (streams) acted exactly like Hubzilla and not at all like described in FEP-044f on the surface. It still inserts a dumb copy.
Good thing I have access to the full source code of any message on (streams). So here's what happened, namely what I expected to happen: (streams) quote-posts like Hubzilla.
First of all, when I clicked the "Share" button, this short code was inserted into the post editor:[share=1198713][/share]
The number, by the way, is the running number of the message to quote-post on the server.
Upon sending the post, (streams) automatically "expanded" the short code into the dumb copy I had expected.[share author='Jupiter+Rowland' profile='https://hub.netzgemeinde.eu/channel/jupiter_rowland' portable_id='_moYLN61-o3FbP3jyThygMDf-bjF2cApXgkrwlAE77iKy19xM1_6F06V4b71eTkqqNaTUjGiN0lfw2dyn5nXRw' avatar='https://streams.elsmussols.net/xp/6b50efa4bb804860f6128bba791b74fab4a0a5e09dbcbee8d8ca77cee00f0330-6' link='https://hub.netzgemeinde.eu/item/0a1cdda5-eb1c-4a33-9574-ddd896977b4f' auth='true' posted='2025-09-21 19:42:56' message_id='https://hub.netzgemeinde.eu/item/0a1cdda5-eb1c-4a33-9574-ddd896977b4f'] ...(the source code of the original message goes here)... [/share]
Both Hubzilla and (streams) render this the same way, namely with a header line above the copy that includes the profile picture of the original author, the name of the original author with a Zot/Nomad-type link to their channel/account and a Zot/Nomad-type link to the original of the post ("Zot/Nomad-type" means that[zrl][/zrl]is used rather than[url][/url]which means that the ID of an observer on Hubzilla/(streams)/Forte is attached to the link for OpenWebAuth identity recognition purposes.)
At the same time, curiously, (streams) includes the line"rel": "https://misskey-hub.net/ns#_misskey_quote"and a line that starts with"name": "RE:and continues with the URL of the original message into the code for the link to the original message. The latter is identical to what Misskey and all Forkeys have in quote-posting notes in plain sight, only that (streams) only reveals it in the source code rather than in the content as well.
So this part of FEP-044f is implemented, albeit concealed from most people and only happening in the code.
Now, looking at the quote policy part, that looks like it could be possible to add to the Fediverse's permission champions Hubzilla, (streams) and Forte. After all, they already have comment controls with no FEP backing it (and if GoToSocial's quote policy can be made into an FEP, maybe so can (streams)' and Forte's comment controls so that they actually do blank out reply buttons on the farther ends of the Fediverse if the software on the farther ends implement support for that FEP).
This could be done at three levels again. I'll illustrate this with (streams) and Forte because they're quite a bit less complex than older Hubzilla.
At channel level, quote-posting (and maybe quoting as well) could be set as usually, namely to semi-public (= everyone in the Fediverse = no quote policy), restricted (= only your contacts) and only yourself. (Seriously, you don't want random passersby with no accounts to quote-post you. Even though you can allow them to comment on your posts if you dare.)
"Only yourself" could be overridden at contact level by permitting certain contacts to quote-post (and maybe quote) your messages. This is actually standard behaviour on (streams) and Forte.
And then there is the per-post level which would be similar to (streams)' and Forte's comment controls. These allow you to limit who may comment on a post to only your contacts and those who have already participated in the same conversation, and they allow you to turn off comments altogether.
Quote authorisation would not be much different in handling from manually moderating comments from those who technically aren't permitted to comment (only that spammers don't quote-post, at least not yet, and they probably never will because that simply makes no sense). So that'd be nothing really new.
Of course, this would have some limitations which come from how Hubzilla, (streams) and Forte work and from their conversation architecture.
The first limitation is that you could only give certain contacts permission to quote-post your posts if you didn't give it to the whole Fediverse. Channel-wide permissions are always inherited by contact-specific permissions, and this cannot be overridden. So you couldn't generally allow everyone to quote-post your posts except for one certain contact of yours.
The second limitation is that you can only control the permissions of contacts, but not of non-contacts. So you can't disallow some stranger whom you aren't connected to to quote-post your posts while everyone else is allowed.
Then again, FEP-044f doesn't make either of these two possible either. It can only define who is permitted to quote-post a post, not who isn't.
The third limitation is that, on Hubzilla, (streams) and Forte, comments always have the same permissions as the post that they belong to because comments always have the same owner as the post that they belong to. Basically, if FEP-044f was to be defined for each comment individually, it would have a chance of clashing with conversation containers as per FEP-171b.
Here on Hubzilla, as well as from (streams)' point of view, everyone's comments in this thread are owned by me because I've started the thread. And the permissions on all these comments are defined by my post. I've seen my share of permission clashes whenever someone on Mastodon replied to a public post or a public comment with a DM, and Hubzilla overrode this by forcing the permissions of the post on that reply.
In practice, this means that the quote policies of all comments would be the same as that of the post. At least that's how Hubzilla, (streams) and Forte would understand them because the concept of comments having different permissions than the post is alien to them. So if you say that I'm not permitted to quote-post your comment, but I say that anyone can quote-post my post, Hubzilla and (streams) override the quote policy that you've given your comment on Mastodon with the quote policy that I've given my post on Hubzilla, and I can quote-post you.
So the actually difficult part would be to implement an exception in how Hubzilla, (streams) and Forte handle comment permissions for quote policies and make them individual for each comment rather than making comments inherit them from the post.
Well, and lastly, if you permitted all your contacts to quote-post a post of yours, and you had a few more contacts, the"canQuote"section would end up monstrous. (A bit less so if you could cherry-pick those who are allowed to quote-post you on a per-post base, just like you can cherry-pick those who are allowed to see the post in the first place.) Also, I'm wondering just how well policies as per FEP-044f (and their implementations in various server applications) will work with DIDs as per FEP-ef61 which (streams) and Forte use, and I guess, so does Mitra now.
#Long #LongPost #CWLong #CWLongPost #FediMeta #FediverseMeta #CWFediMeta #CWFediverseMeta #Fediverse #Misskey #Forkey #Forkeys #GoToSocial #Hubzilla #Streams #(streams) #Forte #Mitra #QuotePost #QuotePosts #QuoteTweet #QuoteTweets #QuoteToot #QuoteToots #QuoteBoost #QuoteBoosts #QuotedShares #Permission #Permissions #FEP_044f #FEP_171b #FEP_e232 #FEP_ef61 -
Neon Clash: Echoes of the Lost Review (Nintendo Switch)
Release Date: December 25, 2025 (North America)
Developers: Voltage Inc.
Publishers: Voltage Inc.
Platforms: Nintendo Switch
ESRB Rating: T (Teen)STORY
Kumyo: The land of neon lights and fleeting pleasures.
A land where if you don’t step on others to get to the top, you’ll only sink to the bottom. Effort means nothing. Charity? Forget about it.
Kroa is an underground courier at the bottom of the barrel. In order to survive life in Kumyo, the youth have turned to the mafia life to fight for power. The mafia is a violent criminal organization shunned by the public. However, there was one family both respected by fellow mafioso, and adored by the general public.
Their name was the Liu family.
11 years ago, the Liu family was exterminated.But once the sole surviving member, Gante Lowd, crosses paths with the rightful heir, Liu Kroa, the wheel of fate begins to turn once more.
ART AND MUSIC
Director:Ichika ShiinaArtist:Takao (Overall character design), Kuroyoki(Chibi)BG Artist:Studio COCOLOScenario:Ririka YoshimuraOST:Shihoko Hirata (OP & ED theme, lyrics)BGM/Soundtrack:Shunsuke Tsuchiya (BGM, OP Composer)Concept, Producer:Satoshi NoharaI love Neon Clash’s overall visual aesthetic. The artwork is beyond beautiful and I am completely enamored with the game’s art style. The CGs especially, are insanely pretty! All the while being very emotional and very impactful! On top of that, the LIs have multiple sprite variations, and their outfits are really stunning. We have none other than the Japanese illustrator, Takao to thank for all of Neon Clash’s gorgeous glory, which appears to be their first full otome game project. I sincerely hope they’ll have more otome projects in the future because their art style to me, is crazy gorgeous!
As for the game’s staff, the writing team is led by Ririka Yoshimura, who is widely known for also being the lead scenario writer for Cupid Parasite and Despera Drops. The game’s overall director is Ichika Shina, an in-house director for Voltage Inc.
Neon Clash: Echoes of the Lost also has one of the most banger OPs this year. The OP theme, Shangri-La, was by far one of my favorite otome OST of 2025. I also really enjoyed how vibrant the BGMs are in this game; I think they mesh pretty well with the neon Chinese aesthetic of this title, which I’m really loving btw. The game’s BGMs are by Shunsuke Tsuchiya of Procyon Studio, who also composed for Even if Tempest, Black Wolves Saga, KgK, and a few other otome game OSTs in the past.
Voice Acting
Yuichiro Umehara as “Gante Lowd” – Alfred (Mistonia’s Hope), Paschalia (Radiant Tale), Serge (Genso Manege), Kohei Minato (Sympathy Kiss), Benkei (Birushana), Canus Espada (Café Enchanté), Enishi (Jack Jeanne), Demento (Period Cube), Shingen Takeda (IkeSen), Sage (Nekopara Catboys Paradise), Rain (Shiro to Kuro no Alice), Oochidori (Touken Ranbu)
Shunichi Toki as “Sun Maslo” – Hibiki (9RIP), Dahut (Virche Evermore), Leo (Piofiore), Yakumo (Dairoku), Hibie (Winters Wish), Matsui Go (Touken Ranbu), Mousse Atlas (IkeRev), Yuki Rurikawa (A3!)
Jun Fukuyama as “Sodyk Mun” – Ascot (Mistonia’s Hope), Karatachi (Illusion of Itehari), Mizuchi (Hana Awase), Tomomori (Birushana), Vyn Richter (Tears of Themis), Mozu (BUSTFELLOWS), Goro Fujita (Meiji Tokyo Renka), Liberta (Arcana Famiglia), Rin (Togainu no Chi), Aido (Vampire Knight), Tokiwa Etsuya (Dairoku), Goke Kanimitsu (Touken Ranbu)
Ryota Suzuki as “Zhang Hiyok” – Lucas (Mistonia’s Hope), Ash (Despera Drops), Koyo (9RIP), Ginnosuke (Him, the Smile and bloom), Yona (Tengoku Struggle), Kiito Minorikawa (Jack Jeanne), Trey Clover (TWST), Ink (Gunka Haita Neko), Caster (FGO), Mizuro Tamaki (Tokyo Ghoul)
Takeo Otsuka as “Mazho Meqrin” – Jinshi (The Apothecary Diaries), Elbert Greetia (IkeVil), Sunday (HSR), Luke (Chaos Zero Nightmare), Miyabi (UN:Logical), Katsu (Shinjuku Rashoumon), Yuen Hu (Shinjuku Soumei), Kanata (Angelique Lumenarise), Remnan (Gnosia), Joshua Rosfield (FF16)
Yusuke Kobayashi as “Shelby Zhiho” – Flynn (The Red Bell’s Lament), Tomonari (Winters Wish), Hira (Dairoku), Byleth (FE Engage, 3H), Shinano Toushiro (Touken Ranbu), Suwon (Yona of the Dawn), Yuli Norbert (MidCin), Manai Tomoki (Sweet Clown), Xavier (Love and Deepspace), Ugetso (Utakata no Uchronia), Kiyoshi Kurotani (Persona 5), Senku Ishigami (Dr. Stone)
Hana Shimano as “Shelby Zhia” – Himari Kino (Whisper Me a Love Song), Mako Kawai (Food for the Soul)
Kazuyuki Okitsu as “Yuan Gonglu” – Ankou (Virche Evermore), Yoji Kobase (Sympathy Kiss), Atsushi Daikoku (B-PROJECT), Tsukuyomi (Olympia Soiree), Epilogi (Café Enchanté), Hachisuka Kotetsu (Touken Ranbu), Dante (Jack Jeanne), Ray (EPHEMERAL), Kuya (NU Carnival), Kyrie (Ozmafia!!), Keith Knight (Iris School of Wizardry)
Shinnosuke Tachibana as “Shao Feng” – Himeutsugi (Hana Awase), Seiya (9RIP), Koizumi Yakumo (Meiji Tokyo Renka), Camu (Despera Drops), Xiaolei (Battlefield Waltz), Henri (Piofiore), White Mask (Bad Apple Wars), Kousei (Ayakashi Koi Gikyoku), William Rex (IkeVil), Koryu Kagemitsu (Touken Ranbu), Rafayel (Love and Deepspace)
Eiji Takeuchi as “R” – Riley Randolph (Mistonia’s Hope), Hitoya Amaguni (Hypnosis Mic), Sumio (Yatagarasu: The Raven Does Not Choose Its Master), Rafa (Borderlands 4), Hide (Nioh 2), Nobutaka Osanai (Tokyo Revengers), Takefumi Kawada (The Devil is a Part-timer)
Kazuhiro Yoshimura as “Xiadun Jue” – Shioji (Illusion of Itehari), Oleander (The Red Bell’s Lament), Alest (Radiant Tale), Minegeshi (Collar x Malice), Ten (Cafe Enchante), Maki (Side Kicks!), Souji Kamishiro (Suika Niritsu), Pepe (Bustafellows)
Haruki Ishiya as “Yunzi Yulong” – Toichi Nagayama (Jack Jeanne), Jiro (Hypnosis Mic), Roger Ward (Metaphor: ReFantazio), Toru (Slow Damage), Louis (FE Engage), Sebek Zigvolt (TWST), Makoto Shizuo (Prince of Stride), Haku (Gunka o Haita Neko), Mikado (On Air!)
Taishi Murata as “Kyochu Yona” – Kaina (Olympia Soire), Idaeus Glodell (Metaphor: ReFantazio), Tokugawa Iemitsu (Ken ga Kimi), Takeshi Efuku (Prince of Stride), Seth Hyde (IkePri),
CAST AND CHARACTERS
With Neon Clash being AmuLit’s third otome console game installment, it has become clearer to me that the studio really does have its own distinct narrative formula. If you’ve played their previous two titles, Even if Tempest and The Red Bell’s Lament, you’ll notice a similar structure shared with Neon Clash, where in the story progresses in a largely linear fashion, and the romance endings only unlock after the main story has been cleared.
That said, this title does not have any branching individual routes in the way conventional console otome games do. Instead, the romance endings only become available after you’ve completed the TRUE Ending of the game. Each chapter has the heroine spending time with a specific love interest:
- Chapter 2: Lowd
- Chapter 3: Maslo
- Chapter 4: Mun
- Chapter 5: Hiyok
- Chapter 6: is the final chapter that wraps up the story and leads into the endings.
In a way, this format kinda plays out similarly to how Chinese mobile otome games structure their stories (think Tears of Themis, LaDs, MLQC, etc.), where there’s one overarching main story and each chapter is dedicated to a particular love interest.
As for how the story benefits from this type of formula, it certainly depends on the kind of narrative the writers present in the main game. Personally, I wasn’t a fan of how it played out in The Red Bell’s Lament, but I did enjoy the same formula in Even if Tempest. With Neon Clash, I think this approach works well here too, especially given how impressively fast-paced and eventful the main story is. I’ll save more of my detailed thoughts for my “overall impressions” section below, so please keep reading!😁
Walkthroughs:
Note: The CGs shown below are promotional images for the game, Neon Clash: Echoes of the Lost. All spoiler-related content in this review will be hidden behind a spoiler drop-down, that you can choose to view at your own discretion.
⬇️ Click to view Content Warnings Violence, gun violence, public shooting, murder, mass murder, death, blood, decapitation, discrimination against other nationalities, class system, marginalization, poverty, sexual assault, manipulation, gaslighting, drug abuse, drug addiction, kidnapping, abduction, alcohol abuse.GANTE LOWD
- god bless the hot loyal mafioso priest 🙏📿
- Lowd in a nutshell… 🤭🤭🤭
A mafioso through and through who was adopted and raised by the original Liu family. He works as a priest in a church in Taozhe, with hopes to one day rebuild the Liu family.
I love Lowd! And Umehara seems to have nailed this character down to a T. What a perfect match! Lowd also became one of my fav LIs in the game, and one I’ll probably think of fondly from now on.🥺 He was such a great character and love interest. The man stayed steadfast and loyal until the very end. It actually hurts how unwavering his devotion to the heroine is.😭 Through all the hardships, he remained by her side, for better or worse. I really don’t have any qualms or complaints about this LI.
After finishing all the romance endings in this title, I also think Lowd had the best romantic relationship with Kroa. Personally, I found their chemistry as a couple the most convincing and satisfying. I’m still brainrotting over his romance ending as we speak! I needed more chapters!
⬇️ SpoilersOH MAAAHH LOWWWD!🥵🥵🥵 I am down bad for this man.
I think out of everyone’s romance endings, Lowd’s felt the most natural and intimate. And perhaps this is because of how closely he and Kroa bonded during Chapter Two. It was also the only chapter where the heroine openly admits that she’s in love with someone before entrusting her feelings to her gun, Dilu. While she does something similar with the other LIs, she usually refers to those emotions as “budding feelings.” With Lowd, however, she literally jumped in front of a bullet for this man.
With Dilu nullifying at the end, it makes sense that the most impactful “romantic” feelings she carries are tied to Lowd. After all, he was the very first man she ever developed genuine feelings for. And let’s be real, among everyone Lowd was the one who remained steadfastly by her side the entire time. He never strayed, never did anything to hurt her (whether intentionally or accidentally), never manipulated her, and never forced her feelings. He was also never intrusive, and consistently respected her both as a woman and as the head of the Liu family.
Also, the love endings were all so random, dumb, and silly…but I absolutely ate all the fluff up. After everything they’ve been through, they deserve to just lay back and be dumb and silly for once. 😭
On a different note, I was reading Umechan’s commentary about Lowd, and was kinda shocked that he’s also a Romance of the 3Kingdoms nerd and was even basing Lowd’s character on Guan Yu from the series. He mustve felt giddy having to voice a character inspired by his own fav character from the show.lol So that was a nice little fun fact. I also felt like he did such an amazing job as Lowd, and I really couldn’t imagine anyone more suitable for the role.
SUN MASLO
- not a shota 👀😏🤭
- when that maslo beat drops…
Maslo is the boss of a small-time mafia from the countryside. He’s a friendly guy, and the last sort of person you’d expect to be leading a criminal organization. Aside from being part of the mob, he’s active as a popular DJ and song-writer.
Oh my beautiful pink boy! I am also down bad for Maslo… him, his character design and his designated BGM. (laughs) 🤣 Sometimes I intentionally leave the game idle just to listen to his dj vice track, lmao. But on a more serious note, Maslo was a really interesting character, no? And I can’t help but feel like the game could have done so much more with him if he had a proper individual route. In fact, this applies to all of the LIs. There was just so much untapped potential for us to explore more of them in greater depth, if their routes were longer.
Maslo and Kroa’s interactions in chapter three, I have also really enjoyed,🥹and his romance ending had one of the most beautiful CGs in the game. Although, I have to say, it’s his sad ending that completely cemented him as my new oshi.👀
⬇️ SpoilersI just feel like the writers probably had Maslo’s route skeletally structured around him being the designated yandere of the story. However, because of the game’s linear storyline, they scrapped this off and held back! My poor boy! 😭 I really think he didn’t get to shine as much as he deserved because of “plot”. As much as I’m enjoying the game overall, this is kind of the downside of games having linear plotlines; the character depth usually gets shoehorned.
Regardless, I still absolutely love Maslo. I was a bit miffed that his romance ending felt like an exposition dump of his backstory, but that beautiful kiss CG under the sakura tree compensated for it, so I guess its’ all good.(cackles) 😂 I also wanted to get a spicy CG of him and Kroa, making out backstage of his club and I can’t help but feel like we were really robbed of that visually!😭😭😭 His happy end was the only one that did not get a “bed ending” lmao although his sad ending compensated for that!😂 PLS I NEED A FANDISK! I BEG!
SODYK MUN
- the cleavage is doing crimes
- manipulation never looked this good
The boss of a huge mafia, Mun is considered the only one capable of competing with Biying. The public knows him as the young president of a big company, thanks to his many media appearances. Mun’s natural charisma tends to win him a lot of admirers.
Oh, Sodyk Mun… the man that you are… This is yet another straight-up “I can fix him” FukuJun character fresh outa the oven! Damn, what a smooooth guy. I was grinning the whole time playing Mun’s chapter (Chapter 4) in the game. The dude was just seductive, entrancing, smooth like butter. Though, I have to admit, playing his chapter also made me really nervous. It’s one of those instances where everything feels so right, but you can’t shake the feeling that something is… just off. Ha!🤣🤣🤣
I think Mun’s chapter was probably my favorite in the story. I can’t even allow myself to put the game down, his persuasive nature was literally working its way like cancer. The way his character was written, and how Fukuyama played this out was chef kiss, I have no words! I think Mun is going to be a fan favorite because, man oh man, how could anyone resist being completely swayed by this guy?
⬇️ SpoilersThe instant Mun suggested segregation with his class system BS, alarm bells started ringing in my head from all directions. My dude, NO!😭 How could anyone think segregation was a good idea? Even if he was preaching that it was the “best way” to maintain order in Kumyo, NO, NO, NO!!
Mun’s chapter I have to say was probably the one I had enjoyed the most because you can clearly see how deceptive and exceedingly manipulative he is, and I loved how vulnerable Kroa was here as well. She knew the man was making her dance around his palm, but she bit into the trap anyway. Her realization later that something was seriously wrong and that she needed to break free before Mun completely devours her whole and successfully makes her his pawn was such a good story climax.
I also loved the part where she starts noticing herself becoming like Mun while interacting with the Liu capos, and it takes Rin confronting her to snap her back to reality and see Mun’s true colors. That scene was absolutely peak!
If you think about it, Mun was the most dangerous and formidable enemy of the Liu family. The dude was a master manipulator! He manipulated everyone around him: his capos, the entire Sodyk family, the government officials in Kumyo, the police, and law enforcement. They all really believed he was the righteous man he made himself out to be. He even manipulated R, sending him to an early grave, and Zhiho, who ended up betraying the heroine and throwing a wrench into their infiltration plan.
On a side note, I can’t help but think that Mun and Kroa’s dynamic leans into the “lovers to enemies” trope where they start off as close, almost like lovers, and then fate throws them at each other’s throats. I’m really loving this trope in otome games lately! I usually only see it in reverse harem manga/manhwas so having this here was a nice touch.
ZHANG HIYOK
- resident himbo genki🥺
- golden retriever energy
A gangster from Taozhe. Hiyok is determined to protect the same Taozhe he was born and raised in, but in reality, his gang was only capable of recklessly, but unsuccessfully lashing back against the Zhuo family. When he downs a particularly strong alcohol, he becomes a whole different person, capable of taking down multiple men at once.
This game is now making a hako-oshi, because I also love Hiyok. The first time you’ll meet him, you can immediately sense just how precious and likable he is.🥺 Hiyok is another trusted and sworn comrade of our heroine, Kroa. Like Lowd, he is incredibly loyal and one of the Liu family’s strongest fighters. I’m a tad wistful though that his chapter only half-focused on him, especially since his final volumes were already converging with the main plot and heading toward the finale. I guess I just needed more fluff with this himbo.😭 On a different note, I wasn’t expecting his bad ending to turn out the way it did…but I kind of liked it. 😳👉👈
⬇️ SpoilersHe also keeps a diary! What a precious boy!😭
Kroa’s worries about Hiyok losing his feelings for her felt a bit anticlimactic, because in the end, he never really lost it. It was also pretty easy for her to win him back given Hiyok has always been fond of her. He even had a crush on her the first time they met.Still and all, I absolutely loved how she worked to get him to like her again in Hiyok’s “happy ending.” It was nice to see her making the first move in everything, and seeing Hiyok turn into this blushing, genki mess was adorable. I love their dynamic as well! So much!😭 Again, I feel robbed of fluff with this man because the romance was too short; just as the cute, fluffy stuff was starting, the chapter was already over. 😭
LIU KROA (Main Heroine)
- cunning mafia princess
- best girl!
I love Kroa. She’s now one of my favorite otoge heroines! This woman has serious balls of steel. I was a little wary of her at first, since she came across as somewhat idealistic in the common route, and I had my doubts whether she could truly pull off being the Liu family boss. But as the story progressed, I realized, wow this girl can actually walk the talk.
She’s certainly physically strong, highly skilled with a gun, and more than capable of holding her own during a shoot-out. But its actually her unwavering determination and her intrepid sense of taking risks that got me on her side of the camp. As a mafia boss, she will be pitted in situations where she has to make bold and risky decisions, not just for herself but for everyone in the Liu family. My anxiety was through the roof every time she was served yet another obstacle right after overcoming the last one. The girl seriously could not catch a break!😭 I was nervous for her all the freakin’ time, but her resilience was mighty impressive and very infectious. I could truly feel that she earned every ounce of respect her capos give her.
Kroa is also a very flawed heroine, and that’s one of the things I love most about her. She knows what she is capable of and uses her strengths wisely, but she’s also aware of her limits and what she can’t do on her own. She makes plenty of mistakes throughout the game, and sometimes her risky decisions put both herself and her comrades in danger. She beats herself up over those failures, but what’s remarkable is how she learns from them, rubs the dirt off her face, gets back on her feet, and pounces back harder and stronger every time.🤧 My girl!! 😭😭😭I loved how she was written to be very capable without ever feeling grossly overblown, if that makes sense? She’s not the kind of heroine who’s all mouth and no bite, she doesn’t talk a big game or rely on empty bravado. I really couldn’t stop rooting for her, just like her capos who believed in her as their boss.🥹 BEST GIRL!!
SYSTEM AND LOCALIZATION
Before I get into the details of the game’s system, I just want to say in passing that the love catch for this title is so pretty! 😍 The butterfly animations were perhaps one of my fav design elements, aesthetically speaking, in this title.
As for the system itself, I think this is where most of my complaints lie. First of all, the font was rather tiny and not very visible, the kerning was also kind of awful and there was no way to adjust this. I play docked on my TV, so over time this became a non-issue for me. Next, and perhaps the thing that bothered me the most, is that the system overwrites its parameters after every ending you achieve (whether its the true end or sad end). What I mean is that after achieving, say, the“true ending”, the next time you restart the game from the very beginning, all your save files from the previous run become defunct, and are replaced by the new current progress in your present gameplay.
I think this is probably because of the game’s linear storyline, but as a completionist, it was kind of frustrating to unlock all the endings without having to restart from the very beginning of each chapter, or at worst, from the prologue. It became a nightmare to skip through scenes just to unlock different bad endings while trying different combinations of choices in the process. At the very least, the True End was easy to achieve all thanks to the love catch system.
PROS:
- Heroine name customizable
- SHOP – The boss’s grade points you collect can be spent here
- “Secret Information” in the EXTRA section –this is where all the short stories that you’ve bought from the shop are located.
- Terminology – the game’s glossary.
- Chapter Intermission
- Underground Newspaper – will show up after finishing a chapter.
- MAPS – shows which family rules over each territory.
- CHAPTER Select
- Love Catch System
- Skip READ and AUTO function
- Quick Save/Quick Load
- CG Library
- Movie Library
CONS:
- No heroine side sprite image
- Unvoiced Heroine
- SKIP Read’s fastest setting is slow.
- Lingering voice lines, even if you’ve skipped the character’s lines
- No Skip to Next Choice function
- No Flowchart
- No Sound Library
- Typos
- Parameters reset after every ending achieved.
Localization
The translations also seem pretty good. Since the theme involves the mafia and a lot of morally gray characters, there are naturally lots of coarse language thrown around which I think fits the game’s theme overall. Unfortunately, there are quite a few typos throughout the game. Not that they ruined gameplay, They didn’t bother me, but they’re definitely present, nonetheless.
TRAILER
https://www.youtube.com/watch?v=yPA6yvkZMbg
OVERALL THOUGHTS
I think my overall gameplay lasted about 40 hours total. This includes trying to unlock all the endings in the game and playing all the CCTV short stories in the “EXTRA” section. I was also playing blind, my switch docked, and was on auto mode most of the time. Technically, with a walkthrough and without auto-mode, you could finish the game in less than 40 hours.
AmuLit’s Linear Storytelling is back!
To start with, yes, Neon Clash unfortunately has a linear structure, similar to Even if Tempest and RBL. There are no separate branching routes for the guys. Instead, it plays out as one main story, with each chapter highlighting a specific LI.
Personally, I feel like the way these segments advanced wasn’t jarring or disjointed like in RBL, its predecessor. Each chapter introducing an LI flows smoothly within the story, and the MC’s bonding with her love interests doesn’t come off as forced (at least to me). The story kind of just naturally melds together without trying to shove anything in, if that makes sense. With that said, in my opinion, the linear structure actually worked pretty well here because of the game’s setting and how fast-paced all of the events unfolded.
As for how the heroine spends time from one LI to another, her relationships in the main story remain fairly ambiguous. There’s definitely some romantic pining going on, but they mostly come from the LIs’ side (kind of like how they do it in reverse harem animes). The heroine does emotionally acknowledge her budding feelings for an LI in every chapter, but the game somehow found a cheat code to progress the story without locking the romance into one specific guy. Shockingly enough, it made sense to me and worked well in favor of the overall narrative.😳
⬇️ Read spoilers if you’re curious about what I mean.Around the end of Chapter 2 (Lowd’s segment), Maslo approaches Kroa and teaches her how to use her psychometry in reverse. Instead of reading emotions from objects, Kroa learns to store her own emotions into her gun, Dilu. This way, she can transfer all her strong feelings of love, romance, grief, regrets, sorrow to Dilu, and fully step into her role as a mafia boss and endure the territorial power struggles against her rivals without anything weighing her down.
I know it sounds goofy to dump your feelings into a gun lol. But I thought it was actually a pretty crafty way to move the story forward without making Kroa’s interactions with the LIs feel weird or awkward. She also makes it a point in the game to make sure that before her “budding feelings” develop further, she gets rid of them and entrusts them all to Dilu.
Being the head of the Liu family comes with a lot of consequences, so before any lingering emotions weigh her down, she chooses to do away with them. This is especially crucial given the many mistakes she makes throughout the story. In Chapter 2, she jumps out of formation to protect Lowd, which leads to the death of one of her capos, Zhia. Another instance where entrusting her feelings to Dilu becomes vitally relevant is during Mun’s chapter. As her most formidable foe, facing him head-on requires her to completely forget her personal feelings for him.
So yeah, in a way, this cheat sheet actually works really well in the narrative. I was very satisfied with how it was handled.
Romance of the 3 Kingdoms But Make it Mafia
For CN media aficionados, if it isn’t obvious, Neon Clash: Echoes of the Lost is actually heavily inspired by the famous Luo Guanzhong novel Romance of the Three Kingdoms. I was reading the director’s commentary on the game, and they mentioned that Satoshi Nohara, the producer, the staff themselves, and even the seiyuus were big fans of the series. Ngl, I think it’s kinda brilliant how they were able to interlace the power struggle theme from RoTK into a modern-day mafia story. I was also a fan of the series, (well, mostly the 2010 tv series and the old TRPG lol)😅 and I think the devs really drew a lot of inspiration from the original source and incorporated it beautifully into this game.
Even the game’s worldview, where you can see Kumyo’s map and how it shows which bases belong to which family as well as which family captured which bases after every chapter ending, draws heavily from RoTK, and I thought this was really clever!
I also loved how they adapted the Triad/Chinese mafia-gang style in the story, where the mafia is less formal, less rigid, and more chaotic compared to the American-Italian style mafiosos. I grew up watching HK cinema, and if you’re like me and loved gangster movies like Young and Dangerous, you will absolutely enjoy the intense, hard-hitting action-packed style that Neon Clash delivers. So yeah, this game was right up my alley, so to speak.
I feel like the producer’s vision was perfectly realized by the director, the scenario writer, and the rest of the staff. From reading the team’s commentaries, it’s clear that everyone was highly coordinated, and you can really see that synergy reflected throughout the game!
An Action-Packed Storyline with Multi-Faceted Characters
Plotwise, the tension in this game was insane. Our main characters go through relentless hardships, one after another. I was totally shook how vivid and strong their motivations felt (as if I was there with them lol). I spent the whole time gritting my teeth, wondering what would happen next? How are they going to make their next move? The story itself really felt like an intense battle of divide and conquer all the way up to the very end.
Whenever Kroa and the gang survived and achieved their goals (even for just a brief moment), I couldn’t help but smile and cheer with them. And whenever they suffered a loss, I cried right along with them too. It’s kind of amusing how invested I got in the story, now that I think about it!😅
This title is also pretty fast-paced. While the action-packed scenes in the story take place months apart chronologically, the game’s structure delivers them back-to-back, which kept the story momentum high, sometimes leaving you gasping for air.🤣(laughs)
I think I also liked the fact that, despite the storm of tragedy and chaos unfolding, the game still gives you enough breathing room to process things before throwing you into another spiral. What’s especially nice is that every conflict is born from a character’s own choices and missteps, so the chaos didn’t feel like some sort of arbitrary monkey wrench thrown into the plot for shock value. Most of the tragedies happen within reason and fit naturally into the narrative, so I was pretty satisfied with this aspect of the story. Also, keep in mind that since the story revolves around a modern-day mafia theme, the game can get pretty graphic and violent. So if these things make you queasy, please check the content warnings above.
The side characters were also a lot of fun. I had my favorite picks like R, Rin, the Shelby twins, Yulong, Shao Feng, Yona, and a whole lot of others. Gonglu was a piece of sh*t, but I have to admit, I was kind of infatuated with him at some point. (cackles).🙈
Just look at that sassy, scheming grin of his!😭It’s also really hard not to like any of the LIs, as they’re all so distinctively well-written. This game turned me into a filthy box-pusher (hako-oshi) all over again, because I genuinely mean it when I say I’m down bad for every single love interest. I was so sure my top pick was Lowd after finishing all the romance endings, but as I’m writing this review, I keep brainrotting over Maslo. His story in the game was kind of shafted, which is a pity, but there’s just something about him that I’m really drawn to (maybe its his sexy neck frayglyph tattoo, who knows). 😏🤭So I guess, if I had to choose at gunpoint, I’d be rallying behind my beautiful DJ pink-kun!
You already have my heart, bb!😌As for the romance, the confession scenes in the Happy Ends were all pretty silly, dumb, and hilarious, but I somehow inhaled every single one of them because I was STARVED for romance the entire time. After all the hurdles, and hardships these characters went through, they absolutely deserved to let loose and just be silly and dumb for once.
Having said that, if anything, what this title could’ve really benefited from, was more romance scenarios. I’m not saying there’s none because I think the romance in the individual “Happy Ends” was really good food (delicious, even). After all, the scenario is by the writer of Cupid Parasite, so you can definitely pick up their signature flair for spicing things up. However, the length of the epilogues just felt far too short to showcase an utterly satisfying fluff. I wanted more. More fluff and more spice! 😭 Maybe a fandisk could scratch this itch… please, Voltage, I beg!
Do I recommend this game? YES.
I…..really….. loooooved this game.😭 I realized I was also the target audience for this title. The ending was so satisfying to me, that I can overlook a few exposition issues because of it. It’s not often that I finish a title and sigh, “Man, that was great,” but that’s exactly how I felt after finishing Neon Clash: Echoes of the Lost. I don’t claim this title is flawless or perfect, but everything about it, from the beautiful cyberpunk Chinese aesthetics, the intense power struggle plotline, the modern-day mafia action-packed scenarios, to the exhilarating main characters that I’ve grown to love and care for, keeps calling me back every time. I’m honestly really shocked at how much this title has wormed its way into my top favorites.How I wish I could forget this game so I could re-experience all the positive restlessness and edge-of-your-seat milliseconds I spent on it all over again. 😭 It was hell and back, peak! I was thoroughly entertained until the very last roll of credits, so yeah, this is an easy recommendation from me.
This title is currently on a 10% release month discount, so I don’t know what else to tell you. I’ve already bought sets of merch for this title, and I’m pretty sure this won’t be the last time I spend on it. If you care about peak storytelling and peak characters, absolutely play Neon Clash, by all means necessary.
#AmuLit #NeonClash #NeonClashEchoesOfTheLost #NeonClashEchoesOfTheLostReview #NeonClashReview #nintendoSwitch #OtomeGameReview #VoltageInc
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Thornbridge – Daydream Illusion Review
By Eldritch Elitist
I love Teutonic power metal. I love how basically every band sounds like Gamma Ray or Blind Guardian in varying degrees, as well as their wocalists’ perpetual inability to pronounce the phoneme v. There’s a comfort to be found in the formula; lucky me, then, that Germany tends to produce a greater ratio of quality power metal bands than most other regions. Thornbridge is a prime example of such quality, a relatively young yet proven band that favors the sub-sub stylization of Orden Ogan worship. Their debut What Will Prevail impressed with its eclectic vigor, and its follow-up Theatrical Masterpiece streamlined the formula as well as any sophomore effort ever has. Daydream Illusion, Thornbridge’s 5-years-later third round, further narrows their scope. The ol’ reliable atmosphere of cheesy Teutonic comfort food remains satisfying, even if something is amiss in the execution.
Where Theatrical Masterpiece saw Thornbridge culling much of their heavier elements in favor of stronger lead guitar emphasis, Daydream Illusion nixes heaviness almost entirely. This results in a more traditional power metal record with a purely melodic focus, one that I can’t say I prefer over Thornbridge’s prior efforts, but that nonetheless stands out in the band’s burgeoning discography. This means cuts like the wistful “Kingdom of Starlight” and the band’s debut ballad “Send Me a Light” are totally distinct in Thornbridge’s catalog, and are particularly memorable as a result. Thornbridge still excels when indulging in outright speed, with “Sacrifice” and “Final War” making for explosive high points. Even with its lighter riff-deficient thesis, Daydream Illusion is still immediately recognizable as a Thornbridge album, proving they have crafted a singularly enjoyable sound despite their obvious sources of inspiration.
As enjoyable and addictive as Daydream Illusion is, its absence of aggressive riffs ultimately makes it a less impactful offering. Yet putting the riffs aside, when stacked against its preceding sister records, the record’s energy feels lacking. Many of these songs, while melodically compelling, chug along at a tempo that invokes a motorist stubbornly cruising in the fast lane just under the speed limit. Sure, “Island of My Memories,” “My Last Desire,” and “Lost on the Dark Side” technically qualify as “fast” power metal tracks thanks to their steady double bass drives, but they feel as slow as they could possibly be without actually qualifying for “mid-paced” territory. This makes the actual mid-paced cuts somehow feel more vigorous by comparison. The resulting pacing imbalance is frustrating, especially because it feels like Thornbridge could have improved this record’s presence greatly by stepping on the gas just a bit harder.
Tempo issues aside, none of the material here falls short of goodness, even if the bulk of it is merely good. Much of Daydream Illusion’s likeability is owed to Thornbridge’s melodic chops. Most songs strike a tone that feels simultaneously triumphant and melancholic, much like Orden Ogan at their peak (back when Orden Ogan was peak). The sticky vocal melodies are delivered once again by Jörg “Mo” Naneder, who, in keeping with this record’s trimmed aesthetic, has disappointingly simplified his delivery. I think it’s safe to say that his aggressive vocal mode from What Will Prevail has been retired from Thornbridge, but his standard cleans have taken a hit in power as well, perhaps as a byproduct of Daydream Illusion’s legato melodic phrasing. He’s still a likable and charismatic singer and a great fit for the band, but I expect more from his performances by now.
And that’s the story of Daydream Illusion in a nutshell: a solid and thoroughly enjoyable power metal record, but one that would be more appealing had Thornbridge not previously elevated my expectations with better offerings. This album gives me an elusive yet highly specific feeling, one I eventually pinpointed as being identical to my feelings towards Invincible Shield. A quality record on all accounts, and one that has appealed to many who just want to hear Judas Priest doing Judas Priest things, but also one that pales when stacked against its creators’ greatest successes. On one hand, it’s a downer to hear Thornbridge hit this point on album number three. On the other, there’s assumedly ample time for the band to prove Daydream Illusion is but a momentary, still-entertaining speedbump on their road to further glory.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: thornbridge.de | facebook.com/thornbridgeband
Releases Worldwide: March 22nd, 2024#2024 #30 #BlindGuardian #DaydreamIllusion #GammaRay #GermanMetal #Mar24 #MassacreRecords #OrdenOgan #PowerMetal #Review #Reviews #Thornbridge
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Thornbridge – Daydream Illusion Review
By Eldritch Elitist
I love Teutonic power metal. I love how basically every band sounds like Gamma Ray or Blind Guardian in varying degrees, as well as their wocalists’ perpetual inability to pronounce the phoneme v. There’s a comfort to be found in the formula; lucky me, then, that Germany tends to produce a greater ratio of quality power metal bands than most other regions. Thornbridge is a prime example of such quality, a relatively young yet proven band that favors the sub-sub stylization of Orden Ogan worship. Their debut What Will Prevail impressed with its eclectic vigor, and its follow-up Theatrical Masterpiece streamlined the formula as well as any sophomore effort ever has. Daydream Illusion, Thornbridge’s 5-years-later third round, further narrows their scope. The ol’ reliable atmosphere of cheesy Teutonic comfort food remains satisfying, even if something is amiss in the execution.
Where Theatrical Masterpiece saw Thornbridge culling much of their heavier elements in favor of stronger lead guitar emphasis, Daydream Illusion nixes heaviness almost entirely. This results in a more traditional power metal record with a purely melodic focus, one that I can’t say I prefer over Thornbridge’s prior efforts, but that nonetheless stands out in the band’s burgeoning discography. This means cuts like the wistful “Kingdom of Starlight” and the band’s debut ballad “Send Me a Light” are totally distinct in Thornbridge’s catalog, and are particularly memorable as a result. Thornbridge still excels when indulging in outright speed, with “Sacrifice” and “Final War” making for explosive high points. Even with its lighter riff-deficient thesis, Daydream Illusion is still immediately recognizable as a Thornbridge album, proving they have crafted a singularly enjoyable sound despite their obvious sources of inspiration.
As enjoyable and addictive as Daydream Illusion is, its absence of aggressive riffs ultimately makes it a less impactful offering. Yet putting the riffs aside, when stacked against its preceding sister records, the record’s energy feels lacking. Many of these songs, while melodically compelling, chug along at a tempo that invokes a motorist stubbornly cruising in the fast lane just under the speed limit. Sure, “Island of My Memories,” “My Last Desire,” and “Lost on the Dark Side” technically qualify as “fast” power metal tracks thanks to their steady double bass drives, but they feel as slow as they could possibly be without actually qualifying for “mid-paced” territory. This makes the actual mid-paced cuts somehow feel more vigorous by comparison. The resulting pacing imbalance is frustrating, especially because it feels like Thornbridge could have improved this record’s presence greatly by stepping on the gas just a bit harder.
Tempo issues aside, none of the material here falls short of goodness, even if the bulk of it is merely good. Much of Daydream Illusion’s likeability is owed to Thornbridge’s melodic chops. Most songs strike a tone that feels simultaneously triumphant and melancholic, much like Orden Ogan at their peak (back when Orden Ogan was peak). The sticky vocal melodies are delivered once again by Jörg “Mo” Naneder, who, in keeping with this record’s trimmed aesthetic, has disappointingly simplified his delivery. I think it’s safe to say that his aggressive vocal mode from What Will Prevail has been retired from Thornbridge, but his standard cleans have taken a hit in power as well, perhaps as a byproduct of Daydream Illusion’s legato melodic phrasing. He’s still a likable and charismatic singer and a great fit for the band, but I expect more from his performances by now.
And that’s the story of Daydream Illusion in a nutshell: a solid and thoroughly enjoyable power metal record, but one that would be more appealing had Thornbridge not previously elevated my expectations with better offerings. This album gives me an elusive yet highly specific feeling, one I eventually pinpointed as being identical to my feelings towards Invincible Shield. A quality record on all accounts, and one that has appealed to many who just want to hear Judas Priest doing Judas Priest things, but also one that pales when stacked against its creators’ greatest successes. On one hand, it’s a downer to hear Thornbridge hit this point on album number three. On the other, there’s assumedly ample time for the band to prove Daydream Illusion is but a momentary, still-entertaining speedbump on their road to further glory.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: thornbridge.de | facebook.com/thornbridgeband
Releases Worldwide: March 22nd, 2024#2024 #30 #BlindGuardian #DaydreamIllusion #GammaRay #GermanMetal #Mar24 #MassacreRecords #OrdenOgan #PowerMetal #Review #Reviews #Thornbridge
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Thornbridge – Daydream Illusion Review
By Eldritch Elitist
I love Teutonic power metal. I love how basically every band sounds like Gamma Ray or Blind Guardian in varying degrees, as well as their wocalists’ perpetual inability to pronounce the phoneme v. There’s a comfort to be found in the formula; lucky me, then, that Germany tends to produce a greater ratio of quality power metal bands than most other regions. Thornbridge is a prime example of such quality, a relatively young yet proven band that favors the sub-sub stylization of Orden Ogan worship. Their debut What Will Prevail impressed with its eclectic vigor, and its follow-up Theatrical Masterpiece streamlined the formula as well as any sophomore effort ever has. Daydream Illusion, Thornbridge’s 5-years-later third round, further narrows their scope. The ol’ reliable atmosphere of cheesy Teutonic comfort food remains satisfying, even if something is amiss in the execution.
Where Theatrical Masterpiece saw Thornbridge culling much of their heavier elements in favor of stronger lead guitar emphasis, Daydream Illusion nixes heaviness almost entirely. This results in a more traditional power metal record with a purely melodic focus, one that I can’t say I prefer over Thornbridge’s prior efforts, but that nonetheless stands out in the band’s burgeoning discography. This means cuts like the wistful “Kingdom of Starlight” and the band’s debut ballad “Send Me a Light” are totally distinct in Thornbridge’s catalog, and are particularly memorable as a result. Thornbridge still excels when indulging in outright speed, with “Sacrifice” and “Final War” making for explosive high points. Even with its lighter riff-deficient thesis, Daydream Illusion is still immediately recognizable as a Thornbridge album, proving they have crafted a singularly enjoyable sound despite their obvious sources of inspiration.
As enjoyable and addictive as Daydream Illusion is, its absence of aggressive riffs ultimately makes it a less impactful offering. Yet putting the riffs aside, when stacked against its preceding sister records, the record’s energy feels lacking. Many of these songs, while melodically compelling, chug along at a tempo that invokes a motorist stubbornly cruising in the fast lane just under the speed limit. Sure, “Island of My Memories,” “My Last Desire,” and “Lost on the Dark Side” technically qualify as “fast” power metal tracks thanks to their steady double bass drives, but they feel as slow as they could possibly be without actually qualifying for “mid-paced” territory. This makes the actual mid-paced cuts somehow feel more vigorous by comparison. The resulting pacing imbalance is frustrating, especially because it feels like Thornbridge could have improved this record’s presence greatly by stepping on the gas just a bit harder.
Tempo issues aside, none of the material here falls short of goodness, even if the bulk of it is merely good. Much of Daydream Illusion’s likeability is owed to Thornbridge’s melodic chops. Most songs strike a tone that feels simultaneously triumphant and melancholic, much like Orden Ogan at their peak (back when Orden Ogan was peak). The sticky vocal melodies are delivered once again by Jörg “Mo” Naneder, who, in keeping with this record’s trimmed aesthetic, has disappointingly simplified his delivery. I think it’s safe to say that his aggressive vocal mode from What Will Prevail has been retired from Thornbridge, but his standard cleans have taken a hit in power as well, perhaps as a byproduct of Daydream Illusion’s legato melodic phrasing. He’s still a likable and charismatic singer and a great fit for the band, but I expect more from his performances by now.
And that’s the story of Daydream Illusion in a nutshell: a solid and thoroughly enjoyable power metal record, but one that would be more appealing had Thornbridge not previously elevated my expectations with better offerings. This album gives me an elusive yet highly specific feeling, one I eventually pinpointed as being identical to my feelings towards Invincible Shield. A quality record on all accounts, and one that has appealed to many who just want to hear Judas Priest doing Judas Priest things, but also one that pales when stacked against its creators’ greatest successes. On one hand, it’s a downer to hear Thornbridge hit this point on album number three. On the other, there’s assumedly ample time for the band to prove Daydream Illusion is but a momentary, still-entertaining speedbump on their road to further glory.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Massacre Records
Websites: thornbridge.de | facebook.com/thornbridgeband
Releases Worldwide: March 22nd, 2024#2024 #30 #BlindGuardian #DaydreamIllusion #GammaRay #GermanMetal #Mar24 #MassacreRecords #OrdenOgan #PowerMetal #Review #Reviews #Thornbridge
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Alekhines Gun’s, ClarkKent’s and Owlswald’s Top Ten(ish) of 2025 By Steel Druhm
Alekhines Gun
It’s genuinely surreal to be writing this article. This Gun found his whole life flipped upside down literally on New Year’s Eve, in a new town, a new state, unemployed, and with nothing to do but review. By God’s grace, I’ve managed to find an actual career in my new town, walking into a new industry with nothing on my resume but exuberance and enthusiasm.1 This blog, with its incredible set of writers who inspire me daily, and readership who prove endearing and exasperating in equal measure, has been a rare moment of consistency in a year filled with professional and personal uncertainty. I didn’t get to listen to nearly as many albums as I’d hoped to, thanks to this being such a transitional year for my life, and perhaps in years to come, I’ll look back on this list in annoyance. But for the moment, it stands as a monument of achievement; of personal growth and practical accomplishment, and I’m immensely grateful to every reader and commenter for being along with me on this journey.
My thanks to The Angry One for giving me a second chance in my n00b days when it became clear I didn’t understand the assignment; I hope you don’t regret your choice too much.2 Thanks to the main AMG staff for being so friendly and welcoming, especially Mystikus Hugebeard, Dear Hollow, Twelve, and Kenstrosity. My eternal fealty to Steel for enduring what I imagine was an unbearable amount of stupid questions and formatting issues as I got my sea legs under me, and continue to see how much I have yet to grow as a writer.
And lastly, all my love and an Eternal Hails to my Freezer Freak brethren – Tyme, Killjoy, Owlswald, and Clark Kent. You guys were the best n00b class a guy could ask to come up with, and it has been such a privilege to have been formally writing alongside the four of you this year and call you friends as well as colleagues. Cheers to many more.
#Ish: Phobocosm // Gateway – Late release or no, it only took one listen to know this was something I needed in my life. Unrelenting in its atmosphere and with a tone like being devoured by vampire bats, Gateway doesn’t want for a plethora of oppressive moments and maintains its bleakness with admirable consistency. With interludes that function more like proper instrumentals between the more heavy cuts, Phobocosm rotate between blunt force trauma and existential despair in equal measure, flattening brain marrow with kaiju-sized stomptastic riffs only to throw you haplessly into depressive and gloom-drenched melodies the next. The rare kind of death metal peak for a rainy day, open up the gate and let it take you on a journey you might not come back from.
#10: Ancient Death // Ego Dissolution – Ancient Death is a testimony to why you should always read our foul filter excavations. Boasting a styling of, dare I say, classier old school deathisms with a healthy dollop of melody and chuggathons for days, Ego Dissolution is a mighty slab indeed. Kenstrosity quite correctly heaped praise on this release for its rare tonal fusion of Death and The Chasm, and beyond that, it has excellently implemented clean vocals, subtle synth work to bolster doomier moments, and riffs which transition from bludgeoning to esoteric in a heartbeat. Solos are peak, as all good death requires, atmospheres are coated in muck and mire without being underproduced, and even the instrumental stands out as a solid step in the journey on offer. Ego Dissolution deserves better than being a footnote in the annals of filter history, representing a highbrow slab of quality in mood-setting while still offering up violence at every turn.
#9: Teitanblood // From the Visceral Abyss – These void-worshipers have crafted an album that straddles the line of black, death, and war metal so flawlessly that every trip to their abyss leaves me exhausted and battered, but utterly enthralled. A flawless fusion of riff and atmosphere in equal measure, every ingredient from the militant drumming to the cacophonous vocals is a means to an end, and whether you’re in it more for the former or the latter is entirely irrelevant. Few albums manage to transcend being a collection of tracks into being a completed whole body of work so smoothly, and From the Visceral Abyss does so with blackened bile pouring through pounding through its poisoned veins. Disconcerting in its antagonism yet enthralling in the exactness of its vision, Teitanblood remains an auditory scrying mirror into the deepest pits that we were never meant to gaze upon.
#8: Imperial Triumphant // Goldstar – Goldstar is exactly what I had hoped for after the excessively out-there of their previous release: A more riff-centric album, which only just scales down the weird to let the approachability shine through like bait on the unsuspecting listener. To be sure, the alien Gorguts and Voivodisms remain, but this album takes a flavor similar to Alphaville3 and it builds its progressivism on the bones of licks and riffs which don’t take twenty listens to decipher before their foundation is made clear. Virtuoso musicianship remains at a peak, but as the tagline “Nine Class ‘A’ Songs” suggests, Imperial Triumphant have opted less to overwhelm the listener as much as flex on them, with fantastic results. A great introduction if you’re new to the band, and an enthralling listen for the jazz enthusiast and avant-garde black metal fan alike.
#7: Kalaveraztekah // Nikan Axkan – I underrated this a bit during the initial rodeo. While my complaints about the treble-heavy lack of bottom end remain, this is a masterfully composed record which continues to reveal new moments of wonder with each spin. Riffs designed to evoke thematic atmosphere and crush skulls in equal measure abound (“Nikan Axkan”) while remembering to summon the native beauty of the Aztec backdrop (“Yowaltekuhtli”) with skill. Lurching into Morbid Angel flirtations laced with delightful indigenous beats one minute and having haunting clean vocals drenched with horror and ritualism the next, this album is a whirlwind of a listen, a journey through primal soundscapes and human history meshed with technical prowess and grace. Hopefully someone picks them up soon, as they are well deserving of a bigger spotlight, and if you missed our rodeo on this release (shame on you) then you owe it to yourself to give it a listen.
#6: Labryinthus Stellarum // Rift in Reality – When I was very young, trancecore was one of the first “heavy” sounds I cut my teeth on, and consequently, my earballs feel right at home in these rifts. Impossibly catchy without being so simple as to offend my intelligence, and featuring electronics that have as much diversity and life in them as any guitar tone, Rift in Reality is a testimony that you can make techno and metal work on albums not named The Key. The blackened production stands in sharp contrast to the piercing, cosmic-echo cleanliness of the electronics, which are always spearheading the melodies but never at the cost of the full band’s heft and power. Spreading their songwriting wings a bit from the last release in more intricate melodies, a smattering of breakdowns, and heavier use of cleans has afforded Labryinthus Stellarum more personality than gimmickries, and I can’t wait to see where they go from here.
#5: Oskoreien // Hollow Fangs – It’s been a decent year for the more raw elements of black metal, but these fangs poisoned all who stood in their way. Somehow catchy in its simplicity yet not devoid of moving melodies, Hollow Fangs isn’t as much an innovation of the thing as much as the thing done at peak quality and skill. The cold tones reinforce the melancholy on display in the chord progressions, while the occasional leads sound more introspective than meandering despite their lack of raw noodlage. While I agree with the spirit of Owlswald‘s criticisms, I cannot deny that I continue to be drawn to this record despite its warts. Hollow Fangs has managed to set itself apart this year while not doing much out of the ordinary, containing that X factor that finds me reaching out to it over and over again.
#4: Blut Aus Nord // Ethereal Horizons – Like all good Blut Aus Nord albums, I had to let this album come to me, but once it did, it shows no signs of letting up. Somehow sidestepping the melodic trappings of the Memoria Vetusta series into something far more hypnotic yet no less deep in scope, Ethereal Horizons places all its stock on triumphant hypnosis. With nods to several chapters towards the band’s era in composition and production alike, the French kings use the building blocks of their dissonant works and claustrophobic atmospheres to construct something liberating and uplifting, with even the momentary bouts of darkness more atmospheric than truly grueling. I suspect we will find Ethereal Horizons to be an important stepping stone for the next chapter of blackened adventure. For now, adjust expectations away from whatever sequel you were hoping for in their litany of journeys and accept the new horizons showing just past the dawn.
#3: Cryptopsy // An Insatiable Violence – I was an admitted latecomer to the Cryptopsy brand, stumbling upon their excellent Book of Suffering EPs some years ago. Consequently, I’ve been a staunch defender of their modern era even as I dove backward into the classics and peculiarities. An Insatiable Violence smacks with a validation of all my affections, keeping the technical might while continuing to grow in groovy, melodic directions. True, I should have been a tad harder on the production of the drum tones than I was in my initial review, but tough tiddlywinks. From the sky-piercing beauty of the solo in the opening track “The Nimis Adoration” to the bookending body blow of “Malignant Needs,” this album remains a quality offering of the most elite of brutal death. Succinct in length but with twice the riff-to-minute factor, Cryptopsy stands supreme at the top of the more violent end of the musical spectrum this year.
#2: Messa // The Spin – While part of me deeply misses the droning elements and slightly crustier tone of Belfry, there’s no denying the spiritual journey this album takes me on with each listen. The embodiment of a grower, what begins as a somewhat underwhelming (compared to previous efforts) listen slowly unfurls itself to be an excellently realized, meticulously composed release. Look no further than album highlight “The Dress” for riffs that border more on twangy than “crushing” and yet pack the spirit of the doomiest doom in each measure. Vocalist Sara continues to up her harmonization game with double and triple-tracked melodies that reach right into my soul. Though The Spin is relatively light in guitar tone, each listen reveals a weight and power hidden from track to track, and the fantastic album closer “Thicker Blood” instinctively has me reaching out to replay the album as soon as it ends. Truly gorgeous.
#1: Aran Angmar // Ordo Diabolicum – Since plucking this record at random with no prior knowledge or expectations from the pit, Aran Angmar has stuck with me through professional and personal challenges and victories, tragedies and triumphs, in a manner befitting the greatest of Greek black metal. The harmonized leads in “Chariots of Fire” still dwell rent-free in my head, and the wailing clean vocals of the kickoff track “Dungeons of the Damned” still get my blood pumping every time. Excellent for cleaning your impossibly filthy house, working on a long overdue job project, or slaughtering your enemies by the hundreds in equal measure, Ordo Diabolicum is the sound of perseverance rewarded, of effort given and blood shed for a higher purpose, and actually witnessing the payoff with your own eyes. Sidestepping the tropes of evil for something so supremely triumphant is a move that has paid big dividends for this outfit, and while blackened to its core, few soundtracks have encouraged me to keep on keepin’ on like this has. A monstrous record to declare war on whatever oppresses you.
Honorable Mentions:
- Mutagenic Host // The Diseased Machine – Designed to reduce one’s gluteus maximus into a shape far more concave, this is a youthful release wise beyond its years in bringing the pain and infecting all in its wake.
- Qrixkuor // The Womb of the World – Bringing in an actual symphonic performance has somehow rendered this cavernous sound even more daunting. At once engaging and uncomfortable, this is an album for those who find beauty in the most repulsive of darkened shrines.
ClarkKent
When I first discovered the Angry Metal Guy blog back in 2021,4 it was during a period of transition in my life, as COVID spurred a career transition out of teaching and, eventually, into data analytics. At the time, my metal tastes were limited to more well-known acts like Metallica and Iron Maiden, with forays into Opeth, Enslaved, and Ayreon. Boy, did this blog expand my horizon. Between taking online classes and staying home with my two kids, I devoured AMG reviews and dove into the vast ocean of metal acts that both the writers and commenters introduced me to. And then, when Angry Metal Guy put out the casting call later that year, I was out of a job and always wanted to be a writer, so I thought, Why not? Little did I know this decision would see me stored in a freezer for four long years. Thankfully, when I thawed out last year, it was with four great guys who all kept each other sane during our n00bship: Alekhines Gun, Tyme, Killjoy, and Owlswald. I’m happy to have had their camaraderie and friendship, and I’m stoked that all five of us were demoted to staff writers. I am also grateful to Steel Druhm and Angry Metal Guy for bringing me aboard, despite my horrid taste, and to Dolphin Whisperer and Maddog for their helpful tips and feedback on my drafts. As Steel would say, you guys were gentle, yet brutal, and in the best possible way. With 2025 proving a stressful year, largely due to increasing work demands, listening to promos and writing reviews has proven a helpful outlet. I’m looking forward to an awesome 2026.
#ish. Bloodletter // Leave the Light Behind — While staying true to their melothrash sound, Bloodletter continues to improve in their songwriting year after year. This is easily their best and my favorite thrash record of the year, in a year where not much thrash really stood out to me. The tight songwriting, the energy, and the melodic leads are all top-notch, and this one stands up even after repeated spins.
#10. Wings of Steel // Winds of Time — This was one of my favorite reviews to write in 2025. Not just because the album was big and fun, with big bombastic numbers like the opening song “Winds of Time,” or tight and speedy cuts like “Saints and Sinners,” or ballads like “Crying,” or my song of the year, “Flight of the Eagle.” It gave me the rare opportunity to write fart jokes and the even rarer chance to “steal” a promo from Steel. So many throwback classic metal bands sound like they belong in that older time, but Wings of Steel sound timeless—they could belong in the new and the then all at the same time.
#9. Besna // Krásno — While I’m not typically drawn to post-metal, Besna’s Krásno proves an exception. The harsh guitar tones and vocals provide an alluring contrast with the catchy melodic tremolos. Despite its brief length, this is a surprisingly progressive album. Each song reveals a beauty to Besna’s songwriting and musicianship, and that album art is gorgeous, to boot. I love everything Besna does here, and this proved to be just the beginning of what was a strong start to 2025.
#8. Green Carnation // A Dark Poem Part I: The Shores of Melancholia — I’m glad Doc Grier introduced Green Carnation to me when Leaves of Yesteryear topped his 2020 list. I love this band, and this record is no exception. It has six tracks of pure earworm and ends up being one of the catchiest albums of the year. These guys know how to write songs that make you feel good and want to dance and sing along to. What’s more exciting is that this is the first of a planned trilogy, so hopefully that means we don’t have to wait long for the next one.
#7. Phantom Spell // Heather and Hearth — Heather and Hearth is like a time machine, one taking you back to ’70s era prog. Man, it’s a lot of fun. It’s catchy and bright—a shining beacon amidst a horde of brutal, violent metal. This is packed to the gills with hooks, from spry riffs to feel-good synths to memorable choruses. Metal rarely puts a smile on your face without sounding like cheesy power metal à la Fellowship, but Phantom Spell does it here. Apparently, this kind of bright and cheery metal was just what I needed this year, and it proved a nice summer balm.
#6. Atlantic // Timeworn — When I first listened to this earlier in the year, I just assumed it was the work of an established, well-known band. So it was a surprise to learn Timeworn was actually the debut from a relative newcomer in Callan Hoy. Something about 2025 has drawn me towards these uplifting albums that burst with good feelings and catchy melodies. For the 34 minutes I spend with this, I just get lost in the currents of the tremolos and blast beats and, at least for a moment, live in a world of calm and bliss.
#5. In the Woods… // Otra — This sort of melodic, catchy metal is my kryptonite. In the Woods… plays the kind of songs that get lodged in my brain, and I start whistling them while doing my grocery shopping, drawing funny looks. I’d never heard of these guys until Grier’s review earlier this year, and now I’m thinking maybe I should dive into their back catalog. More worryingly, this is the second album on my list that Grier gave a glowing review for. That means either he actually has good taste, or my taste is just as bad as his.
#4. Oromet // The Sinking Isle — If I had a time machine, I’d go back and rate this one a little higher. This isn’t a “marathon” like some of Bell Witch’s records, nor a piece of crushing funeral doom, nor one that makes extensive use of silence. It is introspective, full of surprises, and melodic. It also came at a period in my life when work was particularly stressful. Playing this helped provide me with some solace and calm as I took in the beautiful compositions. These guys have a bright future ahead of them.
#3. Deafheaven // Lonely People with Power — After the misstep that was Infinite Granite, it’s nice to see Deafheaven back to form. I was ready to write them off, but thanks to Doom_et_Al’s impassioned words, I excitedly dove in. I’m glad I did. I now know their form of shoegaze-y black metal is divisive among metal fans (I was clueless about this fact when I first discovered them), but I don’t care, and I still love it. It’s just so easy to get lost in those lush guitar tones and harsh rasps. It’s tough to pick out any one tune as a standout because it’s the experience of the record as a whole that is so rewarding.
#2. In Mourning // The Immortal — This is a remarkable piece of melodic progressive death. I hadn’t heard of In Mourning until Kenstrosity and the other AMG staffers started talking them up ahead of this release. It seems I’ve really missed out and need to fix that. The Immortal is just about perfect. From song craft to musical performances, these guys nail it. From the beautiful guitar tones to the excellent combo of clean and harsh vox to the memorable melodies, The Immortal is an emotional tour de force that grows more majestic with each spin.
#1. Tómarúm // Beyond Obsidian Euphoria — When I first moved away from more mainstream metal acts, it was progressive death bands like Tómarúm that drew me in. Opeth, Between the Buried and Me, Enslaved, and Ayreon opened up my ears to the reward of listening to songs that reveal new layers and depth with repeated listening. Each year, one or two prog death records climb high in my rankings, and this year that mantle belongs to Tómarúm. This record is massive, and the more time I spend with it, the more depths I plumb, and I find that it contains never-ending riches. There are just so many surprises—the technicality, the speed, the melodies—even some flutes! As great as the debut was, these guys have only gotten better and have earned a spot as one of my current favorites in the genre, along with Iotunn and Dvne. This is the kind of album I love to get lost in—it’s pure bliss.
Honorable Mentions
- Empyrean Sanctum // Detachment from Reality — This passion project from Justin Kellerman may not have impressed my Rodeo-mates as much as me, but I strongly connected with it due to dynamic songwriting and inspired performances.
- Skaldr // Samsr — This was initially a lot higher on my list, but it didn’t hold up as well as it did back in January. Still, it’s a remarkable bit of melodic black metal and good enough to rank as among the best of 2025.
- Aephenamer // Utopie — Melodic and symphonic metal with superb songwriting? Sign me up. This latest from Aephenamer is just so dynamic and fun, and it’s another great effort from a reliably high-quality group. The last couple of songs are absolute beauties.
- An Abstract Illusion // The Sleeping City — This may not be as strong as their older stuff, but it’s still incredibly moving. The introduction of synths charts a new direction for the band, but they make it work with some gorgeous atmospherics.
Songs o’ the Year
1. Wings of Steel — “Flight of the Eagle” 2. Lord of the Lost — “One of Us Will Be Next” 3. In the Woods — “Let Me Sing” 4. Hanging Garden — “Morgan’s Trail” 5. Fer de Lance — “Fires on the Mountainside” 6. Tómarúm — “Shed this Erroneous Skin” 7. Green Carnation — “In Your Paradise” 8. Structure — “Will I Deserve It?” 9. Atlantic — “Voyages” 10. In Mourning — “Staghorn” 11. Dolven — “You’ve Chosen”
Owlswald
I’ve finally made it to the end of my first year on staff, culminating with my inaugural list. This time last year, I was deep in the throes of my n00bdom and watched from the dark confines of the dungeon as many of my Freezer Crew brethren shared their initial staff lists. And as stoked as I was for my mates, I couldn’t help but feel a bit jealous that I was still toiling with cleanup detail as an unnamed shadow. But the wheel of ascent turns for us all. After a few more months surviving on table scraps and standing water, our Managing Ape unlocked my cage, releasing me at last into the aviary and the promised start of my pledged service bound labor.
Though my escape from the rookery took longer, that extended time was not without its merits. Reviewing is a skill that must be honed like any other, and although metal—and music generally—has been an essential part of my life since I was young, it has admittedly taken longer for me to truly articulate the “why.” Anyone can declare an album “good” or “bad,” but developing and communicating the rationale is an entirely different discipline. A discipline that I believe I have improved over my first year as a writer here, and one that I look forward to developing further with more time in the seat.
My thanks go out, first and foremost, to Steel and AMG Himself for granting me the opportunity to contribute to this very special, longstanding community and for the monumental trust they have placed in me. Specifically, the trust that I wouldn’t utterly trash the place—a faith I’ve done my best to test (More on one attempt below). I must also thank my fellow writers—both old and new, including those now in the annals of AMG—who I’ve read for years and whose work continues to inspire me. And last, but certainly not least, I thank all of you who read, comment and visit the site regularly. The reality that my thoughts command even a sliver of your precious time remains utterly surreal. For that connection, I am truly honored.
Taking this good energy and running with it, let’s get to the list!
#ish. Harvested // Dysthymia – I wouldn’t have believed you if you’d told me at the start of the year that my first list would be kicked off by an unsigned band. But here we are, and Harvested’s self-released debut, Dysthymia, deserves the honor because it fucking rules. Operating in the sweet spot between Decapitated and Cattle Decapitation, the album boasts one of the best guitar tones of the year. These Canadians flaunt a songwriting maturity that many veteran groups twice their age still haven’t found—a sound that is as bone-crushingly heavy as it is technically brutal. I have been spinning Dysthymia regularly since its release, and highlight tracks like “Unending Madness” and “Gathered and Deluded” make primo Heavy Moves Heavy additions.
#10. Jade // Mysteries of a Flowery Dream – Some albums demand the right conditions and the listener’s utmost attention to enjoy fully, and Jade’s Mysteries of a Flowery Dream is such a record. Though it took a while for their sophomore effort to envelop me in its dark, murky, and oscillating guise, I’m glad I remained patient because the payoff was huge. This Barcelonian quartet has created a sensory-rich listening experience that is as immersive as it is complex and dynamic, featuring superb songwriting intertwined with recurrent themes and soaring leads that ensure the album’s 43 minutes feel unified and purposeful. Achieving this level of cohesive, complex dynamism is a feat that is incredibly hard to execute well, which makes Mysteries of a Flowery Dream all the more impressive.
#9. Pillars of Cacophony // Paralipomena – Each year, one tech-death record usually carves out a spot on my list. Last year, Apogean’s Cyberstrictive set an incredibly high bar, taking album of the year honors with its near-perfect blend of hook-laden guitar maneuvers and groove-focused rhythms. While tech-death won’t be repeating as champion in 2025, Pillars of Cacophony are nonetheless representing the genre in a major way with Paralipomena. The album showcases multi-instrumentalist Dominik’s talents in crafting unsettling, unpredictable soundscapes filled with propulsive fretwork, dissonant phrases, and kinetic rhythmic patterns. Drawing directly from Dominik’s own research as a bioscientist, Paralipomena coils science with the aural might of death metal to create a record that is as conceptually authentic as it is musically captivating.
#8. King Witch // III – Doom—and more specifically stoner—has always been hit-or-miss to these ears. But on III, Scotland’s King Witch grabbed the best parts of the genre and compressed them into a Seattle-made mold of hard rock and grunge that immediately won me over. The album is the culmination of the group’s artistic evolution, combining the strong songwriting of their debut with the dynamic shifts of their follow-up. Guitarist Jamie Gilchrist and bassist Rory Lee assemble a sophisticated foundation of earthmoving, genre-bending riffs that perfectly augment the star power of vocalist Laura Donnelly, whose Chris Cornell-like range and Janis Joplin grit give the material undeniable power and command. The result is a sound that elevates III far beyond typical doom boundaries into one of the year’s best records.
#7. Agriculture // The Spiritual Sound – I initially missed Agriculture’s self-titled debut and follow-up EP, so The Spiritual Sound was my first introduction to this Californian black metal outfit. But after months of having this record on constant rotation—and seeing their live show—I can confidently conclude they are one of the most innovative and unique black metal groups operating right now. Self-dubbed as “ecstatic black metal,” Agriculture shatters convention by challenging the dark extremity of the genre with a patchwork of math rock, shoegaze, noise, and folk influences. Powered by Leah Levinson’s manic, shifting vocals and inventive guitar work from Dan Meyer and Richard Chowenhill, The Spiritual Sound is a genre-defying record that is both unpredictable and intensely authentic.
#6. Cryptopsy // An Insatiable Violence – Outside of my admiration for fellow drummer extraordinaire Flo Mounier, I have to admit that I had more or less forgotten about Cryptopsy after 2012’s self-titled album. Thanks to my fellow Freezer Crew brother Alekhines Gun, I gave them another go, and An Insatiable Violence hit me like a ton of bricks, forcing me to quickly figure out how to start begging these Canadians for forgiveness. From Matt McGachy’s unique, manic screams to Mounier’s pummeling gravity blasts and double-bass to Christian Donaldson’s “waltz-rooted chuggathons” and fret noises, every aspect of An Insatiable Violence is crystal clear, full of groove and hits like a fucking tank. Needless to say, I won’t be making the same mistake twice, and these death metal legends now have my full attention again.
#5. …and Oceans // The Regeneration Itinerary – Being a longtime fan of these multifarious Finns, I rejoiced when they returned from an extended hiatus in 2020 with Cosmic World Mother. Yet, as strong as that album—and follow-up As in Gardens, So in Tombs—was, it didn’t have the same symphonic and eclectic oomph as The Dynamic Gallery of Thoughts or The Symmetry of I – The Circle of O. Much to my pleasure, The Regeneration Itinerary is a riveting return to form for …and Oceans, returning to their symphonic, frenetic and blackened sound of yore while maintaining the incisiveness of their modern form. This album is peppered with their classic trademarks, and “Prophetical Mercury Implement” is the best song the group has written in decades. After taking a couple of albums to get their groove back, The Regeneration Itinerary is evidence that …and Oceans has found it again.
#4. Messa // The Spin – Messa’s fourth full-length marks the second doom record on my list (and the second led by a badass frontwoman). On The Spin, Messa continues to evolve their progressive identity, imbuing their sound with flavors of 80’s dark post-punk and gothic rock that evoke the haunting architecture of early Killing Joke. While Sara’s vocals may not possess the same boisterous power as Laura Donnelly’s, her spellbinding presence and seductive delivery make The Spin simply irresistible. Guitarist Alberto complements Sara’s bewitching and buttery croons with sparkling arpeggios and overdriven solos steeped heavily in the classic occult groups of the ’70s. It’s clear Messa is operating on a completely different level than their peers, and I can’t get enough of The Spin.
#3. Buried Realm // The Dormant Darkness – You always remember your first. Buried Realm’s The Dormant Darkness was my first full review on staff, a record that I am forever grateful Twelve decided to waive his seniority over and allow my newly-clipped wings to review because it ended up surprising the hell out of me. Josh Dummer’s technical melodeath project came out firing on all cylinders with its third album, upping the virtuosity with a slew of new guests. It is full of highlights, memorable hooks, and technically impressive solos and is a non-stop blast. In fact, I loved The Dormant Darkness so much that I committed the cardinal sin of breaking the score counter immediately—an action that can quickly get one thrown into the woodchipper of despair. Luckily, I am still here to tell the tale, and now I have my love of The Dormant Darkness to show for it.
#2. Tómarúm // Beyond Obsidian Euphoria – If there was ever a year for me to look for a #1A/#1B scenario, this would have been it, as I floundered back and forth between this album and my #1 pick. Chalk it up to indecision or whatever you must, but ultimately, one can’t go wrong with either in this instance. In short, Tómarúm’s Beyond Obsidian Euphoria is long-form progressive death metal greatness. Razor-sharp technicality, sparkling melodicism, and excellent songwriting form a weighty spirit that counterbalances crushing heft with airy refrains that move and flow seamlessly across its rewarding 70-minute runtime. There isn’t much more I can say here that Sponge-fren Ken‘s aptly penned review didn’t capture already, outside of stating that Tómarúm‘s opus is as close to perfect in both structure and execution as one can get. To put it simply, it’s a triumph.
#1. In Mourning // The Immortal – Speaking of perfection, In Mourning have achieved such a standard with their latest melodeath offering, The Immortal. After our Almighty Overlord listened to The Immortal following the flurry of votes the record received for August’s Record O’ the Month, he responded with a few choice words that captured my thoughts about the album succinctly: “Damn…” he said. “They nailed this. Well, that’s easy.” But I think that is even an understatement for how incredibly awesome this album is, and, doing one better, I don’t think many have grasped it yet, either. With their seventh album, these Swedes have found the perfect combination of their patented Opethian death metal chuggery, sadboi melodies, and creative dynamism, resulting in a sound rich in emotional depth with more digestible hooks than one can handle. I’m talking hooks—both riffs and vocal melodies—that dig deep into your psyche and never let go. They connect on a different level—a telltale sign we’re dealing with a classic. A decade from now, when In Mourning has hopefully amassed an even deeper discography, should the question arise—”What is the most essential melodeath album of the last ten years?”—I’m willing to bet The Immortal will be the resounding answer.
Honorable Mentions
- Mutagenic Host // The Diseased Machine – I miss Edge of Sanity with a passion, but Mutagenic Host’s The Diseased Machine is helping stem my longing—at least temporarily. These newcomers kicked off 2025 with an absolutely filthy dose of death metal that hasn’t stopped invading my playlist.
- Abigail Williams // A Void Within Existence – While 2019’s Walk Beyond the Dark was one hell of a record, A Void Within Existence may very well surpass it. Drummer Mike Heller codifies the attack, as Ken Sorceron and company unleash an all-out assault of crushing weight and unrelenting groove.
- Bianca // Bianca – Despite its late arrival hindering its consideration for a higher ranking, these Italians clearly have something special brewing with their self-titled debut. An enchanting mix of ethereality and chilling blackened soundscapes that is worth hearing immediately.
- Ambush // Evil in All Dimensions – Heavy metal group Ambush lived up to their name when they absolutely ambushed my ears and eyes with their nostalgic blend of 80’s Maiden, Priest, and Helloween, replete with their oh-so-tight fashion. Vocalist Oskar Jacobsson is poised to be the genre’s next colossal talent. Remember—you heard it here first.
- Fallujah // Xenotaph – Following the heavily criticized 2019 effort, Undying Light, it took six years for these tech-death masters to regroup and recalibrate. But Fallujah delivered a massive surprise with Xenotaph, easily one of their strongest—and best sounding—records to date. Here’s to hoping this reinvigorated momentum holds true.
Song o’ the Year
Ambush // “Bending the Steel” – This surprise pick eventually knocked …and Oceans’ “Prophetical Mercury Implement” from the top spot. It’s a brilliant piece of songwriting that would have immediately launched this act to superstardom had it only been released four decades earlier. 100% nostalgia and cold, hard steel.
#AndOceans #2025 #AbigailWilliams #Aephenamer #Agriculture #AlekhinesGunS #Ambush #AnAbstractIllusion #AncientDeath #AranAngmar #Atlantic #Besna #Bianca #BlogLists #Bloodletter #BlutAusNord #BuriedRealm #ClarkKentSAndOwlswaldSTopTenIshOf2025 #Cryptopsy #Deafheaven #EmpyreanSanctum #Fallujah #GreenCarnation #Harvested #ImperialTriumphant #InMourning #InTheWoods #Jade #Kalaveraztekah #KingWitch #LabryinthusStellarum #Lists #Messa #MutagenicHost #Oromet #Oskoreien #PhantomSpell #Phobocosm #PillarsOfCacophony #Skaldr #Teitanblood #Tómarúm #WingsOfSteel -
Alekhines Gun’s, ClarkKent’s and Owlswald’s Top Ten(ish) of 2025 By Steel Druhm
Alekhines Gun
It’s genuinely surreal to be writing this article. This Gun found his whole life flipped upside down literally on New Year’s Eve, in a new town, a new state, unemployed, and with nothing to do but review. By God’s grace, I’ve managed to find an actual career in my new town, walking into a new industry with nothing on my resume but exuberance and enthusiasm.1 This blog, with its incredible set of writers who inspire me daily, and readership who prove endearing and exasperating in equal measure, has been a rare moment of consistency in a year filled with professional and personal uncertainty. I didn’t get to listen to nearly as many albums as I’d hoped to, thanks to this being such a transitional year for my life, and perhaps in years to come, I’ll look back on this list in annoyance. But for the moment, it stands as a monument of achievement; of personal growth and practical accomplishment, and I’m immensely grateful to every reader and commenter for being along with me on this journey.
My thanks to The Angry One for giving me a second chance in my n00b days when it became clear I didn’t understand the assignment; I hope you don’t regret your choice too much.2 Thanks to the main AMG staff for being so friendly and welcoming, especially Mystikus Hugebeard, Dear Hollow, Twelve, and Kenstrosity. My eternal fealty to Steel for enduring what I imagine was an unbearable amount of stupid questions and formatting issues as I got my sea legs under me, and continue to see how much I have yet to grow as a writer.
And lastly, all my love and an Eternal Hails to my Freezer Freak brethren – Tyme, Killjoy, Owlswald, and Clark Kent. You guys were the best n00b class a guy could ask to come up with, and it has been such a privilege to have been formally writing alongside the four of you this year and call you friends as well as colleagues. Cheers to many more.
#Ish: Phobocosm // Gateway – Late release or no, it only took one listen to know this was something I needed in my life. Unrelenting in its atmosphere and with a tone like being devoured by vampire bats, Gateway doesn’t want for a plethora of oppressive moments and maintains its bleakness with admirable consistency. With interludes that function more like proper instrumentals between the more heavy cuts, Phobocosm rotate between blunt force trauma and existential despair in equal measure, flattening brain marrow with kaiju-sized stomptastic riffs only to throw you haplessly into depressive and gloom-drenched melodies the next. The rare kind of death metal peak for a rainy day, open up the gate and let it take you on a journey you might not come back from.
#10: Ancient Death // Ego Dissolution – Ancient Death is a testimony to why you should always read our foul filter excavations. Boasting a styling of, dare I say, classier old school deathisms with a healthy dollop of melody and chuggathons for days, Ego Dissolution is a mighty slab indeed. Kenstrosity quite correctly heaped praise on this release for its rare tonal fusion of Death and The Chasm, and beyond that, it has excellently implemented clean vocals, subtle synth work to bolster doomier moments, and riffs which transition from bludgeoning to esoteric in a heartbeat. Solos are peak, as all good death requires, atmospheres are coated in muck and mire without being underproduced, and even the instrumental stands out as a solid step in the journey on offer. Ego Dissolution deserves better than being a footnote in the annals of filter history, representing a highbrow slab of quality in mood-setting while still offering up violence at every turn.
#9: Teitanblood // From the Visceral Abyss – These void-worshipers have crafted an album that straddles the line of black, death, and war metal so flawlessly that every trip to their abyss leaves me exhausted and battered, but utterly enthralled. A flawless fusion of riff and atmosphere in equal measure, every ingredient from the militant drumming to the cacophonous vocals is a means to an end, and whether you’re in it more for the former or the latter is entirely irrelevant. Few albums manage to transcend being a collection of tracks into being a completed whole body of work so smoothly, and From the Visceral Abyss does so with blackened bile pouring through pounding through its poisoned veins. Disconcerting in its antagonism yet enthralling in the exactness of its vision, Teitanblood remains an auditory scrying mirror into the deepest pits that we were never meant to gaze upon.
#8: Imperial Triumphant // Goldstar – Goldstar is exactly what I had hoped for after the excessively out-there of their previous release: A more riff-centric album, which only just scales down the weird to let the approachability shine through like bait on the unsuspecting listener. To be sure, the alien Gorguts and Voivodisms remain, but this album takes a flavor similar to Alphaville3 and it builds its progressivism on the bones of licks and riffs which don’t take twenty listens to decipher before their foundation is made clear. Virtuoso musicianship remains at a peak, but as the tagline “Nine Class ‘A’ Songs” suggests, Imperial Triumphant have opted less to overwhelm the listener as much as flex on them, with fantastic results. A great introduction if you’re new to the band, and an enthralling listen for the jazz enthusiast and avant-garde black metal fan alike.
#7: Kalaveraztekah // Nikan Axkan – I underrated this a bit during the initial rodeo. While my complaints about the treble-heavy lack of bottom end remain, this is a masterfully composed record which continues to reveal new moments of wonder with each spin. Riffs designed to evoke thematic atmosphere and crush skulls in equal measure abound (“Nikan Axkan”) while remembering to summon the native beauty of the Aztec backdrop (“Yowaltekuhtli”) with skill. Lurching into Morbid Angel flirtations laced with delightful indigenous beats one minute and having haunting clean vocals drenched with horror and ritualism the next, this album is a whirlwind of a listen, a journey through primal soundscapes and human history meshed with technical prowess and grace. Hopefully someone picks them up soon, as they are well deserving of a bigger spotlight, and if you missed our rodeo on this release (shame on you) then you owe it to yourself to give it a listen.
#6: Labryinthus Stellarum // Rift in Reality – When I was very young, trancecore was one of the first “heavy” sounds I cut my teeth on, and consequently, my earballs feel right at home in these rifts. Impossibly catchy without being so simple as to offend my intelligence, and featuring electronics that have as much diversity and life in them as any guitar tone, Rift in Reality is a testimony that you can make techno and metal work on albums not named The Key. The blackened production stands in sharp contrast to the piercing, cosmic-echo cleanliness of the electronics, which are always spearheading the melodies but never at the cost of the full band’s heft and power. Spreading their songwriting wings a bit from the last release in more intricate melodies, a smattering of breakdowns, and heavier use of cleans has afforded Labryinthus Stellarum more personality than gimmickries, and I can’t wait to see where they go from here.
#5: Oskoreien // Hollow Fangs – It’s been a decent year for the more raw elements of black metal, but these fangs poisoned all who stood in their way. Somehow catchy in its simplicity yet not devoid of moving melodies, Hollow Fangs isn’t as much an innovation of the thing as much as the thing done at peak quality and skill. The cold tones reinforce the melancholy on display in the chord progressions, while the occasional leads sound more introspective than meandering despite their lack of raw noodlage. While I agree with the spirit of Owlswald‘s criticisms, I cannot deny that I continue to be drawn to this record despite its warts. Hollow Fangs has managed to set itself apart this year while not doing much out of the ordinary, containing that X factor that finds me reaching out to it over and over again.
#4: Blut Aus Nord // Ethereal Horizons – Like all good Blut Aus Nord albums, I had to let this album come to me, but once it did, it shows no signs of letting up. Somehow sidestepping the melodic trappings of the Memoria Vetusta series into something far more hypnotic yet no less deep in scope, Ethereal Horizons places all its stock on triumphant hypnosis. With nods to several chapters towards the band’s era in composition and production alike, the French kings use the building blocks of their dissonant works and claustrophobic atmospheres to construct something liberating and uplifting, with even the momentary bouts of darkness more atmospheric than truly grueling. I suspect we will find Ethereal Horizons to be an important stepping stone for the next chapter of blackened adventure. For now, adjust expectations away from whatever sequel you were hoping for in their litany of journeys and accept the new horizons showing just past the dawn.
#3: Cryptopsy // An Insatiable Violence – I was an admitted latecomer to the Cryptopsy brand, stumbling upon their excellent Book of Suffering EPs some years ago. Consequently, I’ve been a staunch defender of their modern era even as I dove backward into the classics and peculiarities. An Insatiable Violence smacks with a validation of all my affections, keeping the technical might while continuing to grow in groovy, melodic directions. True, I should have been a tad harder on the production of the drum tones than I was in my initial review, but tough tiddlywinks. From the sky-piercing beauty of the solo in the opening track “The Nimis Adoration” to the bookending body blow of “Malignant Needs,” this album remains a quality offering of the most elite of brutal death. Succinct in length but with twice the riff-to-minute factor, Cryptopsy stands supreme at the top of the more violent end of the musical spectrum this year.
#2: Messa // The Spin – While part of me deeply misses the droning elements and slightly crustier tone of Belfry, there’s no denying the spiritual journey this album takes me on with each listen. The embodiment of a grower, what begins as a somewhat underwhelming (compared to previous efforts) listen slowly unfurls itself to be an excellently realized, meticulously composed release. Look no further than album highlight “The Dress” for riffs that border more on twangy than “crushing” and yet pack the spirit of the doomiest doom in each measure. Vocalist Sara continues to up her harmonization game with double and triple-tracked melodies that reach right into my soul. Though The Spin is relatively light in guitar tone, each listen reveals a weight and power hidden from track to track, and the fantastic album closer “Thicker Blood” instinctively has me reaching out to replay the album as soon as it ends. Truly gorgeous.
#1: Aran Angmar // Ordo Diabolicum – Since plucking this record at random with no prior knowledge or expectations from the pit, Aran Angmar has stuck with me through professional and personal challenges and victories, tragedies and triumphs, in a manner befitting the greatest of Greek black metal. The harmonized leads in “Chariots of Fire” still dwell rent-free in my head, and the wailing clean vocals of the kickoff track “Dungeons of the Damned” still get my blood pumping every time. Excellent for cleaning your impossibly filthy house, working on a long overdue job project, or slaughtering your enemies by the hundreds in equal measure, Ordo Diabolicum is the sound of perseverance rewarded, of effort given and blood shed for a higher purpose, and actually witnessing the payoff with your own eyes. Sidestepping the tropes of evil for something so supremely triumphant is a move that has paid big dividends for this outfit, and while blackened to its core, few soundtracks have encouraged me to keep on keepin’ on like this has. A monstrous record to declare war on whatever oppresses you.
Honorable Mentions:
- Mutagenic Host // The Diseased Machine – Designed to reduce one’s gluteus maximus into a shape far more concave, this is a youthful release wise beyond its years in bringing the pain and infecting all in its wake.
- Qrixkuor // The Womb of the World – Bringing in an actual symphonic performance has somehow rendered this cavernous sound even more daunting. At once engaging and uncomfortable, this is an album for those who find beauty in the most repulsive of darkened shrines.
ClarkKent
When I first discovered the Angry Metal Guy blog back in 2021,4 it was during a period of transition in my life, as COVID spurred a career transition out of teaching and, eventually, into data analytics. At the time, my metal tastes were limited to more well-known acts like Metallica and Iron Maiden, with forays into Opeth, Enslaved, and Ayreon. Boy, did this blog expand my horizon. Between taking online classes and staying home with my two kids, I devoured AMG reviews and dove into the vast ocean of metal acts that both the writers and commenters introduced me to. And then, when Angry Metal Guy put out the casting call later that year, I was out of a job and always wanted to be a writer, so I thought, Why not? Little did I know this decision would see me stored in a freezer for four long years. Thankfully, when I thawed out last year, it was with four great guys who all kept each other sane during our n00bship: Alekhines Gun, Tyme, Killjoy, and Owlswald. I’m happy to have had their camaraderie and friendship, and I’m stoked that all five of us were demoted to staff writers. I am also grateful to Steel Druhm and Angry Metal Guy for bringing me aboard, despite my horrid taste, and to Dolphin Whisperer and Maddog for their helpful tips and feedback on my drafts. As Steel would say, you guys were gentle, yet brutal, and in the best possible way. With 2025 proving a stressful year, largely due to increasing work demands, listening to promos and writing reviews has proven a helpful outlet. I’m looking forward to an awesome 2026.
#ish. Bloodletter // Leave the Light Behind — While staying true to their melothrash sound, Bloodletter continues to improve in their songwriting year after year. This is easily their best and my favorite thrash record of the year, in a year where not much thrash really stood out to me. The tight songwriting, the energy, and the melodic leads are all top-notch, and this one stands up even after repeated spins.
#10. Wings of Steel // Winds of Time — This was one of my favorite reviews to write in 2025. Not just because the album was big and fun, with big bombastic numbers like the opening song “Winds of Time,” or tight and speedy cuts like “Saints and Sinners,” or ballads like “Crying,” or my song of the year, “Flight of the Eagle.” It gave me the rare opportunity to write fart jokes and the even rarer chance to “steal” a promo from Steel. So many throwback classic metal bands sound like they belong in that older time, but Wings of Steel sound timeless—they could belong in the new and the then all at the same time.
#9. Besna // Krásno — While I’m not typically drawn to post-metal, Besna’s Krásno proves an exception. The harsh guitar tones and vocals provide an alluring contrast with the catchy melodic tremolos. Despite its brief length, this is a surprisingly progressive album. Each song reveals a beauty to Besna’s songwriting and musicianship, and that album art is gorgeous, to boot. I love everything Besna does here, and this proved to be just the beginning of what was a strong start to 2025.
#8. Green Carnation // A Dark Poem Part I: The Shores of Melancholia — I’m glad Doc Grier introduced Green Carnation to me when Leaves of Yesteryear topped his 2020 list. I love this band, and this record is no exception. It has six tracks of pure earworm and ends up being one of the catchiest albums of the year. These guys know how to write songs that make you feel good and want to dance and sing along to. What’s more exciting is that this is the first of a planned trilogy, so hopefully that means we don’t have to wait long for the next one.
#7. Phantom Spell // Heather and Hearth — Heather and Hearth is like a time machine, one taking you back to ’70s era prog. Man, it’s a lot of fun. It’s catchy and bright—a shining beacon amidst a horde of brutal, violent metal. This is packed to the gills with hooks, from spry riffs to feel-good synths to memorable choruses. Metal rarely puts a smile on your face without sounding like cheesy power metal à la Fellowship, but Phantom Spell does it here. Apparently, this kind of bright and cheery metal was just what I needed this year, and it proved a nice summer balm.
#6. Atlantic // Timeworn — When I first listened to this earlier in the year, I just assumed it was the work of an established, well-known band. So it was a surprise to learn Timeworn was actually the debut from a relative newcomer in Callan Hoy. Something about 2025 has drawn me towards these uplifting albums that burst with good feelings and catchy melodies. For the 34 minutes I spend with this, I just get lost in the currents of the tremolos and blast beats and, at least for a moment, live in a world of calm and bliss.
#5. In the Woods… // Otra — This sort of melodic, catchy metal is my kryptonite. In the Woods… plays the kind of songs that get lodged in my brain, and I start whistling them while doing my grocery shopping, drawing funny looks. I’d never heard of these guys until Grier’s review earlier this year, and now I’m thinking maybe I should dive into their back catalog. More worryingly, this is the second album on my list that Grier gave a glowing review for. That means either he actually has good taste, or my taste is just as bad as his.
#4. Oromet // The Sinking Isle — If I had a time machine, I’d go back and rate this one a little higher. This isn’t a “marathon” like some of Bell Witch’s records, nor a piece of crushing funeral doom, nor one that makes extensive use of silence. It is introspective, full of surprises, and melodic. It also came at a period in my life when work was particularly stressful. Playing this helped provide me with some solace and calm as I took in the beautiful compositions. These guys have a bright future ahead of them.
#3. Deafheaven // Lonely People with Power — After the misstep that was Infinite Granite, it’s nice to see Deafheaven back to form. I was ready to write them off, but thanks to Doom_et_Al’s impassioned words, I excitedly dove in. I’m glad I did. I now know their form of shoegaze-y black metal is divisive among metal fans (I was clueless about this fact when I first discovered them), but I don’t care, and I still love it. It’s just so easy to get lost in those lush guitar tones and harsh rasps. It’s tough to pick out any one tune as a standout because it’s the experience of the record as a whole that is so rewarding.
#2. In Mourning // The Immortal — This is a remarkable piece of melodic progressive death. I hadn’t heard of In Mourning until Kenstrosity and the other AMG staffers started talking them up ahead of this release. It seems I’ve really missed out and need to fix that. The Immortal is just about perfect. From song craft to musical performances, these guys nail it. From the beautiful guitar tones to the excellent combo of clean and harsh vox to the memorable melodies, The Immortal is an emotional tour de force that grows more majestic with each spin.
#1. Tómarúm // Beyond Obsidian Euphoria — When I first moved away from more mainstream metal acts, it was progressive death bands like Tómarúm that drew me in. Opeth, Between the Buried and Me, Enslaved, and Ayreon opened up my ears to the reward of listening to songs that reveal new layers and depth with repeated listening. Each year, one or two prog death records climb high in my rankings, and this year that mantle belongs to Tómarúm. This record is massive, and the more time I spend with it, the more depths I plumb, and I find that it contains never-ending riches. There are just so many surprises—the technicality, the speed, the melodies—even some flutes! As great as the debut was, these guys have only gotten better and have earned a spot as one of my current favorites in the genre, along with Iotunn and Dvne. This is the kind of album I love to get lost in—it’s pure bliss.
Honorable Mentions
- Empyrean Sanctum // Detachment from Reality — This passion project from Justin Kellerman may not have impressed my Rodeo-mates as much as me, but I strongly connected with it due to dynamic songwriting and inspired performances.
- Skaldr // Samsr — This was initially a lot higher on my list, but it didn’t hold up as well as it did back in January. Still, it’s a remarkable bit of melodic black metal and good enough to rank as among the best of 2025.
- Aephenamer // Utopie — Melodic and symphonic metal with superb songwriting? Sign me up. This latest from Aephenamer is just so dynamic and fun, and it’s another great effort from a reliably high-quality group. The last couple of songs are absolute beauties.
- An Abstract Illusion // The Sleeping City — This may not be as strong as their older stuff, but it’s still incredibly moving. The introduction of synths charts a new direction for the band, but they make it work with some gorgeous atmospherics.
Songs o’ the Year
1. Wings of Steel — “Flight of the Eagle” 2. Lord of the Lost — “One of Us Will Be Next” 3. In the Woods — “Let Me Sing” 4. Hanging Garden — “Morgan’s Trail” 5. Fer de Lance — “Fires on the Mountainside” 6. Tómarúm — “Shed this Erroneous Skin” 7. Green Carnation — “In Your Paradise” 8. Structure — “Will I Deserve It?” 9. Atlantic — “Voyages” 10. In Mourning — “Staghorn” 11. Dolven — “You’ve Chosen”
Owlswald
I’ve finally made it to the end of my first year on staff, culminating with my inaugural list. This time last year, I was deep in the throes of my n00bdom and watched from the dark confines of the dungeon as many of my Freezer Crew brethren shared their initial staff lists. And as stoked as I was for my mates, I couldn’t help but feel a bit jealous that I was still toiling with cleanup detail as an unnamed shadow. But the wheel of ascent turns for us all. After a few more months surviving on table scraps and standing water, our Managing Ape unlocked my cage, releasing me at last into the aviary and the promised start of my pledged service bound labor.
Though my escape from the rookery took longer, that extended time was not without its merits. Reviewing is a skill that must be honed like any other, and although metal—and music generally—has been an essential part of my life since I was young, it has admittedly taken longer for me to truly articulate the “why.” Anyone can declare an album “good” or “bad,” but developing and communicating the rationale is an entirely different discipline. A discipline that I believe I have improved over my first year as a writer here, and one that I look forward to developing further with more time in the seat.
My thanks go out, first and foremost, to Steel and AMG Himself for granting me the opportunity to contribute to this very special, longstanding community and for the monumental trust they have placed in me. Specifically, the trust that I wouldn’t utterly trash the place—a faith I’ve done my best to test (More on one attempt below). I must also thank my fellow writers—both old and new, including those now in the annals of AMG—who I’ve read for years and whose work continues to inspire me. And last, but certainly not least, I thank all of you who read, comment and visit the site regularly. The reality that my thoughts command even a sliver of your precious time remains utterly surreal. For that connection, I am truly honored.
Taking this good energy and running with it, let’s get to the list!
#ish. Harvested // Dysthymia – I wouldn’t have believed you if you’d told me at the start of the year that my first list would be kicked off by an unsigned band. But here we are, and Harvested’s self-released debut, Dysthymia, deserves the honor because it fucking rules. Operating in the sweet spot between Decapitated and Cattle Decapitation, the album boasts one of the best guitar tones of the year. These Canadians flaunt a songwriting maturity that many veteran groups twice their age still haven’t found—a sound that is as bone-crushingly heavy as it is technically brutal. I have been spinning Dysthymia regularly since its release, and highlight tracks like “Unending Madness” and “Gathered and Deluded” make primo Heavy Moves Heavy additions.
#10. Jade // Mysteries of a Flowery Dream – Some albums demand the right conditions and the listener’s utmost attention to enjoy fully, and Jade’s Mysteries of a Flowery Dream is such a record. Though it took a while for their sophomore effort to envelop me in its dark, murky, and oscillating guise, I’m glad I remained patient because the payoff was huge. This Barcelonian quartet has created a sensory-rich listening experience that is as immersive as it is complex and dynamic, featuring superb songwriting intertwined with recurrent themes and soaring leads that ensure the album’s 43 minutes feel unified and purposeful. Achieving this level of cohesive, complex dynamism is a feat that is incredibly hard to execute well, which makes Mysteries of a Flowery Dream all the more impressive.
#9. Pillars of Cacophony // Paralipomena – Each year, one tech-death record usually carves out a spot on my list. Last year, Apogean’s Cyberstrictive set an incredibly high bar, taking album of the year honors with its near-perfect blend of hook-laden guitar maneuvers and groove-focused rhythms. While tech-death won’t be repeating as champion in 2025, Pillars of Cacophony are nonetheless representing the genre in a major way with Paralipomena. The album showcases multi-instrumentalist Dominik’s talents in crafting unsettling, unpredictable soundscapes filled with propulsive fretwork, dissonant phrases, and kinetic rhythmic patterns. Drawing directly from Dominik’s own research as a bioscientist, Paralipomena coils science with the aural might of death metal to create a record that is as conceptually authentic as it is musically captivating.
#8. King Witch // III – Doom—and more specifically stoner—has always been hit-or-miss to these ears. But on III, Scotland’s King Witch grabbed the best parts of the genre and compressed them into a Seattle-made mold of hard rock and grunge that immediately won me over. The album is the culmination of the group’s artistic evolution, combining the strong songwriting of their debut with the dynamic shifts of their follow-up. Guitarist Jamie Gilchrist and bassist Rory Lee assemble a sophisticated foundation of earthmoving, genre-bending riffs that perfectly augment the star power of vocalist Laura Donnelly, whose Chris Cornell-like range and Janis Joplin grit give the material undeniable power and command. The result is a sound that elevates III far beyond typical doom boundaries into one of the year’s best records.
#7. Agriculture // The Spiritual Sound – I initially missed Agriculture’s self-titled debut and follow-up EP, so The Spiritual Sound was my first introduction to this Californian black metal outfit. But after months of having this record on constant rotation—and seeing their live show—I can confidently conclude they are one of the most innovative and unique black metal groups operating right now. Self-dubbed as “ecstatic black metal,” Agriculture shatters convention by challenging the dark extremity of the genre with a patchwork of math rock, shoegaze, noise, and folk influences. Powered by Leah Levinson’s manic, shifting vocals and inventive guitar work from Dan Meyer and Richard Chowenhill, The Spiritual Sound is a genre-defying record that is both unpredictable and intensely authentic.
#6. Cryptopsy // An Insatiable Violence – Outside of my admiration for fellow drummer extraordinaire Flo Mounier, I have to admit that I had more or less forgotten about Cryptopsy after 2012’s self-titled album. Thanks to my fellow Freezer Crew brother Alekhines Gun, I gave them another go, and An Insatiable Violence hit me like a ton of bricks, forcing me to quickly figure out how to start begging these Canadians for forgiveness. From Matt McGachy’s unique, manic screams to Mounier’s pummeling gravity blasts and double-bass to Christian Donaldson’s “waltz-rooted chuggathons” and fret noises, every aspect of An Insatiable Violence is crystal clear, full of groove and hits like a fucking tank. Needless to say, I won’t be making the same mistake twice, and these death metal legends now have my full attention again.
#5. …and Oceans // The Regeneration Itinerary – Being a longtime fan of these multifarious Finns, I rejoiced when they returned from an extended hiatus in 2020 with Cosmic World Mother. Yet, as strong as that album—and follow-up As in Gardens, So in Tombs—was, it didn’t have the same symphonic and eclectic oomph as The Dynamic Gallery of Thoughts or The Symmetry of I – The Circle of O. Much to my pleasure, The Regeneration Itinerary is a riveting return to form for …and Oceans, returning to their symphonic, frenetic and blackened sound of yore while maintaining the incisiveness of their modern form. This album is peppered with their classic trademarks, and “Prophetical Mercury Implement” is the best song the group has written in decades. After taking a couple of albums to get their groove back, The Regeneration Itinerary is evidence that …and Oceans has found it again.
#4. Messa // The Spin – Messa’s fourth full-length marks the second doom record on my list (and the second led by a badass frontwoman). On The Spin, Messa continues to evolve their progressive identity, imbuing their sound with flavors of 80’s dark post-punk and gothic rock that evoke the haunting architecture of early Killing Joke. While Sara’s vocals may not possess the same boisterous power as Laura Donnelly’s, her spellbinding presence and seductive delivery make The Spin simply irresistible. Guitarist Alberto complements Sara’s bewitching and buttery croons with sparkling arpeggios and overdriven solos steeped heavily in the classic occult groups of the ’70s. It’s clear Messa is operating on a completely different level than their peers, and I can’t get enough of The Spin.
#3. Buried Realm // The Dormant Darkness – You always remember your first. Buried Realm’s The Dormant Darkness was my first full review on staff, a record that I am forever grateful Twelve decided to waive his seniority over and allow my newly-clipped wings to review because it ended up surprising the hell out of me. Josh Dummer’s technical melodeath project came out firing on all cylinders with its third album, upping the virtuosity with a slew of new guests. It is full of highlights, memorable hooks, and technically impressive solos and is a non-stop blast. In fact, I loved The Dormant Darkness so much that I committed the cardinal sin of breaking the score counter immediately—an action that can quickly get one thrown into the woodchipper of despair. Luckily, I am still here to tell the tale, and now I have my love of The Dormant Darkness to show for it.
#2. Tómarúm // Beyond Obsidian Euphoria – If there was ever a year for me to look for a #1A/#1B scenario, this would have been it, as I floundered back and forth between this album and my #1 pick. Chalk it up to indecision or whatever you must, but ultimately, one can’t go wrong with either in this instance. In short, Tómarúm’s Beyond Obsidian Euphoria is long-form progressive death metal greatness. Razor-sharp technicality, sparkling melodicism, and excellent songwriting form a weighty spirit that counterbalances crushing heft with airy refrains that move and flow seamlessly across its rewarding 70-minute runtime. There isn’t much more I can say here that Sponge-fren Ken‘s aptly penned review didn’t capture already, outside of stating that Tómarúm‘s opus is as close to perfect in both structure and execution as one can get. To put it simply, it’s a triumph.
#1. In Mourning // The Immortal – Speaking of perfection, In Mourning have achieved such a standard with their latest melodeath offering, The Immortal. After our Almighty Overlord listened to The Immortal following the flurry of votes the record received for August’s Record O’ the Month, he responded with a few choice words that captured my thoughts about the album succinctly: “Damn…” he said. “They nailed this. Well, that’s easy.” But I think that is even an understatement for how incredibly awesome this album is, and, doing one better, I don’t think many have grasped it yet, either. With their seventh album, these Swedes have found the perfect combination of their patented Opethian death metal chuggery, sadboi melodies, and creative dynamism, resulting in a sound rich in emotional depth with more digestible hooks than one can handle. I’m talking hooks—both riffs and vocal melodies—that dig deep into your psyche and never let go. They connect on a different level—a telltale sign we’re dealing with a classic. A decade from now, when In Mourning has hopefully amassed an even deeper discography, should the question arise—”What is the most essential melodeath album of the last ten years?”—I’m willing to bet The Immortal will be the resounding answer.
Honorable Mentions
- Mutagenic Host // The Diseased Machine – I miss Edge of Sanity with a passion, but Mutagenic Host’s The Diseased Machine is helping stem my longing—at least temporarily. These newcomers kicked off 2025 with an absolutely filthy dose of death metal that hasn’t stopped invading my playlist.
- Abigail Williams // A Void Within Existence – While 2019’s Walk Beyond the Dark was one hell of a record, A Void Within Existence may very well surpass it. Drummer Mike Heller codifies the attack, as Ken Sorceron and company unleash an all-out assault of crushing weight and unrelenting groove.
- Bianca // Bianca – Despite its late arrival hindering its consideration for a higher ranking, these Italians clearly have something special brewing with their self-titled debut. An enchanting mix of ethereality and chilling blackened soundscapes that is worth hearing immediately.
- Ambush // Evil in All Dimensions – Heavy metal group Ambush lived up to their name when they absolutely ambushed my ears and eyes with their nostalgic blend of 80’s Maiden, Priest, and Helloween, replete with their oh-so-tight fashion. Vocalist Oskar Jacobsson is poised to be the genre’s next colossal talent. Remember—you heard it here first.
- Fallujah // Xenotaph – Following the heavily criticized 2019 effort, Undying Light, it took six years for these tech-death masters to regroup and recalibrate. But Fallujah delivered a massive surprise with Xenotaph, easily one of their strongest—and best sounding—records to date. Here’s to hoping this reinvigorated momentum holds true.
Song o’ the Year
Ambush // “Bending the Steel” – This surprise pick eventually knocked …and Oceans’ “Prophetical Mercury Implement” from the top spot. It’s a brilliant piece of songwriting that would have immediately launched this act to superstardom had it only been released four decades earlier. 100% nostalgia and cold, hard steel.
#AndOceans #2025 #AbigailWilliams #Aephenamer #Agriculture #AlekhinesGunS #Ambush #AnAbstractIllusion #AncientDeath #AranAngmar #Atlantic #Besna #Bianca #BlogLists #Bloodletter #BlutAusNord #BuriedRealm #ClarkKentSAndOwlswaldSTopTenIshOf2025 #Cryptopsy #Deafheaven #EmpyreanSanctum #Fallujah #GreenCarnation #Harvested #ImperialTriumphant #InMourning #InTheWoods #Jade #Kalaveraztekah #KingWitch #LabryinthusStellarum #Lists #Messa #MutagenicHost #Oromet #Oskoreien #PhantomSpell #Phobocosm #PillarsOfCacophony #Skaldr #Teitanblood #Tómarúm #WingsOfSteel -
Alekhines Gun’s, ClarkKent’s and Owlswald’s Top Ten(ish) of 2025 By Steel DruhmAlekhines Gun
It’s genuinely surreal to be writing this article. This Gun found his whole life flipped upside down literally on New Year’s Eve, in a new town, a new state, unemployed, and with nothing to do but review. By God’s grace, I’ve managed to find an actual career in my new town, walking into a new industry with nothing on my resume but exuberance and enthusiasm.1 This blog, with its incredible set of writers who inspire me daily, and readership who prove endearing and exasperating in equal measure, has been a rare moment of consistency in a year filled with professional and personal uncertainty. I didn’t get to listen to nearly as many albums as I’d hoped to, thanks to this being such a transitional year for my life, and perhaps in years to come, I’ll look back on this list in annoyance. But for the moment, it stands as a monument of achievement; of personal growth and practical accomplishment, and I’m immensely grateful to every reader and commenter for being along with me on this journey.
My thanks to The Angry One for giving me a second chance in my n00b days when it became clear I didn’t understand the assignment; I hope you don’t regret your choice too much.2 Thanks to the main AMG staff for being so friendly and welcoming, especially Mystikus Hugebeard, Dear Hollow, Twelve, and Kenstrosity. My eternal fealty to Steel for enduring what I imagine was an unbearable amount of stupid questions and formatting issues as I got my sea legs under me, and continue to see how much I have yet to grow as a writer.
And lastly, all my love and an Eternal Hails to my Freezer Freak brethren – Tyme, Killjoy, Owlswald, and Clark Kent. You guys were the best n00b class a guy could ask to come up with, and it has been such a privilege to have been formally writing alongside the four of you this year and call you friends as well as colleagues. Cheers to many more.
#Ish: Phobocosm // Gateway – Late release or no, it only took one listen to know this was something I needed in my life. Unrelenting in its atmosphere and with a tone like being devoured by vampire bats, Gateway doesn’t want for a plethora of oppressive moments and maintains its bleakness with admirable consistency. With interludes that function more like proper instrumentals between the more heavy cuts, Phobocosm rotate between blunt force trauma and existential despair in equal measure, flattening brain marrow with kaiju-sized stomptastic riffs only to throw you haplessly into depressive and gloom-drenched melodies the next. The rare kind of death metal peak for a rainy day, open up the gate and let it take you on a journey you might not come back from.
#10: Ancient Death // Ego Dissolution – Ancient Death is a testimony to why you should always read our foul filter excavations. Boasting a styling of, dare I say, classier old school deathisms with a healthy dollop of melody and chuggathons for days, Ego Dissolution is a mighty slab indeed. Kenstrosity quite correctly heaped praise on this release for its rare tonal fusion of Death and The Chasm, and beyond that, it has excellently implemented clean vocals, subtle synth work to bolster doomier moments, and riffs which transition from bludgeoning to esoteric in a heartbeat. Solos are peak, as all good death requires, atmospheres are coated in muck and mire without being underproduced, and even the instrumental stands out as a solid step in the journey on offer. Ego Dissolution deserves better than being a footnote in the annals of filter history, representing a highbrow slab of quality in mood-setting while still offering up violence at every turn.
#9: Teitanblood // From the Visceral Abyss – These void-worshipers have crafted an album that straddles the line of black, death, and war metal so flawlessly that every trip to their abyss leaves me exhausted and battered, but utterly enthralled. A flawless fusion of riff and atmosphere in equal measure, every ingredient from the militant drumming to the cacophonous vocals is a means to an end, and whether you’re in it more for the former or the latter is entirely irrelevant. Few albums manage to transcend being a collection of tracks into being a completed whole body of work so smoothly, and From the Visceral Abyss does so with blackened bile pouring through pounding through its poisoned veins. Disconcerting in its antagonism yet enthralling in the exactness of its vision, Teitanblood remains an auditory scrying mirror into the deepest pits that we were never meant to gaze upon.
#8: Imperial Triumphant // Goldstar – Goldstar is exactly what I had hoped for after the excessively out-there of their previous release: A more riff-centric album, which only just scales down the weird to let the approachability shine through like bait on the unsuspecting listener. To be sure, the alien Gorguts and Voivodisms remain, but this album takes a flavor similar to Alphaville3 and it builds its progressivism on the bones of licks and riffs which don’t take twenty listens to decipher before their foundation is made clear. Virtuoso musicianship remains at a peak, but as the tagline “Nine Class ‘A’ Songs” suggests, Imperial Triumphant have opted less to overwhelm the listener as much as flex on them, with fantastic results. A great introduction if you’re new to the band, and an enthralling listen for the jazz enthusiast and avant-garde black metal fan alike.
#7: Kalaveraztekah // Nikan Axkan – I underrated this a bit during the initial rodeo. While my complaints about the treble-heavy lack of bottom end remain, this is a masterfully composed record which continues to reveal new moments of wonder with each spin. Riffs designed to evoke thematic atmosphere and crush skulls in equal measure abound (“Nikan Axkan”) while remembering to summon the native beauty of the Aztec backdrop (“Yowaltekuhtli”) with skill. Lurching into Morbid Angel flirtations laced with delightful indigenous beats one minute and having haunting clean vocals drenched with horror and ritualism the next, this album is a whirlwind of a listen, a journey through primal soundscapes and human history meshed with technical prowess and grace. Hopefully someone picks them up soon, as they are well deserving of a bigger spotlight, and if you missed our rodeo on this release (shame on you) then you owe it to yourself to give it a listen.
#6: Labryinthus Stellarum // Rift in Reality – When I was very young, trancecore was one of the first “heavy” sounds I cut my teeth on, and consequently, my earballs feel right at home in these rifts. Impossibly catchy without being so simple as to offend my intelligence, and featuring electronics that have as much diversity and life in them as any guitar tone, Rift in Reality is a testimony that you can make techno and metal work on albums not named The Key. The blackened production stands in sharp contrast to the piercing, cosmic-echo cleanliness of the electronics, which are always spearheading the melodies but never at the cost of the full band’s heft and power. Spreading their songwriting wings a bit from the last release in more intricate melodies, a smattering of breakdowns, and heavier use of cleans has afforded Labryinthus Stellarum more personality than gimmickries, and I can’t wait to see where they go from here.
#5: Oskoreien // Hollow Fangs – It’s been a decent year for the more raw elements of black metal, but these fangs poisoned all who stood in their way. Somehow catchy in its simplicity yet not devoid of moving melodies, Hollow Fangs isn’t as much an innovation of the thing as much as the thing done at peak quality and skill. The cold tones reinforce the melancholy on display in the chord progressions, while the occasional leads sound more introspective than meandering despite their lack of raw noodlage. While I agree with the spirit of Owlswald‘s criticisms, I cannot deny that I continue to be drawn to this record despite its warts. Hollow Fangs has managed to set itself apart this year while not doing much out of the ordinary, containing that X factor that finds me reaching out to it over and over again.
#4: Blut Aus Nord // Ethereal Horizons – Like all good Blut Aus Nord albums, I had to let this album come to me, but once it did, it shows no signs of letting up. Somehow sidestepping the melodic trappings of the Memoria Vetusta series into something far more hypnotic yet no less deep in scope, Ethereal Horizons places all its stock on triumphant hypnosis. With nods to several chapters towards the band’s era in composition and production alike, the French kings use the building blocks of their dissonant works and claustrophobic atmospheres to construct something liberating and uplifting, with even the momentary bouts of darkness more atmospheric than truly grueling. I suspect we will find Ethereal Horizons to be an important stepping stone for the next chapter of blackened adventure. For now, adjust expectations away from whatever sequel you were hoping for in their litany of journeys and accept the new horizons showing just past the dawn.
#3: Cryptopsy // An Insatiable Violence – I was an admitted latecomer to the Cryptopsy brand, stumbling upon their excellent Book of Suffering EPs some years ago. Consequently, I’ve been a staunch defender of their modern era even as I dove backward into the classics and peculiarities. An Insatiable Violence smacks with a validation of all my affections, keeping the technical might while continuing to grow in groovy, melodic directions. True, I should have been a tad harder on the production of the drum tones than I was in my initial review, but tough tiddlywinks. From the sky-piercing beauty of the solo in the opening track “The Nimis Adoration” to the bookending body blow of “Malignant Needs,” this album remains a quality offering of the most elite of brutal death. Succinct in length but with twice the riff-to-minute factor, Cryptopsy stands supreme at the top of the more violent end of the musical spectrum this year.
#2: Messa // The Spin – While part of me deeply misses the droning elements and slightly crustier tone of Belfry, there’s no denying the spiritual journey this album takes me on with each listen. The embodiment of a grower, what begins as a somewhat underwhelming (compared to previous efforts) listen slowly unfurls itself to be an excellently realized, meticulously composed release. Look no further than album highlight “The Dress” for riffs that border more on twangy than “crushing” and yet pack the spirit of the doomiest doom in each measure. Vocalist Sara continues to up her harmonization game with double and triple-tracked melodies that reach right into my soul. Though The Spin is relatively light in guitar tone, each listen reveals a weight and power hidden from track to track, and the fantastic album closer “Thicker Blood” instinctively has me reaching out to replay the album as soon as it ends. Truly gorgeous.
#1: Aran Angmar // Ordo Diabolicum – Since plucking this record at random with no prior knowledge or expectations from the pit, Aran Angmar has stuck with me through professional and personal challenges and victories, tragedies and triumphs, in a manner befitting the greatest of Greek black metal. The harmonized leads in “Chariots of Fire” still dwell rent-free in my head, and the wailing clean vocals of the kickoff track “Dungeons of the Damned” still get my blood pumping every time. Excellent for cleaning your impossibly filthy house, working on a long overdue job project, or slaughtering your enemies by the hundreds in equal measure, Ordo Diabolicum is the sound of perseverance rewarded, of effort given and blood shed for a higher purpose, and actually witnessing the payoff with your own eyes. Sidestepping the tropes of evil for something so supremely triumphant is a move that has paid big dividends for this outfit, and while blackened to its core, few soundtracks have encouraged me to keep on keepin’ on like this has. A monstrous record to declare war on whatever oppresses you.
Honorable Mentions:
- Mutagenic Host // The Diseased Machine – Designed to reduce one’s gluteus maximus into a shape far more concave, this is a youthful release wise beyond its years in bringing the pain and infecting all in its wake.
- Qrixkuor // The Womb of the World – Bringing in an actual symphonic performance has somehow rendered this cavernous sound even more daunting. At once engaging and uncomfortable, this is an album for those who find beauty in the most repulsive of darkened shrines.
ClarkKent
When I first discovered the Angry Metal Guy blog back in 2021,4 it was during a period of transition in my life, as COVID spurred a career transition out of teaching and, eventually, into data analytics. At the time, my metal tastes were limited to more well-known acts like Metallica and Iron Maiden, with forays into Opeth, Enslaved, and Ayreon. Boy, did this blog expand my horizon. Between taking online classes and staying home with my two kids, I devoured AMG reviews and dove into the vast ocean of metal acts that both the writers and commenters introduced me to. And then, when Angry Metal Guy put out the casting call later that year, I was out of a job and always wanted to be a writer, so I thought, Why not? Little did I know this decision would see me stored in a freezer for four long years. Thankfully, when I thawed out last year, it was with four great guys who all kept each other sane during our n00bship: Alekhines Gun, Tyme, Killjoy, and Owlswald. I’m happy to have had their camaraderie and friendship, and I’m stoked that all five of us were demoted to staff writers. I am also grateful to Steel Druhm and Angry Metal Guy for bringing me aboard, despite my horrid taste, and to Dolphin Whisperer and Maddog for their helpful tips and feedback on my drafts. As Steel would say, you guys were gentle, yet brutal, and in the best possible way. With 2025 proving a stressful year, largely due to increasing work demands, listening to promos and writing reviews has proven a helpful outlet. I’m looking forward to an awesome 2026.
#ish. Bloodletter // Leave the Light Behind — While staying true to their melothrash sound, Bloodletter continues to improve in their songwriting year after year. This is easily their best and my favorite thrash record of the year, in a year where not much thrash really stood out to me. The tight songwriting, the energy, and the melodic leads are all top-notch, and this one stands up even after repeated spins.
#10. Wings of Steel // Winds of Time — This was one of my favorite reviews to write in 2025. Not just because the album was big and fun, with big bombastic numbers like the opening song “Winds of Time,” or tight and speedy cuts like “Saints and Sinners,” or ballads like “Crying,” or my song of the year, “Flight of the Eagle.” It gave me the rare opportunity to write fart jokes and the even rarer chance to “steal” a promo from Steel. So many throwback classic metal bands sound like they belong in that older time, but Wings of Steel sound timeless—they could belong in the new and the then all at the same time.
#9. Besna // Krásno — While I’m not typically drawn to post-metal, Besna’s Krásno proves an exception. The harsh guitar tones and vocals provide an alluring contrast with the catchy melodic tremolos. Despite its brief length, this is a surprisingly progressive album. Each song reveals a beauty to Besna’s songwriting and musicianship, and that album art is gorgeous, to boot. I love everything Besna does here, and this proved to be just the beginning of what was a strong start to 2025.
#8. Green Carnation // A Dark Poem Part I: The Shores of Melancholia — I’m glad Doc Grier introduced Green Carnation to me when Leaves of Yesteryear topped his 2020 list. I love this band, and this record is no exception. It has six tracks of pure earworm and ends up being one of the catchiest albums of the year. These guys know how to write songs that make you feel good and want to dance and sing along to. What’s more exciting is that this is the first of a planned trilogy, so hopefully that means we don’t have to wait long for the next one.
#7. Phantom Spell // Heather and Hearth — Heather and Hearth is like a time machine, one taking you back to ’70s era prog. Man, it’s a lot of fun. It’s catchy and bright—a shining beacon amidst a horde of brutal, violent metal. This is packed to the gills with hooks, from spry riffs to feel-good synths to memorable choruses. Metal rarely puts a smile on your face without sounding like cheesy power metal à la Fellowship, but Phantom Spell does it here. Apparently, this kind of bright and cheery metal was just what I needed this year, and it proved a nice summer balm.
#6. Atlantic // Timeworn — When I first listened to this earlier in the year, I just assumed it was the work of an established, well-known band. So it was a surprise to learn Timeworn was actually the debut from a relative newcomer in Callan Hoy. Something about 2025 has drawn me towards these uplifting albums that burst with good feelings and catchy melodies. For the 34 minutes I spend with this, I just get lost in the currents of the tremolos and blast beats and, at least for a moment, live in a world of calm and bliss.
#5. In the Woods… // Otra — This sort of melodic, catchy metal is my kryptonite. In the Woods… plays the kind of songs that get lodged in my brain, and I start whistling them while doing my grocery shopping, drawing funny looks. I’d never heard of these guys until Grier’s review earlier this year, and now I’m thinking maybe I should dive into their back catalog. More worryingly, this is the second album on my list that Grier gave a glowing review for. That means either he actually has good taste, or my taste is just as bad as his.
#4. Oromet // The Sinking Isle — If I had a time machine, I’d go back and rate this one a little higher. This isn’t a “marathon” like some of Bell Witch’s records, nor a piece of crushing funeral doom, nor one that makes extensive use of silence. It is introspective, full of surprises, and melodic. It also came at a period in my life when work was particularly stressful. Playing this helped provide me with some solace and calm as I took in the beautiful compositions. These guys have a bright future ahead of them.
#3. Deafheaven // Lonely People with Power — After the misstep that was Infinite Granite, it’s nice to see Deafheaven back to form. I was ready to write them off, but thanks to Doom_et_Al’s impassioned words, I excitedly dove in. I’m glad I did. I now know their form of shoegaze-y black metal is divisive among metal fans (I was clueless about this fact when I first discovered them), but I don’t care, and I still love it. It’s just so easy to get lost in those lush guitar tones and harsh rasps. It’s tough to pick out any one tune as a standout because it’s the experience of the record as a whole that is so rewarding.
#2. In Mourning // The Immortal — This is a remarkable piece of melodic progressive death. I hadn’t heard of In Mourning until Kenstrosity and the other AMG staffers started talking them up ahead of this release. It seems I’ve really missed out and need to fix that. The Immortal is just about perfect. From song craft to musical performances, these guys nail it. From the beautiful guitar tones to the excellent combo of clean and harsh vox to the memorable melodies, The Immortal is an emotional tour de force that grows more majestic with each spin.
#1. Tómarúm // Beyond Obsidian Euphoria — When I first moved away from more mainstream metal acts, it was progressive death bands like Tómarúm that drew me in. Opeth, Between the Buried and Me, Enslaved, and Ayreon opened up my ears to the reward of listening to songs that reveal new layers and depth with repeated listening. Each year, one or two prog death records climb high in my rankings, and this year that mantle belongs to Tómarúm. This record is massive, and the more time I spend with it, the more depths I plumb, and I find that it contains never-ending riches. There are just so many surprises—the technicality, the speed, the melodies—even some flutes! As great as the debut was, these guys have only gotten better and have earned a spot as one of my current favorites in the genre, along with Iotunn and Dvne. This is the kind of album I love to get lost in—it’s pure bliss.
Honorable Mentions
- Empyrean Sanctum // Detachment from Reality — This passion project from Justin Kellerman may not have impressed my Rodeo-mates as much as me, but I strongly connected with it due to dynamic songwriting and inspired performances.
- Skaldr // Samsr — This was initially a lot higher on my list, but it didn’t hold up as well as it did back in January. Still, it’s a remarkable bit of melodic black metal and good enough to rank as among the best of 2025.
- Aephenamer // Utopie — Melodic and symphonic metal with superb songwriting? Sign me up. This latest from Aephenamer is just so dynamic and fun, and it’s another great effort from a reliably high-quality group. The last couple of songs are absolute beauties.
- An Abstract Illusion // The Sleeping City — This may not be as strong as their older stuff, but it’s still incredibly moving. The introduction of synths charts a new direction for the band, but they make it work with some gorgeous atmospherics.
Songs o’ the Year
1. Wings of Steel — “Flight of the Eagle” 2. Lord of the Lost — “One of Us Will Be Next” 3. In the Woods — “Let Me Sing” 4. Hanging Garden — “Morgan’s Trail” 5. Fer de Lance — “Fires on the Mountainside” 6. Tómarúm — “Shed this Erroneous Skin” 7. Green Carnation — “In Your Paradise” 8. Structure — “Will I Deserve It?” 9. Atlantic — “Voyages” 10. In Mourning — “Staghorn” 11. Dolven — “You’ve Chosen”
Owlswald
I’ve finally made it to the end of my first year on staff, culminating with my inaugural list. This time last year, I was deep in the throes of my n00bdom and watched from the dark confines of the dungeon as many of my Freezer Crew brethren shared their initial staff lists. And as stoked as I was for my mates, I couldn’t help but feel a bit jealous that I was still toiling with cleanup detail as an unnamed shadow. But the wheel of ascent turns for us all. After a few more months surviving on table scraps and standing water, our Managing Ape unlocked my cage, releasing me at last into the aviary and the promised start of my pledged service bound labor.
Though my escape from the rookery took longer, that extended time was not without its merits. Reviewing is a skill that must be honed like any other, and although metal—and music generally—has been an essential part of my life since I was young, it has admittedly taken longer for me to truly articulate the “why.” Anyone can declare an album “good” or “bad,” but developing and communicating the rationale is an entirely different discipline. A discipline that I believe I have improved over my first year as a writer here, and one that I look forward to developing further with more time in the seat.
My thanks go out, first and foremost, to Steel and AMG Himself for granting me the opportunity to contribute to this very special, longstanding community and for the monumental trust they have placed in me. Specifically, the trust that I wouldn’t utterly trash the place—a faith I’ve done my best to test (More on one attempt below). I must also thank my fellow writers—both old and new, including those now in the annals of AMG—who I’ve read for years and whose work continues to inspire me. And last, but certainly not least, I thank all of you who read, comment and visit the site regularly. The reality that my thoughts command even a sliver of your precious time remains utterly surreal. For that connection, I am truly honored.
Taking this good energy and running with it, let’s get to the list!
#ish. Harvested // Dysthymia – I wouldn’t have believed you if you’d told me at the start of the year that my first list would be kicked off by an unsigned band. But here we are, and Harvested’s self-released debut, Dysthymia, deserves the honor because it fucking rules. Operating in the sweet spot between Decapitated and Cattle Decapitation, the album boasts one of the best guitar tones of the year. These Canadians flaunt a songwriting maturity that many veteran groups twice their age still haven’t found—a sound that is as bone-crushingly heavy as it is technically brutal. I have been spinning Dysthymia regularly since its release, and highlight tracks like “Unending Madness” and “Gathered and Deluded” make primo Heavy Moves Heavy additions.
#10. Jade // Mysteries of a Flowery Dream – Some albums demand the right conditions and the listener’s utmost attention to enjoy fully, and Jade’s Mysteries of a Flowery Dream is such a record. Though it took a while for their sophomore effort to envelop me in its dark, murky, and oscillating guise, I’m glad I remained patient because the payoff was huge. This Barcelonian quartet has created a sensory-rich listening experience that is as immersive as it is complex and dynamic, featuring superb songwriting intertwined with recurrent themes and soaring leads that ensure the album’s 43 minutes feel unified and purposeful. Achieving this level of cohesive, complex dynamism is a feat that is incredibly hard to execute well, which makes Mysteries of a Flowery Dream all the more impressive.
#9. Pillars of Cacophony // Paralipomena – Each year, one tech-death record usually carves out a spot on my list. Last year, Apogean’s Cyberstrictive set an incredibly high bar, taking album of the year honors with its near-perfect blend of hook-laden guitar maneuvers and groove-focused rhythms. While tech-death won’t be repeating as champion in 2025, Pillars of Cacophony are nonetheless representing the genre in a major way with Paralipomena. The album showcases multi-instrumentalist Dominik’s talents in crafting unsettling, unpredictable soundscapes filled with propulsive fretwork, dissonant phrases, and kinetic rhythmic patterns. Drawing directly from Dominik’s own research as a bioscientist, Paralipomena coils science with the aural might of death metal to create a record that is as conceptually authentic as it is musically captivating.
#8. King Witch // III – Doom—and more specifically stoner—has always been hit-or-miss to these ears. But on III, Scotland’s King Witch grabbed the best parts of the genre and compressed them into a Seattle-made mold of hard rock and grunge that immediately won me over. The album is the culmination of the group’s artistic evolution, combining the strong songwriting of their debut with the dynamic shifts of their follow-up. Guitarist Jamie Gilchrist and bassist Rory Lee assemble a sophisticated foundation of earthmoving, genre-bending riffs that perfectly augment the star power of vocalist Laura Donnelly, whose Chris Cornell-like range and Janis Joplin grit give the material undeniable power and command. The result is a sound that elevates III far beyond typical doom boundaries into one of the year’s best records.
#7. Agriculture // The Spiritual Sound – I initially missed Agriculture’s self-titled debut and follow-up EP, so The Spiritual Sound was my first introduction to this Californian black metal outfit. But after months of having this record on constant rotation—and seeing their live show—I can confidently conclude they are one of the most innovative and unique black metal groups operating right now. Self-dubbed as “ecstatic black metal,” Agriculture shatters convention by challenging the dark extremity of the genre with a patchwork of math rock, shoegaze, noise, and folk influences. Powered by Leah Levinson’s manic, shifting vocals and inventive guitar work from Dan Meyer and Richard Chowenhill, The Spiritual Sound is a genre-defying record that is both unpredictable and intensely authentic.
#6. Cryptopsy // An Insatiable Violence – Outside of my admiration for fellow drummer extraordinaire Flo Mounier, I have to admit that I had more or less forgotten about Cryptopsy after 2012’s self-titled album. Thanks to my fellow Freezer Crew brother Alekhines Gun, I gave them another go, and An Insatiable Violence hit me like a ton of bricks, forcing me to quickly figure out how to start begging these Canadians for forgiveness. From Matt McGachy’s unique, manic screams to Mounier’s pummeling gravity blasts and double-bass to Christian Donaldson’s “waltz-rooted chuggathons” and fret noises, every aspect of An Insatiable Violence is crystal clear, full of groove and hits like a fucking tank. Needless to say, I won’t be making the same mistake twice, and these death metal legends now have my full attention again.
#5. …and Oceans // The Regeneration Itinerary – Being a longtime fan of these multifarious Finns, I rejoiced when they returned from an extended hiatus in 2020 with Cosmic World Mother. Yet, as strong as that album—and follow-up As in Gardens, So in Tombs—was, it didn’t have the same symphonic and eclectic oomph as The Dynamic Gallery of Thoughts or The Symmetry of I – The Circle of O. Much to my pleasure, The Regeneration Itinerary is a riveting return to form for …and Oceans, returning to their symphonic, frenetic and blackened sound of yore while maintaining the incisiveness of their modern form. This album is peppered with their classic trademarks, and “Prophetical Mercury Implement” is the best song the group has written in decades. After taking a couple of albums to get their groove back, The Regeneration Itinerary is evidence that …and Oceans has found it again.
#4. Messa // The Spin – Messa’s fourth full-length marks the second doom record on my list (and the second led by a badass frontwoman). On The Spin, Messa continues to evolve their progressive identity, imbuing their sound with flavors of 80’s dark post-punk and gothic rock that evoke the haunting architecture of early Killing Joke. While Sara’s vocals may not possess the same boisterous power as Laura Donnelly’s, her spellbinding presence and seductive delivery make The Spin simply irresistible. Guitarist Alberto complements Sara’s bewitching and buttery croons with sparkling arpeggios and overdriven solos steeped heavily in the classic occult groups of the ’70s. It’s clear Messa is operating on a completely different level than their peers, and I can’t get enough of The Spin.
#3. Buried Realm // The Dormant Darkness – You always remember your first. Buried Realm’s The Dormant Darkness was my first full review on staff, a record that I am forever grateful Twelve decided to waive his seniority over and allow my newly-clipped wings to review because it ended up surprising the hell out of me. Josh Dummer’s technical melodeath project came out firing on all cylinders with its third album, upping the virtuosity with a slew of new guests. It is full of highlights, memorable hooks, and technically impressive solos and is a non-stop blast. In fact, I loved The Dormant Darkness so much that I committed the cardinal sin of breaking the score counter immediately—an action that can quickly get one thrown into the woodchipper of despair. Luckily, I am still here to tell the tale, and now I have my love of The Dormant Darkness to show for it.
#2. Tómarúm // Beyond Obsidian Euphoria – If there was ever a year for me to look for a #1A/#1B scenario, this would have been it, as I floundered back and forth between this album and my #1 pick. Chalk it up to indecision or whatever you must, but ultimately, one can’t go wrong with either in this instance. In short, Tómarúm’s Beyond Obsidian Euphoria is long-form progressive death metal greatness. Razor-sharp technicality, sparkling melodicism, and excellent songwriting form a weighty spirit that counterbalances crushing heft with airy refrains that move and flow seamlessly across its rewarding 70-minute runtime. There isn’t much more I can say here that Sponge-fren Ken‘s aptly penned review didn’t capture already, outside of stating that Tómarúm‘s opus is as close to perfect in both structure and execution as one can get. To put it simply, it’s a triumph.
#1. In Mourning // The Immortal – Speaking of perfection, In Mourning have achieved such a standard with their latest melodeath offering, The Immortal. After our Almighty Overlord listened to The Immortal following the flurry of votes the record received for August’s Record O’ the Month, he responded with a few choice words that captured my thoughts about the album succinctly: “Damn…” he said. “They nailed this. Well, that’s easy.” But I think that is even an understatement for how incredibly awesome this album is, and, doing one better, I don’t think many have grasped it yet, either. With their seventh album, these Swedes have found the perfect combination of their patented Opethian death metal chuggery, sadboi melodies, and creative dynamism, resulting in a sound rich in emotional depth with more digestible hooks than one can handle. I’m talking hooks—both riffs and vocal melodies—that dig deep into your psyche and never let go. They connect on a different level—a telltale sign we’re dealing with a classic. A decade from now, when In Mourning has hopefully amassed an even deeper discography, should the question arise—”What is the most essential melodeath album of the last ten years?”—I’m willing to bet The Immortal will be the resounding answer.
Honorable Mentions
- Mutagenic Host // The Diseased Machine – I miss Edge of Sanity with a passion, but Mutagenic Host’s The Diseased Machine is helping stem my longing—at least temporarily. These newcomers kicked off 2025 with an absolutely filthy dose of death metal that hasn’t stopped invading my playlist.
- Abigail Williams // A Void Within Existence – While 2019’s Walk Beyond the Dark was one hell of a record, A Void Within Existence may very well surpass it. Drummer Mike Heller codifies the attack, as Ken Sorceron and company unleash an all-out assault of crushing weight and unrelenting groove.
- Bianca // Bianca – Despite its late arrival hindering its consideration for a higher ranking, these Italians clearly have something special brewing with their self-titled debut. An enchanting mix of ethereality and chilling blackened soundscapes that is worth hearing immediately.
- Ambush // Evil in All Dimensions – Heavy metal group Ambush lived up to their name when they absolutely ambushed my ears and eyes with their nostalgic blend of 80’s Maiden, Priest, and Helloween, replete with their oh-so-tight fashion. Vocalist Oskar Jacobsson is poised to be the genre’s next colossal talent. Remember—you heard it here first.
- Fallujah // Xenotaph – Following the heavily criticized 2019 effort, Undying Light, it took six years for these tech-death masters to regroup and recalibrate. But Fallujah delivered a massive surprise with Xenotaph, easily one of their strongest—and best sounding—records to date. Here’s to hoping this reinvigorated momentum holds true.
Song o’ the Year
Ambush // “Bending the Steel” – This surprise pick eventually knocked …and Oceans’ “Prophetical Mercury Implement” from the top spot. It’s a brilliant piece of songwriting that would have immediately launched this act to superstardom had it only been released four decades earlier. 100% nostalgia and cold, hard steel.
#AndOceans #2025 #AbigailWilliams #Aephenamer #Agriculture #AlekhinesGunS #Ambush #AnAbstractIllusion #AncientDeath #AranAngmar #Atlantic #Besna #Bianca #BlogLists #Bloodletter #BlutAusNord #BuriedRealm #ClarkKentSAndOwlswaldSTopTenIshOf2025 #Cryptopsy #Deafheaven #EmpyreanSanctum #Fallujah #GreenCarnation #Harvested #ImperialTriumphant #InMourning #InTheWoods #Jade #Kalaveraztekah #KingWitch #LabryinthusStellarum #Lists #Messa #MutagenicHost #Oromet #Oskoreien #PhantomSpell #Phobocosm #PillarsOfCacophony #Skaldr #Teitanblood #Tómarúm #WingsOfSteel -
Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
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Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
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Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
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Stuck in the Filter: January 2025’s Angry Misses
By Kenstrosity
We enter January under the impression that our underpowered filtration system couldn’t possibly get any more clogged up. Those blistering winds that overwhelm the vents with an even greater portion of debris and detritus pose a great challenge and a grave danger to my minions. Crawling through the refuse as more flies in all william-nilliam, my faithful lackeys brave the perils of the job and return, as they always do, with solid chunks of semi-precious ore.
And so I stand before you, my greedy little gremlins, in a freshly pressed flesh suit that only the elite like myself adorn, and present January 2025’s Filter finds. REJOICE!
Kenstrosity’s Fresh(ish) Finds
Bloodcrusher // Voidseeker [January 9th, 2025 – Barf Bag Records]
The sun rises on a new year, and most are angrier than ever. What’s a better way to process that anger than jamming a phat slab of brutal slamming deathcore into your gob, right? Oregon one-man-slammajamma Bloodcrusher understand this, and so sophomore outburst Voidseeker provides the goods. These are tunes meant not for musicality or delicacy but for brute-force face-caving. Ignorant stomps and trunk-rattling slams trade blows with serrated tremolo slides and a dry pong snare with a level of ferocity uncommon even in this unforgiving field (“Agonal Cherubim ft. Jack Christensen”). Feel the blistering heat of choice cuts “Serpents Circle ft. Azerate Nakamura” or “Death Battalion: Blood Company ft. The Gore Corps” and you have no choice but to submit to their immense heft. Prime lifting material, Voidseeker’s most straightforward cuts guarantee shattered PRs and spontaneous combustion of your favorite gym shorts as your musculature explodes in volume (“Slave Cult,” “Sanguis Aeternus,” “Blood Frenzy”). If you ask me, that sounds like a wonderful problem to have. As they pummel your cranium into dust with deadly slam riffs (“Malus et Mortis ft. Ryan Sporer,” “Seeker of the Void,” “Earthcrusher”) or hack and slash your bones with serrated tremolos (“Razors of Anguish,” “Methmouth PSA”), remember that Bloodcrusher is only trying to help.
Skaldr // Saṃsṛ [January 31st, 2025 – Avantgarde Music]
Virginia’s black metal upstarts Skaldr don’t do anything new. If you’ve heard any of black metal’s second wave, or even more melodic fare by some of my favorite meloblack bands like Oubliette, Stormkeep, and Vorga, Skaldr’s material feels like a cozy blanket of fresh snow. Kicking off their second record, Saṃsṛ, in epic fashion, “The Sum of All Loss” evokes a swaying dance that lulls me into its otherwordly arms. As Saṃsṛ progresses through its seven movements, tracks like the gorgeous “Storms Collide” and the lively “The Crossing” strike true every synapse in my brain, flooding my system with a goosebump-inducing fervor quelled solely by the burden of knowing it must end. Indeed, these short 43 minutes leave me ravenous for more, as Skaldr’s lead-focused wiles charm me over and over again without excess repetition of motifs or homogenization of tones and textures (“From Depth to Dark,” “The Cinder, The Flame, The Sun”). Some of its best moments eclipse its weakest, but weak moments are thankfully few and far between. In reality, Skaldr‘s most serious flaw is that they align so closely with their influences, thereby limiting Saṃsṛ‘s potential to stand out. Nonetheless, it represents one of the more engaging and well-realized examples of the style. Hear it!
Subterranean Lava Dragon // The Great Architect [January 23rd, 2025 – Self Release]
Formed from members of Black Crown Initiate and Minarchist, Pennsylvania’s Subterranean Lava Dragon take the successful parts of their pedigree’s progressive death metal history and transplant them into epic, fantastical soundscapes on their debut LP The Great Architect. Despite the riff-focused, off-kilter nature of The Great Architect, there lies a mystical, mythical backbone behind everything Subterranean Lava Dragon do (“The Great Architect,” “Bleed the Throne”). Delicate strums of the guitar, multifaceted percussion, and noodly soloing provide a thoughtful thread behind the heaviest crush of prog-death riffs and rabid roars, a combination that favorably recalls Blind the Huntsmen (“The Silent Kin,” “A Dream of Drowning”). In a tight 42 minutes, Subterranean Lava Dragon approaches progressive metal with a beastly heft and a compelling set of teeth—largely driven by the expert swing and swagger of the bass guitar—that differentiates The Great Architect from the greater pool of current prog. Yet, its pursuit of creative song structure, reminiscent of Obsidious at times, allows textured gradations and nuanced layers to elevate the final product (“A Question of Eris,” “Ov Ritual Matricide”). It is for these reasons that I heartily recommend The Great Architect to anyone who appreciates smart, but still dangerous and deadly, metal.
Thus Spoke’s Likeable Leftovers
Besna // Krásno [January 16th, 2025 – Self Release]
It was the esteemed Doom et Al who first made me aware of Solvakian post-black group Besna. 2022’s Zverstvá was charming and moving in equal respects, with its folky vibe amplifying the punch of blackened atmosphere and epicness. With Krásno, the group take things in a sharper, more refined, and still more compelling direction, showing real evolution and improvement. The vague leanings towards the electronic play a larger role (“Zmráka sa,” “Hranice”), but songs also make use of snappier, and stronger emotional surges (“Krásno,” “Mesto spí”), the polished production to the atmospherics counterbalanced sleekly by the rough, ardent screams and pleasingly prominent percussion. Krásno literally translates as ‘beautiful,’ and Besna get away with titling their sophomore so bluntly because it is accurate. Melodies are more sweeping and stirring (“Krásno,” “Oceán prachu,” “Meso spí”), and the integration of the harsh amidst the mellow is executed more affectively (“Hranice,” “Bezhviezdna obloha”) than in the band’s previous work. Particularly potent are Krásno’s subtle nods and reprises of harmonic themes spanning the record (“Krásno,” “Oceán prachu,” “Mesto spí”), recurring like waves in an uplifting way that reminds me of Deadly Carnage‘s Through the Void, Above the Suns. Barely scraping past half an hour, the beautiful Krásno can be experienced repeatedly in short succession; which is the very least this little gem deserves.
Tyme’s Ticking Bomb
Trauma Bond // Summer Ends. Some Are Long Gone [January 12, 2025 – Self-Released]
Conceptualized by multi-instrumentalist Tom Mitchell1 and vocalist Eloise Chong-Gargette, London, England’s Trauma Bond plays grindcore with a twist. Formed in 2020 and on the heels of two other EPs—’21’s The Violence of Spring and ’22’s Winter’s Light—January 2025 sees Trauma Bond release its first proper album, Summer Ends. Some Are Long Gone, the third in a seasonally themed quadrilogy. Twisting and reshaping the boundaries of grindcore, not unlike Beaten to Death or Big Chef, Trauma Bond douses its grind with a gravy boat full of sludge. Past the moodily tribal and convincing intro “Brushed by the Storm” lies fourteen minutes of grindy goodness (“Regards,” “Repulsion”), sludgian skullduggery (“Chewing Fat”), and caustic cantankerousness (“Thumb Skin for Dinner”). You’ll feel violated and breathless even before staring down the barrel of nine-and-a-half minute closer “Dissonance,” a gargantuanly heavy ear-fuck that will liquefy what’s left of the organs inside your worthless skin with its slow, creeping sludgeastation. I was not expecting to hear what Trauma Bond served up, as the minimalist cover art drew me in initially, but I’m digging it muchly. Independently released, Summer Ends. Some Are Long Gone is a hell of an experience and should garner Trauma Bond a label partner. I’ll be hoping for that, continuing to support them, and looking forward to whatever autumn brings.
Iceberg’s Bleak Bygones
Barshasketh // Antinomian Asceticsm [January 9th, 2025 – W.T.C Productions]
My taste for black metal runs a narrow, anti-secondwave path. I want oppressive, nightmarish atmosphere, sure, but I also crave rich, modern production and technically proficient instrumental performances. Blending the fury of early Behemoth, the cinematic scope of Deathspell Omega, and the backbeat-supported drones of Panzerfaust, Barshasketh’s latest fell square in my target area. The pealing bells of “Radiant Aperture” beckoned me into Antinomian Asceticsm’s sacred space, a dark world populated with rippling drum fills, surprisingly melodic guitar work, and a varied vocal attack that consistently keeps things fresh. With the average track length in the 6-minute territory, repeat listens are necessary to reveal layers of rhythm and synth atmosphere that give the album its complexity. A throwaway interlude (“Phaneron Engulf”) and a drop in energy in the second and third tracks stop this from being a TYMHM entry, but anyone with a passing interest in technical black metal with lots of atmosphere should check this out.
Deus Sabaoth // Cycle of Death [January 17th, 2025 – Self-Released]
Deus Sabaoth have a lot going for them to catch my attention, beyond that absolutely entrancing cover art. Released under the shadow of war, this debut record from the Ukrainian trio bills itself as “Baroque metal,” another tag that piqued my interest. Simply put, Deus Sabaoth play melodic black metal, but there’s a lot more brewing under the surface. I hear the gothic, unsettled storytelling of The Vision Bleak, the drenching laments of Draconian, and the diligent, dynamic riffing of Mistur. The core metal ensemble of guitar, bass and drums is present, but the trio is augmented by a persistent accompaniment of piano and strings. The piano melodies—often doubled on the guitar—are where the baroque influence shines the greatest, echoing the bouncing, repetitive styling of a toccata (“Mercenary Seer,” “Faceless Warrior”). The vocals are something of an acquired taste, mainly due to their too-far-forward mix, but there’s a vitality and drive to this album that keeps me hooked throughout. And while its svelte 7 song runtime feels more like an EP at times, Cycle of Death shows enough promise from the young band that I’ll keep my eyes peeled in the future.
GardensTale’s Tab of Acid
I Don’t Do Drugs, I Am Drugs // I Don’t Do Drugs, I Am Drugs [January 27th, 2025 – Self-released]
When you name yourself after a famous Salvador Dalí quote, you better be prepared to back it up with an appropriate amount of weird shit. Thankfully, I Don’t Do Drugs, I Am Drugs strives to be worthy of the moniker. The band’s self-titled debut is a psychedelic prog-death nightmare of off-kilter riffs, structures that seem built upon dream logic, layers of ethereal synths and bizarre mixtures of vocal styles. The project was founded by Scott Hogg, guitarist for Cyclops Cataract, who is responsible for everything but the vocals. That includes all the songwriting. Hogg throws the listener off with an ever-shifting array of Gojira-esque plodding syncopation and thick, throbbing layers of harmonics that lean discordant without fully shifting into dissonance. But the songs float as easily into other-worldly soundscapes (“The Tree that Died in it’s[sic] Sleep”) or off-putting balladry (“Confierous”). BP of Madder Mortem handles vocals, and he displays an aptitude for the many facets required to buoy the intriguing but unintuitive music, his shouts and screams and cleans and hushes often layered together in strange strata either more or less than human. The combined result resembles a nightmare Devin may have had around 2005 after listening too much Ephel Duath. It’s not yet perfected; the ballad doesn’t quite work, and the compositions are sometimes a bit too dedicated to their lack of handholds. But it’s a hell of a trip, and a very convincing mission statement. A band to keep an eye on!
Dear Hollow’s Gunk Behooval
Bloodbark // Sacred Sound of Solitude [January 3rd, 2025 – Northern Silence Productions]
Bloodbark’s debut Bonebranches offered atmospheric black metal a minimalist spin, as cold and relentless as Paysage d’Hiver, as textured as Fen, and as barren as the mountains it depicts, exuding a natural crispness that recalls Falls of Rauros. Seven years later, we are graced with its follow-up, the majestic Sacred Sound of Solitude. Like its predecessor, the classic atmoblack template is cut with post-black to create an immensely rich and dynamic tapestry, lending all the hallmarks of frostbitten blackened sound (shrieks, blastbeats, tremolo) with the depth of a more modern approach. Twinkling leads, frosty synths, and forlorn piano survey the frigid vistas, while the more furious blackened portions scale snowbound peaks, utilized with the utmost restraint and bound by yearning chord progressions (“Glacial Respite,” “Griever’s Domain”). A new element in the act’s sound is clean vocals (“Time is Nothing,” “Augury of Snow”), which lend a far more melancholy vibe alongside trademark shrieking. Bloodbark offers top-tier atmospheric black metal, a reminder of the always-looming winter.
Great American Ghost // Tragedy of the Commons [January 31st, 2025 – SharpTone Records]
Boston’s Great American Ghost used to be extremely one-note, a coattail-rider of the likes of Kublai Khan and Knocked Loose. Deathcore muscles whose veins pulse to the beat of a hardcore heart, you’d be forgiven to see opener “Kerosene” as a sign of stagnation – chunky breakdowns and punk beats, feral barks and callouts, and a hardcore frowny face sported throughout. But Tragedy of the Commons is a far more layered affair, with echoes of metalcore past (“Ghost in Flesh,” “Hymns of Decay”), pronounced and tasteful nu-metal influence a la Deftones (“Genocide,” “Reality/Relapse”), and more variety in their rhythms and tempos, reflecting a Fit for an Autopsy-esque cutthroat intensity and ominous crescendos alongside a more pronounced influence of melody and manic dissonance (“Echoes of War,” “Forsaken”). Is it still meatheaded? Absolutely. Are its more “experimental” pieces in just well-trodden paths of metalcore bands past? Oh definitely. But gracing Great American Ghost a voice beyond the hardcore beatdowns does Tragedy of the Commons good and gives this one-trick pony another trail to wander.
Steel Druhm’s Detestible Digestibles
Guts // Nightmare Fuel [January 31st, 2025 – Self-Release]
Finland’s Guts play a weird “caveman on a Zamboni” variant of groove-heavy death metal that mixes OSDM with sludge and stoner elements for something uniquely sticky and pulversizing. On Nightmare Fuel, the material keeps grinding forward at a universal mid-tempo pace powered by phat, crushing grooves. “571” sounds like a Melvins song turned into a death metal assault, and it shouldn’t work, but it very much does. The blueprint for what Guts do is so basic, but they manage to keep cracking skulls on track after track as you remain locked in place helplessly. Nightmare Fuel is a case study into how less can be MOAR, as Guts staunchly adhere to their uncomplicated approach and make it work so well. Each track introduces a rudimentary riff and beats you savagely with it for 3-4 minutes with little variation. Things reset for the next track, and a new riff comes out to pound you into schnitzel all over again. This is the Guts experience, and you will be utterly mulched by massive prime movers like “Mortar” and “Ravenous Leech,” the latter of which sounds like an old Kyuss song refitted with death vocals and unleashed upon mankind. The relentlessly monochromatic riffs are things of minimalist elegance that you need to experience. Nightmare Fuel is a slow-motion ride straight into a brick wall, so brace for a concrete facial.
#2025 #AmericanMetal #AntinomianAsceticism #AtmosphericBlackMetal #AvantgardeMusic #BarfBagRecords #Barshasketh #BeatenToDeath #Behemoth #Besna #BigChef #BlackCrownInitiate #BlackMetal #BlindTheHuntsmen #Bloodbark #Bloodcrusher #BrutalDeathMetal #Converge #CycleOfDeath #CyclopsCataract #DeadlyCarnage #DeathMetal #Deathcore #DeathspellOmega #Deftones #DeusSabaoth #DevinTownsend #DoomMetal #Draconian #EphelDuath #FallsOfRauros #Fen #FitForAnAutopsy #Gojira #GothicMetal #GreatAmericanGhost #Grind #Grindcore #Guts #Hardcore #IDonTDoDrugsIAmDrugs #Jan25 #KnockedLoose #Krásno #KublaiKhan #MadderMortem #MelodicBlackMetal #Minarchist #Mistur #NightmareFuel #NorthernSilenceProductions #NuMetal #Oubliette #Panzerfaust #PaysageDHiver #PostBlack #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SacredSoundOfSolitude #SamSr_ #SelfRelease #SharpToneRecords #Skaldr #Slam #SlovakianMetal #Sludge #Stormkeep #StuckInTheFilter #SubterraneanLavaDragon #SummerEndsSomeAreLongGone #TheGreatArchitect #TheVisionBleak #TragedyOfTheCommons #TraumaBond #UKMetal #UkranianMetal #Voidseeker #Vorga #WTCProductions
-
So, I’m a developer. I am following along with and reading this thread:
https://oisaur.com/@renchap/116056634129526611
All I can think while reading this is: Well, that’s unfortunate.
So, one of the very popular features on Bluesky—also popular on Twitter—is the ability to select who can reply to a post. A major issue in the Fediverse is the inability to decide who can reply, and once you block someone, their harassing reply is still there. I honestly thought it was simply a case of them choosing not to add or address it for cultural reasons. What is clear from that thread is that they were always aware that the ActivityPub protocol and most Fediverse implementations don’t provide a universal way to control reply visibility or enforce blocks across instances. They were hedging and hiding behind cultural norms this whole time instead of working to fix it, because they were too busy waging political culture wars instead of doing their damn jobs.
That realization sunk my hopes. It basically means that the social media ecosystem with the most moderation tools is Bluesky and the ATmosphere, albeit Bluesky isn’t fully using all of them and is using the moderation tools in ways that selectively moderate according to their enigmatic interests. That does not make me feel good. Honestly, that makes me feel fucking awful about the future of the Internet.
ActivityStreams/ActivityPub was formalized around 2018, and platforms like Mastodon (which implement the ActivityPub protocol) have had years to work on federation and moderation tooling. Instead, many of those years were spent debating culture and writing manifestos. The most disturbing thing about all of this is that it had so much potential. But yeah, I think the Fediverse is going to be relegated to a legacy platform like Usenet or IRC. It’s not fixable, and the folks over at the Fediverse have alienated so many developers that no one really wants to work on fixing it.
The co-authors of ActivityPub are working on other social media projects that have nothing to do with the fediverse. Meanwhile, Mastodon’s founder, Eugen Rochko, stepped down as CEO in November 2025 as part of Mastodon’s transition to a nonprofit governance structure. The restructuring was intended to formalize governance and reduce reliance on a single individual. Rochko transferred control of Mastodon’s core assets and trademark to the nonprofit organization and remains involved in a strategic and advisory capacity. Day-to-day operations are now overseen by an executive director under a board-governed structure. I believe how badly Eugen fucked Mastodon is a large reason why he stepped down, albeit they are all doing the virtue signaling thing.
For the most part, I have pretty much pulled away from microblogging platforms as a whole. I was never a heavy user of anything but forums, and I was part of the occult niche. Since that is pretty much gone, there really isn’t a reason for me to be on social media, which is why I mostly blog. It really sucks because I wanted to believe in ActivityPub and the fediverse.
It pretty much comes down to the fact that the ActivityPub protocol is flawed at the protocol level when it comes to protecting people from harassment. While Bluesky’s app view is choosing to apply its tools selectively to address this, it is more capable of protecting people. Honestly, that really sucks, because that spells the death of this protocol. ActivityPub’s decentralized design doesn’t provide built-in, enforceable protections against harassment. This makes moderation and harassment mitigation practically impossible.
Renaud Chaput so much as admits it here:
“So we need to consider if we want to switch to a “thread context”-based approval model, there the author of the root of the thread controls all the tree of replies. Which would be a big change for Mastodon (and similar implementations), but might be more aligned with what user want, and solve other issues as well (replies federation).
But that would be a huge undertaking, with lot of problems related to backward compatibility (for example)”What I noticed was this phrase by Renaud Chaput:
“First step for us is probably staying alive and continuing having a team that is focused on building a better product, which is our focus right now. We are very well aware of this topic (as I keep repeating each time you mention me 😉 ).”
They are saying the quiet part out loud: We are having issues staying relevant.
ActivityPub is built on the ActivityStreams 2.0 vocabulary. Three core components define it: Actor, Object, and Activity. It provides a Client-to-Server (C2S) API that lets an Actor submit Activities to an outbox. It also provides a Server-to-Server (S2S) federation protocol. This protocol delivers those Activities to other servers’ inboxes.
Replies are created by setting the inReplyTo property on an Object. Servers may expose a replies Collection. However, that collection is optional and not globally authoritative. The specification describes how Activities are serialized and delivered. It does not introduce a canonical container for conversations. It does not define a required global index or binding enforcement rules for moderation. A Block Activity is defined as a type of Activity. However, remote servers are not obligated to remove or hide content beyond their own policies. Each server maintains its own inboxes, outboxes, collections, and storage model. It interprets incoming Activities according to local implementation choices.
This facilitates interoperability at the transport and vocabulary level. It does not do so at the level of governance. Servers do not have to construct identical conversation graphs from inReplyTo chains. Nothing in the protocol allows an Actor to assert authoritative control over all descendant replies. This is the main problem. Federation operates peer to peer among autonomous servers. Moderation decisions, including defederation, filtering, and suspensions, remain local. The specification does not define a global control layer.
The AT Protocol approaches the problem differently. Users are identified through Decentralized Identifiers (DIDs). They publish signed records stored in repositories. These repositories are usually hosted on a Personal Data Server (PDS). They are append-only and cryptographically verifiable. Records follow schemas defined in Lexicon. Lexicon describes types, fields, and RPC interfaces in machine-readable form. Updates propagate through relays. These relays aggregate repository changes into a network-wide event stream, often called the firehose. Higher-level services, including AppViews, subscribe to this stream. They may also query indexes derived from it. The AT Protocol defines message delivery, identity, storage, and synchronization.
Within the AT Protocol, moderation operates across the same repository data. Labeling and visibility controls are expressed as structured records. Clients or AppViews can apply them deterministically if they choose to consume them. Content exists as signed records keyed by DIDs. It is distributed through relays. Moderation services therefore work against a consistent dataset rather than isolated server copies. Identity portability follows from this structure. Users can move between hosting providers without losing their DID, repository history, or social graph.
ActivityPub standardizes how Activities move between servers and how they are described. It leaves indexing, thread authority, and enforcement to individual implementations. The AT Protocol defines repository structure, identity binding, record schemas, and synchronization across the network. ActivityPub centers on federated message exchange with local policy control. No participant has protocol-level authority over the shape or visibility of a conversation once it federates. The AT Protocol centers on a shared record system with portable identity and network-wide data propagation. Moderation and visibility decisions can attach to the same canonical records seen across the network.
In ActivityPub’s model, moderation is local. If someone replies to you in a harassing way, your server can hide it, block it, or defederate from the offending server. Other servers may still store, display, and propagate those replies according to their own policies. There is no protocol-level mechanism that lets you assert binding control over how replies to your post are indexed or rendered elsewhere. Harassment mitigation is fragmented. Harassment can persist in parallel contexts even after you act against it locally.
In the AT Protocol model, content exists as signed records in repositories keyed to portable identities. It is distributed through a shared data propagation layer. Because of this, moderation services can operate against a consistent dataset. Labels, visibility controls, or account-level actions can attach to the same canonical records that other services consume. While it does not eliminate harassment, it makes it technically possible for moderation decisions to propagate more coherently across applications that choose to honor them.
So the difference for harassment is this: in ActivityPub, protection is inherently piecemeal and server-scoped. In the AT Protocol, protection can be structurally network-aware. Identity, storage, and moderation signals live in the same shared data model.
Basically, the fediverse has no means to keep vulnerable, marginalized people safe. The AT Protocol does, albeit the Bluesky app view chooses not to use it. The point is that it has the potential. The last time I tried to explain all of this, I was harassed by a person who operates multiple servers and accounts on here:
@FediThing @FediTips @[email protected] @[email protected] @[email protected] and @[email protected]
The protocol is fundamentally flawed, and they do not know how to fix it. These people are incapable of good-faith conversations, so I am avoiding tagging them or attaching this response.to the thread, because their response is basically to stall, hedge, and gas light.
I’m not a fan of Bluesky — not at all. I really wanted to love ActivityPub, but I think Eugene pretty much killed it within the last three years. They had a very narrow, myopic culture and vision in mind, where they completely ignored all criticisms. Now, there is really no way to fix this mess, which is why they stick to gaslighting their users and literally harassing any developer who criticizes them. Social media has normalized lying to its users, so am I surprised?
Edit:
What a surprise. An anti-black reaction that pulls the it is okay to ignore you because you are an angry black person. Yes, black people are angry, and that you do not understand why is the problem.
I’m not going to go back and forth with a racist, nor am I going to quote them because of my stance on spreading misinformation and vitriol. A person who was implicated in the anti-Black behavior of the fediverse tried to discredit me as a Black person by claiming that I am not on Blacksky, have not worked on Blacksky, and am not happy or positive enough to be included in the Black folks who have been harmed by anti-Blackness.
Yes, they said that with a straight face. Blacksky exists because Black people were angry at being mistreated by the fediverse. Ergo, since I am not happy about being mistreated, I can’t be part of that demographic of Black folks. They are tacitly expecting trustworthy Black people to respond to abuse by being happy. What kind of Jim Crow shit is this? Therefore, it is acceptable to dismiss my experiences as a Black person because I don’t conform to the stereotype of what a Black person in America is.
In other words, they are saying I am a hostile angry black person, and we can disregard what I have to say because I am an angry Black person in Donald Trump’s America.
What kills me is that these folks have no insight into their own racism. This is all the attention they get, because I believe racists should be isolated among other things. They truly believe they are the good guys and that the savior complex is an imperialistic colonial archetype flies over their heads I don’t think white racists can ever change, so I will not be addressing them. That’s all I will say about that.
Edit again:
Welp, after seeing the first edit, the hit racist dog deleted the top level of the thread about me. That is what is called a consciousness of guilt, because if they had genuine good intentions and truly believed what they said was right, they would have said it with their whole chest and would not have deleted the top thread reply. Also, the little group of Fediverse racists explicitly rushed to report me. Report me to who—myself? It’s my instance. I have not explicitly violated any rules of this person’s home instance, but they feel entitled to try and have me removed from the Fediverse because I did not respond to their triangulation, brigading, and harassment by being nice. I did not take the mistreatment with a smile and a nod. Racist white people can fuck all the way off.
-
So, I’m a developer. I am following along with and reading this thread:
https://oisaur.com/@renchap/116056634129526611
All I can think while reading this is: Well, that’s unfortunate.
So, one of the very popular features on Bluesky—also popular on Twitter—is the ability to select who can reply to a post. A major issue in the Fediverse is the inability to decide who can reply, and once you block someone, their harassing reply is still there. I honestly thought it was simply a case of them choosing not to add or address it for cultural reasons. What is clear from that thread is that they were always aware that the ActivityPub protocol and most Fediverse implementations don’t provide a universal way to control reply visibility or enforce blocks across instances. They were hedging and hiding behind cultural norms this whole time instead of working to fix it, because they were too busy waging political culture wars instead of doing their damn jobs.
That realization sunk my hopes. It basically means that the social media ecosystem with the most moderation tools is Bluesky and the ATmosphere, albeit Bluesky isn’t fully using all of them and is using the moderation tools in ways that selectively moderate according to their enigmatic interests. That does not make me feel good. Honestly, that makes me feel fucking awful about the future of the Internet.
ActivityStreams/ActivityPub was formalized around 2018, and platforms like Mastodon (which implement the ActivityPub protocol) have had years to work on federation and moderation tooling. Instead, many of those years were spent debating culture and writing manifestos. The most disturbing thing about all of this is that it had so much potential. But yeah, I think the Fediverse is going to be relegated to a legacy platform like Usenet or IRC. It’s not fixable, and the folks over at the Fediverse have alienated so many developers that no one really wants to work on fixing it.
The co-authors of ActivityPub are working on other social media projects that have nothing to do with the fediverse. Meanwhile, Mastodon’s founder, Eugen Rochko, stepped down as CEO in November 2025 as part of Mastodon’s transition to a nonprofit governance structure. The restructuring was intended to formalize governance and reduce reliance on a single individual. Rochko transferred control of Mastodon’s core assets and trademark to the nonprofit organization and remains involved in a strategic and advisory capacity. Day-to-day operations are now overseen by an executive director under a board-governed structure. I believe how badly Eugen fucked Mastodon is a large reason why he stepped down, albeit they are all doing the virtue signaling thing.
For the most part, I have pretty much pulled away from microblogging platforms as a whole. I was never a heavy user of anything but forums, and I was part of the occult niche. Since that is pretty much gone, there really isn’t a reason for me to be on social media, which is why I mostly blog. It really sucks because I wanted to believe in ActivityPub and the fediverse.
It pretty much comes down to the fact that the ActivityPub protocol is flawed at the protocol level when it comes to protecting people from harassment. While Bluesky’s app view is choosing to apply its tools selectively to address this, it is more capable of protecting people. Honestly, that really sucks, because that spells the death of this protocol. ActivityPub’s decentralized design doesn’t provide built-in, enforceable protections against harassment. This makes moderation and harassment mitigation practically impossible.
Renaud Chaput so much as admits it here:
“So we need to consider if we want to switch to a “thread context”-based approval model, there the author of the root of the thread controls all the tree of replies. Which would be a big change for Mastodon (and similar implementations), but might be more aligned with what user want, and solve other issues as well (replies federation).
But that would be a huge undertaking, with lot of problems related to backward compatibility (for example)”What I noticed was this phrase by Renaud Chaput:
“First step for us is probably staying alive and continuing having a team that is focused on building a better product, which is our focus right now. We are very well aware of this topic (as I keep repeating each time you mention me 😉 ).”
They are saying the quiet part out loud: We are having issues staying relevant.
ActivityPub is built on the ActivityStreams 2.0 vocabulary. Three core components define it: Actor, Object, and Activity. It provides a Client-to-Server (C2S) API that lets an Actor submit Activities to an outbox. It also provides a Server-to-Server (S2S) federation protocol. This protocol delivers those Activities to other servers’ inboxes.
Replies are created by setting the inReplyTo property on an Object. Servers may expose a replies Collection. However, that collection is optional and not globally authoritative. The specification describes how Activities are serialized and delivered. It does not introduce a canonical container for conversations. It does not define a required global index or binding enforcement rules for moderation. A Block Activity is defined as a type of Activity. However, remote servers are not obligated to remove or hide content beyond their own policies. Each server maintains its own inboxes, outboxes, collections, and storage model. It interprets incoming Activities according to local implementation choices.
This facilitates interoperability at the transport and vocabulary level. It does not do so at the level of governance. Servers do not have to construct identical conversation graphs from inReplyTo chains. Nothing in the protocol allows an Actor to assert authoritative control over all descendant replies. This is the main problem. Federation operates peer to peer among autonomous servers. Moderation decisions, including defederation, filtering, and suspensions, remain local. The specification does not define a global control layer.
The AT Protocol approaches the problem differently. Users are identified through Decentralized Identifiers (DIDs). They publish signed records stored in repositories. These repositories are usually hosted on a Personal Data Server (PDS). They are append-only and cryptographically verifiable. Records follow schemas defined in Lexicon. Lexicon describes types, fields, and RPC interfaces in machine-readable form. Updates propagate through relays. These relays aggregate repository changes into a network-wide event stream, often called the firehose. Higher-level services, including AppViews, subscribe to this stream. They may also query indexes derived from it. The AT Protocol defines message delivery, identity, storage, and synchronization.
Within the AT Protocol, moderation operates across the same repository data. Labeling and visibility controls are expressed as structured records. Clients or AppViews can apply them deterministically if they choose to consume them. Content exists as signed records keyed by DIDs. It is distributed through relays. Moderation services therefore work against a consistent dataset rather than isolated server copies. Identity portability follows from this structure. Users can move between hosting providers without losing their DID, repository history, or social graph.
ActivityPub standardizes how Activities move between servers and how they are described. It leaves indexing, thread authority, and enforcement to individual implementations. The AT Protocol defines repository structure, identity binding, record schemas, and synchronization across the network. ActivityPub centers on federated message exchange with local policy control. No participant has protocol-level authority over the shape or visibility of a conversation once it federates. The AT Protocol centers on a shared record system with portable identity and network-wide data propagation. Moderation and visibility decisions can attach to the same canonical records seen across the network.
In ActivityPub’s model, moderation is local. If someone replies to you in a harassing way, your server can hide it, block it, or defederate from the offending server. Other servers may still store, display, and propagate those replies according to their own policies. There is no protocol-level mechanism that lets you assert binding control over how replies to your post are indexed or rendered elsewhere. Harassment mitigation is fragmented. Harassment can persist in parallel contexts even after you act against it locally.
In the AT Protocol model, content exists as signed records in repositories keyed to portable identities. It is distributed through a shared data propagation layer. Because of this, moderation services can operate against a consistent dataset. Labels, visibility controls, or account-level actions can attach to the same canonical records that other services consume. While it does not eliminate harassment, it makes it technically possible for moderation decisions to propagate more coherently across applications that choose to honor them.
So the difference for harassment is this: in ActivityPub, protection is inherently piecemeal and server-scoped. In the AT Protocol, protection can be structurally network-aware. Identity, storage, and moderation signals live in the same shared data model.
Basically, the fediverse has no means to keep vulnerable, marginalized people safe. The AT Protocol does, albeit the Bluesky app view chooses not to use it. The point is that it has the potential. The last time I tried to explain all of this, I was harassed by a person who operates multiple servers and accounts on here:
@FediThing @FediTips @[email protected] @[email protected] @[email protected] and @[email protected]
The protocol is fundamentally flawed, and they do not know how to fix it. These people are incapable of good-faith conversations, so I am avoiding tagging them or attaching this response.to the thread, because their response is basically to stall, hedge, and gas light.
I’m not a fan of Bluesky — not at all. I really wanted to love ActivityPub, but I think Eugene pretty much killed it within the last three years. They had a very narrow, myopic culture and vision in mind, where they completely ignored all criticisms. Now, there is really no way to fix this mess, which is why they stick to gaslighting their users and literally harassing any developer who criticizes them. Social media has normalized lying to its users, so am I surprised?
Edit:
What a surprise. An anti-black reaction that pulls the it is okay to ignore you because you are an angry black person. Yes, black people are angry, and that you do not understand why is the problem.
I’m not going to go back and forth with a racist, nor am I going to quote them because of my stance on spreading misinformation and vitriol. A person who was implicated in the anti-Black behavior of the fediverse tried to discredit me as a Black person by claiming that I am not on Blacksky, have not worked on Blacksky, and am not happy or positive enough to be included in the Black folks who have been harmed by anti-Blackness.
Yes, they said that with a straight face. Blacksky exists because Black people were angry at being mistreated by the fediverse. Ergo, since I am not happy about being mistreated, I can’t be part of that demographic of Black folks. They are tacitly expecting trustworthy Black people to respond to abuse by being happy. What kind of Jim Crow shit is this? Therefore, it is acceptable to dismiss my experiences as a Black person because I don’t conform to the stereotype of what a Black person in America is.
In other words, they are saying I am a hostile angry black person, and we can disregard what I have to say because I am an angry Black person in Donald Trump’s America.
What kills me is that these folks have no insight into their own racism. This is all the attention they get, because I believe racists should be isolated among other things. They truly believe they are the good guys and that the savior complex is an imperialistic colonial archetype flies over their heads I don’t think white racists can ever change, so I will not be addressing them. That’s all I will say about that.
Edit again:
Welp, after seeing the first edit, the hit racist dog deleted the top level of the thread about me. That is what is called a consciousness of guilt, because if they had genuine good intentions and truly believed what they said was right, they would have said it with their whole chest and would not have deleted the top thread reply. Also, the little group of Fediverse racists explicitly rushed to report me. Report me to who—myself? It’s my instance. I have not explicitly violated any rules of this person’s home instance, but they feel entitled to try and have me removed from the Fediverse because I did not respond to their triangulation, brigading, and harassment by being nice. I did not take the mistreatment with a smile and a nod. Racist white people can fuck all the way off.
-
So, I’m a developer. I am following along with and reading this thread:
https://oisaur.com/@renchap/116056634129526611
All I can think while reading this is: Well, that’s unfortunate.
So, one of the very popular features on Bluesky—also popular on Twitter—is the ability to select who can reply to a post. A major issue in the Fediverse is the inability to decide who can reply, and once you block someone, their harassing reply is still there. I honestly thought it was simply a case of them choosing not to add or address it for cultural reasons. What is clear from that thread is that they were always aware that the ActivityPub protocol and most Fediverse implementations don’t provide a universal way to control reply visibility or enforce blocks across instances. They were hedging and hiding behind cultural norms this whole time instead of working to fix it, because they were too busy waging political culture wars instead of doing their damn jobs.
That realization sunk my hopes. It basically means that the social media ecosystem with the most moderation tools is Bluesky and the ATmosphere, albeit Bluesky isn’t fully using all of them and is using the moderation tools in ways that selectively moderate according to their enigmatic interests. That does not make me feel good. Honestly, that makes me feel fucking awful about the future of the Internet.
ActivityStreams/ActivityPub was formalized around 2018, and platforms like Mastodon (which implement the ActivityPub protocol) have had years to work on federation and moderation tooling. Instead, many of those years were spent debating culture and writing manifestos. The most disturbing thing about all of this is that it had so much potential. But yeah, I think the Fediverse is going to be relegated to a legacy platform like Usenet or IRC. It’s not fixable, and the folks over at the Fediverse have alienated so many developers that no one really wants to work on fixing it.
The co-authors of ActivityPub are working on other social media projects that have nothing to do with the fediverse. Meanwhile, Mastodon’s founder, Eugen Rochko, stepped down as CEO in November 2025 as part of Mastodon’s transition to a nonprofit governance structure. The restructuring was intended to formalize governance and reduce reliance on a single individual. Rochko transferred control of Mastodon’s core assets and trademark to the nonprofit organization and remains involved in a strategic and advisory capacity. Day-to-day operations are now overseen by an executive director under a board-governed structure. I believe how badly Eugen fucked Mastodon is a large reason why he stepped down, albeit they are all doing the virtue signaling thing.
For the most part, I have pretty much pulled away from microblogging platforms as a whole. I was never a heavy user of anything but forums, and I was part of the occult niche. Since that is pretty much gone, there really isn’t a reason for me to be on social media, which is why I mostly blog. It really sucks because I wanted to believe in ActivityPub and the fediverse.
It pretty much comes down to the fact that the ActivityPub protocol is flawed at the protocol level when it comes to protecting people from harassment. While Bluesky’s app view is choosing to apply its tools selectively to address this, it is more capable of protecting people. Honestly, that really sucks, because that spells the death of this protocol. ActivityPub’s decentralized design doesn’t provide built-in, enforceable protections against harassment. This makes moderation and harassment mitigation practically impossible.
Renaud Chaput so much as admits it here:
“So we need to consider if we want to switch to a “thread context”-based approval model, there the author of the root of the thread controls all the tree of replies. Which would be a big change for Mastodon (and similar implementations), but might be more aligned with what user want, and solve other issues as well (replies federation).
But that would be a huge undertaking, with lot of problems related to backward compatibility (for example)”What I noticed was this phrase by Renaud Chaput:
“First step for us is probably staying alive and continuing having a team that is focused on building a better product, which is our focus right now. We are very well aware of this topic (as I keep repeating each time you mention me 😉 ).”
They are saying the quiet part out loud: We are having issues staying relevant.
ActivityPub is built on the ActivityStreams 2.0 vocabulary. Three core components define it: Actor, Object, and Activity. It provides a Client-to-Server (C2S) API that lets an Actor submit Activities to an outbox. It also provides a Server-to-Server (S2S) federation protocol. This protocol delivers those Activities to other servers’ inboxes.
Replies are created by setting the inReplyTo property on an Object. Servers may expose a replies Collection. However, that collection is optional and not globally authoritative. The specification describes how Activities are serialized and delivered. It does not introduce a canonical container for conversations. It does not define a required global index or binding enforcement rules for moderation. A Block Activity is defined as a type of Activity. However, remote servers are not obligated to remove or hide content beyond their own policies. Each server maintains its own inboxes, outboxes, collections, and storage model. It interprets incoming Activities according to local implementation choices.
This facilitates interoperability at the transport and vocabulary level. It does not do so at the level of governance. Servers do not have to construct identical conversation graphs from inReplyTo chains. Nothing in the protocol allows an Actor to assert authoritative control over all descendant replies. This is the main problem. Federation operates peer to peer among autonomous servers. Moderation decisions, including defederation, filtering, and suspensions, remain local. The specification does not define a global control layer.
The AT Protocol approaches the problem differently. Users are identified through Decentralized Identifiers (DIDs). They publish signed records stored in repositories. These repositories are usually hosted on a Personal Data Server (PDS). They are append-only and cryptographically verifiable. Records follow schemas defined in Lexicon. Lexicon describes types, fields, and RPC interfaces in machine-readable form. Updates propagate through relays. These relays aggregate repository changes into a network-wide event stream, often called the firehose. Higher-level services, including AppViews, subscribe to this stream. They may also query indexes derived from it. The AT Protocol defines message delivery, identity, storage, and synchronization.
Within the AT Protocol, moderation operates across the same repository data. Labeling and visibility controls are expressed as structured records. Clients or AppViews can apply them deterministically if they choose to consume them. Content exists as signed records keyed by DIDs. It is distributed through relays. Moderation services therefore work against a consistent dataset rather than isolated server copies. Identity portability follows from this structure. Users can move between hosting providers without losing their DID, repository history, or social graph.
ActivityPub standardizes how Activities move between servers and how they are described. It leaves indexing, thread authority, and enforcement to individual implementations. The AT Protocol defines repository structure, identity binding, record schemas, and synchronization across the network. ActivityPub centers on federated message exchange with local policy control. No participant has protocol-level authority over the shape or visibility of a conversation once it federates. The AT Protocol centers on a shared record system with portable identity and network-wide data propagation. Moderation and visibility decisions can attach to the same canonical records seen across the network.
In ActivityPub’s model, moderation is local. If someone replies to you in a harassing way, your server can hide it, block it, or defederate from the offending server. Other servers may still store, display, and propagate those replies according to their own policies. There is no protocol-level mechanism that lets you assert binding control over how replies to your post are indexed or rendered elsewhere. Harassment mitigation is fragmented. Harassment can persist in parallel contexts even after you act against it locally.
In the AT Protocol model, content exists as signed records in repositories keyed to portable identities. It is distributed through a shared data propagation layer. Because of this, moderation services can operate against a consistent dataset. Labels, visibility controls, or account-level actions can attach to the same canonical records that other services consume. While it does not eliminate harassment, it makes it technically possible for moderation decisions to propagate more coherently across applications that choose to honor them.
So the difference for harassment is this: in ActivityPub, protection is inherently piecemeal and server-scoped. In the AT Protocol, protection can be structurally network-aware. Identity, storage, and moderation signals live in the same shared data model.
Basically, the fediverse has no means to keep vulnerable, marginalized people safe. The AT Protocol does, albeit the Bluesky app view chooses not to use it. The point is that it has the potential. The last time I tried to explain all of this, I was harassed by a person who operates multiple servers and accounts on here:
@FediThing @FediTips @[email protected] @[email protected] @[email protected] and @[email protected]
The protocol is fundamentally flawed, and they do not know how to fix it. These people are incapable of good-faith conversations, so I am avoiding tagging them or attaching this response.to the thread, because their response is basically to stall, hedge, and gas light.
I’m not a fan of Bluesky — not at all. I really wanted to love ActivityPub, but I think Eugene pretty much killed it within the last three years. They had a very narrow, myopic culture and vision in mind, where they completely ignored all criticisms. Now, there is really no way to fix this mess, which is why they stick to gaslighting their users and literally harassing any developer who criticizes them. Social media has normalized lying to its users, so am I surprised?
Edit:
What a surprise. An anti-black reaction that pulls the it is okay to ignore you because you are an angry black person. Yes, black people are angry, and that you do not understand why is the problem.
I’m not going to go back and forth with a racist, nor am I going to quote them because of my stance on spreading misinformation and vitriol. A person who was implicated in the anti-Black behavior of the fediverse tried to discredit me as a Black person by claiming that I am not on Blacksky, have not worked on Blacksky, and am not happy or positive enough to be included in the Black folks who have been harmed by anti-Blackness.
Yes, they said that with a straight face. Blacksky exists because Black people were angry at being mistreated by the fediverse. Ergo, since I am not happy about being mistreated, I can’t be part of that demographic of Black folks. They are tacitly expecting trustworthy Black people to respond to abuse by being happy. What kind of Jim Crow shit is this? Therefore, it is acceptable to dismiss my experiences as a Black person because I don’t conform to the stereotype of what a Black person in America is.
In other words, they are saying I am a hostile angry black person, and we can disregard what I have to say because I am an angry Black person in Donald Trump’s America.
What kills me is that these folks have no insight into their own racism. This is all the attention they get, because I believe racists should be isolated among other things. They truly believe they are the good guys and that the savior complex is an imperialistic colonial archetype flies over their heads I don’t think white racists can ever change, so I will not be addressing them. That’s all I will say about that.
Edit again:
Welp, after seeing the first edit, the hit racist dog deleted the top level of the thread about me. That is what is called a consciousness of guilt, because if they had genuine good intentions and truly believed what they said was right, they would have said it with their whole chest and would not have deleted the top thread reply. Also, the little group of Fediverse racists explicitly rushed to report me. Report me to who—myself? It’s my instance. I have not explicitly violated any rules of this person’s home instance, but they feel entitled to try and have me removed from the Fediverse because I did not respond to their triangulation, brigading, and harassment by being nice. I did not take the mistreatment with a smile and a nod. Racist white people can fuck all the way off.
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In Praise of Friction and Compromise
Compromise: Kindle
The room is pitch black. The clock reads 6:15am. The sun won’t be up for another two hours and I’m lying in bed under a thick quilt, lightly touching the edge of my Kindle to flip to the next page of the novel I’m reading (Emily St. John Mandel’s Station 11, if you are curious). I’m rediscovering the pleasure of reading, of being fully immersed for an hour or more in a fictional tale, while my toddler is asleep in the next room.
I used to be an avid reader but the first year of parenthood – especially the light / broken sleep – meant I had no mental capacity or energy to read a book. Then my daughter turned 11 months old, started sleeping a solid 12-hour stretch in her own room every night, and I began picking up books again. 2022 was all about non-fiction, but for the first book of 2023 I wanted to dive back into fictional worlds again. Thus Station 11.
I think of my new reading habits as a compromise – and in a way a metaphor of how I am approaching my relationship to technology. Harnessing the power of technological progress, using modern tools, but not being used by them.
By being fully immersed in a book for an hour or more, I am retraining my brain to pay attention, to really focus. I do not feel compelled to grab my phone to check social media or fire up a website. It feels like a small act of rebellion, of reclaiming my humanity in a world – an online world – that reaps enormous profits from people’s scattered attention.
Since 2012, I have been doing most of my reading on a Kindle.
Yes, Amazon’s Kindle.
I love the ability to carry with me – in a tiny purse – all my favorite books. As I mentioned, 99% of books I read are non-fiction and as soon as I’m done with a book, I immediately export the passages I highlighted, I format them nicely and print them out… so I can have a physical copy of a book’s most memorable concepts.
Now that I’m a parent – days are busier and leisure time scarce – I try to seize any opportunity to pick up reading. If the Kindle is in the living room and I’m afraid the creaky wooden floors may wake up my daughter, well… I resume reading the book on the Kindle app of my iPhone. Something I would have never imagined doing.
I used to be an absolutist but the older I get, the more I appreciate nuance and compromise.
If you are wondering, I suppose the downside of buying and reading books on a Kindle is that technically you do not own them, but are simply “leasing” them from Amazon.
And if the company so chooses, they could deactivate your account, making you lose access to all your e-books… or simply pull a book from your device, unbeknownst to you, like they did – ironically – with an edition of Orwell’s 1984.
Amazon also knows what you are reading and your pace… if that is the sort of thing that bothers you.
I own two Kindle devices – the oldest one is offline, which gives me some peace of mind regarding the contents it is holding. And for recent e-books on my newer Kindle, like I mentioned, I typically create a physical copy of the passages that meant the most to me, so I feel at peace with physical “backups” should the unimaginable happen.
Friction: one sec
A while back, I have written about how I “resist time thieves” through friction:
Unpopular opinion: I love friction. While tech platforms, app developers and countless companies are attempting to create a friction-less world, adding voice commands and face recognition to everyday objects to allow us to do things faster, and more effortlessly, I say: not for me. I don’t mind the extra steps. Why? My power of concentration and privacy depend on it.
I continued:
Setting aside the argument that “smart objects” are a Trojan horse for the surveillance capitalism industrial complex, I find friction to be essential in order to maintain focus and concentration.
My main advice back then was to delete all social media and distracting apps from one’s phone.
Three years later, in this post-pandemic brave new world, I understand the importance of compromise and nuance. And since writing that post, a new app came out that perfectly helps in this respect, creating friction for the apps that you wish to use less.
An app to curb app use. Again, something I had never imagined would be a thing, but here we are.
The app is called one sec. It was created by 27-year-old German developer Frederik Riedel. The free version allows you to focus on one app, while the premium version is unlimited.
Here is its elevator pitch:
one sec forces you to take a deep breath whenever you open social media apps. It’s as simple as effective: added friction makes distracting apps less appealing.
Once you have identified an app you’d like to use less or more mindfully (it can be any app, not just social media ones), you follow the instructions clearly explained by one sec and create an automation in Apple’s Shortcuts app.
The next time you attempt to open the app you wish to use less (let’s say it’s Mastodon), here is what happens:
- an animation from one sec hijacks the screen and the following message appears: “It’s time to take a big breath”
- afterwards you see in big bold letters the number corresponding to how many times you attempted to open the app within the last 24 hours… and one sec also tells you the last use of the app (for example, 20 minutes ago)
- in order to start using Mastodon, you need to click on the text prompt at the bottom of the screen “continue to Mastodon” but here is the ingenious twist: there is a big button above it that says “I don’t want to open Mastodon”. It is easier to click on it than to actually press the prompt to open the app
- in the premium version, if you select you want to continue and open the app, you have the option of selecting an intention: “bored” or “stressed” or “tired” or “procrastinate” – amongst other options… which makes you keenly aware of your state of mind and the habit loop you may have developed that drives you to open the distracting app.
I have been using this automation for Mastodon and I’m seeing dramatic changes already. Any time I unlock my phone and I am about to click on Mastodon, I have this sense of guilt mixed with annoyance because I know the screen prompt from one sec will come up… and it will tell me how many times I have attempted to open the app in the last 24 hours. So I think about it twice before doing it. My usage has definitely gone down.
one sec is a really sophisticated app, with many more additional features – I only scratched the surface with my description. one sec also features:
- Focus sessions: users are unable to open configured apps during a particular timespan.
- Good Morning Countdown: users are unable to open configured apps for 15 minutes until one hour right after waking up (data are drawn from HealthKit)
- Visualized monitoring: one sec presents app and website usage data in diagrams.
- Healthy alternatives: users can record alternatives to app or website usage, such as doing sports, pursue a hobby, reading or meditate. These are suggested by one sec every time a configured app is opened.
I have only been using one sec for a few days but I already find it indispensable. Try it out for yourselves and let me know how you found it.
Onwards and upwards,
Elena
- The Realists website: therealists.org
- my personal website: elenarossini.com
- Mastodon: https://mastodon.social/@_elena
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Look to Windward – The Last Scattering Surface Review
By sentynel
One of the greatest feelings as a reviewer is rolling the dice on a completely unknown band and discovering they’re amazing. But you have to play to win, and I totally failed to pick up any reviews by bands I didn’t already know last year. I resolved to do better this year. There’s no magic formula I’ve found to identifying great promos, so I tend to skim the promo submissions queue and wait for things to catch my eye for whatever reason. Look to Windward immediately stood out. Prog with a name that might be an Iain M Banks reference?1 Perfect. And they’ve been around as a studio collaboration since 2009 and this is their third album, so they ought to have found their groove.
The Last Scattering Surface pretty much immediately hits a lot of prog staples. The songwriting is varied, with changeable moods, complex song structure, and a multi-track movement. The riffs recall, say, Haken in their rhythms and chunkiness (“Why Ask?,” “The Condition”). The use of paired male and female vocals meanwhile reminds me of Anathema, particularly in the way they trade phrases or segments (“Relic,” “Earth Overture”). There are several different vocalists on the album, and this and the writing also bring shades of Ayreon at times too (“Dance of the Futile”). There are references to older prog as well, in the synths on “Dance of the Futile” or the guitar solo in “Theia Arrived One Fateful Day.” These things are tropes for a reason and generally work well.
The problem with tropes, though, is the lingering sense of déjà vu that pervades the entire album. While I never get the sense that a particular section is directly lifted from another band, I spend a significant proportion of it with that itch of “ooh this really reminds me of something” that I can’t quite put my finger on. I also find that the writing doesn’t ever quite deliver emotional impact. Consequently, I find myself zoning out on The Last Scattering Surface a lot. It’s rarely as ear-wormy or even memorable. Even the more interesting bits don’t stick as well as they should (“Why Ask?”). Many sections of the album slip by with nary a mark left—I still couldn’t tell you a thing about tracks like “River Mercury” or “Spin.”
Many of the highlights are down to vocalist Emily Rice, who has a great voice and stylistic range and elevates everything she appears on. “Theia Arrived One Fateful Day” is a particularly strong example. The guitar work is always strong technically, and there are some great riffs here (“The Condition,” “Dance of the Futile”). It also sounds good, especially for something self-produced, with a nice DR9 master and plenty of space for all the moving parts. On the downside, there are occasional issues with the male vocals. There’s moments that are slightly charmingly rough-and-ready in a way that again reminds me of some early prog (“Why Ask?”), but also some moments where they just sound a little strained (“Relic,” other bits of “Why Ask?”). And the programmed drums are… there.
Despite its issues, there’s a lot to like on The Last Scattering Surface. Its best moments find talented musicians playing interesting music, with a good balance of the weird, the complex and the poppy. There are strong foundations and flashes of greatness, and perhaps with a clearer vision it could hit those more consistently. But in hewing too close to prog tradition, Look to Windward lose their own voice and my attention, and that’s a shame.
Rating: Mixed
DR: 9 | Format Reviewed: FLAC
Label: Self-Released
Websites: looktowindwardmusic.com | looktowindward.bandcamp.com
Releases Worldwide: May 31st, 2024#25 #2024 #Anathema #Ayreon #Haken #LookToWindward #May24 #NewZealandMetal #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfReleased #TheLastScatteringSurface
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Look to Windward – The Last Scattering Surface Review
By sentynel
One of the greatest feelings as a reviewer is rolling the dice on a completely unknown band and discovering they’re amazing. But you have to play to win, and I totally failed to pick up any reviews by bands I didn’t already know last year. I resolved to do better this year. There’s no magic formula I’ve found to identifying great promos, so I tend to skim the promo submissions queue and wait for things to catch my eye for whatever reason. Look to Windward immediately stood out. Prog with a name that might be an Iain M Banks reference?1 Perfect. And they’ve been around as a studio collaboration since 2009 and this is their third album, so they ought to have found their groove.
The Last Scattering Surface pretty much immediately hits a lot of prog staples. The songwriting is varied, with changeable moods, complex song structure, and a multi-track movement. The riffs recall, say, Haken in their rhythms and chunkiness (“Why Ask?,” “The Condition”). The use of paired male and female vocals meanwhile reminds me of Anathema, particularly in the way they trade phrases or segments (“Relic,” “Earth Overture”). There are several different vocalists on the album, and this and the writing also bring shades of Ayreon at times too (“Dance of the Futile”). There are references to older prog as well, in the synths on “Dance of the Futile” or the guitar solo in “Theia Arrived One Fateful Day.” These things are tropes for a reason and generally work well.
The problem with tropes, though, is the lingering sense of déjà vu that pervades the entire album. While I never get the sense that a particular section is directly lifted from another band, I spend a significant proportion of it with that itch of “ooh this really reminds me of something” that I can’t quite put my finger on. I also find that the writing doesn’t ever quite deliver emotional impact. Consequently, I find myself zoning out on The Last Scattering Surface a lot. It’s rarely as ear-wormy or even memorable. Even the more interesting bits don’t stick as well as they should (“Why Ask?”). Many sections of the album slip by with nary a mark left—I still couldn’t tell you a thing about tracks like “River Mercury” or “Spin.”
Many of the highlights are down to vocalist Emily Rice, who has a great voice and stylistic range and elevates everything she appears on. “Theia Arrived One Fateful Day” is a particularly strong example. The guitar work is always strong technically, and there are some great riffs here (“The Condition,” “Dance of the Futile”). It also sounds good, especially for something self-produced, with a nice DR9 master and plenty of space for all the moving parts. On the downside, there are occasional issues with the male vocals. There’s moments that are slightly charmingly rough-and-ready in a way that again reminds me of some early prog (“Why Ask?”), but also some moments where they just sound a little strained (“Relic,” other bits of “Why Ask?”). And the programmed drums are… there.
Despite its issues, there’s a lot to like on The Last Scattering Surface. Its best moments find talented musicians playing interesting music, with a good balance of the weird, the complex and the poppy. There are strong foundations and flashes of greatness, and perhaps with a clearer vision it could hit those more consistently. But in hewing too close to prog tradition, Look to Windward lose their own voice and my attention, and that’s a shame.
Rating: Mixed
DR: 9 | Format Reviewed: FLAC
Label: Self-Released
Websites: looktowindwardmusic.com | looktowindward.bandcamp.com
Releases Worldwide: May 31st, 2024#25 #2024 #Anathema #Ayreon #Haken #LookToWindward #May24 #NewZealandMetal #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfReleased #TheLastScatteringSurface
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Fool Night / フールナイト, Volume One Manga Review
In a world where a lack of sunlight has caused plants to cease to grow naturally, science has evolved to the point that doctors can now use humans as vegetation incubators. Kamiya, living in such a bleak world, is forced to make a difficult decision.
You can check out volume one of this series for yourself below!
English Sample (VIZ) Japanese Sample (Big Comics)Author
This series was written by Kasumi Yasuda.
Genre & Tropes
Plant horror, fantasy, drama.
Info about this series (ongoing)
There are currently 12 volumes in Japanese, and eight in English.
TL;DR rating
I’m very happy that I went into this volume almost completely blind. I had no expectations, so I was blown away by every twist and turn the story took!
Official Synopsis
The earth of the distant future is covered in thick clouds, and the sun no longer shines. Plants wither, and oxygen is thin. To fight extinction, humankind has developed a technology that turns humans into plants, providing a small amount of oxygen. Is this process sustainable? Is it ethical? Toshiro Kamiya must consider these questions as he’s faced with a difficult choice—save his family or save himself.
Kamiya is at the end of his rope. His mother is ill, and his job barely pays for her medication, much less food. With few options left, he considers the life-changing process of transfloration. Ready to give his body up for a payday, Kamiya is about to explore the limits of society’s waning humanity.
My thoughts on this volume (Spoilers!)
This volume was a rather dark, twisted one, I say lovingly. The story is set in a world that is shrouded in darkness, where the inhabitants have began to change for the worse. Putting aside the fact that some people have been turned into plants and plant incubators, it feels like a good majority of the characters we see in this volume have lost their will to live normal lives. We see abusive fathers, hopeless factory workers, and mental health patients with nowhere to go.
This setting feels eerily realistic, as I can only imagine how hopeless the world would feel should the sunlight one day go out forever. After all, I get almost depressed at the thought of my city being covered in snow for half the year… I could only imagine how hard it would be to live somewhere that’s cold and dark all of the time. I am a bit curious to see more of the world building, as it seems like factory work is one of the main jobs that people are able to do now—did the natural disaster cause some sort of war to break out? Or, did the government put all the money into building resources to aid the scientists and doctors who are implanting seeds into humans?
This volume follows a rather hopeless boy—a high school dropout named Kamiya. After a sequence of bad events happen to him, he sees no choice but to request to have a seed planted in him. This process is typically one only granted to those who are otherwise about to die. There is a rather large payout, and the recipients are free to live the rest of their lives doing whatever they want, spending their earnings however they see fit… for about three years. That’s about how long it takes for the plant to fully sprout and take over its human hosts body. Once the plants take over, it’s unknown whether the human inside is still alive or not. On top of that, it’s unknown whether they still have a conscious should they still be alive. So for someone to choose to undergo this procedure… they would have to be completely out of options.
Just because the procedure is typically only given to those that are about to die, doesn’t mean that there’s no way to rig the system, and Kamiya does just that. After going through the process, he gains the unique ability to be able to somewhat understand what the other plants / plant-people are saying—something unheard of until now. What’s a main character of a horror novel without an interesting supernatural power, right?
While I did find it to be a tiny bit cliche that our main character is the one “special” person in this world, I did really enjoy him! He’s a rather moody, calls it like he sees it character. While he technically works for the government, the doesn’t stop him from doing whatever he wants, within reason of course. I really liked that he didn’t let his new circumstances stop him from following his whims! As he lives such an unfortunate life, I can only hope that he can live the rest of it doing new and interesting things.
Lastly, I can’t end this review without talking about the art for a second. In any body horror series, for me, the artstyle is imperative. I would actually say that the art and plot are on par. If it’s difficult to understand what’s happening to a character—i.e. if the art is too abstract—I can’t appreciate it. If it’s constantly overly detailed, my brain can’t decide where to focus. The art in Fool Night does a wonderful job of knowing when to be more detailed, and when to be more simplistic. The author seems to always take the time to make sure the plants are drawn with great detail, but they oftentimes leave their non-plant backgrounds more simplistic. Even when there’s not necessarily anything scary happening, there is always at least a subtle focus on the plants.
While the body horror in this volume is rather minimal, it is still indeed there. Because it’s so minimal, the few times that there are more slightly grotesque panels, they really stand out.
I can’t wait to see where the story goes from here!
#bookReview #bookReviews #books #fiction #Horror #manga #mangaRecommendation #mangaReview #Review #reviews #writing -
Illustration: Hypatia of Alexandria and Giordano Bruno.
If I encounter a #Fundie or an Xtian who speaks gently, I try to speak gently in return. Now that #MAGA is in the picture, as MAGA is distilled hatred, the Everclear of Christianity, gentle isn't always possible. However, I'd like to lay out a few points in this thread with civility in mind.
Part 1. We can all agree that Wikipedia is just a starting point for research.
It isn't true that just anybody can sign up and add whatever they like. That used to be true. In 2008, the situation was over the top and there was an internal [but public] trial to settle one case. For old-timers, I'm referring to the Slender Virgin Naked Shorting scandal. Which, technically, may have contributed to the Crash of 2008. Yay, Wikipedia.
The trial worked primarily to sweep abuses under the rug. FWIW Jimmie Wales offered to discuss the matter with me. When I pointed out that he'd destroyed evidence, he seemed to lose interest in the discussion.
However, if just anybody adds just anything these days to a Wikipedia article, and it's an important subject, the additions are reverted. To survive, the website has become a least common denominator project.
Part 2. No, there is no strong evidence that #Jesus of Nazareth ever even physically existed. He may have physically existed, but claims which go beyond that don't rise even to the level of myth that is consistent among His contemporaries.
The New Testament, the primary source even as myth for the existence of this person, is a set of texts composed up to 90 years after the putative death of Christ. Some of the texts were composed much earlier, 30 years after His death, but those claim to be by a single person, Paul, when [scholars agree] a number of different people wrote them.
To be fair, there is a core set of Pauline texts, about half a dozen, that were probably written by one person. The others are fan fiction, not a pejorative point but accurate enough, that were added to canon later.
The author of the Pauline core set, Paul, is the only named New Testament author who probably existed and probably wrote at least part of the New Testament. And Paul didn't even claim to have met Jesus Christ.
Matthew, Mark, Luke, and John weren't named formally as New Testament writers until the Second Century A.D. Four people with those names probably existed. But there is no significant reason to believe that they wrote the texts that are attributed to them. Attribution didn't take place until Christ, if He existed, had been dead for at least 120 to 150 years.
Today, we can't agree about what happened 3 months ago even if it's on video. And this was, again, 120 to 150 years.
We haven't even started on contradictions that are common to all imagined stories that grow over time into myth. A good question to ask Xtians is, "How did Judas die?" The response that is usually offered is, "You're only repeating what the Devil says. I can't hear you. Maranatha. Maranatha."
Spoiler alert: Judas both hanged himself and fell from a height and burst open. #Xtian apologists say that it was both, but it's an awkward conflation.
Nor have we gotten to the fact that the most commonly cited non-Church reference to a historic Christ, the one in Josephus's writings, was faked by Christian copyists. There is a claim that a reference existed before the Christians edited the text, but I haven't seen the evidence to this effect.
I realize now that this thread requires a book. Which has actually been written a number of times.
I'm not able to see how this thread started. But the part about how Christians shouldn't cite Christianity, the fact that it exists, as a justification for anything strikes a chord.
My mother's father was a religious leader of the Ukrainian Diaspora 100 years ago. He was the gentlest man alive. This doesn't change the fact that the religion he supported has been the most horrific and brutal force, after Genghis Khan aka Temujin, of the past 2,000 years. So, it's a conundrum.
The Catholic Church began with the rape and murder of Hypatia circa 415 A.D. This was the moment when civilization could have headed down either of two paths: Enlightenment, progress, a move away from the fact of ape origins. Or a millenium of darkness, horror, and torture and murder of the innocent.
It was the second path. Yay, Church.
They allowed Galileo to live. They burned Giordano Bruno to death. They burned countless other men, women, and children to death as well.
"Oh, that was the past" ? A secular organization can come back from that. But not a "religion". If a "religion" behaves as the one and only original Church did, it isn't possible to brush it aside and still be the religion.
I welcome discussion with #Christians who are civil despite the fact of the brutality of Christianity. MAGA, a subset, not so much. I recommend civility to others as well. But the context isn't argument from authority by Christians. -
A chapter from my as yet unpublished book:
Dagwood
Saturday in the park, I think it was the Fourth of July. It was 1970 and the Nixon regime was throwing an extra special, really big, super duper event to celebrate, and for Americans to "put aside their honest differences and rally around the flag to show national unity," as if that were even possible. It wasn’t, not that year. Billy Graham was scheduled to speak on the steps of the Lincoln Memorial. The front cover of Time magazine predicted 50,000 people would come to hear and applaud him. Fewer than 5,000 actually showed. There were 20,000 plus anti-war protesters who showed up to meet them. We swamped the Graham fans. They took one look at us coming their way and scattered. We occupied the steps of the Memorial. We did this without any violence. We just outnumbered them, that's all. They'd heard bad things about us. They could count heads. They were afraid. They left. We had no intention of hurting any of them but they didn't know that. All they knew is what the media of the day was telling them. The media was calling us “communists”. It’s a uniquely American idiom that has gained traction around the world. It means something like “nun-raping baby eaters, lurking under your bed right now, just waiting for the chance to sink their scaly yellow fangs into the soft, pink flesh of your ankle”, so that's what they thought we were.
That wasn't how the day started, though. Earlier, there had been a smoke-in at the Washington Monument, at the other end of the Reflecting Pool. At least twenty thousand Yippies and a ton of weed showed up. My comrade Denny and I brought two shopping bags full of rolled up joints. We'd stayed up all night and rolling. I was working as a bag man for a mid-level dealer at the time, so plenty of weed was available. One French baguette stuck out each bag so at a glance or from a distance it looked like we too were bringing food for a picnic.
There were many dozens of straight people scattered around, picnicking to celebrate the holiday. As we approached the crowd at the Washington Monument, shopping bags in hand, one young couple caught our eye. It was a blazing hot day, but he was wearing a long-sleeved white shirt, a tie and an American flag pin. She wore a skirt that came half way down her calves, and a long-sleeved white blouse buttoned over a torpedo bra. Her hair was up. They had a baby in a basket. They didn't like the look of us at all. We thought they looked like characters from the long-running comic strip, Dagwood and Blondie. That's what we called them when we were out of earshot. We waited till then because we didn't want to offend fellow workers, even Republicans.
We proceeded to the Washington Monument, where we got a lot of people high. Then we swarmed the Lincoln Memorial steps and displaced the Graham fans. Even though we were totally peaceful, the cops were having none of it. One thing led to another and the cops thew up a wall of gas and swept through it, clubbing people at random. My affinity group broke out and retreated to Georgetown, pelting the cops all the way. As we were retreating we passed Dagwood and Blondie. They and their baby had been gassed. The baby was red as a beet and screaming at the top of its lungs. Dagwood and Blondie were taking turns dipping it in a fountain and splashing water on it with their hands. They were trying to wash the gas off. They both were frantic and distraught. Tears ran from their eyes. Snot drooled from their noses. They reeked of CS gas. They were shaking with anger and fear. Dagwood was cursing profusely.
We retreated, regrouped in an air-conditioned bar, and rested till dark. Later than night we went back there and fought the cops. It was a furious brawl because they couldn't use gas. The wind was blowing in the wrong direction, so the fight was all clubs and shields and we outnumbered them. In those days metal garbage cans with tight fitting lids were common. The lids were circular with handles in the middle. People had collected a bunch of them and were using them as improvised shields. Some people had collected pieces of scrap lumber and conduit from nearby construction sites and were using them as clubs. Rocks and bottles flew like hail.
That night there was a live TV broadcast of a concert that featured many contemporary stars. Our plan was to provoke the cops into using their gas while the star-studded revue was being broadcast live just downwind of our position. Thousands of us did our level, sweaty best to force them to use that gas. It would have blown over the concert and the whole world would have seen on live TV that American opposition to the Viet Nam War was serious and unrelenting. It would have been a major propaganda coup for the anti-war movement so they couldn’t use gas till the show was over and they knew that we knew it.
By the time James Brown hit the stage there was a major riot in progress, a real mêlée. It looked medieval. Just upwind of the concert a few hundred cops had formed a circular perimeter with what appeared to be reserves in the center of the circle. It was easy to tell who the ranking brass was. They had walkie-talkies. They seemed to be rotating individuals in and out of the main defensive line on their perimeter to rest them in the interior reserve position.
In this, it reminded me of sports. Getting benched for a few plays to catch a quick breather in the midst of a strenuous game is always refreshing for the player in question. For the team it potentiates collective stamina. In fights between individuals, it’s always advantageous to pace yourself so that the other guy gets tired first. Muhammad Ali called this his rope a dope strategy. It’s as good a name as any. It can be very effective. It also works in group conflict situations. Guerrilla warfare depends upon it. As Irish nationalist Terence Macswiney once put it, “It is not those who can inflict the most but those who can endure the most who will conquer.”
Despite superficial similarities, riots are not sporting events. While they both require similar speed, agility, endurance, and grit, different rules apply. In sports, all the rules stay the same for the duration of the match, and usually for the season. In a riot, some rules are constant while others can change on a whim. Either side may invoke this rule change rule at any time. It keeps the game interesting. However, it's not really a game. It's deadly serious, sometimes literally. The Kent State and Jackson State Massacres were only two months in our rear view mirror that night. They were never far from our minds.
The DC riot squad was the best disciplined riot squad that I ever fought. They stood their ground and fought well. Their unit cohesion was superb. Clearly, they’d practiced. I’m sure they really, really would have preferred to gas us sooner, but obviously the brass had declared it verboten while the live TV cameras were rolling downwind. You don't need a weatherman to know which way the wind blows. Just following orders, as the saying goes, so the cops held back, no matter how hard we beat on them and pelted them with rocks and bottles.
At one point we locked shields and drove a wedge through their line. They immediately deployed their reserves, who technically at least, were as trapped and surrounded as any of the cops defending the perimeter. They pushed us back and reformed their perimeter line. In the meantime, I was on the left side of the wedge, three or four places from the point. We had just broken through their line. I glanced over my shoulder to see how we were doing. There on the other side of the wedge, about three or four places from the point, was Dagwood. His tie was loose, his hair was mussed, his sleeves were rolled and he was beating on a cop with a 2x4. The cop was beating back and had a better shield with which to protect himself but Dagwood was getting the best of him anyway. Dagwood fought like a berserker. It was such a fascinating sight that I didn't see a club coming and got knocked out. Some people dragged me to safety.
Medical science agrees that someone who has been knocked unconscious for any reason, should not be moved at least until they come to and can be evaluated for concussion and spinal cord injury. There's an established protocol for dealing with this. I've been through it several times, but not on this night. On this night I came around pretty quickly on my own. Back on my feet, I thanked the strangers who had dragged me out of harm's way. I could have gotten trampled. Getting trampled is nowhere near a much as fun as it sounds.
I shook off any assistance and got back in the fight. By that time it was pretty chaotic. It was becoming a classic fur ball. The cops finally got permission to gas us and we had to disengage and fall back. I never saw Dagwood again. I don't know what happened to him, but I seriously doubt if he ever went back to the pro-war side of America's long national nightmare, or if ever he respected cops at all again, ever. I seriously doubt it. Police brutality, tear gas in particular, is a radicalizing force. It must be addictive, too, because even to this day, people who get a taste of gas keep going back for more. Back in the day, we'd pick up the fuming canisters and throw them back at the cops. They're really hot. You needed welder's gloves, or at least Moe and Joe brand work gloves. In Portland in 2020, the Wall of Dads made all that obsolete when they dispersed tear gas with with leaf blowers. It was a stroke of genius, but it was fifty years too late to help us on that Fourth of July, 1970. We came back for more, anyway.
-
AI is Making Libraries Obsolete
Summary: AI agents are fundamentally changing the economics of general-purpose libraries. Why build on Bootstrap when an agent can generate exactly what you need? A collection of thoughts on where this is all heading.
The Great Library Unbundling: How AI is Eating the Software Stack
More than a year ago, I told people that ORMs like Entity Framework were going to feel like relics. That LLMs would just generate the SQL you need, making all that object-relational mapping overhead pointless. A few people told me I was crazy and doing things wrong (and to be honest I wasn't good enough at explaining why I thought this).
Well, time seems to have been on my side (Wwo is laughing now hahahaha!!).
Now, this is a hot take, so I will go forward and talk as a hot take. If I put my devil's advocate hat on, I would probably rage against whoever wrote this post. But because I LOVE MYSELF, I won't do it. I certainly see flaws in my arguments. So buckle up—this is not rage bait, it is just a hot take from a Mexican developer who spent the weekend arguing with AI agents instead of sleeping like a normal person.
The ORM Prediction, or How I Accidentally Became Right About Something
Here's the thing about ORMs: they exist because writing SQL is supposedly "hard" and "error-prone." Meanwhile, I've been writing raw SQL since my first job at a tiny shop in Tepic where we didn't have the luxury of Entity Framework or Hibernate or whatever fancy abstraction layer the cool kids were using. We just wrote the queries, crossed ourselves, and hit execute. Catholic upbringing has some unexpected engineering applications.
Now, to be fair—we did end up building our own tailored ORM for the common cases. Because once you've written the same parameterized INSERT fifteen times, even the most stubborn raw-SQL purist starts thinking "maybe I should abstract this." And ORMs do earn their keep in some areas: SQL injection prevention, enforcing parameterized queries, handling connection lifecycle stuff that nobody wants to think about. Security guardrails that your 2 AM brain will absolutely forget to implement on its own. I get it. ORMs aren't stupid—they solved real problems.
But here's the trap: as soon as you start getting into complex queries, you're no longer just maintaining your application logic—you're also maintaining the ORM and the complex queries. You end up fighting the abstraction to make it do what raw SQL does naturally, and now you have two problems instead of one. The thing that was supposed to simplify your life becomes another layer you have to debug, optimize, and keep in your head at the same time. And whoever has run a high-performance application—like an ecommerce site during Black Friday—knows exactly what I'm talking about. That query you spent weeks trying to optimize through the ORM, doing quirky reflection tricks and fighting with expression trees? You ended up raw-dogging the SQL anyway, because that was the only way to get the performance you needed. The ORM was never going to get you there. It was just standing in the way, politely.
Now Claude just writes you the exact SQL you need—parameterized, injection-safe, the whole deal. No mapping, no configuration, no surprises. Just the data access pattern you actually want. It's like having a DBA who never sleeps, never complains about schema changes, and doesn't passive-aggressively CC your manager when you write a bad join. The abstraction layer that was supposed to save us from SQL is now the thing standing between us and the AI that's better at SQL than most of us ever were.
Agentic Development and the Death of One-Size-Fits-None
This isn't just about ORMs. I've been thinking about how agentic development fundamentally changes the whole premise of general-purpose libraries and building blocks.
Platform teams across the industry are going to start questioning their investments in broad, one-size-fits-all libraries. And honestly? Good. Because "one-size-fits-all" always meant "fits nobody perfectly but everyone tolerably." Like those beach ponchos they sell at every tourist shop in Nayarit—technically covers you, technically functions, but you look ridiculous and you know it.
Take CSS frameworks. Bootstrap, Bulma, Fluent UI—they're great for getting started quickly. But you end up learning their specific class naming conventions, carrying tons of CSS you'll never use, fighting against the framework the moment you want something custom, and—my personal favorite—looking like every other Bootstrap site on the internet. Your site ends up with more unused CSS than empty beer bottles after a Sunday carne asada in Nayarit. And that's a lot of bottles, trust me.
With agentic development? You just tell the agent what you want your UI to look like. It generates exactly the CSS you need. No framework lock-in, no unused code, no learning curve. The agent doesn't need to know Bootstrap's grid system (although it probably was trained on such codebases)—it just writes "vanilla" CSS that does what you asked for. I know this because that's exactly what happened with this blog. The CSS you're looking at right now? Generated. By an agent. Who understood what I wanted better than I understood what I wanted (debatable).
MCP is Already Feeling Old
Speaking of things that are aging quickly: the Model Context Protocol. MCP. Remember when everyone was wrapping every CLI tool as an MCP server like it was the new hotness? That was, what, months ago? In AI time that's basically the Paleolithic era.
Here's the thing—CLI tools already come with perfect documentation in the form of man pages. They're basically documented APIs already. Your agent doesn't need a special protocol wrapper to use
gh pr createoraz webapp deploy. It just reads the docs, fumbles the first attempt (like any of us), and then figures it out. Combine Claude Code with existing CLI tools—GitHub CLI, Azure CLI, kubectl, whatever—and you've got everything MCP promised, but without the ceremony.Microsoft's already doing something interesting with their dotnet/skills repo. Skills that are just prompts guiding the agent through repeatable processes. No protocol, no server, no serialization format drama. Just a well-written prompt. Turns out the best API for an AI agent is just... words. Who knew. (Okay, a lot of people knew. But still.)
Hugo Drove Me to Build My Own (Again, Because I Never Learn)
I just finished redoing my entire publishing workflow. Hugo felt limiting and bloated—all these features I'm maintaining, constantly broken by dependency updates, GitHub workflows failing for mysterious reasons. Every time I pushed a new post it was a coin flip whether the build would succeed or I'd spend an hour debugging some Go template issue that made me question my life choices.
So I rewrote it in .NET. Dead simple. I don't expect anyone else to use it—exclusive distribution, zero units available—but damn, it felt liberating. The CSS and HTML of this blog changed completely, and I actually understand every piece of it now. No more cargo-culting Hugo partials I copied from a theme three years ago and was afraid to touch.
This is the pattern I keep seeing: when AI can generate exactly what you need, the appeal of heavyweight, general-purpose solutions just evaporates. Like fog burning off in the morning sun in Tepic. One moment it's there, thick and omnipresent, and then it's just... gone.
The Accountability Problem
Here's something that's been bugging me. I saw a conversation on the fediverse about more and more tools being created with no clear ownership. Developers suspect some might be entirely AI-generated, with humans just shepherding them into existence like zookeepers who can't actually control the animals.
That sucks. Humans should be in charge and taking responsibility for the software they put into the world. There's a difference between using AI as a tool and letting AI be the architect while you nod along pretending you reviewed the blueprints.
When something breaks, when there's a security issue, when users need support—who's accountable? You can't file a bug report against GPT-4. And "the AI did it" is not an incident postmortem. Not yet, anyway. Give it a year (debatable).
Copilot's Infinite Loop of Self-Criticism
Speaking of AI quirks: Copilot keeps finding issues in my PRs, I ask it to fix them, it fixes them, and then when I ask it to review again, it finds more issues. In the code it just wrote. In the code. It. Just. Wrote.
This is like watching someone argue with themselves in the mirror. Except the mirror is burning tokens, the person is burning my budget, and the argument never ends. The AI equivalent of "works on my machine" syndrome, except it doesn't even work on its own machine.
Blog Posts Are Better Than Repos for Teaching AI
Here's something that genuinely surprised me. A friend at Microsoft pointed his AI agent to my blog series to implement ActivityPub. Not to a GitHub repo with code samples. Not to the official W3C spec. To my blog posts. The ones I write at 1 AM like a gremlin-raccoon, full of rambling asides and half-baked metaphors.
Turns out prose explanations with context and reasoning are way more effective for agents than just dumping code at them. Blog posts tell the story of why decisions were made, not just what the final result looks like. The agent needs to understand intent, not just syntax. It needs the narrative—the "I tried this and it broke spectacularly, so I did this other thing instead" part that never makes it into a README.
So all those years of writing meandering blog posts about my projects instead of writing proper documentation? Turns out I was ahead of my time. Or just lazy. Probably both.
Where This Is All Heading
I think we're heading toward a world where general-purpose libraries become luxury items—nice to have, but not essential. Where AI-generated, purpose-built solutions become the norm. Where documentation and prose become more important than code artifacts. And where human accountability becomes the thing that actually differentiates good software from the rest.
This doesn't mean libraries disappear overnight. But the incentives are shifting. Why build and maintain a framework used by millions when everyone can have their own custom solution?
The future might be less about sharing code and more about sharing knowledge, context, and decision-making frameworks. Less "here's my npm package" and more "here's the blog post explaining why I built it this way so your agent can do something better."
Anyway
This post is a collection of half-formed thoughts and observations. I'm not claiming to have all the answers—hell, I'm not even sure these are the right questions. But something is shifting under our feet, and pretending it isn't doesn't make it stop.
Are we heading toward a more fragmented, AI-generated software landscape? Or am I just another old developer yelling at algorithmic clouds from a small corner of the internet?
Honestly, I don't know. But I'd rather be wrong and loud about it than quiet and surprised when the whole toolchain landscape looks unrecognizable in five years.
Also readable in: https://maho.dev/2026/03/ai-is-making-libraries-obsolete/ by @mapache:
#AI #Software Development #Libraries #Agentic Development #ORMs #CSS Frameworks #MCP #Developer Tools #Future of Coding #Hot Takes #LLM #Copilot
-
AI is Making Libraries Obsolete
Summary: AI agents are fundamentally changing the economics of general-purpose libraries. Why build on Bootstrap when an agent can generate exactly what you need? A collection of thoughts on where this is all heading.
The Great Library Unbundling: How AI is Eating the Software Stack
More than a year ago, I told people that ORMs like Entity Framework were going to feel like relics. That LLMs would just generate the SQL you need, making all that object-relational mapping overhead pointless. A few people told me I was crazy and doing things wrong (and to be honest I wasn't good enough at explaining why I thought this).
Well, time seems to have been on my side (Wwo is laughing now hahahaha!!).
Now, this is a hot take, so I will go forward and talk as a hot take. If I put my devil's advocate hat on, I would probably rage against whoever wrote this post. But because I LOVE MYSELF, I won't do it. I certainly see flaws in my arguments. So buckle up—this is not rage bait, it is just a hot take from a Mexican developer who spent the weekend arguing with AI agents instead of sleeping like a normal person.
The ORM Prediction, or How I Accidentally Became Right About Something
Here's the thing about ORMs: they exist because writing SQL is supposedly "hard" and "error-prone." Meanwhile, I've been writing raw SQL since my first job at a tiny shop in Tepic where we didn't have the luxury of Entity Framework or Hibernate or whatever fancy abstraction layer the cool kids were using. We just wrote the queries, crossed ourselves, and hit execute. Catholic upbringing has some unexpected engineering applications.
Now, to be fair—we did end up building our own tailored ORM for the common cases. Because once you've written the same parameterized INSERT fifteen times, even the most stubborn raw-SQL purist starts thinking "maybe I should abstract this." And ORMs do earn their keep in some areas: SQL injection prevention, enforcing parameterized queries, handling connection lifecycle stuff that nobody wants to think about. Security guardrails that your 2 AM brain will absolutely forget to implement on its own. I get it. ORMs aren't stupid—they solved real problems.
But here's the trap: as soon as you start getting into complex queries, you're no longer just maintaining your application logic—you're also maintaining the ORM and the complex queries. You end up fighting the abstraction to make it do what raw SQL does naturally, and now you have two problems instead of one. The thing that was supposed to simplify your life becomes another layer you have to debug, optimize, and keep in your head at the same time. And whoever has run a high-performance application—like an ecommerce site during Black Friday—knows exactly what I'm talking about. That query you spent weeks trying to optimize through the ORM, doing quirky reflection tricks and fighting with expression trees? You ended up raw-dogging the SQL anyway, because that was the only way to get the performance you needed. The ORM was never going to get you there. It was just standing in the way, politely.
Now Claude just writes you the exact SQL you need—parameterized, injection-safe, the whole deal. No mapping, no configuration, no surprises. Just the data access pattern you actually want. It's like having a DBA who never sleeps, never complains about schema changes, and doesn't passive-aggressively CC your manager when you write a bad join. The abstraction layer that was supposed to save us from SQL is now the thing standing between us and the AI that's better at SQL than most of us ever were.
Agentic Development and the Death of One-Size-Fits-None
This isn't just about ORMs. I've been thinking about how agentic development fundamentally changes the whole premise of general-purpose libraries and building blocks.
Platform teams across the industry are going to start questioning their investments in broad, one-size-fits-all libraries. And honestly? Good. Because "one-size-fits-all" always meant "fits nobody perfectly but everyone tolerably." Like those beach ponchos they sell at every tourist shop in Nayarit—technically covers you, technically functions, but you look ridiculous and you know it.
Take CSS frameworks. Bootstrap, Bulma, Fluent UI—they're great for getting started quickly. But you end up learning their specific class naming conventions, carrying tons of CSS you'll never use, fighting against the framework the moment you want something custom, and—my personal favorite—looking like every other Bootstrap site on the internet. Your site ends up with more unused CSS than empty beer bottles after a Sunday carne asada in Nayarit. And that's a lot of bottles, trust me.
With agentic development? You just tell the agent what you want your UI to look like. It generates exactly the CSS you need. No framework lock-in, no unused code, no learning curve. The agent doesn't need to know Bootstrap's grid system (although it probably was trained on such codebases)—it just writes "vanilla" CSS that does what you asked for. I know this because that's exactly what happened with this blog. The CSS you're looking at right now? Generated. By an agent. Who understood what I wanted better than I understood what I wanted (debatable).
MCP is Already Feeling Old
Speaking of things that are aging quickly: the Model Context Protocol. MCP. Remember when everyone was wrapping every CLI tool as an MCP server like it was the new hotness? That was, what, months ago? In AI time that's basically the Paleolithic era.
Here's the thing—CLI tools already come with perfect documentation in the form of man pages. They're basically documented APIs already. Your agent doesn't need a special protocol wrapper to use
gh pr createoraz webapp deploy. It just reads the docs, fumbles the first attempt (like any of us), and then figures it out. Combine Claude Code with existing CLI tools—GitHub CLI, Azure CLI, kubectl, whatever—and you've got everything MCP promised, but without the ceremony.Microsoft's already doing something interesting with their dotnet/skills repo. Skills that are just prompts guiding the agent through repeatable processes. No protocol, no server, no serialization format drama. Just a well-written prompt. Turns out the best API for an AI agent is just... words. Who knew. (Okay, a lot of people knew. But still.)
Hugo Drove Me to Build My Own (Again, Because I Never Learn)
I just finished redoing my entire publishing workflow. Hugo felt limiting and bloated—all these features I'm maintaining, constantly broken by dependency updates, GitHub workflows failing for mysterious reasons. Every time I pushed a new post it was a coin flip whether the build would succeed or I'd spend an hour debugging some Go template issue that made me question my life choices.
So I rewrote it in .NET. Dead simple. I don't expect anyone else to use it—exclusive distribution, zero units available—but damn, it felt liberating. The CSS and HTML of this blog changed completely, and I actually understand every piece of it now. No more cargo-culting Hugo partials I copied from a theme three years ago and was afraid to touch.
This is the pattern I keep seeing: when AI can generate exactly what you need, the appeal of heavyweight, general-purpose solutions just evaporates. Like fog burning off in the morning sun in Tepic. One moment it's there, thick and omnipresent, and then it's just... gone.
The Accountability Problem
Here's something that's been bugging me. I saw a conversation on the fediverse about more and more tools being created with no clear ownership. Developers suspect some might be entirely AI-generated, with humans just shepherding them into existence like zookeepers who can't actually control the animals.
That sucks. Humans should be in charge and taking responsibility for the software they put into the world. There's a difference between using AI as a tool and letting AI be the architect while you nod along pretending you reviewed the blueprints.
When something breaks, when there's a security issue, when users need support—who's accountable? You can't file a bug report against GPT-4. And "the AI did it" is not an incident postmortem. Not yet, anyway. Give it a year (debatable).
Copilot's Infinite Loop of Self-Criticism
Speaking of AI quirks: Copilot keeps finding issues in my PRs, I ask it to fix them, it fixes them, and then when I ask it to review again, it finds more issues. In the code it just wrote. In the code. It. Just. Wrote.
This is like watching someone argue with themselves in the mirror. Except the mirror is burning tokens, the person is burning my budget, and the argument never ends. The AI equivalent of "works on my machine" syndrome, except it doesn't even work on its own machine.
Blog Posts Are Better Than Repos for Teaching AI
Here's something that genuinely surprised me. A friend at Microsoft pointed his AI agent to my blog series to implement ActivityPub. Not to a GitHub repo with code samples. Not to the official W3C spec. To my blog posts. The ones I write at 1 AM like a gremlin-raccoon, full of rambling asides and half-baked metaphors.
Turns out prose explanations with context and reasoning are way more effective for agents than just dumping code at them. Blog posts tell the story of why decisions were made, not just what the final result looks like. The agent needs to understand intent, not just syntax. It needs the narrative—the "I tried this and it broke spectacularly, so I did this other thing instead" part that never makes it into a README.
So all those years of writing meandering blog posts about my projects instead of writing proper documentation? Turns out I was ahead of my time. Or just lazy. Probably both.
Where This Is All Heading
I think we're heading toward a world where general-purpose libraries become luxury items—nice to have, but not essential. Where AI-generated, purpose-built solutions become the norm. Where documentation and prose become more important than code artifacts. And where human accountability becomes the thing that actually differentiates good software from the rest.
This doesn't mean libraries disappear overnight. But the incentives are shifting. Why build and maintain a framework used by millions when everyone can have their own custom solution?
The future might be less about sharing code and more about sharing knowledge, context, and decision-making frameworks. Less "here's my npm package" and more "here's the blog post explaining why I built it this way so your agent can do something better."
Anyway
This post is a collection of half-formed thoughts and observations. I'm not claiming to have all the answers—hell, I'm not even sure these are the right questions. But something is shifting under our feet, and pretending it isn't doesn't make it stop.
Are we heading toward a more fragmented, AI-generated software landscape? Or am I just another old developer yelling at algorithmic clouds from a small corner of the internet?
Honestly, I don't know. But I'd rather be wrong and loud about it than quiet and surprised when the whole toolchain landscape looks unrecognizable in five years.
Also readable in: https://maho.dev/2026/03/ai-is-making-libraries-obsolete/ by @mapache:
#AI #Software Development #Libraries #Agentic Development #ORMs #CSS Frameworks #MCP #Developer Tools #Future of Coding #Hot Takes #LLM #Copilot
-
AI is Making Libraries Obsolete
Summary: AI agents are fundamentally changing the economics of general-purpose libraries. Why build on Bootstrap when an agent can generate exactly what you need? A collection of thoughts on where this is all heading.
The Great Library Unbundling: How AI is Eating the Software Stack
More than a year ago, I told people that ORMs like Entity Framework were going to feel like relics. That LLMs would just generate the SQL you need, making all that object-relational mapping overhead pointless. A few people told me I was crazy and doing things wrong (and to be honest I wasn't good enough at explaining why I thought this).
Well, time seems to have been on my side (Wwo is laughing now hahahaha!!).
Now, this is a hot take, so I will go forward and talk as a hot take. If I put my devil's advocate hat on, I would probably rage against whoever wrote this post. But because I LOVE MYSELF, I won't do it. I certainly see flaws in my arguments. So buckle up—this is not rage bait, it is just a hot take from a Mexican developer who spent the weekend arguing with AI agents instead of sleeping like a normal person.
The ORM Prediction, or How I Accidentally Became Right About Something
Here's the thing about ORMs: they exist because writing SQL is supposedly "hard" and "error-prone." Meanwhile, I've been writing raw SQL since my first job at a tiny shop in Tepic where we didn't have the luxury of Entity Framework or Hibernate or whatever fancy abstraction layer the cool kids were using. We just wrote the queries, crossed ourselves, and hit execute. Catholic upbringing has some unexpected engineering applications.
Now, to be fair—we did end up building our own tailored ORM for the common cases. Because once you've written the same parameterized INSERT fifteen times, even the most stubborn raw-SQL purist starts thinking "maybe I should abstract this." And ORMs do earn their keep in some areas: SQL injection prevention, enforcing parameterized queries, handling connection lifecycle stuff that nobody wants to think about. Security guardrails that your 2 AM brain will absolutely forget to implement on its own. I get it. ORMs aren't stupid—they solved real problems.
But here's the trap: as soon as you start getting into complex queries, you're no longer just maintaining your application logic—you're also maintaining the ORM and the complex queries. You end up fighting the abstraction to make it do what raw SQL does naturally, and now you have two problems instead of one. The thing that was supposed to simplify your life becomes another layer you have to debug, optimize, and keep in your head at the same time. And whoever has run a high-performance application—like an ecommerce site during Black Friday—knows exactly what I'm talking about. That query you spent weeks trying to optimize through the ORM, doing quirky reflection tricks and fighting with expression trees? You ended up raw-dogging the SQL anyway, because that was the only way to get the performance you needed. The ORM was never going to get you there. It was just standing in the way, politely.
Now Claude just writes you the exact SQL you need—parameterized, injection-safe, the whole deal. No mapping, no configuration, no surprises. Just the data access pattern you actually want. It's like having a DBA who never sleeps, never complains about schema changes, and doesn't passive-aggressively CC your manager when you write a bad join. The abstraction layer that was supposed to save us from SQL is now the thing standing between us and the AI that's better at SQL than most of us ever were.
Agentic Development and the Death of One-Size-Fits-None
This isn't just about ORMs. I've been thinking about how agentic development fundamentally changes the whole premise of general-purpose libraries and building blocks.
Platform teams across the industry are going to start questioning their investments in broad, one-size-fits-all libraries. And honestly? Good. Because "one-size-fits-all" always meant "fits nobody perfectly but everyone tolerably." Like those beach ponchos they sell at every tourist shop in Nayarit—technically covers you, technically functions, but you look ridiculous and you know it.
Take CSS frameworks. Bootstrap, Bulma, Fluent UI—they're great for getting started quickly. But you end up learning their specific class naming conventions, carrying tons of CSS you'll never use, fighting against the framework the moment you want something custom, and—my personal favorite—looking like every other Bootstrap site on the internet. Your site ends up with more unused CSS than empty beer bottles after a Sunday carne asada in Nayarit. And that's a lot of bottles, trust me.
With agentic development? You just tell the agent what you want your UI to look like. It generates exactly the CSS you need. No framework lock-in, no unused code, no learning curve. The agent doesn't need to know Bootstrap's grid system (although it probably was trained on such codebases)—it just writes "vanilla" CSS that does what you asked for. I know this because that's exactly what happened with this blog. The CSS you're looking at right now? Generated. By an agent. Who understood what I wanted better than I understood what I wanted (debatable).
MCP is Already Feeling Old
Speaking of things that are aging quickly: the Model Context Protocol. MCP. Remember when everyone was wrapping every CLI tool as an MCP server like it was the new hotness? That was, what, months ago? In AI time that's basically the Paleolithic era.
Here's the thing—CLI tools already come with perfect documentation in the form of man pages. They're basically documented APIs already. Your agent doesn't need a special protocol wrapper to use
gh pr createoraz webapp deploy. It just reads the docs, fumbles the first attempt (like any of us), and then figures it out. Combine Claude Code with existing CLI tools—GitHub CLI, Azure CLI, kubectl, whatever—and you've got everything MCP promised, but without the ceremony.Microsoft's already doing something interesting with their dotnet/skills repo. Skills that are just prompts guiding the agent through repeatable processes. No protocol, no server, no serialization format drama. Just a well-written prompt. Turns out the best API for an AI agent is just... words. Who knew. (Okay, a lot of people knew. But still.)
Hugo Drove Me to Build My Own (Again, Because I Never Learn)
I just finished redoing my entire publishing workflow. Hugo felt limiting and bloated—all these features I'm maintaining, constantly broken by dependency updates, GitHub workflows failing for mysterious reasons. Every time I pushed a new post it was a coin flip whether the build would succeed or I'd spend an hour debugging some Go template issue that made me question my life choices.
So I rewrote it in .NET. Dead simple. I don't expect anyone else to use it—exclusive distribution, zero units available—but damn, it felt liberating. The CSS and HTML of this blog changed completely, and I actually understand every piece of it now. No more cargo-culting Hugo partials I copied from a theme three years ago and was afraid to touch.
This is the pattern I keep seeing: when AI can generate exactly what you need, the appeal of heavyweight, general-purpose solutions just evaporates. Like fog burning off in the morning sun in Tepic. One moment it's there, thick and omnipresent, and then it's just... gone.
The Accountability Problem
Here's something that's been bugging me. I saw a conversation on the fediverse about more and more tools being created with no clear ownership. Developers suspect some might be entirely AI-generated, with humans just shepherding them into existence like zookeepers who can't actually control the animals.
That sucks. Humans should be in charge and taking responsibility for the software they put into the world. There's a difference between using AI as a tool and letting AI be the architect while you nod along pretending you reviewed the blueprints.
When something breaks, when there's a security issue, when users need support—who's accountable? You can't file a bug report against GPT-4. And "the AI did it" is not an incident postmortem. Not yet, anyway. Give it a year (debatable).
Copilot's Infinite Loop of Self-Criticism
Speaking of AI quirks: Copilot keeps finding issues in my PRs, I ask it to fix them, it fixes them, and then when I ask it to review again, it finds more issues. In the code it just wrote. In the code. It. Just. Wrote.
This is like watching someone argue with themselves in the mirror. Except the mirror is burning tokens, the person is burning my budget, and the argument never ends. The AI equivalent of "works on my machine" syndrome, except it doesn't even work on its own machine.
Blog Posts Are Better Than Repos for Teaching AI
Here's something that genuinely surprised me. A friend at Microsoft pointed his AI agent to my blog series to implement ActivityPub. Not to a GitHub repo with code samples. Not to the official W3C spec. To my blog posts. The ones I write at 1 AM like a gremlin-raccoon, full of rambling asides and half-baked metaphors.
Turns out prose explanations with context and reasoning are way more effective for agents than just dumping code at them. Blog posts tell the story of why decisions were made, not just what the final result looks like. The agent needs to understand intent, not just syntax. It needs the narrative—the "I tried this and it broke spectacularly, so I did this other thing instead" part that never makes it into a README.
So all those years of writing meandering blog posts about my projects instead of writing proper documentation? Turns out I was ahead of my time. Or just lazy. Probably both.
Where This Is All Heading
I think we're heading toward a world where general-purpose libraries become luxury items—nice to have, but not essential. Where AI-generated, purpose-built solutions become the norm. Where documentation and prose become more important than code artifacts. And where human accountability becomes the thing that actually differentiates good software from the rest.
This doesn't mean libraries disappear overnight. But the incentives are shifting. Why build and maintain a framework used by millions when everyone can have their own custom solution?
The future might be less about sharing code and more about sharing knowledge, context, and decision-making frameworks. Less "here's my npm package" and more "here's the blog post explaining why I built it this way so your agent can do something better."
Anyway
This post is a collection of half-formed thoughts and observations. I'm not claiming to have all the answers—hell, I'm not even sure these are the right questions. But something is shifting under our feet, and pretending it isn't doesn't make it stop.
Are we heading toward a more fragmented, AI-generated software landscape? Or am I just another old developer yelling at algorithmic clouds from a small corner of the internet?
Honestly, I don't know. But I'd rather be wrong and loud about it than quiet and surprised when the whole toolchain landscape looks unrecognizable in five years.
Also readable in: https://maho.dev/2026/03/ai-is-making-libraries-obsolete/ by @mapache:
#AI #Software Development #Libraries #Agentic Development #ORMs #CSS Frameworks #MCP #Developer Tools #Future of Coding #Hot Takes #LLM #Copilot
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AI is Making Libraries Obsolete
Summary: AI agents are fundamentally changing the economics of general-purpose libraries. Why build on Bootstrap when an agent can generate exactly what you need? A collection of thoughts on where this is all heading.
The Great Library Unbundling: How AI is Eating the Software Stack
More than a year ago, I told people that ORMs like Entity Framework were going to feel like relics. That LLMs would just generate the SQL you need, making all that object-relational mapping overhead pointless. A few people told me I was crazy and doing things wrong (and to be honest I wasn't good enough at explaining why I thought this).
Well, time seems to have been on my side (Wwo is laughing now hahahaha!!).
Now, this is a hot take, so I will go forward and talk as a hot take. If I put my devil's advocate hat on, I would probably rage against whoever wrote this post. But because I LOVE MYSELF, I won't do it. I certainly see flaws in my arguments. So buckle up—this is not rage bait, it is just a hot take from a Mexican developer who spent the weekend arguing with AI agents instead of sleeping like a normal person.
The ORM Prediction, or How I Accidentally Became Right About Something
Here's the thing about ORMs: they exist because writing SQL is supposedly "hard" and "error-prone." Meanwhile, I've been writing raw SQL since my first job at a tiny shop in Tepic where we didn't have the luxury of Entity Framework or Hibernate or whatever fancy abstraction layer the cool kids were using. We just wrote the queries, crossed ourselves, and hit execute. Catholic upbringing has some unexpected engineering applications.
Now, to be fair—we did end up building our own tailored ORM for the common cases. Because once you've written the same parameterized INSERT fifteen times, even the most stubborn raw-SQL purist starts thinking "maybe I should abstract this." And ORMs do earn their keep in some areas: SQL injection prevention, enforcing parameterized queries, handling connection lifecycle stuff that nobody wants to think about. Security guardrails that your 2 AM brain will absolutely forget to implement on its own. I get it. ORMs aren't stupid—they solved real problems.
But here's the trap: as soon as you start getting into complex queries, you're no longer just maintaining your application logic—you're also maintaining the ORM and the complex queries. You end up fighting the abstraction to make it do what raw SQL does naturally, and now you have two problems instead of one. The thing that was supposed to simplify your life becomes another layer you have to debug, optimize, and keep in your head at the same time. And whoever has run a high-performance application—like an ecommerce site during Black Friday—knows exactly what I'm talking about. That query you spent weeks trying to optimize through the ORM, doing quirky reflection tricks and fighting with expression trees? You ended up raw-dogging the SQL anyway, because that was the only way to get the performance you needed. The ORM was never going to get you there. It was just standing in the way, politely.
Now Claude just writes you the exact SQL you need—parameterized, injection-safe, the whole deal. No mapping, no configuration, no surprises. Just the data access pattern you actually want. It's like having a DBA who never sleeps, never complains about schema changes, and doesn't passive-aggressively CC your manager when you write a bad join. The abstraction layer that was supposed to save us from SQL is now the thing standing between us and the AI that's better at SQL than most of us ever were.
Agentic Development and the Death of One-Size-Fits-None
This isn't just about ORMs. I've been thinking about how agentic development fundamentally changes the whole premise of general-purpose libraries and building blocks.
Platform teams across the industry are going to start questioning their investments in broad, one-size-fits-all libraries. And honestly? Good. Because "one-size-fits-all" always meant "fits nobody perfectly but everyone tolerably." Like those beach ponchos they sell at every tourist shop in Nayarit—technically covers you, technically functions, but you look ridiculous and you know it.
Take CSS frameworks. Bootstrap, Bulma, Fluent UI—they're great for getting started quickly. But you end up learning their specific class naming conventions, carrying tons of CSS you'll never use, fighting against the framework the moment you want something custom, and—my personal favorite—looking like every other Bootstrap site on the internet. Your site ends up with more unused CSS than empty beer bottles after a Sunday carne asada in Nayarit. And that's a lot of bottles, trust me.
With agentic development? You just tell the agent what you want your UI to look like. It generates exactly the CSS you need. No framework lock-in, no unused code, no learning curve. The agent doesn't need to know Bootstrap's grid system (although it probably was trained on such codebases)—it just writes "vanilla" CSS that does what you asked for. I know this because that's exactly what happened with this blog. The CSS you're looking at right now? Generated. By an agent. Who understood what I wanted better than I understood what I wanted (debatable).
MCP is Already Feeling Old
Speaking of things that are aging quickly: the Model Context Protocol. MCP. Remember when everyone was wrapping every CLI tool as an MCP server like it was the new hotness? That was, what, months ago? In AI time that's basically the Paleolithic era.
Here's the thing—CLI tools already come with perfect documentation in the form of man pages. They're basically documented APIs already. Your agent doesn't need a special protocol wrapper to use
gh pr createoraz webapp deploy. It just reads the docs, fumbles the first attempt (like any of us), and then figures it out. Combine Claude Code with existing CLI tools—GitHub CLI, Azure CLI, kubectl, whatever—and you've got everything MCP promised, but without the ceremony.Microsoft's already doing something interesting with their dotnet/skills repo. Skills that are just prompts guiding the agent through repeatable processes. No protocol, no server, no serialization format drama. Just a well-written prompt. Turns out the best API for an AI agent is just... words. Who knew. (Okay, a lot of people knew. But still.)
Hugo Drove Me to Build My Own (Again, Because I Never Learn)
I just finished redoing my entire publishing workflow. Hugo felt limiting and bloated—all these features I'm maintaining, constantly broken by dependency updates, GitHub workflows failing for mysterious reasons. Every time I pushed a new post it was a coin flip whether the build would succeed or I'd spend an hour debugging some Go template issue that made me question my life choices.
So I rewrote it in .NET. Dead simple. I don't expect anyone else to use it—exclusive distribution, zero units available—but damn, it felt liberating. The CSS and HTML of this blog changed completely, and I actually understand every piece of it now. No more cargo-culting Hugo partials I copied from a theme three years ago and was afraid to touch.
This is the pattern I keep seeing: when AI can generate exactly what you need, the appeal of heavyweight, general-purpose solutions just evaporates. Like fog burning off in the morning sun in Tepic. One moment it's there, thick and omnipresent, and then it's just... gone.
The Accountability Problem
Here's something that's been bugging me. I saw a conversation on the fediverse about more and more tools being created with no clear ownership. Developers suspect some might be entirely AI-generated, with humans just shepherding them into existence like zookeepers who can't actually control the animals.
That sucks. Humans should be in charge and taking responsibility for the software they put into the world. There's a difference between using AI as a tool and letting AI be the architect while you nod along pretending you reviewed the blueprints.
When something breaks, when there's a security issue, when users need support—who's accountable? You can't file a bug report against GPT-4. And "the AI did it" is not an incident postmortem. Not yet, anyway. Give it a year (debatable).
Copilot's Infinite Loop of Self-Criticism
Speaking of AI quirks: Copilot keeps finding issues in my PRs, I ask it to fix them, it fixes them, and then when I ask it to review again, it finds more issues. In the code it just wrote. In the code. It. Just. Wrote.
This is like watching someone argue with themselves in the mirror. Except the mirror is burning tokens, the person is burning my budget, and the argument never ends. The AI equivalent of "works on my machine" syndrome, except it doesn't even work on its own machine.
Blog Posts Are Better Than Repos for Teaching AI
Here's something that genuinely surprised me. A friend at Microsoft pointed his AI agent to my blog series to implement ActivityPub. Not to a GitHub repo with code samples. Not to the official W3C spec. To my blog posts. The ones I write at 1 AM like a gremlin-raccoon, full of rambling asides and half-baked metaphors.
Turns out prose explanations with context and reasoning are way more effective for agents than just dumping code at them. Blog posts tell the story of why decisions were made, not just what the final result looks like. The agent needs to understand intent, not just syntax. It needs the narrative—the "I tried this and it broke spectacularly, so I did this other thing instead" part that never makes it into a README.
So all those years of writing meandering blog posts about my projects instead of writing proper documentation? Turns out I was ahead of my time. Or just lazy. Probably both.
Where This Is All Heading
I think we're heading toward a world where general-purpose libraries become luxury items—nice to have, but not essential. Where AI-generated, purpose-built solutions become the norm. Where documentation and prose become more important than code artifacts. And where human accountability becomes the thing that actually differentiates good software from the rest.
This doesn't mean libraries disappear overnight. But the incentives are shifting. Why build and maintain a framework used by millions when everyone can have their own custom solution?
The future might be less about sharing code and more about sharing knowledge, context, and decision-making frameworks. Less "here's my npm package" and more "here's the blog post explaining why I built it this way so your agent can do something better."
Anyway
This post is a collection of half-formed thoughts and observations. I'm not claiming to have all the answers—hell, I'm not even sure these are the right questions. But something is shifting under our feet, and pretending it isn't doesn't make it stop.
Are we heading toward a more fragmented, AI-generated software landscape? Or am I just another old developer yelling at algorithmic clouds from a small corner of the internet?
Honestly, I don't know. But I'd rather be wrong and loud about it than quiet and surprised when the whole toolchain landscape looks unrecognizable in five years.
Also readable in: https://maho.dev/2026/03/ai-is-making-libraries-obsolete/ by @mapache:
#AI #Software Development #Libraries #Agentic Development #ORMs #CSS Frameworks #MCP #Developer Tools #Future of Coding #Hot Takes #LLM #Copilot