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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
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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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By David Tuller, DrPH
Last week, I spoke with George Monbiot, a British investigative reporter and political activist, who has been a columnist for The Guardian for almost 30 years. He and I have been in occasional communication in recent years over an issue of mutual interest—the scandalous mistreatment of patients suffering from the devastating illness (or cluster of illnesses) known as ME/CFS and, more recently, from Long Covid.
For years, I have been hoping that a prominent British journalist would take on the charlatans who foisted the fraudulent PACE trial upon an unsuspecting public. Last month, Monbiot gratified that desire with a scathing column that correctly characterized the treatment of ME/CFS patients as a “national scandal.” (I blogged about the column here.) As he explains, his interest in the issue was largely prompted by the actions of PACE investigator Professor Michael Sharpe. Three years ago, at an insurance industry gather organized by Swiss Re, Professor Sharpe essentially blamed Monbiot for triggering patient reports of Long Covid by having written about it. (Monbiot’s initial 2021 column on Long Covid is here, and his response to Professor Sharpe ridiculous criticism is here; my blog about the contretemps is here.)
I posted the video of our conversation here. Below I have included a transcript, which I’ve edited for clarity and readability.
**********
DT: Hi, so I’m here with George Monbiot. I’m very tickled to be having a conversation with you. Thank you so much for joining me to discuss this. You wrote a column in The Guardian earlier this year that got a lot of attention and was basically about the sad history of ME/CFS and the research into it and what’s happened. Why don’t you discuss first how you even got into this issue.
GM: Thank you, David, and first I’d like to say thanks so much for your sterling work, which has been a great influence for me and has been very useful in summarizing a lot of the issues, which for journalists like me is absolutely crucial. You know, I try to do as deep a reading as I possibly can, but it’s also really great to have someone laying it out and saying, ‘Here is the situation as it stands.’ And I think you do that fantastically well.
DT: Thank you.
GM: So I first became interested in the issue of ME/CFS as a result of my interest in the issue of Long Covid, and that started as a personal thing. I had what is technically defined as Long Covid in that I had severe symptoms for 14 weeks. I mean, it’s nothing by comparison to what so many people have suffered, but it was a very frightening time because it made me wonder if I was ever going to get out of it. For 14 weeks, I couldn’t walk to the end of the road, and I thought, ‘Is this going to be my life?’ Because as we know it now seems to be the life of many Long Covid sufferers, to have that and even worse.
And then it became clear to me that there are certain aspects of Long Covid that are strikingly similar to certain aspects of ME/CFS. And so I wrote a couple of articles about my interest in Long Covid and what it might do, and about how, through government neglect and a failure to engage with the real long-lasting impacts that Covid can have, we were creating a mass disabling event by allowing it to rage through populations. Following that strand, it became clear to me that there had been massive neglect of Long Covid patients but also of ME/CFS patients.
And I wrote an article about this, and about how poorly both groups have been served by governments and by the medical establishment, and how much more research and investment is required to properly meet the needs of these groups. And this extraordinary thing happened, which was that I found myself featured in a presentation by this man called Professor Michael Sharpe. It was a presentation at a meeting organized by Swiss Re, this huge reinsurance company with a very major interest in medical issues because of all the health insurance payments that need to be made, particularly for chronic medical issues. That can be very expensive for health insurers.
And in this presentation, Michael Sharpe blamed me for causing Long Covid and potentially ME/CFS–that I was causing it by talking about it. I was sort of bringing it into existence by discussing the phenomenon. This made me very worried, because I thought, ‘Well, you know, if I can do that with Long Covid, if I can create it by talking about it, maybe I’ve been doing this with all the other issues I’ve been writing about.’ I mean, you know, perhaps environmental collapse is my fault, that by spending 39 years writing about environmental collapse I’ve actually precipitated it. And the hideous thought arose that I might have caused more suffering than the entire cast of Alvin and the Chipmunks. Anyway, so I was gobsmacked by this.
DT: He was essentially calling you a super-spreader.
GM: Exactly. He called me a super-spreader of Long Covid by talking about it. I thought, ‘How do you create Long Covid by talking about it?’ And for me, that opened up Pandora’s Box. It was a discovery for me of this remarkable school of thought that Sharpe represents of the ‘biopsychosocial’ model, which is effectively saying that these devastating chronic illnesses are all in the mind that these are hypochondriacs, these are people who are imagining they’re ill, and people like me are encouraging them to imagine they’re ill, and that these aren’t physiological conditions, which seemed to fly in the face of everything I was learning about both of these sets of conditions.
DT: And learning from your own experience as well.
GM: Yes, exactly, frm my own experience. Like everybody suffering from those conditions, the one thing I wanted above everything else was to get better. You know, I wasn’t willing myself into that state. I was doing all the things which might have helped me to get out of it. Though basically it was just a question of sitting and waiting. That really was the only thing which was going to get me better. And all the sort of things which might intuitively make sense, like ‘I’ve got to push past it, I’ve got to exercise my way out of it.’ Far from helping, that actually makes you a lot worse, so I was very careful not to do that because I’d been reading a bit of the proper science on this subject.
DT: These people seem to have the idea that millions of people around the world want nothing more in life than to lie in bed and fulfill their ‘sick role’ and that they don’t want to get better. It’s kind of an extraordinary notion. .
GM: Well, this was what struck me more than anything, and the utter cruelty and ignorance of the position. Not least because I’ve got a couple of good friends who suffer from ME/CFS, and both of them were super active before they were struck by this illness. They were very dynamic, energetic people who had so much to offer and were doing great creative things. Actually, both of them were authors, but they did lots of other things as well, and they had these visions of all the things they wanted to achieve. And then—bam!–this condition hits them and they can’t do that stuff, and the despair they experience as a result of that is off the scale.
As you’ll be aware, there’s one study of the conditions of the life of people with ME/CFS, and by comparison to people with stage four lung cancer. And the people with stage four lung cancer have a higher quality of life than people with severe ME/CFS. They’re really saying that’s what people subconsciously want. They have this whole idea that you’d get better if you wanted to. In my article, I quoted something you’ve picked up on—a nurse in one medical paper saying “the bastards just don’t want to get better.” That is so far from my experience and the experience of my friends.
DM: So just to clarify–that’s a quote from a qualitative study of the people involved in delivering the intervention to very severely impacted patients. And so when they did this qualitative study, one of the quotes was that really astounding one blaming the patients explicitly for not wanting to get better.
GM: Yeah, it’s so scandalous. It’s the sort of thing you would expect in the 19th century. In 19th-century medicine, so much of it was about blaming the patient, about the underclass being inherently unhealthy. There were all these horrible prejudices, particularly in psychiatric medicine. And to see those now still surviving in the 21st century and some of the people promoting that idea getting all these honours and positions and chairs and government posts and all the rest of it, and you think, ‘This is crazy.’ I mean, what the hell is going on here?
And it seems to me that what is going on is that they tell a very convenient story, particularly for governments who don’t want to pay big welfare bills, who don’t want to be supporting people with long-term conditions–people who just can’t work. They cannot support themselves economically because their condition forbids it. It’s very much in the interest of government to deny that and to try to push them off the benefits rolls, and to ensure that they have to somehow fend for themselves. And so it seems that people who tell this completely false and highly misleading story make themselves very popular with governments even if there is no factual basis for what they’re saying.
DT: Well, one of the things that’s kept me interested in this is that this the research is so bad. We don’t really need to talk about the PACE trial, but let’s just say it’s really, I think, a fraudulent piece of work, but one that was published by The Lancet and accepted at the highest levels in the UK and in the US, too—I don’t want to exclude my own country. This was accepted as quality work, even though it’s been used in epidemiology classes at Berkeley as a case study of horrible research. So it’s extraordinary to me that this emperor-has-no-clothes mentality seems to have infiltrated the entire academic, medical, and government structures of the UK. I find it completely mind-boggling.
GM: In general, I’m a great supporter of science. I feel that empiricism is absolutely essential. In fact, we see far too little of it in society and we see far too little in the environmental movement, which is my main focus. Often we’re swayed by wishful thinking rather than by actual facts and numbers and research findings. The evidence should guide our moral reasoning, but I’m also aware that in many fields the evidence has been twisted, distorted, deliberately pushed in a particular direction by commercial imperatives or by political imperatives. And we’ve seen a long history within science of false results or false findings driven by commercial or political interests.
It’s a very dishonourable history and it’s one that all good scientists seek to distance themselves from. And it’s not to diss the principles of science, and it’s not to diss the importance of science, to say that sometimes science is done very badly. And sometimes something being done very badly is not just a simple mistake. It can be consciously or unconsciously as a result of certain pressures, and in this case it’s clear that science has been done spectacularly badly and continues by some people to be done spectacularly badly, and it gets harder and harder to see that as an honest mistake.
DT: So this brings us perhaps to the role of the Science Media Centre in London in disseminating this perspective, and the journalists who parrot the Science Media Centre line as it has been on this. You previously had looked at the Science Media Centre many years ago, and I don’t know how much you’ve looked yet at their role in this particular instance. But I’m curious how you see their role in all this.
GM: It’s an extraordinary thing that the Science Media Centre is treated as a respectable organization, even as part of the establishment. But they arose from this utterly bizarre group called the Revolutionary Communist Party, which was founded in the late 1970s at the University of Kent by a group of people centred around a man called Frank Furedi, a teacher at the University of Kent who’s now working for Victor Orban, the Hungarian far-right autocrat. This was always a far-right movement which very cleverly disguised itself as a Communist movement. It’s a really bizarre, weird 1970s group but with a history of endless splits and internal side warfare. But they hit gold when they realized that they could smuggle this sort of far-right agenda into the left simply by saying, ‘We belong to the left, we’re Communists.’ And it caused utter chaos and confusion on the left and was highly effective at disrupting and disturbing left movements.
It’s a sort of devious tactic that Steve Bannon and Dominic Cummings and people like that have gone on to develop. These far-right figures have finally come home to roost in their far-right places. One of the leading lights of it was Claire Fox, who became a Brexit party MEP for Nigel Farage’s party and was eventually put into the House of Lords by Boris Johnson as a Conservative lord on the advice of his special advisor Munira Murza,
who is another member of the same network
DT: Claire Fox’s sister, of course, Fiona Fox, was the long-time head of the Science Media Centre.
GM: Yes, she co-founded it, and so this group took over almost all the infrastructure of science communication in the UK. It was an extraordinary thing, this remarkable coup—a whole series of groups, like Sense about Science, that they took over, which clearly to me was a concerted program. They recognized that this interface between science and media was going to be absolutely crucial in determining how we see ourselves and in the political direction that the country takes.
Now a big part of the ideology of the Revolutionary Communist Party, this far-right organization, was extreme individuation of blame and responsibility. You know, there’s no such thing as a social failing, there’s no such thing as a structural failing, a systemic failing, a state failing. It’s all about you–if something goes wrong, it’s your fault, and you and you alone have to pick up the pieces. They quite overtly at times said, ‘We should get away from this whole idea of there being victims, there’s no such thing as a victim, this is just a myth created by these do-gooding liberals, and you’re basically on your own and that’s how you should be.’
And this was a guiding ideology behind the foundation of the Science Media Centre. But if there’s one group of massive suckers in the world, and I say this as a journalist, it’s journalists. You can sell anything to a journalist as long as it aligns with the interests of power. You can’t sell anything to a journalist, however well-evidenced, if it bangs up against the interests of power. But if is in the interest of power, they’ll believe anything. Read The Telegraph, watch Fox News, read The Daily Mail, they’re just absolutely full of complete nonsense from wall to wall.
And so all the nonsense which is put out by these dark-money junk tanks, these so-called think tanks. Media report it verbatim as if it is something real. So everything the Science Media Centre said just gets accepted right across the spectrum of journalism as being true, because they think it’s science. And part of the problem is that there are very few scientists in the media, there’s a few specialist reporters, there’s a few people like me with a science background. But on the whole those who make the decisions–the editors, the newsroom staff, they’re not scientists. They’ve got a humanities background.
When someone comes along and says, ‘You know, this is science, we’re representing science,’ even if they themselves have no scientific credentials, which is the case with Fiona Fox and the whole of the rest of that Revolutionary Communist Party group, if they can speak the language of science and they can say we’re linking you up with these eminent scientists, there’s no questions asked. It just, ‘All right, that’s science, okay, we’ll just report that as is.’Right at the beginning the Science Media Centre recruited Professor Simon Wesseley, now Professor Sir Simon Wesseley, who was one of the leading exponents of this biopsychosocial model, which basically says it’s all in the mind.
And it was a good deal for him because he gets massively boosted and his position gets massively boosted in the media. But it’s also a good deal for the Science Media Centre, because by associating with eminent professors like him, with people with high standing, particularly with government, they make themselves look respectable. Whereas in reality they’re anything but. And so there is this sort of mutual back-scratching going on between the two, kind of a symbiotic relationship. And the most extraordinary things happened. So for instance they put out these pure biopsychosocial interpretations of ME/CFS and recruit journalists to parrot that line.
DT: As I’m well aware, having been the subject of one of these articles by someone who was a bestie of the Science Media Centre and actually appeared in promotional materials for their 10th anniversary. To me, that journalists are appearing in promotions for the Science Media Centre for their 10th anniversary bonanza seemed extraordinary.
GM: I know, that’s not a good look at all. And also that journalists were just taking their word for it about the purported harassment faced by these researchers as well. So the
story became not ME/CFS patients being very badly served by the current state of medical science, which is obviously the story anyone with any proper journalistic instincts would immediately see, but instead that these poor hard-working scientists are being threatened and abused by ungrateful ME/CFS patients. Well, okay, maybe some people sent some bad emails and that shouldn’t ever happen.
DT: Let’s acknowledge that that undoubtedly happened and that there were undoubtedly unpleasant emails or phone calls or things that happened from a very tiny cohort of troubled patients.
GM: But let’s be honest, it happens to journalists as well. Because I was very much against the Iraq War, I got a death threat at least once a day throughout the entire period during and immediately after the first Invasion. And I mean very lurid death threats. Often I didn’t take any of them seriously. You can either choose to take that stuff seriously or you could just say this is the bollocks that comes with e-mail and social media and stuff. It just goes withg the job. And I’ve had it all my working life, from when I was first a journalist in 1985—endless abuse and threats and stupidity and insults and all the rest of it.
It’s not good and no one should ever do it, but is that really the story, and did it even stand up in many cases? They were just taking the word of scientists and researchers that they’ve been threatened and abused. Maybe they had been, but you should still be looking at the evidence and asking what exactly was said and who exactly was saying it and is it exactly like they say it is.
DT: And those stories in the press never reported on or actually examined the concerns about the science. They just skated over those and presumed that because Sir Simon or because Michael Sharpe or because someone else distinguished said something or other that the science was incontrovertibly correct.
GM: What they were doing in all cases was simply taking the Science Media Centre word for it. It sounds like a respectable organization. I mean all these junk tanks sound like respectable organizations–the Institute of Economic Affairs, the Cato Institute, the Heritage Foundation, they’re all just founded by dark money, by very dodgy people with dodgy agendas. But they give themselves a grand name and journalists say, ‘Oh yes, that’s obviously a very serious, respectable organization.’ And then the most amazing thing is this journalist from the Today programme, who basically just repeated what the Science Media Centre was saying, was put forward by the Science Media Centre for a major journalism award, and he won it just for reciting their claims.
DT: Right, and they cited that in their account of their work—‘Oh, we gave him this story, then we nominated him for the award, and then he won the award!’
GM: Yeah, they were completely open about it. Then they boasted also about how they put Sir Simon Wesseley forward for the first John Maddox Award, which was set up by their sister organization Sense About Science, which was set up also by members of the Revolutionary Communist Party. So they put him forward for that award and he wins this award, and then all the journalists say, ‘Oh, wow, Sir Simon Wesseley has won the John Maddox Award, this is ultra-respectable, these are knights of the realm, these are these are good people who cannot be challenged.’
DT: Yes, and he won the won the award specifically because of his ‘courage’ in standing up for science against, you know, these horrible activists who were challenging him. I think we’ve seriously covered the Science Media Centre. I’m curious what the reaction to your recent Guardian piece was.
GM: So the piece got a massive and very supportive reaction from ME/CFS patients and those who advocate for them, who you know have been so badly served by the media. There have been so few people who have said, ‘Actually, this is a greatly neglected and abused community of patients who are just not receiving the care that they deserve, they’re not receiving the research and the investment which this condition merits.’ There’s a huge number of them and they are suffering massively, and yet that is just not being heard.
So a lot of people were very glad to see that article, and they expressed that gladness, which made me happy. Because you always want to try to do something useful, and as a journalist you know you’re never quite sure whether you’re speaking into a void or not, and whether you’re actually helping things to get better or not. And so that was good to see. I was really struck by how muted the pushback was. I was expecting, you know, that whole sort of Wesseley/Sharpe/Science Media Centre brigade to really pile on, but I think they’ve realized the jig is up. I think they’re now seeing that you just can’t keep pushing this any longer. And it was because of the expert advice I got from several people, yourself included, who are all experts in the field, and I’m evidently not.
For instance, calling it a ‘real’ illness. Of course psychological illnesses, as you and others pointed out, are ‘real’ illnesses. But physiological illnesses are not the same as psychological illnesses. Sometimes they overlap but sometimes they’re entirely separate. You and others were extremely helpful about getting the terminology right and clearing up some of my confusions. I think because we nailed it down there was really no room for them to pick up specious points or say he’s calling it this when it’s actually that. They had no room to maneuver. And it seemed to me from their responses very clear that they had nowhere they could go with this, and so they had a very limp and muted response to it. Because if they had said anything else they would have been so blatantly in conflict with scientific principles that they would have made life much harder for themselves than it was already.
DM: To clarify the point about ‘real’ or not ‘real’ illness, they really rely a lot on this. If you say this is physiological, part of their pushback is always, ‘Why are you denigrating mental health and why are you insulting people with mental health?’ And it’s such a red herring. Nobody has seriously questioned whether mental health issues are completely horrible and just awful experiences. But they take that and that’s their pushback, and it’s just ridiculous, and insulting as well.
GM: And also, of course, many people with ME/CFS do have very serious mental health issues. Why wouldn’t they? If I were bedbound or even housebound it would very seriously impact my mental health.
DT: Especially if nobody believes that you’re sick.
GM: Exactly. There was a Swiss study I cited in the piece showing that the greatest driver of suicidal ideation amongst ME/CFS patients was not being believed, was being gaslit by people who were telling them, ‘You’re just imagining all this, this is a psychosomatic condition.’
DT: How much do you think that the Long Covid situation has impacted perceptions of ME/CFS and perhaps brought more attention to it and to the fact that there is such a thing as post-acute viral illness, that this is something that happens after all viral illnesses and that it should not be a surprise that it’s happening now?
GM: Well, I can think of my own experience. Because until Covid came along, I had taken a binary view of infectious disease. It’s something that either kills you, or you get better. It’s one or the other. And if you get better, then everything’s fine and life carries on as it was before. If you don’t get better, you die. That that was how I saw it, and I was very naive in seeing it that way because I’d never really thought about it much. I’ve had quite a few infectious diseases like everyone’s had, and I’ve recovered from them and life’s got back to normal. You just assume that’s how it is.
But I think a lot of people, as a result of either having Long Covid or knowing someone who has it–and many of us know lots of people who have it or are hearing a lot more about it in the media–began to recognize it’s not as simple as that. There is recovery, there is death, but there’s something in between, which is not recovering or not fully recovering but suffering a different set of symptoms than the initial ones you had as a long-term sequelae of that infection. So I think quite a lot of people have undergone that change in mindset, like I have, of recognizing that this is a lot more complicated than the sort of popular misconception of how infectious disease operates.
DT: I think it’s also different because Long Covid has come in epidemic or pandemic form. It’s one thing if you see sporadic cases of someone who has a viral illness, and it’s happening here or there and not all at the same time. Now you see a worldwide phenomenon, with millions of people reporting very similar things, and either you think it’s mass hysteria and that all these people are so fraught with anxiety, depression, post-traumatic stress disorder so they’re having these sort of symptoms, or you actually think something is physiologically going on that’s triggering these symptoms and we need to figure out what it is. I don’t quite understand the motivation to go one way when the other way seems much more obvious or makes much more sense in any kind of normal world.
GM: Well, as I’ve gotten older, I’ve begun to understand more and more how our moral boundaries are not created entirely by rational decision-making and how we’re influenced by deep themes–what the brilliant cognitive historian Jeremy Lent calls ‘root metaphors’ and cultural themes of which we might be completely unaware. I’m sorry to say that one of those is misogyny, and one of the very striking characteristics of both ME/CFS and Long Covid is that they disproportionately affect women. And there’s a very long tradition in medicine, but also in the wider culture going back many centuries of a disbelief in women, of not believing what women tell you, not believing the symptoms that women might have, not believing the suffering that women might be undergoing.
Medicine’s always been, or until recently has been, super male-dominated, and that luckily is beginning to change. But that legacy is with us still. And what we’ve seen in the history of scientific reporting on ME/CFS is some deep misogynistic strands–you know, not believing in it because it is largely women who suffer from it, and therefore it must be a hysterical condition and it must be all in the mind because women aren’t rational, women can’t reliably report their symptoms, women really don’t actually know what’s going on in their own bodies. This whole sort of long-term denigration of women’s experience and disbelief in women’s experience, I think, often entirely unconsciously still guides some decision-making even at the highest levels.
DT: Well, we’ve talked for a while now, and I like to keep these videos relatively short. So the final question–what comes next for you in this line of reporting?
GM: I want to properly investigate the role of the Science Media Centre, which I’ve touched on very briefly. That brings together these two strands of interest for me, because as you say way back in the early 1990s I’d started investigating this Revolutionary Communist Party group and the false claims it was making and the devastating impacts it was having on environmentalism. It managed to populate the media with claims that it was all imaginary, there’s no such thing as an environmental crisis, etc. So it brings together that interest with my more recent interest in ME/CFS and Long Covid. The denialism and minimization that has been pushed by the Science Media Centre is very much of a piece with the issues that they’ve pushed going way back, so I want to look more closely at that and at how journalists are just such total suckers for these narratives, and how we ought to–excuse my language–just grow the fuck up and actually be led by the evidence, not by what people with impressive-sounding names are telling you.
DT: I will look very much forward to that. Anything final you want to say before we end?
GM: It’s a great pleasure to talk to you, David, and I guess the one last thing I want to say is, look, we can theorize all this, but there are very large numbers of people suffering to an absolutely outrageous extent. Most of them women–not all of them, of course–often with very long-term conditions which have absolutely horrendous impacts on their well-being. And the fact that this is not one of our very top medical priorities is itself a massive scientific scandal.
DT: I would agree with that. And thank you very much.
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Gardens, Not Roads: Cultivating Open Source Communities
Ever since its eponymous report was published nearly a decade ago, the “roads and bridges” metaphor has dominated how many working with FOSS software, including I, think about open source sustainability. Nadia Asparouhova’s influential 2016 report painted a picture of critical digital infrastructure that is prone to crumbling and neglect, drawing parallels to our physical highways and bridges. Another influential visual metaphor was the xkcd comic 2347 “dependency”. The tower of precarious building blocks was powerful, and immediately comprehensible. Between both the report and the comic, these metaphors helped secure millions in funding for open source projects and brought much-needed attention to maintainer burnout.
Even using phrases like “digital infrastructure” to refer to critical FOSS components is a metaphor of sorts, since infrastructure is by definition physical. It’s also worth noting that the use of infrastructure metaphors to refer to our digital world is no way novel, who can forget the Superhighway Summit of 1994, the site where Al Gore “created the Internet”. Another notorious case of metaphor fail was when Senator Ted Stevens referred to the internet as a “series of tubes”, in an argument against Net Neutrality.
But metaphors are inherently limited, and can be misleading when taken at face value. We use the dependency comic, “roads and bridges”, and even “digital infrastructure”, to explain that FOSS has become just as valuable as those things, and when it breaks it can have dangerous consequences for our society. However when these metaphors are taken too literally, we end up with misunderstandings about how best to maintain FOSS and the metaphor becomes counter-productive. Knowledge is knowing tomato is a fruit, wisdom is not putting it in a fruit salad.
The roads and bridges metaphor, while a good analogy for the importance of FOSS, does not represent how open source projects are structured and how they function.
While FOSS may be just as important as physical infrastructure in terms of societal value, the critical error lies in assuming that because both are essential to the public interest, they should be built and maintained using the same approaches. This conflation creates a cascade of problematic assumptions that undermine effective support for the communities developing open source.
Sidenote: There’s a similar issue when considering the topic of FOSS as a public good. Sure, the open source software itself can be classified as a public good if you follow the definition, but FOSS communities are NOT a public good.
To understand why this metaphor falls short, we need to examine how the fundamental differences between open source infrastructure and physical infrastructure.
Consider how differently a bridge is built versus an open source project. A bridge represents a fixed solution to a specific problem, getting from point A to point B across an obstacle. It often emerges from centralised planning, contracted labour, and hierarchical project management. Typically a government entity decides what infrastructure is needed, designs it according to specifications, hires contractors to build it, and then operates maintenance programs with dedicated staff and budgets. Once built, the bridge’s primary relationship with humans is maintenance: inspection, repair, and eventual replacement.
Open source projects, however, are living systems of knowledge and collaboration that emerge from entirely different conditions. They may begin with someone scratching their own itch or a hobby project, communities forming around shared technical interests, or developers exploring what’s possible with new approaches. Most of the work happens through voluntary coordination, distributed decision-making, and relationships built on reputation and mutual interest rather than formal contracts. These projects represent not just solutions to current problems, but platforms for discovering new problems worth solving and environments where people engage in meaningful work that develops their capabilities.
This fundamental mismatch between metaphor and reality has led to well-intentioned but ultimately misguided approaches to open source sustainability.
The infrastructure metaphor has spawned an entire industry of data-driven approaches to open source sustainability that, while valuable for their intended purposes, address different challenges than supporting the people who create and maintain these projects. We now have sophisticated systems for measuring “criticality” based on dependency graphs, download counts, and contributor metrics. Organizations deploy tools to scan their codebases and identify “risky” dependencies. Funding programs that use data-based scoring to determine which projects deserve support. These approaches emerge naturally from treating open source like physical infrastructure, where quantitative assessment makes sense. Bridges either carry traffic loads safely or they don’t. Water systems either deliver clean water or they fail.
The appeal of these data-driven methods is understandable. They promise objectivity in allocation decisions, scalability in assessment processes, and clear metrics for accountability. For organizations managing hundreds or thousands of dependencies, automated analysis seems like the only practical approach. These tools excel at what they’re designed to do: helping organisations understand their technical dependencies, assess risk exposure, and make informed decisions about resource allocation. But open source projects aren’t bridges or water systems, and the quantified approach that works well for physical infrastructure serves different needs than understanding how collaborative development actually functions.
While infrastructure frameworks focus on technical dependencies and data-driven approaches optimize for organizational risk management, neither addresses the fundamental question of how collaborative software development actually works. The most useful framework for understanding sustainability isn’t infrastructure maintenance: it’s recognizing open source projects as communities of practice.
The concept of communities of practice, developed by anthropologist Jean Lave and educational theorist Etienne Wenger, describes groups of people who share a craft, profession, or passion and learn together through regular interaction. In this context, maintainers aren’t simply individual contributors or employees performing discrete tasks; they’re participants in ongoing, shared learning around specific domains, technologies, and problems. This perspective shifts attention from measuring outputs to understanding the social processes that generate those outputs.
The knowledge that makes projects valuable isn’t contained solely within the code itself. Every mature open source project accumulates layers of institutional knowledge: understanding why certain design decisions were made, how to navigate complex technical trade-offs, which approaches have been tried and abandoned, and how different components interact in subtle ways. This knowledge lives primarily in the relationships between people rather than just in documentation or commit messages. When experienced contributors leave, they take irreplaceable understanding with them that can’t easily be reconstructed from technical artifacts alone.
The process by which people become maintainers reflects this community-based reality. New maintainers aren’t hired through traditional employment processes: they’re developed through what Lave and Wenger call “legitimate peripheral participation.” People typically begin by fixing small typos in code or documentation issues, gradually move to bug fixes, start reviewing others’ contributions, and slowly take on more responsibility as they demonstrate competence and build relationships within the project. This progression requires mentorship, patience, and sustained community investment in helping newcomers develop both technical skills and social understanding of how the project operates.
Understanding open source through the community of practice lens highlights why infrastructure only approaches to sustainability often miss the mark.
When we understand open source projects as communities of practice, the sustainability challenge becomes clearer. Projects don’t typically die because the code stops working or becomes technically obsolete, they die because people can’t afford to continue the collaborative work that keeps them vital. When knowledge-holders leave for paying jobs, when skilled contributors can’t justify spending time on unpaid work, when the economic reality of maintaining software doesn’t align with the value it provides to users, the community of practice gradually dissolves regardless of the code’s technical condition.
This distinction reveals why treating maintainers as infrastructure workers becomes deeply misleading. The maintainers and contributors aren’t employees of a public works department who can be managed like infrastructure workers. They’re individuals with complex motivations, constraints, and career trajectories who happen to be participating in something that produces public benefits. This becomes more complex when you consider companies and how they both contribute to and extract value from FOSS.
Companies contribute to open source ecosystems in ways that aren’t captured by simple metrics: they may hire maintainers or contributors, sometimes they provide infrastructure and hosting, some absorb legal and security risks, and help direct the technical direction towards real world demands.The problem isn’t that companies provide no value. It’s that the current system lacks mechanisms for ensuring proportional contribution relative to value derived. When a company builds a billion-dollar business on open source foundations, their voluntary contributions, however substantial, rarely reflect the economic value they’re capturing.
Many open source contributors also explicitly value the autonomy and intrinsic motivation that comes from voluntary participation. For some, the appeal of open source lies precisely in its distance from traditional employment relationships: the ability to work on interesting problems without corporate pressure, to learn new technologies at their own pace, or to contribute to something larger than themselves without making it their profession.
This diversity of motivations suggests that sustainability solutions need to be similarly diverse. Some maintainers want professional recognition and compensation for their work. Others prefer to maintain the volunteer character of their contributions while having better support systems. Still others might want hybrid arrangements that provide some compensation without the full obligations of employment.
The communities of practice framework accommodates this diversity by recognizing that different people participate for different reasons and at different levels of intensity. Rather than assuming all contributors want the same relationship with their projects, sustainable approaches can offer multiple pathways: professional maintainer roles for those who want to make open source their career, stipend programs for consistent contributors who want some compensation without full employment obligations, and improved support systems for volunteers who prefer to maintain the autonomy of unpaid work.
A key insight is that “professionalising” open source or making it more resilient and secure doesn’t mean turning all contributors into employees.
When we understand open source projects as ongoing communities engaged in knowledge creation rather than static infrastructure requiring maintenance, we can develop support systems that work with the collaborative dynamics that make these projects valuable. It means creating conditions where people can participate sustainably in whatever way aligns with their goals and constraints. This might include better tools for coordination, clearer governance structures, recognition systems that value diverse contributions, and economic models that provide support without compromising the collaborative character that makes open source valuable.
Moving beyond the infrastructure metaphor doesn’t diminish the importance of open source! It reveals new pathways to nurturing the communities that create our digital foundation.
The metaphor of roads and bridges served us well in establishing that open source matters as much as physical infrastructure. But just as we wouldn’t use road maintenance techniques to tend a garden, we shouldn’t apply infrastructure thinking to sustain collaborative communities. Open source projects are not roads to be paved and maintained, they are living ecosystems of learning and creation that require entirely different forms of care.
The future of open source sustainability lies not in treating maintainers as infrastructure workers, but in recognising them as what they truly are: members of vibrant communities of practice whose collaborative knowledge-creation happens to produce some of the most valuable software in the world. When we design support systems around this reality rather than forcing these communities into an infrastructure framework, we create the conditions for open source to not just survive, but also flourish for generations to come!!!
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FAQ
“What’s your religion?”
I’m a Setian who follows the LV-426 Tradition of Setianism, which is a unique fusion of Kemetic polytheist theology with Setianized Western esoteric practices. (For more info on LV-426, visit http://desertofset.com/2020/06/15/the-lv-426-tradition/)
“What the hell does that even mean?”
I believe in many Gods and Goddesses; I am especially drawn to the ancient Egyptian pantheon; and I am specifically devoted to a God named Set. I also pray and make offerings to Set according to a unique religious tradition that some of my best friends and I developed together while we were growing up.
“Who or what is Set?”
Set is the Egyptian God of storms, deserts, and the nighttime world. His name is sometimes rendered as Seth, Setekh, Setesh, Sutekh, or even Suti, and He is also called Typhon in Greek (though He is not theologically identical to the Hellenic Titan who is also known by this name).
“Isn’t Set just the Egyptian version of Satan?”
No. Set is not a devil who rebels against His Creator; He is the Creator’s personal bodyguard, ritually defending Atum-Ra and all the rest of us from an ever-present apocalyptic threat. So while Set might seem dark and spooky, He is truly a force for good and not evil.
“It kinda looks like you worship the devil, though.”
That’s because “satanic” imagery was appropriated from various polytheist Gods, including (but not limited to) Set. This was historically done to demonize said Gods and the religions that follow Them. If it bothers anyone that my God reminds them of their “devil,” it really says more about them and their religion than it does about me or my faith.
“What about Osiris? Isn’t Set the bad guy in that story?”
Theologically speaking, Osiris can’t rise from the dead and create a happy afterlife for all good-hearted people unless He dies first; and it is part of Set’s job to make sure this happens. This is not a story of “good versus evil,” but of agricultural cycles, changes in ecosystems, the hope for better experiences after painful life transitions, etc. It is also not uncommon for Set and Osiris to be honored together at the very same shrines.
“The ancient Egyptians believed in magic; do you?”
The ancient Egyptians believed in heka or “divine speech,” which really means something more like “prayer” in general, and which potentially includes a wide variety of religious expression (discussed further below). While heka does attempt to influence events in Nature and/or human society by means we might assume to be “supernatural,” the exact same thing is true of prayer in all religions. So the way I see it, my practices are neither more nor less “magical” than those of any other faith.
“What are some of your religious practices?”
I like to pray, which I define as any heartfelt communication with a God or deceased loved one (even if the purpose is just to express anger or despair, rather than praise or worship). I enjoy making offerings, which can include sharing meals, creating art (like paintings, sculptures, music, pottery, etc.), or even just dedicating a good deed to the Gods and/or the dead (like feeding stray cats for Bast or Sekhmet).
Many of my personal offerings to Set (and to other Gods and Goddesses) are available for the general public to enjoy as well. These include my entire discography, my podcast, my art, etc.
“What holidays do you celebrate?”
I really observe just one Egyptian holiday: Wep Ronpet (“Opening of the Year”), the New Year festival, which occurs in early- to mid-August during the annual inundation of the Nile. It’s technically a “roaming” holiday that falls on a slightly different date each year, but I prefer to celebrate on August 15 since this coincides with the date of my original conversion experience in 1997. The other holidays I traditionally observe are not Egyptian in origin; these include Hallowtide (October 31 through November 2), Walpurgis Night (April 30), and Friday the Thirteenth.
“Are you a member of the Temple of Set?”
No. I am well aware of the Temple of Set, but I have never been involved with that particular organization, and I respectfully do not subscribe to their ideology. Nor does anyone need to join that organization to know or walk with Set.
“Isn’t Setianism a ‘left-hand path’ (LHP) religion?”
Some Setians identify with this term, but I do not. Some would argue I am “right-hand path” (RHP) because of the devotional emphasis in my faith; but I don’t identify by this term either. Nor do I try to collapse every possible variety of religious experience into some false “LHP/RHP” binary. Setianism existed long before anyone ever used such terminology—which means “LHP” beliefs are supplementary to believing in Set, not fundamental.
#frequentlyaskedquestions #faq #setianism #sutekh #kemetic #egyptian #pagan #polytheist #holidays #god #religion #lefthandpath #lhp #pentagram
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** Contains some spoilers for Persona 3 Reload **
I finally arrived at the end. We people who spend a lot of time playing video games are familiar with the feeling of emptiness after finishing a long game. In my case it was a mix of emptiness, satisfaction, loss, and bliss. Spending more than 90 hours immersed in a crumbling world on a mission to save it alongside my character-friends was exhausting but very, very rewarding in the end. I admit, it wasn’t easy to move on, and I still haven’t, but no immersion lasts forever and the idea of replaying the game right after the first playthrough is not feasible for now. I want to, but I prefer to let this feeling last. I started playing Persona 3 Portable in the meantime, but I don’t see myself able to complete it yet. As I wrote in my last post, even I am on a mission to play a good portion of games this year and we only have so much time to indulge in this hobby many see as a waste of time.
Now, let’s talk about Elizabeth. To those who have played the game countless times, the fact that she’s a secret boss comes as no surprise. I was perfectly convinced that her 100th request – to kill the Reaper – was the last one. I gathered a team with many buffs and debuffs, nothing fancy, just the usual decrease enemy attack/defense/accuracy/evasion and increase those very same elements for my team before performing strong magical and physical attacks. Aigis was, as usual, a godsend, but every team member had something to contribute to the fight. In the end I had to use them all to level up anyway. The first time I killed the Reaper I was overcome with a feeling of immense satisfaction. It wasn’t an easy fight, and I was one-shot a couple of times. With the right items I raised them from the dead and managed to have my team in great condition.
When I went back to Elizabeth to reap my reward, she came up with another request – to take out the ultimate adversary. At first, I thought she meant Nyx. He’s the ultimate adversary, no? No, no, no, what is this? The last Monad door had a locked door at the end of the stairs. The request specifically told me to come alone and try that door. So I went, with some very strong Personas up my sleeve, completely clueless about what I would find. To my amazement it was Elizabeth herself! She wanted to dance with me. I could think about many things we could do together, but not this, this face-to-face, this duel of titans, except there was only one titan and the other was a rabbit. I performed quite well on my first try. I may have been able to do about 650 damage. No. I managed to survive some turns. I died. Then I was asked if I wanted to change to Peaceful difficulty so I could raise from the dead and try the fight from where I lost. What a good idea, of course! Then, the unthinkable happened. Elizabeth summoned a Pixie and unleashed Megidolaon on me for a modicum of 9999 damage! Do you want to retry? Yes, of course. I attacked her – Megidolaon. I decreased her attack and accuracy – Megidolaon. I increased my evasion – Megidolaon. I guarded – Megidolaon. I knew there was no point, it was an Almighty attack, but I was desperate! I went on YouTube.
The fight follows a very specific script and involves a lot of preparations and very specific Personas with very specific skills that can only be unleashed at specific times, and the use of a calculator can be very helpful to know when to unleash a specific ultimate attack and defeat her for good. To be perfectly honest I don’t need this. In a different context, were I more knowledgeable about the game and experienced almost every aspect of it, yes, I would’ve accepted the challenge. As I am today, I don’t think I would get much satisfaction from preparing for the fight and from spending more hours at the Velvet Room than those I’ve already spent so far. I decided to leave Elizabeth at the Monad door, and maybe someday, I’ll defeat her. By the way, there’s an achievement to create a Pixie with Megidolaon in Soul Hackers 2. Funny, right?
I decided to continue with the story, and in the last two in-game weeks, I finished Aigis social link and didn’t manage to finish Fuuka’s. I know why this happened. In order to max out other social links I’d already started, I left Fuuka hanging and then this happened. Some mistakes were made in early game when I spend too much time in other activities that didn’t involve the right social links. I honestly don’t know what I’m talking about or where I failed, but since it’s possible to max out all social links in one playthrough I must have done something wrong somewhere. I just didn’t feel the need to use a guide because using one is exhausting and completely destroys the immersion. I know it from experience. I don’t regret having prioritized Aigis over Fuuka on my first playthrough. Aigis is my protector, she’s canon, she’s the holy knight, for her sword are guns, her body eternal, her memories untouched. I watched her friend route and her lover route. Since I was already taken, I decided to be with her as a friend, although at the end of the game something more seemed to be going on and I gladly accepted the outcome. It was meant to be.
On the 31st of January we would enter Tartarus and would only be able to leave after finishing all battles therein. It was the end. The remaining of the Strega were guarding Nyx, so they had to be defeated as well. It came to Junpei’s knowledge that Chidori was alive and well. The white flowers worked out well in the end! We were able to witness a nice convo between the two at the hospital, however things weren’t exactly the same as the last time they were together. Even confronted with these major changes, Junpei was happy, and it was a good conclusion to his love story. Jin and Takaya were still clinging to their nihilistic ways with pure fervor – Jin for Takaya and Takaya for the end of times – maybe as some sort of revenge for the injustice brought upon them. After all, how much would they last, their worldview already shattered?
You know that in all jrpgs there’s the power of friendship, that if we stick together, we can overcome anything, even the end of the world. I hope the same goes for climate change or war. We aren’t together actually, are we? But video games continue doing the work with diligence. It’s the little things. Finally, we stand before Nyx, everybody a bit surprised by the familiar figure. I wasn’t surprised at all. I was eager to kill him and very curious about what he had to say. Technically, Nyx was pretty much indestructible by normal means. He himself was a creation of shattered hopes, fears, shortcomings, anxieties, frustrations, the devastation of everything that holds together the very fabric of a living, thriving human being with meaningful connections to others. My Lucifer was brimming with desire from inside my sleeve. “Oh yes,” he said, “this I can feed from.” I told him to calm down, for we still had to defeat the twelve Arcana summoned by the winged beast Nyx, his mask holding a faint smile, the surrender of any will to live. The Fallen Angel retreated for a bit, still entertaining the thought of annihilating the beast that would dethrone him from his station, one only threatened by one adversary, the one waning for ages now. “This is not what’s happening right now,” I said, and proceeded with the fight. “Everyone knows that God doesn’t have many friends,” Lucifer stubbornly answered. Messiah shrugged.
The fight that followed was much more beautiful and creative than what I’d imagined. Yes, there are many other excellent final boss fights in many games, but there’s something special about finishing a long game as this, where the entire 90+ hours are not filled with banter, where the story is heavy, mature, dark, and oppressive, and where many questions about life, death, future, fear, are explored and dissected at the sound of first-class music. During this time there’s attachment to extremely well written characters, all of them with their unique stories and all of them visibly maturing while using their powers to fight an unknown entity, ready to give their lives for any chance at a future.
After defeating the twelve summoned Arcana and surviving Nyx’s attacks, it was finally time to defeat Nyx as a regular boss. I had another little trick up my sleeve, something I’ve learned with Elizabeth, an ultimate to end all ultimates. I could either fight Nyx normally and prolong the fight with my tanking capabilities and many items at hand or I could wait for my Theurgy to charge and unleash my true power over the Death God. I did the later, a cheat code much in the likeness of the one that was used against me inside that Monad door. 9999. Done. The Universe as we knew it was no more. The power of my social links gleaming in the minds of those who loved me and to whom their thoughts were aimed at a moment of need, just like a prayer.
“Blessings to the believer.” It worked. Nyx was sealed, as were our memories. After ending the Dark Hour slowly but steadily we started to forget everything prior to acquiring the power of our Personas. Everyone but Aigis, the protector, the record keeper, the one keeping our memories alive even after our passing, the one who will not know death, only reboot. Even our romantic interest wasn’t able to forget our still young love story, making plans to include us in her life and to introduce us to her family. Yukari asked for help with her mother, showing that our friendship would go a long way in the future. The boys were a bit forgetful but still wondering about our connection. Until something triggered their memories, at least what was left of them still lingering in their hearts, and we were able to meet again, to fulfill a promise.
https://swordofseiros.wordpress.com/2024/02/25/the-sins-of-others-part-3/
#aigis #arcana #atlus #death #gamePass #Games #gaming #god #jrpgs #lucifer #megidolaon #memory #messiah #nyx #ost #pcGaming #persona3Portable #persona3Reload #soulHackers2 #velvetRoom #videoGames #videogames
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AMG Goes Ranking – Megadeth By Grin ReaperThe life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
Show 25 footnotes
- Onions. Belts. You know the drill. ↩
- I’d also like to thank Owlswald, Baguette of Bodom, Andy War-Hall, Tyme, and Dolph for the enthusiasm and conversation as we plumbed MegaDave’s back catalog, as well as Steely D for his gruff assent that enabled it. ↩
- You mean no. – Dolph ↩
- It feels wrong to have an album this good ranked so low. Though I stand by my rankings, this is testimony to the strength of the material from this point on. ↩
- Not that Youthanasia was especially thrashy, mind, but such was the state of Megadeth at the time. ↩
- And it’s not even clooooooose. ↩
- As is my wont, unless I’m doing a shuffle. ↩
- Although I could do without the Sex Pistols cover. At least bolt it onto the end. ↩
- So…many…ellipses! – Owlswald ↩
- Sam Goody, anyone? – Owlswald ↩
- More specifically, I would rank the original version of Countdown and Risk one spot lower, KIMB two spots lower, and Cryptic Writings a whopping three spots lower. Yeah, that original mix really blows, huh? – Baguette ↩
- It’s not just one of their best songs; it’s one of Dave’s best vocal performances. The producer managing to get real emotion out of Dave’s questionable voice is award-worthy. – Baguette ↩
- You know what they say: the less your band sounds like Maiden, the more it sucks. At least, that’s what I say. – Baguette ↩
- I refuse to write out the actual name a second time on principle. Sorry! – Baguette ↩
- Thirteen is also the last Megadeth album where Dave sounds ‘good,’ which is to say bad in the way you want and expect. – Baguette ↩
- And much like Youthanasia, it’s also a top 3 album in their discography. –Baguette ↩
- Fuck streaming services for making this sort of thing undocumented and unnecessarily complicated. At least the original mix is available nowadays…Baguette ↩
- The most common complaint about it is the re-recorded vocals. I don’t get it; most of the changes are indistinguishable, and even when they aren’t (“Five Magics”), Dave sounds like shit regardless. In a good way! Baguette ↩
- Yes, even “Dawn Patrol.” It’s so much fun, and a crucial part of the album’s flow; I’d never want to skip it. – Baguette ↩
- As funny as it is to hear Mustaine describe his favorite action figure on “Psychotron” or hear his prison screenplay on “Captive Honour,” they’re just not as vital as everything before them. – Andy ↩
- I know! They’re all MegaDave solo records to a degree. – Tyme ↩
- I am an unapologetic fan of “The Scorpion”! – Tyme ↩
- Yes, I know AtL was ‘87, but it was recorded in ’86 you musical pedants!!! Oh, and thanks GR! – Tyme ↩
- I will also die on the hill that “Liar” is one of the best Megadeth songs ever, and yes that is in part because of the wacky, Mega-’80s shred solo. And Dave spewing more words per minute than in any other Megadeth song. It’s fast. It’s angry. It’s everything. – Dolph ↩
- Yes, yes, you did. – Dolph ↩
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AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band like at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
#2026 #AmericanMetal #AMGGoesRanking #AMGRankings #Angra #Dystopia #Endgame #FrankZappa #IronMaiden #Jan26 #JoeSatriani #JohannSebastianBach #Megadeth #Metallica #Quadvium #Savatage #SexPistols #SuperCollider #Testament #Th1rt3en #TheSickTheDyingAndTheDead #Thirteen #ThrashMetal #TransSiberianOrchestra -
AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band like at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
#2026 #AmericanMetal #AMGGoesRanking #AMGRankings #Angra #Dystopia #Endgame #FrankZappa #IronMaiden #Jan26 #JoeSatriani #JohannSebastianBach #Megadeth #Metallica #Quadvium #Savatage #SexPistols #SuperCollider #Testament #Th1rt3en #TheSickTheDyingAndTheDead #Thirteen #ThrashMetal #TransSiberianOrchestra -
AMG Goes Ranking – Megadeth By Grin Reaper
The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…
Megadeth requires no introduction, but I’ll give one anyway to provide context for why we composed an overwrought missive about one of thrash’s most enduring acts. Last year, frontman and metal legend Dave Mustaine announced Megadeth would call it quits following one last album and tour. With over forty years of metal history in the books and Megadeth’s endgame on the horizon, what better way to celebrate a storied career filled with legendary cuts and excessive ellipses than with a good ol’ fashioned ranking? Through sixteen albums, Dave and his Dethcrew have offered platters ranging from so good to so what, and we at AMG apparently have a lot to say about them.
Regardless of how you feel about Megadeth, their lasting legacy casts an immense shadow. Mustaine’s indelible footprint is evident, driving many of us writers to spend countless hours sweating bullets and overwriting about a band we love to Deth. From inauspicious beginnings in 1983,1 when Dave was famously booted from Metallica a month before recording Kill ’em All, to clawing their way into metal’s collective consciousness, Megadeth notched an extraordinary victory and became one of the most recognized bands in rock and metal. Mustaine’s influence stands tall, a monument to what a man can accomplish when he dives headlong into the lungs of hell and sets the metal world on fire with one sick lick after another. We’ll be back with a look at Megadeth’s self-titled swan song, but in the meantime, let us commence reckoning Dave and AMG’s countdown to distinction.
– Grin Reaper
The Rankings
Grin Reaper
Megadeth has been a mainstay of my diet for as long as I’ve listened to metal. I started with their greatest hits, then greedily absorbed album after album as my rapacity for thrash deepened. Leading up to Megadeth, returning to this discography gives me a new appreciation for what Dave has accomplished. Even if the lyrics can be heavy-handed and the desire for accessibility occasionally hamstrings success, Megadeth has forged some of the best thrash platters ever. For the hours I’ve spent with this music, I owe Megathanks.2
#16. Risk (1999) — I’m paraphrasing, but at some point, Mustaine said, “If Risk didn’t have Megadeth’s name on it, it would’ve sold.” Maybe,3 but it seems clear the priority was selling records and not writing great fucking metal. The doctor is calling, and he says to listen to any other Megadeth album, stat.
#15. Th1rt3en (2011) — Th1rt3en contains many of Megadeth’s core ingredients, but lacks the hooks and vitality of other releases. The album’s thirteen tracks are exhaustively padded and range from forgettable to middling. One of Megadeth’s most phoned-in albums, I rarely return to Th1rt3en outside of a full Deth play-through.
#14. Super Collider (2013) — Compared to Th1rt3en, Super Collider’s highs are higher and its lows lower. Tracks like “Kingmaker” and “Built for War” burn with a fire that rarely ignites on its predecessor, and while Super Collider’s duration is vastly improved, it only edges out Th1rt3en by the skin of its teeth.
#13. The World Needs a Hero (2001) — TWNaH might rank higher if Megadeth said goodbye to “When” and “Promises” and trimmed fat from other tracks. As is, the choruses on “Disconnect” and “Burning Bridges” nestle between Youthanasia and Cryptic Writings, which scores big points. Though not the ‘return to thrash’ advertised following Risk, it proved a crucial first step in course correction.
#12. The Sick, the Dying… and the Dead! (2022) — A step down from Dystopia, TStDatD bears some undeniable moments (including the entirety of “We’ll Be Back”) that put a high-speed hurt on your earholes. At its best, the album cranks a blistering fury that defines the immediacy Kiko brought to Megadeth. Hobbled by bloat, this could have been a better album with judicious editing.
#11. The System Has Failed (2004)4 — An irrefutable improvement on TWNaH, The System Has Failed tightened up the songwriting and injected more thrashitude than fans had seen since Youthanasia.5 Dave’s vocals are particularly strong here, and while it’s not as good as the two albums that followed, The System Has Failed is a striking improvement over Risk and TWNaH.
#10. Dystopia (2016) — Dystopia outstrips Th1rt3en and Super Collider by a country mile. While Megadeth doesn’t totally shake excess length or back-half slogs here, the opening trio of songs on Dystopia comprises the best introductory salvo since Rust in Peace.6 The rest of the album teeters between okay and very good, but “The Threat Is Real,” “Dystopia,” and “Fatal Illusion” are the most vital Deth has sounded in the 21st century.
#9. Endgame (2009) — Chris Broderick joining Megadeth set fire to the guitar leads, crafting scorching, thrashy magic on the likes of “This Day We Fight!” and “Head Crusher.” This is the most technical Megadeth has played since Marty Friedman was in the band, and the combination of six-string acrobatics, tight songwriting, and a mighty back half gives Endgame the right to be insane.
#8. United Abominations (2007) — Endgame and United Abominations are a toss-up, but UA wins out because there’s more variety from track to track, the bass slaps me silly with engaging countermelodies (“Washington Is Next!”), and there’s no “The Hardest Part of Letting Go…Sealed with a Kiss.” Plus, “Sleepwalker” is one of my favorite Megadeth tracks in the last thirty years.
#7. Cryptic Writings (1997) — Infusing all the post-grunge, alternative angst of the mid-to-late ’90s, Cryptic Writings teems with direct, catchy riffs and a vaguely dark edge. Boasting a restrained runtime, singalong choruses, and killer bass grooves, Cryptic Writings travels the popular, rock-oriented path whose biggest sin is lacking the thrash beatdown they’re so damn good at.
#6. Killing Is My Business… and Business Is Good! (1985) — Megadeth’s debut hemorrhages razor-sharp riffs in an uncontested frenzy of vitriol and venom. Unrefined and raw compared to what came later, Killing Is My Business endures as a testament to Dave Mustaine’s tenacity and vehement pledge to play better and faster than everyone else, all in an indefatigable half hour.
#5. Youthanasia (1994) — Doubling down on the streamlined songwriting from Countdown to Extinction, Youthanasia flaunts grade-A, pop-informed hookiness with metal vestiges. It also sports one of my favorite solos Megadeth wrote after 1990 in “Victory,” which encapsulates the danger of early Deth and how Mustaine’s and Friedman’s fretwork feels like it could go off the rails at any moment, but never quite does. The digestible track lengths sustain Youthanasia’s kinetic momentum throughout, even if it dips toward the end. Megadeth doesn’t recapture the aggression and destruction present on prior outings, but Youthanasia still evinces a band firing on all cylinders.
#4. So Far, So Good… So What! (1988) — I originally had SFSGSW ranked lower because of how much it’s overshadowed by the albums surrounding it. Listening with a ranking mindset and not chronologically,7 it’s apparent that Megadeth’s third album wields the unpolished vigor of their debut to greater effect. SFSGSW snatches you with barbed hooks in ear, dragging you into singalong anarchy.8 The album also contains “In My Darkest Hour,” one of the all-time great Megadeth jams. It takes the raw energy and animosity from Peace Sells and foreshadows the more progressive structures of Rust in Peace, cementing it as not only the best track on the album, but one of the best in Deth’s catalog.
#3. Countdown to Extinction (1992) — Forsaking the technical fervor of Rust in Peace, Mustaine rerouted Megadeth’s trajectory down a more commercially viable path. And though I loathe the change in direction from RiP, I can’t deny Dave’s success in creating some of the band’s most recognizable anthems while discharging the best-selling album of Megadeth’s career. “Symphony of Destruction” was the first Megadeth song I encountered, and once I dove deeper, “Skin o’ My Teeth” and “Sweating Bullets” quickly became frequent stops. Countdown remains the best fusion of Megadeth’s bethrashened roots and perennial commercial lust.
#2. Peace Sells… but Who’s Buying? (1986) — Many will tell you that Peace Sells is Megadeth’s best album. It’s not, but it’s very, very close. Maintaining the rabid ferocity of Killing Is My Business, Mustaine exercised a modicum of restraint, and instead of pumping toxic levels of riffs straight down your ear gullet, he wrote some all-time burners that expanded on the debut’s technicality without sacrificing its infectious charm. Guitar theatrics blaze through Peace Sells’ scant thirty-six minutes while the bass and drums complement serpentine axe-work with inspired grooves and rolls. In another discography, this thrashterpiece would wear the crown without challenge. Alas, Megadeth perfected technical thrash four years later…
#1. Rust in Peace (1990) — For years, Megadeth’s pièce de résistance has been my unquestioned favorite thrash metal album. Its progressive alchemy marries unfuckwithable riffs and Dave’s ever-present punky snarl, taking no prisoners and defining an iconic benchmark of the genre. When I first broke into Megadeth via their Greatest Hits, “Holy Wars…” and “Hangar 18” dominated my early listening. When I relented and bought Rust in Peace, those early listens were a revelation. I expected solid material on par with the tracks I already knew, but the quality of bangers here is unparalleled. The deep-cut status of “Tornado of Souls” and “Rust in Peace… Polaris” is criminal, but demonstrates the strength of the songwriting. Rust in Peace never relents in its cascade of squealing solos, pummeling fills, and sneer-along anthems, and there’s nary a moment that doesn’t set my head crushing banging. The apex of Megadeth’s discography is absolute perfection, and if you don’t like it, go tell it to Reader’s Digest.
Owlswald
Long tethered to Metallica’s shadow, Dave Mustaine has consistently forged music that resonates with me in some way, regardless of his antics or the era’s quality. Megadeth spearheaded my obsession with thrash and extreme metal. And although decades of lineup shifts, addiction, and health battles aimed to thwart Megadeth multiple times, Mustaine’s resilience has been steadfast. Accordingly, Megadeth is set to release their seventeenth album—a final curtain call for Mustaine to voluntarily leave the stage as metal royalty. So, to a living legend: thank you for your relentless dedication and for opening the gates of metal for me. Your legacy is secure, your throne is earned, and your place as a true titan of the genre is solidified.
#16. Risk (1999) — Essentially, “Dave tries to write hit songs,” Risk finds Mustaine still chasing a #1 record after Cryptic Writings and failing even worse the second time. Both albums serve as underwhelming final chapters for the group’s most storied era. There isn’t much else to say: Megadeth’s greatest lineup deserved a much better send-off.
#15. The World Needs a Hero (2001) — Mustaine intended for this record to fix the damage of Risk, but missed the mark completely. “1000 Times Goodbye” and “Promises” rank among Megadeth’s worst songs, squandering the potential of the “Return to Hangar” concept. Indeed, the world may still need a hero, but it certainly didn’t need this album.
#14. Th1rt3en (2011) — When the only lasting impression is Mustaine’s awful lyrics, the system has truly failed. Megadeth clearly mailed in most of this record, from the tropey “Guns, Drugs, & Money” and “We the People,” right down to its uninspired self-titled name. In short: ZZZZZZZzzzzzzzz.
#13. Super Collider (2013) — Though clearly bad, this record at least contains some semblance of the Mega juice missing from Th1rt3en. “Kingmaker,” “Beginning of Sorrow,” and “Built for War” make it memorable, for better or worse. However, the title track inexplicably finds Mustaine going full John Cougar Mellencamp, and “The Blackest Crow” sounds like the Deadliest Catch theme song.
#12. United Abominations (2007) — Despite “Sleepwalker,” “Washington Is Next!” and revisiting “A Tout Le Monde,” United Abominations falls on its face faster than you can decipher whatever the hell is going on with that artwork. Tracks like “Amerikhastan,” “Gears of War” and the title track are a mess, and Mustaine’s sermonizing rants further weigh things down.
#11. The Sick, the Dying… and the Dead! (2022) — Megadeth’s sixteenth effort leans on repetitive formulas and Mustaine’s weary vocals. Kiko Loureiro’s world-class fret-work and Dirk Verbeuren’s thundering percussion shine on tracks like “Night Stalkers,” “Sacrifice,” “Life In Hell” and “We’ll Be Back.” However, by the time “Mission to Mars” hits, bloated runtimes and awful songwriting drag things to Super Collider territory.
#10. Cryptic Writings (1997) — Chasing a #1 record, Megadeth adopted a disappointing, radio-oriented sound under producer Bud Prager. By dividing itself into thirds—one part speed, one part melody, and one part mainstream—Cryptic Writings is lackadaisical. Still, tracks like “She-Wolf,” “The Disintegrators,” and hit song “Trust” remain solid amidst an otherwise underwhelming record.
#9. Dystopia (2016) — Like Endgame, Dystopia marks a return to form with the addition of Chris Adler’s precision and Loureiro’s flair, reviving some of that classic Deth energy. Despite cringy lyrics and bloat, the record brings the goods with crunchy power chords (“Post American World,” “Fatal Illusion”), breakneck speed (“The Threat is Real”) and impressive shredding (“Conquer or Die,” “Dystopia”).
#8. So Far, So Good… So What! (1988) — Production woes, a fractured lineup, and mountains of substance abuse notwithstanding, this record somehow survived. Less aggressive and more disjointed than KIMB or Peace Sells, So Far, So Good… So What!9 still delivers some bangers with “Set the World Afire,” “Hook in Mouth” and the classic “In My Darkest Hour.”
#7. The System Has Failed (2004) — This album is a crucial recovery from the Risk era. Chris Poland’s return and the addition of session drummer Vinnie Colaiuta provide a massive lift, compensating for muted production and a sluggish mid-section. “Kick the Chair” drives the record, offering essential proof of life and showcasing Mustaine’s resilience.
#6. Endgame (2009) — Megadeth recaptures their golden-era speed and calculated aggression through heavier, more technical songwriting. While tracks like “Bite the Hand” showcase classic riffcraft, guitarist Chris Broderick is the true catalyst—his insane solos and leads elevate the entire record. Despite minor stumbles like “The Hardest Part of Letting Go,” Endgame proved Megadeth still had it.
#5. Killing Is My Business… and Business Is Good! (1985) — More than a mere middle finger to Metallica, this debut is pure vitriol and velocity. From the breakneck pace of “Mechanix” to the straight-up thrash assault of “The Skull Beneath the Skin,” this record introduced Megadeth to the metal world and forged their identity with fire. A rhythm section unlike any other at the time anchored Mustaine’s venomous vocals and Poland’s unorthodox leads. Samuelson’s jazz-infused sensibilities and Ellefson’s precision formed a lethal engine, providing the framework for Mustaine and Poland to unleash their frantic guitar fury overhead. Beyond its raw aggression, KIMB served as a dress rehearsal for the creative pinnacle that would soon follow.
#4. Youthanasia (1994) — Hanging babies! This record captures Megadeth at the height of their mainstream powers, delivering a record that is more vocally driven than its predecessors. Mustaine offers arguably his finest vocal performance here, showcasing a resonant range that outshines even Countdown to Extinction. From the chugging pick-scrapes of the groovy “Train of Consequences” to the vulnerable “A Tout Le Monde,” though the songwriting on Youthanasia feels more calculated, controlled, and melodic, the album still retains its bite. Nick Menza’s drums hit like artillery fire, particularly on tracks like “Black Curtains,” “Youthanasia,” and “Reckoning Day.” It’s Megadeth riding on popularity without losing their edge.
#3. Countdown to Extinction (1992) — Countdown to Extinction marked Megadeth’s definitive arrival as a commercial powerhouse. It introduced a polished, but still high-octane sound filled with purpose and precision that left almost all others in their deathly wake. Boasting a wealth of riffs, sophisticated lead work, Menza’s monumental drumming, and a vibrant production that gives everything an in-your-face presence, Countdown is essential Megadeth. Though it famously debuted at #2 on the charts—stymied only by another now-famous black album—tracks like the legendary “Symphony of Destruction” and “Sweating Bullets,” “Foreclosure of a Dream” and my personal favorite, “Architecture of Aggression,” prove why this record launched Megadeth into the stratosphere.
#2. Rust in Peace (1990) — What more can anyone say about this record that hasn’t already been shouted from the rafters? As the most heralded record in the Megadeth discography, Rust in Peace debuted the best lineup, fully established their now iconic sound, and ignited an incredible multi-album hot streak. Admittedly, I arrived at the Rust in Peace party late—discovering this masterpiece only after Countdown to Extinction had dropped. But it’s also cool to be fashionably late, right? Aside from the cheesy “Dawn Patrol,” this record is nothing less than a classic, proving why Megadeth earned their spot atop the thrash hierarchy.
#1. Peace Sells… but Who’s Buying? (1986) — Speaking of classics, this was my gateway into Megadeth and the wider world of thrash metal. On a local record store recommendation,10 I picked up the tape, and once Samuelson’s drum roll kicked off “Wake Up Dead,” that was all she wrote. Peace Sells… but Who’s Buying? is a masterclass in aggression and technicality. While “Wake Up Dead,” the title track and “The Conjuring” are popular classics, it’s the darker, complex depths of “Bad Omen,” “Devil’s Island” and “Good Mourning / Black Friday” that define the record’s soul. The musical evolution from their debut to this is nothing short of astonishing. Most point to Rust in Peace as the pinnacle, but for me, this will forever be the definitive Megadeth record. It’s home to some of the most legendary, headbangable riffs ever written and is the ultimate Deth experience.
Baguette of Bodom
With great ’80s thrashing comes great ’90s blunders, unless you’re Testament. MEGADAVE’s long history contains many missteps, and the incessant obsession with remixing everything 17 times made this younger metalhead’s introductory experience needlessly confusing years ago. That being said, the highs are very high indeed, and I love talking veteran bands without any nostalgia goggles. For this ranking, I’m taking my favorite (and hence, most familiar) version of each album into account, usually indicated by the cover art. Though many of the originals are a must, there are notable exceptions.11 Lists sell… but who’s buying?
#16. The World Needs a Hero (2001) – Nothing says ‘thrash comeback’ like sly, edgy ’00s breakup songs at 50 BPM. Infinitely worse than their rock misadventures ever were, the stretch from “1000 Times Goodbye” to alt-metal ballad “Promises” should be considered a war crime. At least “Return to Hangar” apes a good Megadeth track.
#15. Super Collider (2013) — I don’t know what possessed Dave to reattempt the Risk method, but it went even worse for him this time. There are a couple of okay tracks here (“Kingmaker,” “Built for War”), but as a whole, the album just comes off as bafflingly tone-deaf and humorously weak.
#14. The Sick, the Dying… and the Dead! (2022) — Holy cow, what a massive disappointment. I thought they were getting somewhere again with Dystopia, and then they fell right back below sea level. The title track and the fun “Mission to Mars” are salvageable, otherwise it’s a bloated monstrosity full of mediocre to bad re-thrash.
#13. Risk (1999) — Even having Risk this high might invoke threats of mob violence. Cuts like embarrassing arena wannabe “Crush ‘Em” make Risk comically lame, but some are decent and catchy (“Wanderlust,” “I’ll Be There”). Not a good record by any means, but Megadave is capable of worse than boring.
#12. United Abominations (2007) — A good four-track EP (especially “Washington Is Next!”) held hostage by the seven lame tracks that follow, not to mention “À Tout le Monde (Set Me Free)” being offensive to the original Youthanasia gem. Not an abomination, but still corny and mediocre.
#11. So Far, So Good… So What! (1988) — When discussing Megadeth’s ‘first four,’ SFSGSW is usually spoken of under breath, if mentioned at all. And for good reason: it’s angsty, gimmicky, and “Anarchy in the U.K.” is a Thing That Should Not Be. However, the all-time great “In My Darkest Hour” justifies the existence of the entire album.12
#10. Cryptic Writings (1997) — Overhated! It’s bloated with annoying radio filler, but also contains some strong, catchy tunes with a great sense of both melody and groove (“Trust,” “A Secret Place”). Crown jewel “She-Wolf” is a discography highlight, and the closest Megadave ever got to Iron Maiden.13
#9. Th1rt3en (2011) — Aside from the terribad name, Thirteen14 is also way overhated. It’s a bit too long and I don’t spin it regularly, but it’s a consistently solid record from a band that often struggles with consistency. Basically a slower Endgame/Dystopia, with good fun tracks like “Fast Lane” and “Wrecker.”15
#8. Dystopia (2016) — I’ve cooled on this album, but it’s still one of their better current-millennium records. Not that there’s a whole lot of competition! The instrumental “Conquer or Die!” is very fun in particular, but it’s good thrash all around, with more energy and stronger highlights than Thirteen. Worse vocals, though.
#7. Countdown to Extinction (1992) — A strong transitional record, even if somewhat overrated. Gimmicks (“Psychotron,” “Captive Honour”) and oversimplified guitar work set it back somewhat, but the highlights are great. The title track is one of Megadeth’s finest moments, and “Ashes in Your Mouth” deserves more praise, too.
#6. Endgame (2009) — This is commonly regarded as the best post-1990 ‘Deth, and I totally see why. It’s a powerful, aggressive, energetic record, almost front to back, with even shredtastic intro gem “Dialectic Chaos” somehow being a highlight. However, there are other albums that I think do more with higher peaks.
#5. The System Has Failed (2004) — Severely underrated! The songwriting is heavy, catchy, and creative all at the same time, in a way it hasn’t been ever since, and everything from “Die Dead Enough” to “Back in the Day” is an earworm. This album sees the brief comeback of Chris Poland, guitarist on KIMB and Peace Sells, and he’s still got it here. Drummer Vinnie Colaiuta (Frank Zappa, Joe Satriani) also brings in that crucial outside influence that often results in great albums. I could leave “Something That I’m Not” and the strange dual outro-ish last two tracks off, but they’re alright as is.
#4. Killing Is My Business… and Business Is Good! (1985) — An endlessly fun, blazing fast, wild, and free set of bangers by a pissed-off young Dave and co. How could anyone resist “The Skull Beneath the Skin” or “Mechanix?” Though the original $0 budget mix of the album (not easily available outside of YouTube) is limp and occasionally harms the listening experience, the 2002 mix pictured here is fortunately great and largely fixes its issues. That being said, the original uncensored version of “These Boots” is much preferable—but the re-recorded and censored one on reissues is really funny in its own way.
#3. Youthanasia (1994) — Much like The Ritual was Testament’s way of showing the world you can ‘sell out’ and still make great music,16 Youthanasia managed to do the same to Megadeth’s already Countdown-diluted sound. Except this is a direct upgrade to Countdown. An infectiously catchy album front to back, loaded with great tunes while still featuring strong guitar work and clever songwriting by Marty and Dave. The back half deserves more recognition for its excellencies: “Family Tree,” “Blood of Heroes,” and song title reference extravaganza “Victory” to boot. I’d maybe only drop the title track, funnily enough.
#2. Peace Sells… but Who’s Buying? (1986) — Despite my accidentally remix-fueled lukewarm first impression,17 the original version soon found its way through my ears into my heart and never left. Maybe part of its magic is the jazz fusion background of Chris Poland and drummer Gar Samuelsson being more prominent, or the gang blowing a little less money on drugs, or both. Regardless, Peace Sells is a special little bottle of lightning, relentless yet intelligent, and massively hook-laden. “I Ain’t Superstitious” is the only slight drawback, but “My Last Words” makes you forget it by dishing out some of the best guitar work in the genre.
#1. Rust in Peace (1990) — What is there left to say about a stone-cold classic and nigh-perfect album that hasn’t already been said? Controversially, I prefer the 2004 remix for its drum sound,18 but Rust would take the crown either way. An album that starts with “Holy Wars… The Punishment Due” and ends in “Rust in Peace… Polaris” is already an absolute monster, and the rest of the track list is equally fantastic19 only further cements its status as an all-timer. This is the album that introduced drummer Nick Menza and guitarist Marty Friedman to the wider metal world, and the music is all the richer for it. Thunderous rhythm and lead guitar work, legendary solo craft, complex yet catchy barn-burners—it’s all here. Rust in Peace is not just a cornerstone of thrash metal; it’s also a hallmark of progressive metal.
Andy-War-Hall
I remember when Pandora radio first put Megadeth’s “Skin O’ My Teeth” my way, exposing an impressionable teenage Andy to thrash metal for the very first time. At once, I grew angrier, my IQ plummeted substantially, and my chances at female companionship dropped to NY Jets Super Bowl probabilities. I wouldn’t trade it for anything. Megadeth is a household name of heavy metal for a reason, and their discography has shaped the genre forever. To the kings of Too Much—whether it be notes-per-riff, ellipses-per-title, or time scrolling Facebook conspiracy theory rabbit holes—we salute thee!
#16. Risk (1999) — Risk is—to borrow the closing line of “Take No Prisoners”—”shit.” Every choice in Risk attempts to ride the already-tired waves of alt-rock and arena country. Worse yet, none of it sounds good at all. To quote “Good Mourning/Black Friday”—”What the fuck is this?”
#15. Super Collider (2013) — You know your album is in dire straits when you gotta tap Disturbed’s David Draiman for songwriting help. Just barely not Megadeth’s worst album, Super Collider feels the most exasperating. Butt-rock banality infects every nook and cranny, presenting Megadeth as a band thoroughly out of steam. Nuts.
#14. The World Needs a Hero (2001) — Bouncing back from Risk was never going to be easy. This isn’t a bounce back. If not for “Dread and the Fugitive Mind” or the deeply ironic enjoyment I derive from “1000 Times Goodbye,” TWNaH could easily have slipped to the bottom of this list for its shallowness alone.
#13. Th1rt3en (2011) — This straight up pisses me off that I got Th1rt3en at #13. It feels like I let Dave win. It being here has the same air of pretense as Mustaine’s decision to make Th1rt3en thirteen tracks long. There are perhaps five acceptable ones.
#12. Cryptic Writings (1997) — You know, I actually had a bit of fun with my last spin of Cryptic Writings. It stinks, but don’t let the Motörhead beligerence of “The Disintegrators,” the Maidenesque harmonies of “She-Wolf” or the pure thrash bonanza of “FFF” be forgotten amongst the bad of Cryptic Writings.
#11. United Abominations (2007) — If Mustaine wasn’t so utterly miserable all the time, United Abominations could’ve been awesome. The grooves and solos are real, but not one of you can tell me that the rants on “United Abominations” or “Amerikhastan” make the music better. Turn off the TV, Dave. Take a deep breath.
#10. The Sick, the Dying… and the Dead! (2022) — Megadeth engenders strong opinions. Love ’em or hate ’em, you either love ’em or hate ’em. I have no strong feelings towards The Sick… I chuckle at the “Bring out yer dead!” sampling in the title track. I wince at Ice-T’s narration on “Night Stalkers.” Beyond that, it’s fine.
#9. So Far, So Good… So What! (1988) — The roughest, crustiest of Megadeth’s early material, So Far… feels like a band caught in limbo, embodying neither the piss-and-vinegar of KIMB nor the sophistication of Rust in Peace. But it’s still plenty fun, particularly with the closing three tracks. It’s like Peace Sells after a few beers.
#8. Youthanasia (1994) — The faintest odors of the enshittification of Megadeth can be smelt at times, particularly in its more rock-driven moments, but Youthanasia is nonetheless a killer send-off record to Deth’s best lineup. I used “Reckoning Day” in a short story I wrote in college one time. It was bad.
#7. Dystopia (2016) — When I heard “Fatal Illusion”‘s bitchin’ bass line in high school, I entered a fugue state and woke up with a Dystopia t-shirt from Hot Topic. I was pleasantly surprised to find that the rest of the album was also mostly good, if a bit slow at times.
#6. The System Has Failed (2004) — Why does nobody talk about The System Has Failed? After Megadeth’s most miserable stretch of albums, bangers like “Blackmail the Universe” and “Kick the Chair” soar in purest triumph. Some slight duds here and there keep it down, but if you’ve slept on The System then correct that at once!
#5. Endgame (2009) — Where Mustaine and co. found the spark that set Endgame ablaze so late in their career is a mystery to me, but boy am I glad they found it! Endgame is erupting flatulent with adrenaline-rushed barn burners like “Headcrusher,” “This Day We Fight!” and “1,320′,” and Megadeth sounds almost as volatile as they did on Killing Is My Business… with Chris Broderick’s gob-smacking guitar solos. If not for the out-of-place balladry of “The Hardest Part of Letting Go…Sealed with a Kiss,” this could’ve been a top-three contender. Shred ’til yer ded!
#4. Peace Sells… but Who’s Buying? (1986) — The album that set Megadeth on the course towards fancier, more adventurous waves, Peace Sells… feels like the record Mustaine wanted to write but needed to vent with Killing Is My Business… first. From nasty bruisers like “Wake Up Dead” and “Devil’s Island” to dramatically-bent cuts like “The Conjuring” and “Good Mourning/Black Friday” to Mustaine’s first awkward steps into political commentary on “Peace Sells,” the Megadeth we know today truly began with this record. To put it simply, stupid, Peace Sells… is a huge part of what made ’86 the year for thrash metal.
#3. Countdown to Extinction (1992) — Do you understand just how incredibly slick Countdown to Extinction is? Yeah, it’s a long step back technically from Rust in Peace, but with that stripping down in chops came sharpness, and songs like “Skin O’ My Teeth,” “Architecture of Aggression” and “High Speed Dirt” are lean, mean and sharp, indeed. Countdown sees Megadeth at their absolute hookiest, with “Symphony of Destruction,” “Sweating Bullets” and “Foreclosure of a Dream” digging deeper into my gray matter than any of their bids for radio play ever could. If not for some bloat at the end, Countdown could’ve threatened the top spot.20
#2. Killing Is My Business… and Business Is Good! (1985) — The Megadeth we all know began with Peace Sells… but Killing Is My Business… is just Dave Mustaine doing what Dave Mustaine does best: playing way too many notes way too fast and way too mad. And I love it. These riffs are just stupid in the best way, imbuing “Looking Down the Cross,” “Rattlehead” and “Mechanix” with so much spite and hostility it’s stupefying. While most pre-extreme metal records that once terrified parents now come off as a bit toothless, Killing Is My Business…, while still kinda silly, sounds dangerous in 2026.
#1. Rust in Peace (1990) — I like Megadeth. Hopefully, that came across after all of this. But for every album of theirs, even the good ones, there’s usually one or two questionable aspects or a dud song that keep them from being essential. Rust in Peace, however, is as totally essential as an album can be. Manned by Megadeth’s greatest lineup in Mustaine, Ellefson, Menza and Friedman, Rust in Peace is a heavy metal masterclass and an unquestionable classic. A marvelous artistic achievement that’s as technical (“Lucretia”) as it is emotional (“Tornado of Souls”) as it is dreadful (“Holy Wars…The Punishment Due”) as it is fun (“Take No Prisoners”), Rust in Peace is the kind of masterpiece only Dave Mustaine and his complete unwillingness to restrain himself could create. Proving that “Less Is More” is the greatest scam of our age, Rust In Peace is Megadeth’s magnum opus and you’d better believe it!
Tyme
As contentious as it’s been at times, I wouldn’t want to live in a universe where Metallica never kicked Dave Mustaine to the curb. The fact that two of the greatest thrash metal bands of all time sprouted from that split inarguably supports that statement. Despite his ups and downs and propensity for assholeish shenanigans, I’ve always been a Dave fan. As we seem to have reached a time when he’s poised to walk away from music on his terms, I’d be lying if I said I’m not a little verklempt about it. Megadeth has been a massive part of my metal upbringing, and I’ll always be thankful for the music that’ll be left behind. Well, maybe not all of it, this is a ranking post after all.
#16. Super Collider (2013) — Especially disappointing since I’d hoped Megadeth’s Risk years were safely behind them. From the cringe-inducing lyrics and tired, played-out riffs to the ridiculously boring, Vic-free cover, Super Collider is insipidly weak. It sits at the bottom of my barrel as a testament to Dave’s riskily unlearned lesson.
#15. Risk (1999) — Intentional or not, Risk was definitely that, a radio-rock debacle that more than earned its spot here. This album had always been Dave’s longest-standing turd for me, at least until 2013. My second listen, endured solely for this ranking, did nothing to change that opinion.
#14. The World Needs a Hero (2001) — Outside of “Return to Hangar,” which is a decent song even if it’s offensively cheesy, I had never listened to TWNaH completely. Megadeth-lite had entirely moved off my radar after Risk, so I never even thought about giving this a spin in 2001, or any other year until now. Thrash.
#13. Th1rt3en (2011) — Beyond the uber-cheesy, ridiculously juvenile ’13’ puns, there were a few rays of promise on this mostly bloated platter (“Sudden Death,” “Black Swan,” and “13”). Not even Dave Ellefson’s return could elevate the album from its inherent mediocrity, though—the last body in the sub-basement of Megadeth’s discog.
#12. United Abominations (2007) — I saw Megadeth live for the first time during 06’s Gigantour, where I picked up a nifty autographed print of United Abominations’ cover art. This album is mid-tier Megadeth, and while a few diamonds exist, it takes some weed-whacking through the rough to find them.
#11. Cryptic Writings (1997) — Tolerably catchy, Cryptic Writings was a definite precursor to Megadeth’s dark years (1998 – 2003). Still, there’s a handful of tracks here I return to on the regular. For me, Cryptic Writings marked the end of the most successful run of Megadeth’s existence.
#10. Endgame (2009) — By far one of the better records to come from the second half of Megadeth’s career, Endgame is full of crispy riffs and Dave’s trademark snarls. It is by far the best album recorded by the Broderick, LoMenzo, Drover line-up, even though I don’t return to it very often.
#9. Dystopia (2016) — Sporting one of my favorite Megadeth covers, Dystopia brings the riffs in droves. Kiko Loureiro’s guitar mastery and Chris Adler’s drum magic elevate the material, even bolstering Ellefson’s performance, who sounds satisfyingly rejuvenated. My biggest nit is that almost every track has an annoying fade-in.
#8. The Sick, the Dying… and the Dead! (2022) — With the return of the mighty Megadethian ellipsis, and the addition of Steve DiGiorgio and Dirk Verbeuren, TS,tD… atD blew me away, coming out swinging way harder than it had any right to. Unequivocally, my favorite thing Megadeth has done in nearly two decades as of this ranking. Let the beatings commence.
#7. The System Has Failed (2004) — After disbanding due to injury, it was encouraging to hear Dave had recovered and, despite my trepidation, was going to release a solo record.21 I was, however, beyond stoked to see the Rattlehead-adorned, Megadeth-monikered TSHF drop, which was light years better than I anticipated, with keenly satisfying melodies and some of Dave’s best vocals.22
#6. Youthanasia (1994) — As an old-head Megadeth fan, the more melodic direction raised some concerns, but Youthanasia is one of the best-sounding albums in the band’s discography. That first warm and crunchy riff on “Reckoning Day” still works wonders, while “À Tout le Monde,” albeit overwrought, rocks and could only have been pulled off by Dave. Oui oui.
#5. So Far, So Good… So What! (1988) — My appreciation for SF, SG… SW! did not manifest until later in my metal life. I mean, any album was going to struggle to meet the high bar set by Peace Sells, but the thin production and, what I perceived as lackluster songs, aside from the most excellent “In My Darkest Hour,” just didn’t land with me. In time, though, I came to love this little gem, from the album’s lethal opening one-two punch to the last couple uppercuts (“Liar,” “Hook In Mouth”). It’s the weakest of Megadeth’s first four outings, to be sure, but it’s still a classic and sits deservingly at my number five.
#4. Countdown to Extinction (1992) — Countdown to Extinction is a muther fuckin’ CRUNCH fest. With its surgically precise production, every riff, lick, lead, bass line, and snare strike sounds crystal clear, putting the album in a sonic category all its own. Yes, it was a more rock-forward affair and a departure from the classic thrash assault Megadeth had become known for, but I love every minute of it. Countdown holds some of my favorite deep cuts (“This Was My Life,” “Psychotron,” “Ashes in Your Mouth”) and, despite its uber-popularity, “Symphony of Destruction” is still a pulse pounder.
#3. Killing Is My Business… and Business Is Good! (1985) — When Bach’s Toccata and Fugue in D Minor came wafting out of my speakers for the first time, it hooked me. Every acidic drop of Dave’s piss and vinegar attitude pours out of each minute on Killing, his vocal performance brilliantly unhinged. Of the Big Four debuts, Killing Is My Business stands as the rawest and most eclectic, full of lightning-fast riffs and jazzy, blues-tinged melodies. Ellefson’s performance, especially, is a delight for me, ebullient and Maideningly noodling, it stands as the best of his Megadeth career. And by the time I made it to the jet-fueled funny car speed of “Mechanix,” I was fascinated by how fast “The Four Horsemen” could be played.
#2. Rust in Peace (1990) — Technically proficient, polished, and magnificently executed, Rust in Peace is one of the largest jewels in Megadeth’s crown. In fact, there’s not a track on this, or on either of the other two excellent Megaplatters wedged above and below it on this list, that compels me to reach for the skip button, bangers all. A guitar-lover’s absolute wet dream, Friedman and Mustaine combine to turn in the shreddingest performance of any Megadeth release bar none. And though the Friedman, Ellefson, Menza iteration of the band would never surpass the excellence on offer here, they never needed to—Megadeth perfection.
#1. Peace Sells… but Who’s Buying? (1986) — If the 80s were the golden age of thrash, 1986 was the platinum year of that age—each of the Big Four releasing, for me at least, the best albums of their careers.23 Peace Sells took the unhinged craziness of Killing and honed it to a razor’s edge, while still retaining a rawness that, for me, perfectly embodies the classic sound of thrash metal. Coming of age at a time when MTV was still playing music videos, I spent countless nights riveted to the screen watching Headbanger’s Ball, and no video got my blood pumping more than “Peace Sells… but Who’s Buying?” It’s my favorite Megadeth song to this day, and that harmonized breakdown mid-song still gives me goosebumps. From the brilliantly rendered Ed Repka cover art, whose work became synonymous with the genre, to the thirty-six minutes of utter thrash metal bliss, Peace Sells has been and will always be my number one.
MegaDolph
I’ve been listening to Megadeth for almost as long as I’ve been listening to metal, as classic NWOBHM and shred led me straight down a path to thrash. With a perpetual chip on his shoulder and a voice suited for little beyond punkish and sneering music, Dave Mustaine cemented his brand of all-fury riffcraft and roll-the-dice band selection into my listening history, even if his own history with Megadeth has near as many flaws as it does adornments. And so, in the spirit that Mustaine would harbor, I’m pulling no punches and delivering my mostly agreeable stances on Megadeth with tact and brevity. And that leads us straight to…
The Bad: The bottom can be entertaining in some discographies, but when #16 Risk (1999) holds the floor, you get tepid alt-rock sung by a guy who should be doing something else. Likewise, when #15 The World Needs a Hero (2001) stands above it in its “Dave writes songs about being angry at women” glory, and when Dave wastes the screeching talents of Al Pitrelli (Savatage, Trans-Siberian Orchestra), little better awaits you. I wish I could say that #14 Super Collider (2013) raised the bar, but in a similar fashion to its rung below, Chris Broderick might as well have had his guitar credits removed cause Dave went to great lengths to focus on anything but what Broderick could add to Dave revisiting sloggy blues rock with the occasional thrash riff. #13 Cryptic Writings (1997) marks the first improvement on this grueling path to the good stuff, if only because a few songs continue the playful-but-not-really-thrash energy of early ’90s Deth. #12 The Sick, the Dying… and the Dead! (2022) sees Dave pulling the same old tricks in hiring legendary bassist Steve DiGiorgio (Quadvium, Testament) just for him to be part of the album’s absent low-end; however, Kiko Loureiro (ex-Angra), at least, bolsters this walking speed collection with sick solos. In many ways, #11 Endgame (2009) was the same album, a little more than a decade earlier, but with Chris Broderick being the additional fretboard fire—I wish those flames had burned “The Hardest Part of Letting Go… Sealed with a Kiss” to ashes. But, as we move to the top 10 of Megadeth’s career, things truly do get better.
#10. Th1rt3en (2011) — Though a cut above the most disposable of Megadeth’s works—and host to their worst album name by a wide margin—Dave wears his last effective snarl in the Megadeth chronology and manages to use Broderick in smart ways against his punky/blues rock attitude.
#9. Dystopia (2016) — Much like the album that comes after it (The Sick, the Dying… and the Dead!), its breezy cadence makes for a low enthusiasm experience, but one with Kiko Loureiro, again, stealing the show when he’s allowed to flex—he’s even given one full song to himself to do it (“Conquer or Die”)!
#8. Youthanasia (1994) — Though already halfway to the sound they’d explore later in the ’90s, Megadeth still thinks they’re a groovy metal band for most (sans the ballads, yuck) of Youthanasia, which goes a long way with the classic Menza-Ellefson rhythm section and Friedman solo magic.
#7. United Abominations (2007) — The Drover brothers harbor the tightest rhythm-lead interplay on UA since Youthanasia while Dave drags it down all the way to the 7-spot by filling about 71% of this album with drunk uncle ranting and radio-filtered “samples.”
#6.Countdown to Extinction (1992) — Hot off the heels of Rust in Peace, this step backwards in composition functions a lot like the step backwards that So Far, So Good… So What! delivered, except that about half the songs disappear under the weight of its best cuts.
#5. So Far, So Good… So What! (1988) — A lot of people, even my colleagues, I’m sure, will call half this album filler or unadvisable, but I call it Dave having a blast with one-time second guitarist Jeff Young, littering pinchy, wailing, neoclassical lead work over punchy, punky, small club thrash.24
#4. The System Has Failed (2004) — System possesses an ambition in Megadeth returning to thrash, Poland returning to melting faces, and Dave creating big studio arrangements around riffed out hooks and his classic snarky diatribes—balance and power.
#3. Killing Is My Business… and Business Is Good! (1985) — Megadeth sounds like they could fall apart at any moment of Killing’s reckless 6-string mania, but they never do despite having blown most of their production budget on performance-enhancing substances.
#2. Rust in Peace (1990) — Megadeth captured Marty Friedman in his metal-related creative peak, which makes for some of the most iconic thrash solos that elevate simpler cuts—most of Rust is quite technical and progressive for an American thrash band like at that time—like “Take No Prisoners” and “Poison Was the Cure” to rager status.
#1. Peace Sells… But Who’s Buying? (1986) — Bass-forward, fretboard gymnastics-loaded, and crowd-ready in its aggressive thrash platform, Peace Sells stands the test of time in every riff, in every spiteful Dave spitting, and every sweat stain of pure mosh energy.
Angry Metal Guy Staff Ranking
We’ve once again used our tallying magic to use a complex point system based on submitted rankings.
- Risk (1999)
- Super Collider (2013)
- The World Needs a Hero (2001)
- Th1rt3en (2011)
- The Sick, the Dying… and the Dead! (2022)
- Cryptic Writings (1997)
- United Abominations (2007)
- Dystopia (2016)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- The System Has Failed (2004)
- Youthanasia (1994)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Angry Metal Discord Pile o’ Entitled Opinions
We did the same thing for our Discord users. Their opinions smell almost as bad as they do. But they have strong opinions about Dave and his rotating cast of thrashy miscreants. There’s no way they got it more right though… right? But you asked for more lists25
- Super Collider (2013)
- The World Needs a Hero (2001)
- Risk (1999)
- The Sick, the Dying… and the Dead! (2022)
- Th1rt3en (2011)
- United Abominations (2007)
- Cryptic Writings (1997)
- Dystopia (2016)
- The System Has Failed (2004)
- Youthanasia (1994)
- Endgame (2009)
- So Far, So Good… So What! (1988)
- Countdown to Extinction (1992)
- Killing Is My Business… and Business Is Good! (1985)
- Peace Sells… but Who’s Buying? (1986)
- Rust in Peace (1990)
Given the wide reach Megadeth’s music has, we thought it would be a good exercise to highlight some of Deth’s lesser-known tracks to let casual listeners know what they’ve been missing.
#2026 #AmericanMetal #AMGGoesRanking #AMGRankings #Angra #Dystopia #Endgame #FrankZappa #IronMaiden #Jan26 #JoeSatriani #JohannSebastianBach #Megadeth #Metallica #Quadvium #Savatage #SexPistols #SuperCollider #Testament #Th1rt3en #TheSickTheDyingAndTheDead #Thirteen #ThrashMetal #TransSiberianOrchestra -
Penn State Sets Partnership with Westinghouse to Build an eVinci Microreactor for Research and Power
- Penn State Partners with Westinghouse to Build an eVinci Microreactor
- Thorcon Indonesia Submits Nuclear License Application for 500MW MSR
- Canadian Government Announces Multiple Investments in Nuclear Reactors
- CEZ Takes 20% Equity Stake in Rolls-Royce 470 MW PWR
- UKAEA And Italy’s Eni To Build Tritium Fuel Facility
- Kashiwazaki Kariwa 6 & 7 Startup Face New Major Delays
Penn State Partners with Westinghouse to Build an eVinci Microreactor
Penn State and Westinghouse Electric Co. are partnering to unlock the potential of the industry-leading eVinci microreactor by engaging with the Nuclear Regulatory Commission (NRC) to develop a new nuclear research facility at the University Park campus.
Penn State submitted a letter of intent to the NRC on 02/28/25 which is the first step in the application process to install an eVinci microreactor at the new research facility.
The eVinci microreactor, a microreactor product of Westinghouse that uses heat pipe technology, is expected to offer a reliable and safe solution for powering the University’s research facilities and buildings across campus.
Conceptual image of an eVinci Microreactor. Image: WestinghouseWith its passive heat transfer system and its non-pressurized design, it operates like a nuclear battery, providing consistent power for more than eight years without refueling. This innovative approach reduces maintenance and enhances safety. The university has not yet selected a site for the eVinci reactor. Once is does the NRC’s regulatory requirements for site environmental assessment will come into play.
Regulatory Uncertainties Ahead
However, before any of this takes place, Westinghouse will need to submit license application to the NRC for its advanced design. While Westinghouse has been submitting pre-licensing topical reports, the NRC website, updated for the microreactor as of February 2025, does not list a calendar of proposed licensing actions or milestones including a submission date for a license application.
The agency is in the midst of developing its Part53 regulation for advanced reactors which is composed of 1,300 pages of detailed, prescriptive requirements for getting through the licensing process. A final version of the proposed rule is expected to be released by September 2026
NRC Chair Christopher Hanson said in a statement on 03/04/25 that a final rule could be issued within 12 to 18 months after the proposed rule’s publication, taking into account a public comment period. That means the first license application from any advanced reactor developer is unlikely to come in the door at the NRC’s HQ before then.
The alternative for Westinghouse is to use the current procedures under either Part50, which requires a construction license and an operating license or Part52 which combines the license application process for construction and operations. Westinghouse will have to assess which of these alternatives paths gives it the fastest time to market, and for Penn State, a schedule it can rely on to break ground and build the reactor.
HALEU Fuel Supply Schedules
The eVinci microreactor is designed to operate on TRISO fuel at 19.5% U235. While the Department of Energy has begun issuing procurements for enrichment services of HALEU fuels, the schedules for delivery remain a work in progress. The delays in ramping up the supply of HALEU have forced TerraPower to push back the start date for its 345 MWe sodium cooled advanced reactor from 2028 to 2030.
The good news for the Penn State project is that in October 2024 Westinghouse Government Services LLC was one of six firms selected by the Department of Energy’s Office of Nuclear Energy for an Indefinite Delivery/Indefinite Quantity contract to provide deconversion services for the production of enriched High-Assay Low-Enriched Uranium (HALEU) from new domestic capacity.
The six firms will get at least $2M each for their production of HALEU. The total value of all contract awards over the 10-year period of the program is $800M. In return DOE expects the combined production of all six firms will be about 300 metric tonnes of HALEU in the form of UF6. Fuel fabrication services are not included in the contract.
Westinghouse, which has fuel fabrication plants in the US, UK, and Sweden, inked a deal with Urenco and TRISO-X in 2022 to develop TRISO fuel fabrication production at its Springfields plant in the UK. The objective is to develop a secure and reliable supply of advanced TRi-structural ISOtropic (TRISO) fuels for use in HTGRs and other advanced reactor designs.
Officials Confident of Success
Despite the uncertainties of HALEU fuel supplies and the complexities of the licensing process, which include taking an entirely new reactor design through a new regulatory gauntlet, Penn State officials and Westinghouse executives are bullish on their prospects for success.
“Today, the University announced its intent to make Westinghouse’s eVinci microreactor a research priority,” said Andrew Read, senior vice president for research at Penn State. “We believe this technology has the potential to change how we think of and use nuclear energy.
Jon Ball, president of eVinci Technologies at Westinghouse, said, “We look forward to bringing our advanced eVinci technology to the FRONTIER program to find new ways of harnessing nuclear energy, while providing students and researchers with unprecedented opportunities.”
Of interest here, according to his official biography, is that Jon Ball earned his Ph.D., in Analytical and Computational Chemistry, at Penn State in 1993. This project bring him full circle in a kind of technological homecoming.
Tonya L. Peeples, Harold and Inge Marcus Dean of Engineering at Penn State added, “We intend to advance and develop the skilled workforce needed in all areas, including engineering, construction, AI, operations, project management, licensing, safety, security, supply chain and many more.”
Westinghouse Factory to Build the eVinci Reactors
In October 2023 Westinghouse Electric Company announced it is building a design and manufacturing facility near central Pittsburgh to accelerate commercialization of its eVinci microreactor. The eVinci hub in the borough of Etna, PA, will be home to engineering and licensing operations, testing, prototype trials, business development and sales.
It will also include manufacturing space for producing the innovative heat pipes that are central to the eVinci technology, as well as other components. The reactor core, which will run on TRISO fuel, is designed to run for eight or more full-power years before refueling. The eVinci design is for power outputs between 200 kWe to 5 MWe.
Westinghouse said the Etna location was chosen in part due to its proximity to Carnegie Mellon University, Penn State – New Kensington, and the University of Pittsburgh. These universities are partnering with Westinghouse on the eVinci technology.
About the eVinci Reactor
The eVinci microreactor is a compact nuclear reactor that is designed to be safe, portable, and efficient for producing electricity, especially in places where traditional power sources aren’t practical. It works like a nuclear battery that can produce energy for eight years without needing to be refueled. The eVinci microreactor is designed to produce up to 5 MWe and 15 MWt when operating at 350F (150C). This operating temperature is considerably lower than HTGRs which run at about 700C and conventional light water PWRs which run at 350-400C.
The eVinci microreactor will use 19.75% enriched tri-structural isotropic particle (TRISO) fuel. The uranium inside each TRISO particle is surrounded by three layers of inert materials that protect it and prevent the release of any radioactive fission products. TRISO fuel is characterized by its high thermal stability and resistance to corrosion and oxidation.
Full scale commercial deployment of the eVinci microreactor could begin as early as 2029 depending on obtaining an NRC license and HALEU fuel supplies. The reactor is to be fully assembled in a factory before being transported to the site, reducing construction costs and installation time. Westinghouse will soon begin to assemble a scaled down eVinci test reactor for deployment at Idaho National Laboratory.
In September 2024 Westinghouse announced it has submitted its eVinci Microreactor Preliminary Safety Design Report (PSDR) to the Department of Energy’s (DOE) National Reactor Innovation Center (NRIC). Westinghouse is the first reactor developer to reach this milestone in support of siting its test reactor at NRIC’s Demonstration of Microreactor Experiments (DOME) test bed at Idaho National Laboratory (INL).
The eVinci microreactor weighs in at 100 metric tons and boasts a compact design measuring only 10 feet in diameter and less than 40 feet in length. Additionally, the entire eVinci microreactor site footprint is less than three acres of land which includes the safety perimeter.
Westinghouse has developed a safe process for managing spent fuel that requires no on-site handling/storage. The reactor is cooled and moved from the site to a licensed facility where spent fuel is removed and put into cask storage at a licensed location. The reactor is then transferred to a factory to be refueled for redeployment.
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Thorcon Indonesia Submits Nuclear License Application for 500MW MSR
PT Thorcon Power Indonesia (PT TPI) in February reached a major milestone in its journey toward establishing Indonesia’s first Nuclear Power Plant (NPP) with the official submission of its Site Evaluation Program (PET) and Site Evaluation Management System (SMET) documents to Indonesia’s Nuclear Energy Regulatory Agency (BAPETEN).
The submission, made in collaboration with PT Wiratman, was presented by Thorcon’s Chief Nuclear Officer, Kun Chen, to BAPETEN’s Deputy Chairman, Haendra Subekti, in an executive meeting held on 02/13/25 at BAPETEN’s Jakarta office.
This marks a key step forward in the regulatory process for PT TPI’s proposed Thorcon power plant, which will use the company’s advanced molten salt reactor (MSR) technology to provide low-cost, sustainable nuclear electricity for Indonesia’s future. With this submission, PT TPI officially becomes the first NPP license applicant in Indonesia’s history, positioning the country for a new era of nuclear energy innovation and development.
The PET and SMET documents, submitted through BAPETEN’s Balis application process, follow almost two years of pre-licensing consultations, which focused on safety, security, and safeguards to ensure that the plant meets Indonesia’s stringent regulatory standards.
PT TPI’s proposed plant will feature the Thorcon 500, a 500 MWe molten salt reactor power plant, comprised of two 250 MWe reactor modules. Designed for modular manufacturing, the Thorcon 500 will be installed on a floating tethered barge with shoreline grid connections.
According to the Thorcon website, PT TPI’s proposed plant is based on molten salt technology developed by the Oak Ridge National Laboratory in the 1960s. It will include two low-enriched-uranium-fueled 250 MWe reactors in two replaceable, sealed ‘Cans’.
At any one time, just one of the Cans of each power module is producing thermal power. After eight years of operation, the nuclear module is disconnected, replaced with a new one, and the old one is towed to a maintenance center for Can replacement.
Thorcon has ambitions, but not a fixed timeline, to develop thorium-based fuel for the reactors. Much of the interest today in reviving the MSR concept relates to using thorium (to breed fissile uranium-233), where an initial source of fissile material such as enriched uranium is needed to kick start the reactor.
The nuclear plant’s construction will benefit from the development of a local manufacturing assembly line for Thorcon reactors, fostering the growth of a new industrial sector in Indonesia. The barge is expected to be manufactured in a South Korean shipyard.
A preliminary site survey conducted on Kelasa Island, located in Central Bangka, has identified the site as a strong candidate for the NPP. The survey focused on safety, ecological, and site suitability factors, with initial results showing promise for further studies.
BAPETEN Deputy Chairman, Haendra Subekti, expressed appreciation for PT TPI’s proactive approach to safety and security, noting that the consultations and the submission of the PET and SMET documents reflect a thorough commitment to addressing all aspects of safety, security, and safeguards.
“We recognize and appreciate the efforts of PT Thorcon Power Indonesia for their proactive consultations within the 3S (Safety, Security, Safeguards) framework,” Subekti said.
“This approach ensures that all safety and security aspects are addressed and will help minimize technical and administrative obstacles as the licensing process continues.”
According to the World Nuclear Association, the government is targeting 8 GWe of installed capacity to come from nuclear power plants in 2035, increasing to 54 GWe in 2060.
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Canadian Government Announces Multiple Investments in Nuclear Reactors
(WNN) The Government of Canada is to lend AtkinsRéalis up to CAD304 million (USD212 million) over four years to support the development of next-generation Candu reactor technology, and has also announced millions of dollars in new funding commitments and support for nuclear projects in Saskatchewan, Alberta and Ontario.
Minister of Energy and Natural Resources Jonathan Wilkinson announced that the government had entered into a preliminary agreement with AtkinsRéalis to finance up to half of the design costs of a “new, large-scale, natural uranium-fuelled Canadium deuterium nuclear reactor (e.g. Monark)” to a maximum of CAD304 million, through a loan over four years.
This funding is to be matched by AtkinsRéalis. Atomic Energy of Canada Ltd (AECL), plant operators and the broader Canadian supply chain will also be included in the work to modernize the Candu design.
Wilkinson announced the Canadian government’s latest investment in CANDU technology during a visit to BWXT Tecnhologies Inc’s facility in Cambridge, Ontario
The CANDU pressurized heavy water reactor (PHWR)design was developed from the 1950s onwards by federal Crown corporation AECL. It sold its reactor division to SNC-Lavalin’s Candu Energy subsidiary in 2011 – along with an intellectual property licensing agreement – but it still owns intellectual property rights for the technology. AtkinsRéalis is the original equipment manufacturer of CANDU technology (SNC-Lavalin Group Inc rebranded to AtkinsRéalis in 2023).
AtkinsRéalis unveiled its plans in November 2023 for the 1000 MW Candu Monark, a Generation III+ reactor with the highest output of any CANDU technology. It completed the conceptual design phase in September 2024, and is in the planning stage of a vendor design review with the Canadian Nuclear Safety Commission. Previous Canadian CANDU designs came in at 700 MW.
Globally, India is building a fleet of 10 CANDU type reactors at 700M each. Romania recently committed to completing two 700 MW PHWR type reactors at its Cernavoda site. There are over two dozen CANDU reactors currently operating in seven countries.
Wilkinson noted that, with their “almost entirely Canadian-made, Canadian-designed supply chain”, they provide “good-paying, long-lasting, and sustainable jobs in manufacturing for Canadians” as well as being fueled by uranium mined in Saskatchewan.
SMR collaborations
Wilkinson also announced further funding for nuclear projects under Environment and Climate Change Canada’s Future Electricity Fund, on behalf of Minister of Environment and Climate Change Steven Guilbeault, plus a total of CAD52.4 million for various projects supporting the development and deployment of SMRs and Candu reactors and decarbonization efforts in Saskatchewan, Alberta and Ontario under two Natural Resources Canada programs.The Future Electricity Fund mainly consists of proceeds collected from electricity-generating facilities which are being returned through funding agreements with provincial or territorial governments for which the federal carbon pollution pricing system for industry currently applies, or has applied in the past, to support clean electricity initiatives.
CAD55 million from the fund has been awarded to Ontario Power Generation (OPG) to support pre-development work for the Darlington New Nuclear Project, where the company plans to build up to four GE Hitachi BWRX-300 SMRs. Specifically, these funds are to be used for planning, site preparation, various procurements and regulatory approvals for units 2, 3 and 4 at the site. OPG signed a commercial contract for the first of the four SMR units in January 2023.
He also announced an increase to Future Electricity Fund program funding to the Saskatchewan Government’s Crown Investments Corporation by CAD54 million to CAD80 million, to support of SMR pre-development work by SaskPower. The funding will support pre-engineering work and technical studies, environmental assessments, regulatory studies and community and Indigenous engagement. SaskPower has identified several potential sites for SMRs.
Three projects will receive a total of CAD11.4 million under Natural Resources Canada’s Enabling SMRs program:
The University of Western Ontario is to receive nearly CAD5 million to conduct a detailed study of TRISO-based used fuel properties and characteristics.
Canadian Nuclear Laboratories will receive just over CAD3.5 million for a project on developing guidelines, strategies and standards for SMR deployment to support the Canadian nuclear industry.
The Saskatchewan Industrial and Mining Suppliers Association will receive CAD2.8 million for a project to evaluate the capabilities of the existing supply chain in Saskatchewan to support SMRs.
Under Natural Resources Canada’s Electricity Predevelopment Program, four projects in Alberta will receive funding totaling CAD41 million, including CAD13 million to develop an assessment of the potential suitability of three locations in Alberta as potential host locations for SMR deployment and increase public and Indigenous community understanding and awareness of SMRs and nuclear power generation.
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CEZ Takes 20% Equity Stake in Rolls-Royce 470 MW PWR
CEZ Group, the Czech Republic’s state-owed nuclear utility, has become a significant shareholder of Rolls-Royce SMR, acquiring a stake of approximately one-fifth of the company. This strategic partnership aims to advance the development of small modular nuclear reactors.
The first Rolls-Royce 470 MW PWR reactor in the Czech Republic is planned for the Temelín nuclear power plant in the early 2030s. This collaboration, initiated last October, involves CEZ in both development of the 1st and future reactors and global production for export, going beyond mere procurement.
The Rolls-Royce SMR design is a pressurized water reactor incorporating both active and passive safety systems, with an electrical output of 470 MW and an expected operational lifespan of at least 60 years.
CEZ aims to build small modular reactors totaling about 3 GWe (six RR PWRs) by 2050, primarily for electrical power and process heat supply (steam for domestic heat) at various locations. These modular reactors can be mass-produced and assembled on-site. CEZ also plans to use the production facilities to be built in the Czech Republic to drive opportunities for exports of the Rolls-Royce PWR to global markets.
UK Falling Behind in Europe’s Race to Build SMRs
Separately, Rolls-Royce has raised concerns with the current UK government about the slow pace of decision making relate to the GBN SMR Competition. Rolls-Royce pointedly warned Whitehall that it risks seeing the first SMRs built in the EU.
Industry angst over bureaucratic dithering extends to other firms in the mix. X-Energy has threatened to remove itself not only from the competition but also entirely from the UK market if funding decisions now slated for 2029 are not significantly moved up.
In both cases the UK could lose substantial opportunities for new jobs and related economic development as other countries strike while the iron is hot.
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UKAEA And Italy’s Eni To Build Tritium Fuel Facility
- Plant in central England vital to deployment of future nuclear plants
(NucNet) The United Kingdom Atomic Energy Authority (UKAEA) and Italy-based energy company Eni have signed an agreement to jointly conduct research and development in fusion energy, starting with the construction of the world’s largest and most advanced tritium fuel cycle facility. Once built it will produce a fuel for future fusion power stations. UKAEA said the new “world-class” facility is designed to provide industry and academia the opportunity to study how to process, store and recycle tritium.
Tritium is a radioactive isotope of hydrogen that occurs naturally in the atmosphere and is also a byproduct of nuclear reactors. It is a potential fuel for future fusion power plants.
UKAEA, the UK’s national organization responsible for the research and delivery of fusion energy, said the UKAEA-Eni H3AT (pronounced “heat”) tritium loop facility will be bult at its Culham Campus in Oxfordshire, central England, and will be complete in 2028.
UKAEA chief executive officer Sir Ian Chapman said the H3AT demonstration plant will set a new benchmark as the largest and most advanced tritium fuel cycle facility in the world.
UKAEA said tritium recovery and re-use will play a fundamental role in the supply and generation of the fuel in future fusion power plants and will be crucial in making the technology increasingly efficient.
UKAEA and Eni will collaborate to develop advanced technological solutions in fusion energy and related technologies, including skills transfer initiatives. Eni will contribute to the H3AT project with its expertise in managing and developing large-scale projects.
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First Light Announces Shift In Strategy To Capitalize On Growing Market For Inertial Fusion
- UK company no longer plans to build its own nuclear power plant
(NucNet) UK-based nuclear fusion company First Light Fusion is shifting its strategy to capitalize on what it says are huge opportunities in the market for inertial fusion energy. First Light said in a statement that with a renewed strategy and business model, it will provide its unique amplifier technology to the fast-growing global inertial fusion energy industry. The company, whose headquarters are in Oxford, central England, said the move will enable it to generate earlier revenues and lower its long-term funding requirement.
Under the new strategy, First Light plans to enter into commercial partnerships with other inertial fusion energy companies and schemes where its amplifier technology can form a critical and complementary part of a commercial fusion power plant. This replaces previous plans to build its own power plant based on a projectile fusion approach.
First Light Fusion’s amplifier technology increases the efficacy of the fusion reaction by both boosting and converging the pressure of the projectile that is used to impact the fuel. This approach means that instead of using complex and expensive lasers or magnets to generate or maintain the conditions for fusion, a fuel “target” is compressed using a projectile travelling at tremendous speed.
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Kashiwazaki Kariwa 6 & 7 Startup Face New Major Delays
According to a report by the Japan Industrial Forum on 02/27/25 the Tokyo Electric Power Company (TEPCO) announced a significant revision to the construction schedule for emergency response buildings at Units 6 and 7 of the Kashiwazaki Kariwa Nuclear Power Plants, located in Niigata Prefecture. The buildings are permanent backup facilities to be used in the event of an intentional aircraft strike or terrorist attack and referred to as “specified safety facilities.
Under the revised schedule, the facilities for Unit 6 will be completed five years later than originally scheduled—in September 2031 rather than in September 2026 while those for Unit 7 will be completed around four and half years later than originally planned, in September 2029 rather than in March 2025.
TEPCO did not indicate a schedule for restart of units 1-5 or whether it ever intends to restart these BWRs which are older than units 6 & 7. TEPCO has not submitted them to the Japanese government’s independent Nuclear Regulatory Authority (NRA) for restart safety evaluations.
In terms of the total Japanese nuclear fleet, 14 reactors have restarted, 3 more have completed the NRA review, and 10 more are under review and expected to be approved. By the end of this decade, Japan could have 27 operating reactors. Prior to the Fukushima accident in 2011, Japan had 54 operating reactors.
At a press conference held on the same day, Takeyuki Inagaki, the site director of Kashiwazaki Kariwa NPPs, explained that it was difficult to predict the completion timeline for the facilities as it was an unprecedented and highly large-scale construction project.
He also pointed out such challenges as the volume of construction work and labor shortages, while emphasizing that the work would continue, with safety as the top priority, ensuring steady progress step by step.
The emergency response buildings are a regulatory requirement under Japan’s new nuclear safety standards. They will serve as backup systems to prevent reactor containment vessel damage in case of large-scale destruction caused by an intentional aircraft collision or similar attacks, rendering a wide range of equipment unusable.
Inagaki stated that Unit 7 is technically ready for operation since it has met the new regulatory standards for severe accident response facilities and passed the review by the Nuclear Regulation Authority (NRA). However, he also stressed the importance of thorough functional testing and safety verification during the upcoming trial operation.
Inagaki further emphasized the critical role of nuclear power in ensuring a stable electricity supply for the country, stating, “Japan’s balance of electricity supply and demand—which remains tight throughout the year— is particularly severe during the period of summer peak demand. That is especially true in eastern Japan, where most nuclear power plants (NPPs) remain offline, with only a limited number in operation.”
Regarding the restart of the Kashiwazaki Kariwa NPPs, he reaffirmed TEPCO’s commitment to engaging with the local community, stating, “Restarting operations will only be possible with the understanding of local residents. We will continue to make every effort to provide thorough explanations to gain their support.”
Currently, the decision of the governor of Niigata Prefecture regarding the restart of Kashiwazaki Kariwa NPPs remains a key issue. The prefectural technical committee has submitted a report to the governor, stating that there are no major concerns regarding most of the 22 verification points related to disaster prevention measures following the TEPCO’s Fukushima Daiichi nuclear accident of March 2011. A hearing with relevant administrative bodies by the Niigata Prefectural Assembly is expected to take place in March.
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CW: Being sexy in OpenSim requires illegal content all over that's as new as possible and absolutely over the top and impractical, but don't you dare reject it
I think I've figured out OpenSim's current "sexiness standards" for female avatars.
The thing in OpenSim in 2025 is: Not only are the sexiness standards completely absurd by now, but female avatars seem to be required to be as sexy as possible, always and everywhere. Refuse, and you're likely to be ostracised for it.
In general, legal content disfigures you greatly because it isn't on the same level as the best premium payware in Second Life. Hardly anyone will openly admit that their avatars consist entirely of illegal parts, down to the often unmodified shape. But not few are ready and willing to roast you for wearing anything legal.
On top of that, the Second Life rat race for always having only the newest and hottest stuff on your avatar has reached OpenSim. Not only must you wear ripped Second Life content, but you must wear Second Life content that was ripped no more than two years ago. Not even one year for clothes.
Just like in Second Life, the "best" female mesh body is Legacy. It's apparently the very definition of "sexy". After all, there are freebie stores that only offer female clothes for Legacy now. I don't know what it's like in Second Life, but here in OpenSim, female avatars seem to also be required to have hips twice as wide as their waist and thighs that are way thicker than their head is big. Tone your shape down, and you're no longer sexy.
As so many freebie store owners wanted to offer Legacy and wanted to offer that body exclusively, there are at least ten different independent Legacy imports. I guess all of them were no-transfer originally. Those who imported them didn't want other freebie store owners to steal their stolen mesh bodies and harvest the visitors they wanted to claim for themselves. In the meantime, at least some Legacy variants were god-moded, either to full perms or simply to be put up in another freebie store while remaining no-transfer.
By the way: It doesn't look like anyone could ever be bothered to give Legacy a new name.
Next comes LaraX. Its target audience appears to be those who want a new hot body while largely keeping the looks of their avatars. Except for the face because they replace the head that often.
On a distant third place, there's Simona. To my best knowledge, this ripped copy of Maitreya Lara 5.3 is only available on the one sim in Trianon-World for which it was "created". That sim also offers LaraX under the name of Xara.
I guess nobody acquires Athena for new avatars anymore. The same goes for any variant of SLink Physique Hourglass (BBHG, Je'Thai HG and especially Decadence-HG, the only one that was given basic BoM support as far as I know) even though that body is even more extreme in shape than Legacy. A typical HG avatar used to have hips three times as wide as the waist.
Of course, an EvoX head is mandatory for "good-looking" avatars nowadays. The same goes for Doux hair. By next year, your avatar will be painfully outdated without 2K skins. 2K PBR skins even if PBR support is added to BoM until then. I'm not sure whether veins have become a must now; I guess the community is torn between the highest possible detail level and perfection. I mean, if realism really was that essential, female avatars would be based on Legacy Perky or LaraX Petite, and I would be criticised for my absurdly big boobs. But as things are right now, Legacy Perky and LaraX Petite are still constantly on the verge of being regarded underage because everyone is used to huge boobs.
Clothing really shows the shift in what's considered sexy.
For example, five years ago, 15cm stilettos were the sexiness benchmark. Back then already, almost all female avatars ran around with their feet permanently in a high-heel position, even when they were barefoot. I mean, at most beach events, I was the only one capable of changing the foot position without requiring working avatar scripts and changing my height accordingly without using the hover height slider. All the Athenas were often powerless after Hypergridding because their avatar scripts no longer worked, and Athena is notorious for blowing up when detached and re-attached while out and about on the Hypergrid. Something else, by the way, that I can do with Ruth2 v4 with no problems, even if Ruth2 v4 has much more advanced scripted BoM support than any ripped Second Life body.
Nowadays, 15cm stilettos are the absolute minimum requirement for not being compared with an ugly old granny. If you want to be sexy, you have to wear sandals with 30cm stiletto heels and 15cm platform soles. Always and everywhere. And I've actually seen even higher footwear in stores. Not long until those 15cm platforms will be the norm, and the even higher ones will be the minimum for sexiness.
It wasn't that long ago that skirts were a kind of touchy issue. Super-short micro-mini skirts and dresses were preferred, not only because they caused little to no clipping due to less-than-optimal rigging, but also for sexiness. Still, many worried that their undies could peek out. Or their private parts because their skirt or dress was so clingy that it was impossible to wear mesh underwear underneath it. Rigging these garments required a few tricks.
In the meantime, the first skirts and dresses appeared that always bare your buttocks.
Nowadays, if you want to be sexy, you have to wear skirts and dresses which are so short that they reveal your underwear while you're standing up. In fact, they must even reveal your underwear to you when you switch your camera to front view, and then the camera is hovering a great deal higher than your own head. These skirts and dresses usually come with their own underwear, but it's often as tiny as one can get away with. Technically speaking, you could get banned from the OSgrid Plazas for wearing such clothes because the Plaza rules cite "exposed underwear" as a bannable offence.
Some things haven't changed, however. You're still expected to bare as much skin as possible because only the maximum amount of bare skin is sexy. A two-part outfit must bare your midriff. Ideally, so should a dress, at least partially; alternatively, it must reveal as much cleavage as is tolerable on a General-rated sim.
This, of course, goes together with the wide-spread idea that it's always not only summer everywhere in OpenSim, but actually sweltering heat. Yes, even on a Christmas-themed, snow-covered winter sim at night. Oh, and yes, you can walk and even dance on 15cm platforms with 30cm stiletto heels both on snow and ice and on sand. People will most likely keep this attitude up even when winter sims have started using PBR materials for snow and ice to be even more realistic. Being as sexy as possible is such a hard requirement that adapting your outfit to your surroundings has become a complete no-no.
Hosiery is only allowed in the shape of nylon stockings with the garters in plain sight, worn more like lingerie than to keep your legs warm in colder weather. Still, completely naked legs are sexier. One reason why nobody has ever stolen nylon tights from Second Life.
And lastly, and this hasn't changed either: You must never make full use of the capabilites of BoM. It's only for skins, make-up and, more recently, skin details. You must never use it to wear layer clothes. In this light, I wonder why two new shops with layer clothes have opened in the last few months if actually wearing them is frowned upon. The other reason why nobody has ever stolen nylon tights from Second Life.
If you're like me, and you refuse to both wear illegal content all over and participate in that maximum sexiness game all the time, you'd better have friends whom you can hang around with, who support you and your style and who may even back you up and defend you.
#OpenSim #OpenSimulator #SecondLife #Metaverse #VirtualWorlds #VirtualClothing #VirtualFashion -
Owncloud Vs Nextcloud. The Latest!!
The world of self-hosted cloud storage has long been something of a niche interest—like owning a bread maker or becoming unexpectedly passionate about composting—but in recent years it has found a more mainstream audience. Whether due to privacy concerns, legal compliance, cost savings, or simply a desire to be master of one’s own digital destiny, more individuals and organisations are deciding that surrendering every document to some giant Silicon Valley server farm may not be the only way forward. In this landscape, two names stand out as the most popular choices for running one’s own personal or professional cloud: OwnCloud and Nextcloud.
At first glance, they seem almost identical—like two siblings who shop at the same clothing store, have similar haircuts, and insist they are “totally different”. In truth, they share the same technical roots, the same general philosophy, and, for a good while, even shared a large chunk of their code. Yet over time, the two have evolved in rather different directions. One has grown steadily more enterprise-focused, structured, and traditional. The other has become community-driven, fast-moving, and occasionally prone to enthusiastic feature binges. Put simply: OwnCloud is the reliable, buttoned-up elder sibling, while Nextcloud is the energetic, multitasking younger one who has already tried three new hobbies before breakfast.
This essay offers a detailed, critical, and gently humorous comparison between the two platforms. We will explore their origins, features, performance, security models, user experience, community ecosystem, extensibility, and suitability for different use cases. Along the way, we’ll also address some of the politics behind the fork—because nothing spices up a discussion about file synchronisation quite like a bit of open-source drama.
Let us begin at the beginning.
1. A Brief Origin Story (Without the Soap Opera—Well, Not Too Much)
OwnCloud was founded over a decade ago with a simple yet ambitious mission: to give individuals and companies a way to host their own cloud storage and collaboration tools, rather than relying on third-party services. Structured as an open-source project with a commercial arm, OwnCloud quickly became popular due to its relative ease of deployment and its compatibility across platforms. For several years, it was the name in the self-hosted cloud world.
Then came 2016, a year memorable for many things (not least a few surprising geopolitical outcomes), but also for a significant schism in the OwnCloud development team. Several core contributors disagreed with the company’s direction, organisational decisions, and approach to open-source governance. They left OwnCloud Inc. and created Nextcloud, a fork of the OwnCloud codebase, promising a more community-driven and transparent future.
The situation was, to use formal terminology, “a bit awkward”. Think of it as a band split where the lead guitarist storms off, forms a new group, and somehow manages to take half the album with him. OwnCloud continued on its path, while Nextcloud immediately began introducing new features, integrations, and workflow improvements at great speed.
The result? Two platforms that started from the same foundation but have become increasingly distinct. One stayed its original course. The other overtook, upgraded, occasionally reinvented itself, and once or twice seemed to be actively sprinting to see how many new features it could add before lunch.
Today both are mature, powerful, and widely deployed solutions—but they appeal to somewhat different audiences.
2. Philosophy and Governance: Enterprise Structure vs Community Zeal
OwnCloud has leaned into a more traditional software vendor model. It offers a community edition and a commercial version with paid support, enterprise-grade features, and long-term stability guarantees. Its release cadence tends to be steady rather than frantic, and its decision-making structure is tightly aligned with its commercial priorities. This is not to say that OwnCloud does not value open-source—far from it—but it has clearly prioritised predictable, stable product development and long-standing enterprise relationships.
Nextcloud, meanwhile, is unapologetically community-centred. It maintains a more open governance model, rapidly integrates feedback, and often pushes out new features before the community has even decided what to do with them. This is both a blessing and, occasionally, a mild headache. The project’s pace of development can feel exhilarating—or overwhelming, depending on your tolerance for frequent updates. Nextcloud’s transparency and responsiveness have drawn a large and loyal user base, especially among technically minded home users, privacy advocates, and small organisations.
If OwnCloud is a carefully run professional kitchen, Nextcloud is a bustling food market: colourful, lively, full of options, and sometimes offering three new dishes before you’ve even finished the last one.
3. Feature Comparison: The Essentials and the Flourishes
3.1 Core File Synchronisation and Sharing
At the heart of both platforms is file sync and share functionality—the ability to store files on your own server and access them via desktop clients, mobile apps, or the web interface. Both support:
- File synchronisation across devices
- Sharing via links, groups, or users
- Versioning
- Deleted file recovery
- Encryption options
- Web-based file management
For the core experience, the two are broadly comparable. Both are stable, performant, and flexible. Where differences emerge is in the surrounding ecosystem of features.
3.2 Collaboration Tools
This is where Nextcloud has truly sprinted ahead.
Nextcloud now includes:
- A fully fledged office suite integration (via partnerships with open-source editors)
- Built-in video conferencing
- Chat/messaging tools
- Email integration
- Calendar and contacts management
- Project management boards
- Deck (like Trello but without the urge to charge you monthly for adding stickers)
- Unified search across multiple data sources
- And much more
If there is a collaborative feature that someone, somewhere, thought might be useful, there is a decent chance Nextcloud has integrated it already.
OwnCloud, in contrast, has taken a more modular, stripped-back approach. It focuses strongly on file management while providing optional integrations for collaborative tools, particularly with commercial offerings. This leads to a cleaner, less cluttered interface and is arguably easier to optimise.
Nextcloud sometimes feels like a Swiss Army knife that keeps insisting on adding one more tool; OwnCloud feels more like a high-quality pocket knife designed specifically for cutting things, not opening wine bottles or removing bicycle tyres.
3.3 Extensibility and Apps
Both platforms have app ecosystems, but Nextcloud’s App Store is significantly larger and more diverse. This comes down to its strong community engagement and willingness to integrate new ideas.
OwnCloud’s marketplace is more curated and conservative, prioritising stable, enterprise-ready extensions over experimental ones.
If you like being able to add new capabilities with reckless abandon, Nextcloud will feel like a candy shop. If you prefer your extensions to be vetted, steady, and unlikely to set fire to anything, OwnCloud’s more measured approach might be preferable.
4. Performance and Efficiency: Who Runs Faster, Who Runs Cooler
Performance comparisons between the two must be taken with context. Both depend heavily on server configuration, caching layers, database tuning, and deployment architecture.
However, general observations can be made:
OwnCloud Performance
OwnCloud tends to be slightly more resource-efficient, especially in large enterprise deployments. Its focus on core file services means it often carries less overhead. It also offers a commercial “infinite scale” platform designed for extremely large installations with high availability requirements. This makes OwnCloud especially appealing to institutions needing predictable performance under heavy load.
Nextcloud Performance
Nextcloud’s rapid expansions sometimes introduce resource overhead. The more apps you enable, the more CPU and memory you will need. However, the project has significantly improved performance over the years and continues to optimise aggressively.
For small-to-medium deployments, Nextcloud performs superbly. For extremely large deployments with tens or hundreds of thousands of users, it can still perform very well—but OwnCloud’s enterprise stack remains attractive for organisations wanting iron-clad predictability.
In short:
- Home users: You’ll never notice the difference.
- SMEs: Both work well; Nextcloud offers more features.
- Huge corporations: OwnCloud may deliver slightly more predictable scaling.
5. Security: Two Approaches, Both Strong
Security is a crucial selling point for both platforms. They share many best practices, including:
- Support for end-to-end encryption
- Strong server-side encryption options
- Multi-factor authentication
- Audit logs
- Access controls
- File integrity checking
The key difference lies in approach:
Nextcloud
Nextcloud emphasises rapid integration of new security technologies. It has introduced several innovative features, including machine-learning-driven login anomaly detection. It also tends to respond quickly to vulnerabilities thanks to its active community.
OwnCloud
OwnCloud, being more traditional and enterprise-oriented, emphasises consistency and long-term stability. Its commercial edition offers Enterprise Security Hardening tools designed for regulated industries.
Both platforms meet high security standards. If forced to choose:
- Nextcloud offers more cutting-edge tools
- OwnCloud offers stricter, more controlled security pathways
6. User Experience and Interface Design
Interfaces in open-source software can sometimes range from “pleasant and modern” to “constructed by electrical engineers after a long lunch”. Fortunately, both OwnCloud and Nextcloud offer polished, attractive, user-friendly web interfaces.
Nextcloud UI
Nextcloud’s interface is bustling but well organised. It emphasises modern design, easy navigation, and integrated workflows. Some might call it feature-rich; others might call it “a bit busy”, especially once multiple apps are enabled.
OwnCloud UI
OwnCloud opts for a more minimalistic, streamlined experience. It feels cleaner, more focused, and less cluttered. One might even say it is “calmer”, as if it has been on a digital mindfulness retreat.
Overall:
- Nextcloud is great for users who want everything at their fingertips.
- OwnCloud is great for users who want the cloud equivalent of a tidy desk.
7. Client Applications: Desktop, Mobile, and Interoperability
Both platforms provide:
- Desktop sync clients for Windows, macOS, and Linux
- Mobile apps for iOS and Android
- Good WebDAV support
- API access for integration
Nextcloud’s clients tend to receive more frequent feature updates, reflecting its rapid development model. OwnCloud’s clients emphasise stability and long-term reliability.
There are edge cases where one may outperform the other, but for everyday usage they are comparable.
8. Community and Ecosystem: A Tale of Two Crowds
Nextcloud Community
Nextcloud boasts one of the most active and enthusiastic communities in the self-hosted software world. It has:
- Frequent contributions
- A large volunteer base
- Active forums
- Numerous third-party integrations
- Strong engagement between developers and users
This community energy has driven much of Nextcloud’s innovation.
OwnCloud Community
OwnCloud still maintains a solid community, but its commercial structure means much development happens internally at the company. This results in a more predictable but less frenetic ecosystem.
If you want access to a large community culture full of ideas, Nextcloud wins. If you prefer a quieter, more predictable ecosystem that feels less like a festival and more like a professional conference, OwnCloud is your platform.
9. Enterprise Support and Commercial Offerings
OwnCloud Enterprise
OwnCloud positions itself strongly in the enterprise space. Its commercial offerings include:
- High-availability architecture
- Professional support
- Enterprise-grade security enhancements
- Long-term maintenance guarantees
- Tools for extremely large distributed installs
Large companies, government agencies, and regulated institutions may find OwnCloud’s approach reassuring.
Nextcloud Enterprise
Nextcloud also offers enterprise subscriptions, but its commercial model is more tightly integrated with its community edition. Many organisations find this appealing because they can easily scale from hobbyist deployments to professionally supported ones without major architectural changes.
Where OwnCloud goes for strict structure and specialisation, Nextcloud emphasises flexibility and open development.
10. Stability vs Innovation: The Essence of the Difference
The heart of the comparison may be summarised thus:
- OwnCloud is the platform you choose when you want predictability, stability, and a strong enterprise backbone.
- Nextcloud is the platform you choose when you want innovation, collaboration tools, rapid feature evolution, and a vibrant ecosystem.
Both are strong. Both work well. But they serve subtly different philosophical markets.
11. Use Case Recommendations
Choose Nextcloud if you want:
- A highly integrated digital workspace (files, chat, video, email, and more)
- Rapid feature updates and wide third-party extensions
- A large, lively community
- Collaboration and productivity tools beyond simple storage
- A system that feels like your own private alternative to big tech platforms
Ideal for: home users, privacy enthusiasts, small to mid-sized organisations, educational institutions, and anyone who wants rich collaborative functionality.
Choose OwnCloud if you want:
- A stable, enterprise-focused platform
- High performance at large scale
- Predictable commercial support and long-term maintenance
- A cleaner, simpler user environment
- A strong focus on core file synchronisation without dozens of extra modules
Ideal for: large enterprises, government departments, regulated industries, and environments where uptime and consistency outweigh rapid innovation.
12. Conclusion: Two Platforms, One Mission, Different Attitudes
OwnCloud and Nextcloud share a common ancestry and a common goal: giving users control over their digital assets. Yet their evolution has produced two distinct personalities.
OwnCloud has become the disciplined, reliable, enterprise-ready elder sibling—focused, efficient, and unlikely to surprise you.
Nextcloud, meanwhile, is the enthusiastic, feature-packed younger sibling who constantly explores new ideas, integrates new tools, and occasionally delivers so much functionality that you find yourself wondering whether you truly needed a Kanban board integrated into your cloud storage (but then you use it anyway and realise you quite enjoy it).
Both platforms deserve their place in the modern self-hosted cloud ecosystem. The “better” choice depends not on which is objectively superior, but on what you value:
- Predictability or innovation?
- Minimalism or everything-in-one-place?
- Strict enterprise architecture or community-driven evolution?
Whatever your preference, the real winner is the user—who now has two powerful, open, flexible alternatives to the increasingly centralised, data-harvesting world of corporate cloud services. And that, in an age when everything from your toaster to your trainer socks wants to connect to the internet, is something truly worth celebrating.
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Owncloud Vs Nextcloud. The Latest!!
The world of self-hosted cloud storage has long been something of a niche interest—like owning a bread maker or becoming unexpectedly passionate about composting—but in recent years it has found a more mainstream audience. Whether due to privacy concerns, legal compliance, cost savings, or simply a desire to be master of one’s own digital destiny, more individuals and organisations are deciding that surrendering every document to some giant Silicon Valley server farm may not be the only way forward. In this landscape, two names stand out as the most popular choices for running one’s own personal or professional cloud: OwnCloud and Nextcloud.
At first glance, they seem almost identical—like two siblings who shop at the same clothing store, have similar haircuts, and insist they are “totally different”. In truth, they share the same technical roots, the same general philosophy, and, for a good while, even shared a large chunk of their code. Yet over time, the two have evolved in rather different directions. One has grown steadily more enterprise-focused, structured, and traditional. The other has become community-driven, fast-moving, and occasionally prone to enthusiastic feature binges. Put simply: OwnCloud is the reliable, buttoned-up elder sibling, while Nextcloud is the energetic, multitasking younger one who has already tried three new hobbies before breakfast.
This essay offers a detailed, critical, and gently humorous comparison between the two platforms. We will explore their origins, features, performance, security models, user experience, community ecosystem, extensibility, and suitability for different use cases. Along the way, we’ll also address some of the politics behind the fork—because nothing spices up a discussion about file synchronisation quite like a bit of open-source drama.
Let us begin at the beginning.
1. A Brief Origin Story (Without the Soap Opera—Well, Not Too Much)
OwnCloud was founded over a decade ago with a simple yet ambitious mission: to give individuals and companies a way to host their own cloud storage and collaboration tools, rather than relying on third-party services. Structured as an open-source project with a commercial arm, OwnCloud quickly became popular due to its relative ease of deployment and its compatibility across platforms. For several years, it was the name in the self-hosted cloud world.
Then came 2016, a year memorable for many things (not least a few surprising geopolitical outcomes), but also for a significant schism in the OwnCloud development team. Several core contributors disagreed with the company’s direction, organisational decisions, and approach to open-source governance. They left OwnCloud Inc. and created Nextcloud, a fork of the OwnCloud codebase, promising a more community-driven and transparent future.
The situation was, to use formal terminology, “a bit awkward”. Think of it as a band split where the lead guitarist storms off, forms a new group, and somehow manages to take half the album with him. OwnCloud continued on its path, while Nextcloud immediately began introducing new features, integrations, and workflow improvements at great speed.
The result? Two platforms that started from the same foundation but have become increasingly distinct. One stayed its original course. The other overtook, upgraded, occasionally reinvented itself, and once or twice seemed to be actively sprinting to see how many new features it could add before lunch.
Today both are mature, powerful, and widely deployed solutions—but they appeal to somewhat different audiences.
2. Philosophy and Governance: Enterprise Structure vs Community Zeal
OwnCloud has leaned into a more traditional software vendor model. It offers a community edition and a commercial version with paid support, enterprise-grade features, and long-term stability guarantees. Its release cadence tends to be steady rather than frantic, and its decision-making structure is tightly aligned with its commercial priorities. This is not to say that OwnCloud does not value open-source—far from it—but it has clearly prioritised predictable, stable product development and long-standing enterprise relationships.
Nextcloud, meanwhile, is unapologetically community-centred. It maintains a more open governance model, rapidly integrates feedback, and often pushes out new features before the community has even decided what to do with them. This is both a blessing and, occasionally, a mild headache. The project’s pace of development can feel exhilarating—or overwhelming, depending on your tolerance for frequent updates. Nextcloud’s transparency and responsiveness have drawn a large and loyal user base, especially among technically minded home users, privacy advocates, and small organisations.
If OwnCloud is a carefully run professional kitchen, Nextcloud is a bustling food market: colourful, lively, full of options, and sometimes offering three new dishes before you’ve even finished the last one.
3. Feature Comparison: The Essentials and the Flourishes
3.1 Core File Synchronisation and Sharing
At the heart of both platforms is file sync and share functionality—the ability to store files on your own server and access them via desktop clients, mobile apps, or the web interface. Both support:
- File synchronisation across devices
- Sharing via links, groups, or users
- Versioning
- Deleted file recovery
- Encryption options
- Web-based file management
For the core experience, the two are broadly comparable. Both are stable, performant, and flexible. Where differences emerge is in the surrounding ecosystem of features.
3.2 Collaboration Tools
This is where Nextcloud has truly sprinted ahead.
Nextcloud now includes:
- A fully fledged office suite integration (via partnerships with open-source editors)
- Built-in video conferencing
- Chat/messaging tools
- Email integration
- Calendar and contacts management
- Project management boards
- Deck (like Trello but without the urge to charge you monthly for adding stickers)
- Unified search across multiple data sources
- And much more
If there is a collaborative feature that someone, somewhere, thought might be useful, there is a decent chance Nextcloud has integrated it already.
OwnCloud, in contrast, has taken a more modular, stripped-back approach. It focuses strongly on file management while providing optional integrations for collaborative tools, particularly with commercial offerings. This leads to a cleaner, less cluttered interface and is arguably easier to optimise.
Nextcloud sometimes feels like a Swiss Army knife that keeps insisting on adding one more tool; OwnCloud feels more like a high-quality pocket knife designed specifically for cutting things, not opening wine bottles or removing bicycle tyres.
3.3 Extensibility and Apps
Both platforms have app ecosystems, but Nextcloud’s App Store is significantly larger and more diverse. This comes down to its strong community engagement and willingness to integrate new ideas.
OwnCloud’s marketplace is more curated and conservative, prioritising stable, enterprise-ready extensions over experimental ones.
If you like being able to add new capabilities with reckless abandon, Nextcloud will feel like a candy shop. If you prefer your extensions to be vetted, steady, and unlikely to set fire to anything, OwnCloud’s more measured approach might be preferable.
4. Performance and Efficiency: Who Runs Faster, Who Runs Cooler
Performance comparisons between the two must be taken with context. Both depend heavily on server configuration, caching layers, database tuning, and deployment architecture.
However, general observations can be made:
OwnCloud Performance
OwnCloud tends to be slightly more resource-efficient, especially in large enterprise deployments. Its focus on core file services means it often carries less overhead. It also offers a commercial “infinite scale” platform designed for extremely large installations with high availability requirements. This makes OwnCloud especially appealing to institutions needing predictable performance under heavy load.
Nextcloud Performance
Nextcloud’s rapid expansions sometimes introduce resource overhead. The more apps you enable, the more CPU and memory you will need. However, the project has significantly improved performance over the years and continues to optimise aggressively.
For small-to-medium deployments, Nextcloud performs superbly. For extremely large deployments with tens or hundreds of thousands of users, it can still perform very well—but OwnCloud’s enterprise stack remains attractive for organisations wanting iron-clad predictability.
In short:
- Home users: You’ll never notice the difference.
- SMEs: Both work well; Nextcloud offers more features.
- Huge corporations: OwnCloud may deliver slightly more predictable scaling.
5. Security: Two Approaches, Both Strong
Security is a crucial selling point for both platforms. They share many best practices, including:
- Support for end-to-end encryption
- Strong server-side encryption options
- Multi-factor authentication
- Audit logs
- Access controls
- File integrity checking
The key difference lies in approach:
Nextcloud
Nextcloud emphasises rapid integration of new security technologies. It has introduced several innovative features, including machine-learning-driven login anomaly detection. It also tends to respond quickly to vulnerabilities thanks to its active community.
OwnCloud
OwnCloud, being more traditional and enterprise-oriented, emphasises consistency and long-term stability. Its commercial edition offers Enterprise Security Hardening tools designed for regulated industries.
Both platforms meet high security standards. If forced to choose:
- Nextcloud offers more cutting-edge tools
- OwnCloud offers stricter, more controlled security pathways
6. User Experience and Interface Design
Interfaces in open-source software can sometimes range from “pleasant and modern” to “constructed by electrical engineers after a long lunch”. Fortunately, both OwnCloud and Nextcloud offer polished, attractive, user-friendly web interfaces.
Nextcloud UI
Nextcloud’s interface is bustling but well organised. It emphasises modern design, easy navigation, and integrated workflows. Some might call it feature-rich; others might call it “a bit busy”, especially once multiple apps are enabled.
OwnCloud UI
OwnCloud opts for a more minimalistic, streamlined experience. It feels cleaner, more focused, and less cluttered. One might even say it is “calmer”, as if it has been on a digital mindfulness retreat.
Overall:
- Nextcloud is great for users who want everything at their fingertips.
- OwnCloud is great for users who want the cloud equivalent of a tidy desk.
7. Client Applications: Desktop, Mobile, and Interoperability
Both platforms provide:
- Desktop sync clients for Windows, macOS, and Linux
- Mobile apps for iOS and Android
- Good WebDAV support
- API access for integration
Nextcloud’s clients tend to receive more frequent feature updates, reflecting its rapid development model. OwnCloud’s clients emphasise stability and long-term reliability.
There are edge cases where one may outperform the other, but for everyday usage they are comparable.
8. Community and Ecosystem: A Tale of Two Crowds
Nextcloud Community
Nextcloud boasts one of the most active and enthusiastic communities in the self-hosted software world. It has:
- Frequent contributions
- A large volunteer base
- Active forums
- Numerous third-party integrations
- Strong engagement between developers and users
This community energy has driven much of Nextcloud’s innovation.
OwnCloud Community
OwnCloud still maintains a solid community, but its commercial structure means much development happens internally at the company. This results in a more predictable but less frenetic ecosystem.
If you want access to a large community culture full of ideas, Nextcloud wins. If you prefer a quieter, more predictable ecosystem that feels less like a festival and more like a professional conference, OwnCloud is your platform.
9. Enterprise Support and Commercial Offerings
OwnCloud Enterprise
OwnCloud positions itself strongly in the enterprise space. Its commercial offerings include:
- High-availability architecture
- Professional support
- Enterprise-grade security enhancements
- Long-term maintenance guarantees
- Tools for extremely large distributed installs
Large companies, government agencies, and regulated institutions may find OwnCloud’s approach reassuring.
Nextcloud Enterprise
Nextcloud also offers enterprise subscriptions, but its commercial model is more tightly integrated with its community edition. Many organisations find this appealing because they can easily scale from hobbyist deployments to professionally supported ones without major architectural changes.
Where OwnCloud goes for strict structure and specialisation, Nextcloud emphasises flexibility and open development.
10. Stability vs Innovation: The Essence of the Difference
The heart of the comparison may be summarised thus:
- OwnCloud is the platform you choose when you want predictability, stability, and a strong enterprise backbone.
- Nextcloud is the platform you choose when you want innovation, collaboration tools, rapid feature evolution, and a vibrant ecosystem.
Both are strong. Both work well. But they serve subtly different philosophical markets.
11. Use Case Recommendations
Choose Nextcloud if you want:
- A highly integrated digital workspace (files, chat, video, email, and more)
- Rapid feature updates and wide third-party extensions
- A large, lively community
- Collaboration and productivity tools beyond simple storage
- A system that feels like your own private alternative to big tech platforms
Ideal for: home users, privacy enthusiasts, small to mid-sized organisations, educational institutions, and anyone who wants rich collaborative functionality.
Choose OwnCloud if you want:
- A stable, enterprise-focused platform
- High performance at large scale
- Predictable commercial support and long-term maintenance
- A cleaner, simpler user environment
- A strong focus on core file synchronisation without dozens of extra modules
Ideal for: large enterprises, government departments, regulated industries, and environments where uptime and consistency outweigh rapid innovation.
12. Conclusion: Two Platforms, One Mission, Different Attitudes
OwnCloud and Nextcloud share a common ancestry and a common goal: giving users control over their digital assets. Yet their evolution has produced two distinct personalities.
OwnCloud has become the disciplined, reliable, enterprise-ready elder sibling—focused, efficient, and unlikely to surprise you.
Nextcloud, meanwhile, is the enthusiastic, feature-packed younger sibling who constantly explores new ideas, integrates new tools, and occasionally delivers so much functionality that you find yourself wondering whether you truly needed a Kanban board integrated into your cloud storage (but then you use it anyway and realise you quite enjoy it).
Both platforms deserve their place in the modern self-hosted cloud ecosystem. The “better” choice depends not on which is objectively superior, but on what you value:
- Predictability or innovation?
- Minimalism or everything-in-one-place?
- Strict enterprise architecture or community-driven evolution?
Whatever your preference, the real winner is the user—who now has two powerful, open, flexible alternatives to the increasingly centralised, data-harvesting world of corporate cloud services. And that, in an age when everything from your toaster to your trainer socks wants to connect to the internet, is something truly worth celebrating.
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In late 2022, I blogged about the work needed to develop a specification for end-to-end encryption for the fediverse. I sketched out some of the key management components on GitHub, and then the public work abruptly stalled.
A few of you have wondered what’s the deal with that.
This post covers why this effort stalled, what I’m proposing we do next.
What’s The Hold Up?
The “easy” (relatively speaking) parts of the problem are as follows:
- Secret key management. (This is sketched out already, and provides multiple mechanisms for managing secret key material. Yay!)
- Bulk encryption of messages and media. (I’ve done a lot of work in this space over the years, so it’s an area I’m deeply familiar with. When we get to this part, it will be almost trivial. I’m not worried about it at all.)
- Forward-secure ratcheting / authenticated key exchange / group key agreement. (RFC 9420 is a great starting point.)
That is to say, managing secret keys, using secret keys, and deriving shared secret keys are all in the “easy” bucket.
The hard part? Public key management.
CMYKat made thisWhy is Public Key Management Hard?
In a centralized service (think: Twitter, Facebook, etc.), this is actually much easier to build: Shove your public keys into a database, and design your client-side software to trust whatever public key your server gives them. Bob’s your uncle, pack it up and go home.
Unfortunately, it’s kind of stupid to build anything that way.
If you explicitly trust the server, the server could provide the wrong public key (i.e., one for which the server knows the corresponding secret key) and you’ll be none the wiser. This makes it trivial for the server to intercept and read your messages.
If your users are trusting you regardless, they’re probably just as happy if you don’t encrypt at the endpoint at all (beyond using TLS, but transport encryption is table stakes for any online service so nevermind that).
But let’s say you wanted to encrypt between peers anyway, because you’re feeling generous (or don’t want to field a bunch of questionably legal demands for user data by law enforcement; a.k.a. the Snapchat threat model).
You could improve endpoint trust by shoving all of your users’ public keys into an append-only data structure; i.e. key transparency, like WhatsApp proposed in 2023:
https://www.youtube.com/watch?v=_N4Q05z5vPE
And, to be perfectly clear, key transparency is a damn good idea.
Key transparency keeps everyone honest and makes it difficult for criminals to secretly replace a victim’s public key, because the act of doing so is unavoidably published to an append-only log.
The primary challenge is scaling a transparency feature to serve a public, federated system.
AJFederated Key Transparency?
Despite appearances, I haven’t been sitting on my thumbs for the past year or so. I’ve been talking with cryptography experts about their projects and papers in the same space.
Truthfully, I had been hoping to piggyback off one of those upcoming projects (which is focused more on public key discovery for SAML- and OAuth-like protocols) to build the Federated PKI piece for E2EE for the Fediverse.
Unfortunately, that project keeps getting delayed and pushed back, and I’ve just about run out of patience for it.
Additionally, there are some engineering challenges that I would need to tackle to build atop it, so it’s not as simple as “let’s just use that protocol”, either.
So let’s do something else instead:
Art: ScruffKerfluffFediverse Public Key Directories
Orthogonal to the overall Fediverse E2EE specification project, let’s build a Public Key Directory for the Fediverse.
This will not only be useful for building a coherent specification for E2EE (as it provides the “Federated PKI” component we’d need to build it securely), but it would also be extremely useful for software developers the whole world over.
Imagine this:
- If you want to fetch a user’s SSH public key, you can just query for their username and get a list of non-expired, non-revoked public keys to choose from.
- If you wanted public key pinning and key rotation for OAuth2 and/or OpenID Connect identity providers without having to update configurations or re-deploy any applications, you can do that.
- If you want to encrypt a message to a complete stranger, such that only they can decrypt it, without any sort of interaction (i.e., they could be offline for a holiday and still decrypt it when they get back), you could do that.
Oh, and best of all? You can get all these wins without propping up any cryptocurrency bullshit either.
From simple abstractions, great power may bloom.
Mark Miller
How Will This Work?
We need to design a specific kind of server that speaks a limited set of the ActivityPub protocol.
I say “limited” because it will only not support editing or deleting messages provided by another instance. It will only append data.
To understand the full picture, let’s first look at the message types, public key types, and how the message types will be interpreted.
Message Types
Under the ActivityPub layer, we will need to specify a distinct set of Directory Message Types. An opening offer would look like this:
AddKey— contains an Asymmetric Public Key, a number mapped to the user, and instance that hosts it, and some other metadata (i.e., time)RevokeKey— marks an existing public key as revokedMoveIdentity— moves all of the public keys from identity A to identity B. This can be used for username changes or instance migrations.
We may choose to allow more message types at the front-end if need be, but that’s enough for our purposes.
Public Key Types
We are not interested in backwards compatibility with every existing cryptosystem. We will only tolerate a limited set of public key types.
At the outset, only Ed25519 will be supported.
In the future, we will include post-quantum digital signature algorithms on this list, but not before the current designs have had time to mature.
RSA will never be included in the set.
ECDSA over NIST P-384 may be included at some point, if there’s sufficient interest in supporting e.g., US government users.
If ECDSA is ever allowed, RFC 6979 is mandatory.
Message Processing
When an instance sends a message to a Directory Server, it will need to contain a specific marker for our protocol. Otherwise, it will be rejected.
Each message will have its own processing rules.
After the processing rules are applied, the message will be stored in the Directory Server, and a hash of the message will be published to a SigSum transparency ledger. The Merkle root and inclusion proofs will be stored in an associated record, attached to the record for the new message.
Every message will have its hash published in SigSum. No exceptions.
We will also need a mechanism for witness co-signatures to be published and attached to the record.
Additionally, all messages defined here are generated by the users, client-side. Servers are not trusted, generally, as part of the overall E2EE threat model.
AddKey
{ "@context": "https://example.com/ns/fedi-e2ee/v1", "action": "AddKey", "message": { "time": "2024-12-31T23:59:59Z", "identity": "[email protected]", "public-key": "ed25519:<key goes here>" }, "signature": "SignatureOfMessage"}The first
AddKeyfor any given identity will need to be self-signed by the key being added (in addition to ActivityPub messages being signed by the instance).After an identity exists in the directory, every subsequent public key MUST be signed by a non-revoked keypair.
RevokeKey
{ "@context": "https://example.com/ns/fedi-e2ee/v1", "action": "RevokeKey", "message": { "time": "2024-12-31T23:59:59Z", "identity": "[email protected]", "public-key": "ed25519:<key goes here>" }, "signature": "SignatureOfMessage"}This marks the public key as untrusted, and effectively “deletes” it from the list that users will fetch.
Important: RevokeKey will fail unless there is at least one more trusted public key for this user. Otherwise, a denial of service would be possible.
Replaying an AddKey for a previously-revoked key MUST fail.
MoveIdentity
{ "@context": "https://example.com/ns/fedi-e2ee/v1", "action": "MoveIdentity", "message": { "time": "2024-12-31T23:59:59Z", "old-identity": "[email protected]", "new-identity": "[email protected]" }, "signature": "SignatureOfMessage"}This exists to facilitate migrations and username changes.
Other Message Types
The above list is not exhaustive. We may need other message types depending on the exact feature set needed by the final specification.
Fetching Public Keys
A simple JSON API (and/or an ActivityStream; haven’t decided) will be exposed to query for the currently trusted public keys for a given identity.
{ "@context": "https://example.com/ns/fedi-e2ee/v1", "public-keys": [ { "data": { "time": "2024-12-31T23:59:59Z", "identity": "[email protected]", "public-key": "ed25519:<key goes here>" }, "signature": "SignatureOfData", "sigsum": { /* ... */ }, }, { "data": { /* ... */ }, /* ... */ }, /* ... */ ]}Simple and easy.
CMYKatGossip Between Instances
Directory Servers should be configurable to mirror records from other instances.
Additionally, they should be configurable to serve as Witnesses for the SigSum protocol.
The communication layer here between Directory Servers will also be ActivityPub.
Preventing Abuse
The capability of learning a user’s public key doesn’t imply the ability to send messages or bypass their block list.
Additionally, Fediverse account usernames are (to my knowledge) generally not private, so I don’t anticipate there being any danger in publishing public keys to an append-only ledger.
That said, I am totally open to considering use cases where the actual identity is obfuscated (e.g., HMAC with a static key known only to the instance that hosts them instead of raw usernames).
What About GDPR / Right To Be Forgotten?
Others have previously suggested that usernames might be subject to the “right to be forgotten”, which would require breaking history for an append-only ledger.
After discussing a proposed workaround with a few people in the Signal group for this project, we realized complying necessarily introduced security issues by giving instance admins the capability of selectively remapping the user ID to different audiences, and detecting/mitigating this remapping is annoying.
However, we don’t need to do that in the first place.
According to this webpage about GDPR’s Right to be Forgotten:
However, an organization’s right to process someone’s data might override their right to be forgotten. Here are the reasons cited in the GDPR that trump the right to erasure:
- (…)
- The data is being used to perform a task that is being carried out in the public interest or when exercising an organization’s official authority.
- (…)
- The data represents important information that serves the public interest, scientific research, historical research, or statistical purposes and where erasure of the data would likely to impair or halt progress towards the achievement that was the goal of the processing.
Enabling private communication is in the public interest. The only information that will be stored in the ledger in relation to the username are cryptographic public keys, so it’s not like anything personal (e.g., email addresses or legal names) will be included.
However, we still need to be extremely up-front about this to ensure EU citizens are aware of the trade-off we’re making.
Account Recovery
In the event that a user loses access to all of their secret keys and wants to burn down the old account, they may want a way to start over with another fresh self-signed
AddKey.However, the existing policies I wrote above would make this challenging:
- Since every subsequent
AddKeymust be signed by an incumbent key, if you don’t have access to these secret keys, you’re locked out. - Since
RevokeKeyrequires one trusted keypair remains in the set, for normal operations, you can’t just burn the set down to zero even while you still had access to the secret keys.
There is an easy way out of this mess: Create a new verb; e.g.
BurnDownthat an instance can issue that resets all signing keys for a given identity.The use of
BurnDownshould be a rare, exceptional event that makes a lot of noise:- All existing E2EE sessions must break, loudly.
- All other participants must be alerted to the change, through the client software.
- Witnesses and watchdog nodes must take note of this change.
This comes with some trade-offs. Namely: Any account recovery mechanism is a backdoor, and giving the instance operators the capability of issuing
BurnDownmessages is a risk to their users.Therefore, users who trust their own security posture and wish to opt out of this recovery feature should also be able to issue a
Fireproofmessage at any point in the process, which permanent and irrevocably prevents anyBurnDownfrom being accepted on their current instance.If users opt out of recovery and then lose their signing keys, they’re locked out and need to start over with a new Fediverse identity. On the flipside, their instance operator cannot successfully issue a BurnDown for them, so they have to trust them less.
Notice
This is just a rough sketch of my initial ideas, going into this project. It is not comprehensive, nor complete.
There are probably big gaps that need to be filled in, esp. on the ActivityPub side of things. (I’m not as worried about the cryptography side of things.)
How Will This Be Used for E2EE Direct Messaging?
I anticipate that a small pool of Directory Servers will be necessary, due to only public keys and identities being stored.
Additional changes beyond just the existence of Directory Servers will need to be made to facilitate private messaging. Some of those changes include:
- Some endpoint for users to know which Directory Servers a given ActivityPub instance federates with (if any).
- Some mechanism for users to asynchronously exchange Signed Pre-Key bundles for initiating contact. (One for users to publish new bundles, another for users to retrieve a bundle.)
- These will be Ed25519-signed payloads containing an ephemeral X25519 public key.
This is all outside the scope of the proposal I’m sketching out here today, but it’s worth knowing that I’m aware of the implementation complexity.
The important thing is: I ([email protected]) should be able to query pawb.fun, find the Directory Server(s) they federate with, and then query that Directory server for
[email protected]and get his currently trusted Ed25519 public keys.From there, I can query pawb.fun for a SignedPreKey bundle, which will have been signed by one of those public keys.
And then we can return to the “easy” pile.
MarleyTanukiDevelopment Plan
Okay, so that was a lot of detail, and yet not enough detail, depending on who’s reading this blog post.
What I wrote here today is a very rough sketch. The devil is always in the details, especially with cryptography.
Goals and Non-Goals
We want Fediverse users to be able to publish a public key that is bound to their identity, which anyone else on the Internet can fetch and then use for various purposes.
We want to leverage the existing work into key transparency by the cryptography community.
We don’t want to focus on algorithm agility or protocol compatibility.
We don’t want to involve any government offices in the process. We don’t care about “real” identities, nor about codifying falsehoods about names.
We don’t want any X.509 or Web-of-Trust machinery involved in the process.
Tasks
The first thing we would need to do is write a formal specification for a Directory Server (whose job is only to vend Public Keys in an auditable, transparent manner).
Next, we need to actually build a reference implementation of this server, test it thoroughly, and then have security experts pound at the implementation for a while. Any security issues that can be mitigated by design will require a specification update.
We will NOT punt these down to implementors to be responsible for, unless we cannot avoid doing so.
Once these steps are done, we can start rolling the Directory Servers out. At this point, we can develop client-side libraries in various programming languages to make it easy for developers to adopt.
My continued work on the E2EE specification for the Fediverse can begin after we have an implementation of the Directory Server component ready to go.
Timeline
I have a very demanding couple of months ahead of me, professionally, so I don’t yet know when I can commit to starting the Fediverse Directory Server specification work.
Strictly speaking, it’s vaguely possible to get buy-in from work to focus on this project as part of my day-to-day responsibilities, since it has immediate and lasting value to the Internet.
However, I don’t want to propose it because that would be crossing the professional-personal streams in a way I’m not really comfortable with.
The last thing I need is angry Internet trolls harassing my coworkers to try to get under my fur, y’know?
If there is enough interest from the broader Fediverse community, I’m also happy to delegate this work to anyone interested.
Once the work can begin, I don’t anticipate it will take more than a week for me to write a specification that other crypto nerds will take seriously.
I am confident in this because most of the cryptography will be constrained to hash functions, preventing canonicalization and cross-protocol attacks, and signatures.
Y’know, the sort of thing I write about on my furry blog for fun!
Building a reference implementation will likely take a bit longer; if, for no other reason, than I believe it would be best to write it in Go (which has the strongest SigSum support, as of this writing).
This is a lot of words to say, as far as timelines go:
CMYKatHow to Get Involved
Regardless of whether my overall E2EE proposal gets adopted, the Directory Server component is something that should be universally useful to the Fediverse and to software developers around the world.
If you are interested in participating in any technical capacity, I have just created a Signal Group for discussing and coordinating efforts.
All of these efforts will also be coordinated on the fedi-e2ee GitHub organization.
The public key directory server’s specification will eventually exist in this GitHub repository.
Can I Contribute Non-Technically?
Yes, absolutely. In the immediate future, once it kicks off, the work is going to be technology-oriented.
However, we may need people with non-technical skills at some point, so feel free to dive in whenever you feel comfortable.
What About Financially?
If you really have money burning a hole in your pocket and want to toss a coin my way, I do have a Ko-Fi. Do not feel pressured at all to do so, however.
Because I only use Ko-Fi as a tip jar, rather than as a business, I’m not specifically tracking which transaction is tied to which project, so I can’t make any specific promises about how any of the money sent my way will be allocated.
What I will promise, however, is that any icons/logos/etc. created for this work will be done by an artist and they will be adequately compensated for their work. I will not use large-scale computing (a.k.a., “Generative AI”) for anything.
Closing Thoughts
What I’ve sketched here is much simpler (and more ActivityPub-centric) than the collaboration I was originally planning.
Thanks for being patient while I tried, in vain, to make that work.
As of today, I no longer think we need to wait for them. We can build this ourselves, for each other.
https://soatok.blog/2024/06/06/towards-federated-key-transparency/
#cryptography #endToEndEncryption #fediverse #KeyTransparency #Mastodon #MerkleTrees #PublicKeys
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This year sucked (understatement of ever), but at least the music didn’t. Here are the albums released in 2023 that I loved (along with a couple from other years that deserved mention). I hope you find something to enjoy and play out the rest of the year.
Outside of my personal Top 5, I just couldn’t rank all these in a regular, boring list, so I’ve grouped them according to theme or some shared quality that made sense to me. While the bolded ones are my Top 5, in order (with two tied for 5th), there are 10 categories, so we can just say these 40ish albums are my Top 10. There are no rules.
If you’re the sort that only wants metal (or, perhaps, wants anything but), I’ve put an asterisk beside any albums that are metal, for easy scanning in addition to the genre notes. I’ve also included links to the Bandcamp, when available – if you do purchase on Bandcamp, make sure to download the files before that platform goes poof!!!
Happy listening, and, ef you, 2023.
TOP ALBUMS OF 2023
1: Most intense albums of the year
Rye – Всё* (atmospheric black metal/blackgaze) / Jeremy Dutcher – Motewolonuwok (neo-Indigenous/neoclassical) / ANOHNI and the Johnsons – My Back Was A Bridge For You To Cross (pop soul/art pop) / Sufjan Stevens – Javelin (indie)
(Honorable mention: Sinéad O’Connor – The Lion and The Cobra, because it took me until 2023 to hear it in full, wtf, and it was my 2nd most listened to album of the year.)
These all pretty much have a theme of “I don’t want you to be dead” (lyric from the ANOHNI album), starting with the first 2023 album I heard and fell in love with, then going to my absolute top and most listened-to album (probably ~200+ listens since October), then ending with the last 2023 albums I heard and fell completely in love with. Not only are the Jeremy Dutcher and ANOHNI albums my Top 2 of the year, but they’ve made my Top Albums of Ever list as well – they’re both life-changing. Sinéad too, for that matter (RIP).
2: Most chill albums of the year
Acid King – Beyond Vision* (stoner metal/doom) / Midwife & Vyva Melinkolya – Orbweaving (shoegaze) / Sigur Rós – ÁTTA (postrock) / Zoon – Bekka Ma’iingan (moccasin gaze)
Need to chill out a bit after that start, in order of my hearing them. Acid King and Sigur Rós are my most listened-to albums of the year after Jeremy Dutcher and Sinéad. Zoon (and their genre label “moccasin gaze”, i.e., Indigenous shoegaze) is new to me this year and was a pleasant surprise, being the opener for the Jeremy Dutcher show I luckily was able to safely attend (first concert since the pandemic began). Best way to describe Zoon’s music is sound waves washing over you.
3: Pure fun
Blackbraid – Blackbraid II* (Indigenous black metal) / Marthe – Further In Evil* (black metal/crust punk) / Árstíðir lífsins – Hermalausaz* (pagan black metal) / Mizmor – Prosaic* (black metal/blackened doom) / Jalen Ngonda – Come Around And Love Me (soul)
This originally was just a group of welcome follow-ups from black metal bands on past lists (and yes, Mizmor can do fun/fun-adjacent!), but then I heard the Jalen Ngonda album and had to make this just a category of fun. The Árstíðir lífsins release is technically an EP with 2 songs, but at 43 minutes, it qualifies in my books as an album.
Also check out the Marthe/The Lord collab EP (see EP category below), and watch out for the full length from Marzia’s (a.k.a. Marthe’s) other band, Horror Vacui, in 2024!
4: Longest albums of the year
Bell Witch – Future’s Shadow Part 1: The Clandestine Gate* (doom) / André 3000 – New Blue Sun (ambient/new age/soul jazz) / Eremit – Wearer of Numerous Forms* (doom)
(Honorable mention: Dolly Parton – Rockstar)
And when I say long, I mean Bell Witch’s is a single 83-minute song, André 3000’s is 88 minutes of instrumental jazz in the vein of Alice Coltrane, and Eremit’s is 2+ hours of dooooooom. Dolly deserves an honorable mention somewhere on this list because she’s Dolly F’ing Parton, and she fits right in here with her 2+ hour-long rock n’ roll karaoke project.
Who knows where you’ll end up after finishing these. Definitely a long way from home, perhaps hell, perhaps ordained as a Reverend.
5: Most hell(fire and brimstone)ish albums of the year
R.A. Sánchez – L’ottava Sfera* (doom jazz/funeral jazz) / Reverend Kristin Michael Hayter – SAVED! (experimental) / Khanate – To Be Cruel* (doom/drone metal)
Some may find the first and last hard to listen to. “Hell” is mentioned in the descriptions and reviews of both. But to me, no album is harder to listen to than Kristin Hayter’s (a.k.a. Lingua Ignota’s) new project, from this or any other year. It sounds like a literal hell to me, while the other two are comfy, cozy, relaxing. So, if you like one of these albums, you might like one or both of the others here. But, a warning – if you had a not-so-rosy experience with charismatic/Pentecostal Xianity, you may want to stay away from SAVED! all together, it might be, umm, triggering.
Also, for the Kristin Hayter you might be more familiar/comfortable with, see the live Lingua Ignota album, also out this year.
6: Angriest albums of the year
Ragana – Desolation’s Flower* (blackened doom/blackened screamo) / BIG|BRAVE – nature morte* (postmetal) / Ushangvagush – Pestmo’qon* (Indigenous black metal)
After listening to SAVED! (or, just thinking about it), I have big feelings, which can be expressed with some anger. Here’s some anger. Ragana is pretty much tied with Blackbraid and Marthe for my top 5 spot, it’s just so so good.
7: Peter, Paul, and Not Mary
Peter Gabriel – i/o (rock) / Paul Simon – Seven Psalms (folk) / Blind Guardian – The God Machine* (power metal)
Albums that for some reason I didn’t think I’d love, and I didn’t the first time around, but then I kept listening to them, over and over, and then asked myself why I ever thought I wouldn’t like them or assumed any of these artists were past their expiry date/my fanship. I even complained for a few days on Mastodon about how there’s too many good songs on the Peter Gabriel album (i.e., all of them). Paul Simon’s was recommended by Mike Scheidt of YOB, and is a really lovely meditative/cyclical piece. Blind Guardian’s was released in September 2022 but I didn’t listen to it until after the 2022 list season AND it was my most-listened to album of 2022 this year because it really has no business being this good, so it makes the list. Again, no rules.
8: Experimental eclectic awesomeness
jaimie branch – Fly or Die Fly or Die Fly or Die ((world war)) (free jazz) / Ky – Power Is The Pharmacy (experimental noise) / ALL HANDS_MAKE LIGHT – “Darling The Dawn” (experimental art rock) / Lonnie Holley – Oh Me Oh My (blues/soul/folk) / Sanam – Aykathani Malakon صنم – أيقظني ملاكٌ (postfolk/postrock/free jazz/krautrock)
Thank goodness for AOTY lists, otherwise I’d have no idea that there was a posthumous release from jaimie branch (RIP), and I would’ve ever heard of the utterly amazing Sanam. Ky is the solo Laurie Anderson-esque project of the singer from Lungbutter, featuring collabs with a member of BIG|BRAVE. AH_ML is a power duo of Ariel Engle from Broken Social Scene and Efrim Manuel Menuck from GSY!BE, Silver Mt. Zion, etc. I was very happy to be reaquainted with Lonnie Holley’s work after his last album got buried in my Bandcamp wishlist, and this one is an absolute stunner; in particular, the title track with Michael Stipe on guest vocals has been on repeat in my head since hearing it.
9: Prettiest albums of the year
vvilderness – Path* (atmospheric black metal) / Jo Quail – Invocation and Supplication (neoclassical) / ARCHE – Transitions* (funeral doom) / Marina Herlop – Nekkuja (experimental/avant garde electronic)
Any release from vvilderness is always welcome. The Jo Quail is technically two 3-song cycles, but they were released together and essentially form an album. The ARCHE came out December 2022 after list season, so it qualifies here. Marina Herlop is a late addition and completely new to me; this album is like a cross between Aurora and Björk’s Utopia, but sung in Catalan.
10: The Nottingham Twang
Maȟpíya Lúta – Wowahwala* (Indigenous black metal) / SQÜRL – Silver Haze (experimental/drone) / Mong Tong – Tao Fire 道火 (experimental/electronic) / Donny McCaslin – I Want More (electronic jazz)
Okay, I’m not really sure how to name this category – think Americana/Dead Man soundtrack goes travelling and picks up some synths along the way, maybe a saxophone? It makes sense to me, anyway, if listened to in the above order. I initially wanted to put SQÜRL with Peter Gabriel and Paul Simon because Jim Jarmusch is still kicking ass like them at 70, and then I wanted to put it in category 8, but the Dead Man vibes I get from the first album decided it for me.
If you like the Mong Tong, perhaps also check out Japan Blues – Japan Blues Meets The Dengie Hundred.
Top (sorry you’re not long enough so I won’t say anything further about you) EPs of the year
Ufomammut – Crookhead* (psychedelic metal) / Marthe/The Lord – The Eye of Destiny* (drone metal) / Wolves In The Throne Room – Crypt of Ancestral Knowledge* (atmospheric black metal)
Moar albums
I’ve been adding some more albums to my Discogs list as I find them via other people’s AOTY lists (but haven’t spent enough time with them to include here), so check it out if you want more. And please feel free to leave a comment with your top album(s) of the year!
Title quote: “Marrow” from Clearing the Path to Ascend
https://musingsofbuffyleigh.wordpress.com/2023/12/27/needing-to-feel-something-true/
#AcidKing #ANOHNI #Blackbraid #JeremyDutcher #Marthe #SigurRós #TopAlbumsOf2023
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The Pittsburgh second person pronoun #yinz has come up here before (e.g., in this 2005 thread);
Now Ed Simon has a whole LitHub essay about it
(apparently an excerpt from his "The Soul of Pittsburgh: Essays on Life, Community, and History"),
tying it to the Glaswegian yins:The city center of Glasgow, Scotland
—that iron-and-glass-forged, cobblestoned fortress of a hilly, rainy, foggy metropolis
—is bisected by the dueling high streets of Buchanan and Sauchiehall.
There are any number of landmarks to draw your attention if ambling down either of these bustling thoroughfares as the last squibs of Caledonian light fight their losing battle of attrition during a brisk November afternoon.
For six months in 2006, Glasgow was my home across the Atlantic, and I often spent those glum Scottish afternoons in precisely this sort of aimless wandering […] Glasgow, I thought, is kind of like Pittsburgh. And then, walking through Glasgow again, I hear it: “There was a couple other of yins as well.” What? […]
There is more than a spiritual congruence between Glasgow and Pittsburgh, as Kelman’s “yins” would indicate, the s that ends that word so perilously close a sibilant to the z in yinz and the words so nearly used identically.
For those unfamiliar with yinz
—though I imagine if you’re currently reading this book, you most likely know what it means, albeit it’s becoming increasingly rare in usage
—it’s simply the Western Pennsylvania second-person plural, the Pittsburgh equivalent of y’all down South or youse in Jersey and New York.It is, admittedly to many outside the region (and to some within it), a strange-sounding word.
Where there is a certain sense in how you and all can be smoosh-mouthed over time into that southern all-purpose word,
yinz has a slightly alien quality about it, a combination of sounds that don’t quite make sense,
a shibboleth of identity to those who live in Pittsburgh and, apparently, Glasgow.
Because Kelman’s “yins” and the “yinz” you hear at Ritter’s Diner in Bloomfield, Gough’s Tavern in Greenfield, Gene’s Place in South Oakland or the Squirrel Hill Café literally have the same origin.As any good Glaswegian would tell you, yin simply means “one,”
but though obscure, it’s actually the same with Pittsburgh’s most distinctive linguistic attribute.
Just as “y’all” is a compression of two other words, so does “yinz” come from you ones.
That phrase is a direct translation of the Gallic Scots, where the second-person plural is perfectly grammatically correct.Calling it the “most salient morphosyntactic feature of local speech,”
Carnegie Mellon University rhetoric professor Barbara Johnson explains in her study
"Speaking Pittsburghese: The Story of a Dialect" (published as part of the prestigious Oxford Studies in Sociolinguistics series)
that “‘yinz’ was brought to America by Scotch-Irish immigrants… the descendants of Protestant people from Scotland and northern England.”Because there are few famous examples of a Pittsburgh dialect
—Michael Keaton speaks with a wonderful accent, especially as the character Beetlejuice,
and outsider Nick Kroll does a fairly good imitation in the skit “Pawnsylvania” from his national sketch comedy show
—it tends to confuse people.
As an accent, Pittsburgh English may be centered in the city,
but today it’s more likely to be heard in the outer counties of Western Pennsylvania.
Linguistically it’s clearly a variation on northern Appalachian English;
yinz or some permutation is frequently heard in western Maryland, eastern Ohio and the West Virginia panhandle.Within Pittsburgh, the accent has a curious aspect to it:
that vaguely twangy Appalachian pronunciation with all those loan words from Polish, Neapolitan and Yiddish,
making the dialect sound a bit like if somebody from Brooklyn was doing a really poor imitation of somebody from Kentucky, an urban Deadwood kind of talk.Pittsburghese, Western Pennsylvania English or, technically,
the North American North Midland dialect
—however you choose to identify the accent, what’s unassailable is that such a way of speaking is strongly identified with the archetypal figure of the Yinzer.
As a Townie or a Southie is to Boston, so is the Yinzer to Pittsburgh.
...
He then goes on to discuss Yinzers at great length.
At any rate, the OED includes yinz under the α forms of you-uns (entry revised 2012):
2006 Yinz was drivin’ pretty fast back there. Pittsburgh Post-Gazette (Nexis) 24 September h6
And the etymology is:
< you pron. + the plural of one pron. (see forms at that entry).
On the pattern of use with plural and singular reference compare discussion at you-all pron. With the formation compare also you-alls pron.¹, yez pron., yous pron., and also later we-uns pron.
#yins #yinser #pittsburgh #glasgow #pittsburghese
@pittsburgh
https://languagehat.com/yinzers/ -
How bad is Scotland's Computer Science Exam?
https://shkspr.mobi/blog/2016/11/how-bad-is-scotlands-computer-science-exam/
Oh noes! The computer science exams taken by 16 year olds may contain errors!
BBC News Technology
@BBCTech
Computer science exam had coding errors bbc.in/2eHHa0Cbbc.co.uk
SQA admits 'coding errors' in computer science exam
Scotland's exam body admits to a series of mistakes in one of this year's computer science tests.
❤️ 23💬 1🔁 007:14 - Mon 17 October 2016As a professional computerist, I was intrigued to see what our fine young minds are being tested on. My memories of "computing" at school was being taught MS Word Version 2 (yes, I am that old). So, let's take a look at the paper - and its criticisms.
The original paper is available to download as a PDF. As a small disclaimer, I've not studied for this exam, and haven't been taught in a school for many years. The answers are how I would answer - without reference to a search engine.
1 Convert the decimal value 227 into the equivalent 8-bit binary number.
Bit of a tough start! For only one point? Good to get the fundamentals in early though.
Do they have a calculator? Hmmm, my conversion is a little rusty.It'll be 128 + 64 + 32, that gets us to 224. So add 3.
00000011001000000100000010000000=111000112 Explain why it is important that program code is readable.
Frankly, anyone who can answer this question - and then apply it to real life - is doing better than most professionals. I'm answering "It makes it easier for others to understand what you are trying to accomplish."
3 Explain why a database should not be stored in ROM memory.
I'm assuming the answer is "ROM means Read Only Memory. This means your can't update your database." Not the last "trivia" style question.
4 Give one reason of using this type of selection.
You can argue whether UI elements are computer "science" - but it's a fair question for a single mark. Radio buttons allow you to select one - and only one - answer from a list.
5 State the function of a processor’s registers.
Whoa! OK! Bit of a departure from the last question. Off the top of my head I'd say something like "Extremely short term memory built into the processor where numbers are directly manipulated." Is that right? Damn...
6 Anti-virus software may be included in a security suite.
State two other types of software which should be included in a security suite.
Again, computer science vs ICT raises its head. Incidentally, "Firewall" is the first thing that jumped to my head. And then... Errr... Spam filter? That feels like a weak answer.
7 Criminals can steal your identity by using keylogger programs. State two other ways in which identity theft can be carried out.
Little bit of infosec here! I'm going to say "shoulder surfing" and "Man-in-the-middle attacks".
8 A novice is one type of user of an information system. State one other type of user.
Errr.... "Expert"? Bit bemused as to why this question is here. Seems out of place with the others.
9 This code design monitors the temperature of food as it is reheated.
Line 1 RECEIVE temperature FROM (REAL) Line 2 WHILE temperature < 82 DOLine 3 SEND “temperature too low: continue to reheat” TO DISPLAYLine 4 RECEIVE temperature FROM (REAL) Line 5 END WHILE
Explain what will happen in lines 2 to 5 if the sensor detects 63°.
OK, so this is pseudo-code. Probably a good idea - unless the entire syllabus has standardised on a specific language.
I suppose the answer is "Because the temperature is lower than the condition, the instructions on the inner loop will be carried out. If the temperature stays at 64, the loop is never ended.
10 Lucy is looking for a summer holiday on-line. She wishes to leave on 22nd July from her local airport, and early in the afternoon.
State which database operation is being carried out as she uses the website.
I'm not sure Lucy cares about the back-end system, but let's see. As there's only one line of space, and one point, I'd answer "A search". Although perhaps "An SQL SELECT ... WHERE search" is better?
11 Translators are used to convert high level languages into machine code. Identify each type of translator.
This translator program reports errors at the end of translation.
This translator needs to be present in memory each time the program is executed.
Compiler and Run Time. Useful to know, glad to see this is being taught.
12 A running group has 16 members. They are taking part in a marathon.
Using pseudocode or a programming language of your choice, write the code which will take in each runner’s time for the marathon.
Do I get bonus points if I write this in Assembler?
This is a slightly weird question. How are the times being entered? Should there be any error checking? Should the data be stored?
Anyway
for ($x == 0; $x <= 15; $x++){ $time = get_input("Please enter the runner's time"); insert_into_database($x, $time);}That'll take in 16 times and do something with them.
Writing pseudocode is a useful skill. I'd like to have seen a bit more of it in this paper. Or at least on a more challenging problem.
13 Before launching the website below, it is tested. The testers complain about the effectiveness of the website’s navigation.
Identify two examples of poor navigation, stating what could be done to improve the situation.
No worse than some of the production websites I've seen ;-) Also, no real way to know if
alttags have been used, ARIA etc.I count...
- Nav bar at top doesn't have understandable text. Should be in English.
- Login box doesn't say what should be entered in each field. Placeholder text should say what each field is for (username, password, pin, etc).
- Down arrow has no context. Should have text explaining where it will take the user.
- Radio buttons and check boxes have inconsistent designs. Make them recognisable.
- Radio buttons and check boxes are visually indistinct. Use a unified design.
A good exercise for anyone interested in web design. Keeping a critical eye is crucial.
14 State the type of network which has no centralised storage.
Eh? What? Bit of a curve ball... Ummm.... Dare I utter the words "Blockchain"? Wait, is that technically a network? Errr... I don't know what they're getting at here. I vaguely remember network topology from university. Token Ring? Surely they're not teaching that obscure piece of tech?
I'll go out on a limb and say "Star Network". It's good to teach about different network types - but this question really needs something more to test the student's knowledge.
15 FlightCrazy is a new company offering a flight booking service to business customers. They want to set up a database to store flight details. A researcher starts to gather information from airport timetables about available flight times.
Oooh! A good clutch of Database questions.
(a) If the full database is created as a flat file, explain why “RouteID” is not a suitable primary key for the table.
Primary keys should be unique.
(b) Describe two problems in creating this as a flat file database.
Hmmm... Are they asking for problems with flat files specifically or in the way this has been created?
I'll punt with "Flat files can't be optimised for searching". And inconsistencies in naming - for example "Monday" and "Mon".
(c) FlightCrazy decide that using a flat file database is not suitable. State a more suitable type of database.
Relational? I mean, I'm guessing they don't want NoSQL?
(d) State the field type that should be used for “Aircraft Code”.
Integer... No! Wait! There are some strings in there.
VARCHAR(3)? But what if later codes have more than 3 characters. Let's settle for String.And the questions keep on coming!
(e) During the development of this database the following input form is created.
(i) State one suitable type of validation for the Departure Airport field.
I'm stumped by what they're asking here. Is it as simple as "if exists"?
Type of test dataTest dataExceptionalExtreme(ii) Complete the table below to show suitable data values to test the Number of travellers field.
Say what now? I've never heard of exceptional and extreme data.
I assume "exceptional" means something like typing text into a numeric field.
I also assume that "extreme" means trying an SQL injection.
(f) During the testing of the completed database all the flights from Glasgow to all airports in London on the 8th June were found. The following output was produced.
Describe how the above results have been sorted.
Oooh! A good one. Naively you could say "by price" - but how are the duplicate prices sorted? It's not by airline. It's not by Journey time. It's not by Destination. It looks like it's "First by price, then by time."
Might have been a good idea to ask how the SQL query should have been formed.
And that's the end of the Database section. Some fairly good questions for a 16 year old audience there. Nothing too taxing, although I'm confused by some of the terminology (which may well be my outdated learning).
Now it gets tougher!
16 A Maths game is designed for primary school pupils to test number ordering. In the game the pupil is asked to enter two integer numbers. A third integer number is then randomly generated and shown to the user.
The user must then state if the random number is:
- lower (l) than the two entered numbers
- higher (h) than the two entered numbers
- in the middle (m) of the two entered numbers.
A design for the code is shown below.
SEND randNum TO DISPLAYGET guess FROM (CHARACTER) KEYBOARDIF guess = “l” AND randNum < numOne THEN SEND “Correct it is lower” TO DISPLAY SET score TO score + 1END IFIF guess = “m” AND randNum >= numOne AND randNum <= numTwo SEND “Correct it is in the middle” TO DISPLAY SET score TO score + 1END IFIF guess = “h” AND randNum > numTwo SEND “Correct it is higher” TO DISPLAY SET score TO score + 1END IF
Youch! That's a lot more info than any previous question. Here we go!
(a) When the two numbers are entered the program should ensure that numTwo is always a higher number than numOne.
Using pseudocode or a programming language of your choice, write several lines to represent this input validation for line 2.
Hmmm... Are we assuming an integer, or something else?
IF (numTwo.type == number AND numTwo > numOne) (continue)ELSE SEND "Second number is less than first number" TO DISPLAY
Is that enough?
(b) When the pupil enters their answer it is stored in a variable called “guess”. State the data type stored by the variable “guess”.
Again, tricky. I want to say take it in as a string, then turn into a float.
VariablesValuesnumOne7numTwo15randNum10guessm(c) The program is run with the following data. State the output from the program.
Correct. 10 is between both. Useful to see if people can step through program code.
(d) The program will have to make use of a pre-defined function.
State the pre-defined function used and describe its purpose.
The only thing I can think of is the random number generator. Am I missing something? Would we count comparison operators? Probably not.
(e) Using line numbers, describe how the code could be adapted, allowing the user to play the game 10 times using the same values for numOne and numTwo but a different random number each time.
Well, between line 2 and 3 we want to insert a
WHILEloop which counts up from0. And an incrementing counter at the end.17 John has been asked to design a website to promote an event being held to raise money for charity.
The organisers of the event provide this diagram showing the pages required and how they should be organised.
(a) What type of navigation structure is required for the website?
Tree. I think... I've never really had to think about it.
(b) State a design notation that John could use to design the layout of the pages.
I'd usually just use path-names. Is it that simple? Or do they mean a notation like UML?
(c) The homepage contains hyperlinks. Describe the function of a hyperlink.
A communist plot by TIMBL to enslave the western world!
To be fair, you could write a decent essay on all the uses of a link - semantics, usability, data structures. But as this is a one-point question, I think they just mean "to allow a user to easily navigate to another web destination."
(d) John begins to build the website and stores all the files and resources on his hard disk. Here is the file structure for the website.
(i) State the type of data you would expect to be stored in the dance.avi file.
Bah! I hate these style of question. Besides, .AVI is such an ancient format. It's a container for video and audio.
(ii) State the relative address John should enter on the display.htm page to link to dunk.gif.
resources/dunk.gif- note the lack of/at the start. I suppose an alternative might be/activities/resources/dunk.gif. Might have been a good idea to ask why/resources..wouldn't work.(e) John wants to include an external link to the charity and asks the event organisers to find out the URL.
(i) Explain what is meant by an external link.
A link which will navigate the user away from the domain they are currently on.
(ii) State what the letters URL stand for.
Poor question IMO, IDK when I last needed to know what it meant.
The words "Uniform Resource Locator" is a silly phrase.
(iii) The organisers give John a photograph file from the charity which measures 5 inches by 7 inches with a resolution of 600dpi and 24-bit colour depth. Calculate the storage required for the photograph.
State your answer using appropriate units. Show all your working.
MATHS! FINALLY! Bit of a cumbersome way of phrasing it, but let's give it a go.
Total number of pixels =
(5 * 600) * (7 * 600) = 12,600,000 pixels.Total number of bits =
12600000 * 24 = 302,400,000 bits.Bytes =
302400000 / 8 = 37,800,000BKB =
37800000 / 1024 = 36914KBMB =
36914 / 1024 = 36MBI'd expect to see something here about lossy vs lossless encoding. Or why this filesize is problematic for use on the web.
18 A software development company decide to review staff knowledge of computer related legislation.
Mikal is asked to create an app covering a range of legal issues.
(a) When Mikal records an introduction using audio software, he is prompted to select the sample rate.
Select sampling rate:
- 22050 Hz
- 44100 Hz
- 96000 Hz
(i) Describe the effect on the size of the sound file if the highest sample rate is selected.
I've no idea what this has to do with legal issues. The higher the sample rate the larger the file.
(ii) After recording, Mikal exports the file as a compressed file. State a suitable standard file format he may have used.
I'd write .MP3 on here - I'd be worried that they wouldn't know what FLAC, OGG, or any other esoteric codec was.
(b) Mikal develops an interactive quiz for the app to test the staff’s knowledge of legislation. The first question is about this recent article from a newspaper.
(i) State the offence that has been committed under the Computer Misuse Act in this article.
OK! Now this is a legal issue! But which specific offence? I've no idea. I'm guessing "Unlawful access" - which is a bit question begging. I hope they're not looking for the exact reference!
(ii) Describe another offence under the terms of this Act.
Proper little Wikileaks going on here. This is taxing my knowledge. My first thought is "changing data without permission" - but that's too similar to the above. I'll go with "intentionally disrupting the performance of a computer without permission" - for example sending a DDoS.
I love that kids are being taught about the law. Excellent idea.
(c) The next question that Mikal creates for the quiz is about another article.
"A man was arrested after he cloned his neighbour's phone."
Name the law which may have been broken in this case.
WTF? OK, learning the law is good - but this isn't computer science. I've zero idea which specific law is broken.
(d) In line with Health and Safety legislation, the company provides adjustable seating and guidelines on maintaining good posture.
Mikal finds graphics on a website that he can use to illustrate his next quiz question.
(i) Explain why he might need to seek permission to use the graphics legally.
Actually, talking about posture might be good on a CS exam. Physical issues are a real pain to deal with.
Anyway, let's go with "The copyright owner of the image may sue for misuse of their intellectual property." Incidentally, I hope my critique of this paper falls under fair use!
(ii) Mikal uses the graphics to create question 3 for the app.
Question: 3 Total Score: 2
Using pseudocode or a programming language of your choice, write the code to show how the total score is calculated when the user answers question 3 correctly.
Errrr.... This is one of those questions that people complained about. How many points is each correct answer worth?
$answer3 = get_input();if ($answer3 == "A") score++
(e) When the staff member takes the finished quiz, the app sends their details and their total score to a database file.
State two rights that the staff member has under the Data Protection Act with regard to their own data.
Another rapid switch! I mean, it is great that the DPA is being mentioned, but a bit weird to do it here.
I'm going with "Right to examine the data held about them" and "Right to correct any mistakes."
Blimey! Still not at the end of the paper. I'm not sure I'd have got this far in the allotted 90 minutes.
WARNING This is one of the questions which attracted a lot of complaints. See if you can work out why!
19 Gillian designs a program to calculate how much it costs to get her dog Penny groomed. The design is shown below.
SET total = 0DECLARE all costs INITIALLY [35.00, 36.00, 40.00,35.00,42.50]FOR EACH cost FROM all costs DUE SET total=total+costEND FOR EACHSEND “The total cost = £“&total TO DISPLAY
OK, that program is a bit weird - but it is pseudocode, we don't expect syntactic brilliance.
(a) Describe the data structure that has been used to store the individual costs.
It's an array.
(b) Gillian writes and tests her program. It works perfectly calculating a correct total of 188.50.
(i) With reference to line numbers, explain how the program calculates the final total.
Line 1 initialises a variable and sets it to zero.Line 3 loops through the array of costs and adds each to the variable.
There are three points available, so I think I've missed something.
(ii) Describe how the contents of the variable total would be stored in the computer’s memory.
WHAT? I don't care! I'll let the compiler take care of that. It is good to get some low-level stuff in the exam. For two points, I'm guessing... "A block of memory of a specific size is reserved for the variable."
(iii) Gillian edits the program with the following data:
[35.00,36.00,40.00,35.00,42.50,45.00]The output is still 188.50.
A Explain why the output is still 188.50.
B State how this error could be corrected.
Debugging is a vital skill - but I really can't see what's going wrong here. Perhaps
DUEshould beDO? I don't know.(c) Concatenation has been used in line 6. State the purpose of concatenation.
It... it sticks strings together...? Err... Let's try "It allows a variable to inserted into a string which can then be displayed."
20 Sue uses a website called “Check your Defences!” to learn more about keeping her computer and data safe.
aside I totally love the retro browser screenshot!
(a) Explain the purpose of a firewall.
Keep the Wildlings out of King's Landing? No! That's an ice wall.
A firewall detects whether a connection to or from the network is authorised.
(b) Explain how encryption can help keep data safe.
More Wikileaks! Encryption ensures that only people with the decryption key will be able to view the data. Modern encryption is resistant to brute-force attacks.
I'd have expected a bit more of a technical question - this seems rather basic.
When Sue tries to download the mobile app onto her tablet PC, she gets the following message:
"This app is incompatible with your device - Check your Defences!
System requirements Android 4∙4 or higher, 1∙6 Ghz, 2Gb RAM, 32Gb"
(Gb? Gigabits? A genuine mistake, or designed to trip us up.)
She checks the specification for her tablet PC.
- Size: 267 x 187 x 8 mm
- Weight: 65 kg
- 1∙83Ghz/2GB RAM/16GB
- Battery life: up to 8 hours
- Display: 8∙3” full HD, 10 point multi-touch
- Operating system: Android 4∙1
- USB 3, micro HDMI, microSD card slot 3∙5 MP camera
- Microphone
- Stereo speakers
- Headphone jack
- Wi-Fi
(WHOA! A 65KG tablet. Not exactly portable!)
(c) (i) Sue’s tablet has a range of input and output devices. Identify one of each of these items on Sue’s tablet.
Inputs could be the touch screen, the camera, the mic. Theoretically you could transmit some data back via HDMI, but I would class that as a "showing off" answer.Outputs are the display, the speakers, the headphone jack.
This is back to the basic ICT questions which I hoped we'd left behind. Not very encouraging.
(ii) Identify one interface type on Sue’s tablet.
Again, I'm left in confusion as to what's being asked here. The Universal Serial Bus is an interface - but so is the touch screen...
(iii) Describe one function of an interface.
What? This seems poorly worded. I think they want me to say "To allow data to be exchanged from one device to another."
(iv) Give two reasons why the app is incompatible with Sue’s tablet PC.
Her tablet has a lower version of the operating system.I assume that the
32Gbon the requirements means storage space - but her tablet has16GB. To my mind sixteen gigabytes is a lot more than 32 gigabits... But I think I'd take a punt and assume there's a mistake in the question.(d) Sue’s friend Jack views the website on his smart phone but the home screen looks different to the desktop version Sue had been using.
Describe one reason why the user interface on the smartphone version is designed differently to the version Sue had used on her desktop.
There's only one point on offer here. Pity, this would be an excellent chance to write about progressive enhancement, media queries, responsive design.
I'll stick with "Mobile users interact using a finger, this is a less precise interaction than using a mouse, so link targets should be bigger."
LAST QUESTION ALERT!
21 A software developer is creating an online booking system for a bowling alley. Customers can book a bowling lane for a maximum of 4 people playing a maximum of 3 games.
The developer has used a flow chart to produce the program design. Part of the design is shown below.
a) (i) State one benefit of using the design notation shown above instead of pseudocode.
Flowcharts! Yay! I might be going delirious at this point...
"Flowcharts allow people to easily visualise how a program works and, hopefully, spot any mistakes."
(ii) Name the algorithm illustrated in the bowling alley program design.
Grrr... More trivia! And, frankly, it is hardly an algorithm. Frankly, I've no idea what they want as an answer. Nor why it is relevant.
Using pseudocode or a programming language of your choice, complete the conditional statement at Line 3 below to implement this section of the design.
__________ numPlayers __________ and numGames _______SEND “Booking Accepted” TO DISPLAY
This is VERY CONFUSING!
Perhaps
IF numbPlayers <= 4 and numGames <= 3?
Test dataTest data typeExpected ResultnumPlayers = 3(c) The program is tested using a set of test data.
(i) Complete the table below to show three examples of test data types and the expected result for each type.
numGames = 2NormalBooking acceptednumPlayers = 4
numGames = 3____Booking acceptednumPlayers = 6
numGames = 3________ARGH! Back to testing. I mean, yay testing, but what are the test data types again? Extreme and Abnormal?
The last one has a result of Booking rejected. But I've no idea what the data types are. I'm guessing "normal" and "abnormal"?
(ii) The character “£” is entered as a test value for the number of players. This causes the program to crash. State the type of error that would cause this crash.
Depends on the language. I'd say "Type exception" maybe "Cast exception"?
(d) Error detection and correction in a program is easier if the code is readable. State one technique that can be used to ensure readability of code.
And we're back where we started! I'd go with "Clear variable names which don't use abbreviations." I wonder if they'd value an extended discourse on tabs vs spaces?
And Breathe!
That was a lot tougher than I expected. I wasn't doing it in exam conditions, but I felt the pressure.
The obvious mistakes didn't help my nerves but, guess what, the real world isn't perfect either. Computer Science is the art of trying to fit the messy analogue world into a pure state of binary bliss.
Conclusion
I think that's a pretty good computer science paper - especially for students who may only have studied it for a couple of years.
I think it leans slightly too far towards ICT but I'm pleased with the mentions of usability, good design, security, and the law.
There are a few "Trivia" questions. The "What is this thing called" style - I'm not a big fan of them. Far better to test the understanding of the design, not the name. Similarly, the legal questions veer into the obscure.
Some of the technology is a little out of date - but it's such a fast moving space, talking about file-formats which have only recently become popular might disadvantage people without the time to keep up.
So, are the mistakes "a disgrace"?
There should be spaces between array elements - but part of computer science is reading poorly written code.
Some of the pseudocode is typed incorrectly - but that's the nature of pseudocode.
The unit confusion is annoying, and could trip up someone with an eye for detail. That's a shame, but not a showstopper.
I'm not a teacher - and I have no idea what is on the syllabus. All that said, I've met Computer Science graduates who would struggle with some aspects of this paper.
I think us geeks often over-estimate how much we knew when we were kids. When I was 16, I thought I was 1337 (back when that meant something). I wasn't. I couldn't have passed a paper of similar complexity.
I think this represents an excellent foundation for anyone wanting to studying computing.
My Score
You can read the marking instructions online as a PDF
I scored... 59/90. Yikes!
Most of the dropped points were where I over-thought the question, and a few where I was missing basic knowledge (mantissa!). Perhaps I'd have picked up a few points if the marker knew the subject well.
Some, I just screwed up the answers. I wasn't specific enough in saying that the database results had been sorted in descending order.
Based on the published grade boundaries, I think I just about scraped an A.
How did you do?
-
In Blossom review
It’s been a long time since I live-blogged a drama. This is because dramas in the last few months have not caught my attention in such a way that makes me want to do so.
Admittedly, this drama caught my attention because of Liu Xueyi, an actor who caught my attention in Blood of Youth, Love and Redemption, and Qing Luo. I’ve always known that he was more than just a pretty face, that he was a very talented actor and just inches away from breaking out into the big leagues.
I really think In Blossom could be the drama to do it.
If you have not watched In Blossom, do avoid the spoilerific Watch Log and head straight to the non-spoiler Final Review section instead.
And if you’re following this blog from Mastodon or Tumblr, do bookmark the In Blossom page and revisit it as the Mastodon post doesn’t automatically update.
Table of Contents
The story
When the handsome, very eligible Pan Yue married Yang Caiwei, the city of Heyang was astounded. She was the last person anyone would expect to capture Pan Yue’s heart: She is scarred and works as a despised undertaker and apprentice coroner.
But then, tragedy strikes. Yang Caiwei dies on their wedding day mysteriously and Pan Yue becomes the main suspect.
But unbeknownst to everyone, Yang Caiwei has become Shangguan Zhi, the ingenue who traded faces with her so that she could marry Pan Yue instead.
Yang Caiwei believes that Pan Yue killed “her”. Determined to uncover his crime, she worms herself into his world, becoming his assistant.
Meanwhile, Pan Yue, who is now the magistrate of Heyang, suspects that she is responsible for his wife’s untimely death.
As the two try to solve the mysterious death of Pan Yue’s bride, they end up embroiled with the shady world of the Four Major Clans, and possibly a conspiracy involving the royal family.
Main characters
Pan Yue – Young, handsome, eligible, rich and beloved of royalty, Pan Yue is probably the most admired and eligible bachelor in the kingdom. But he only has eyes for Yang Caiwei, a scarred woman who was his dearest childhood friend. He has been searching for her for a decade and he has finally found her.
Yang Caiwei – Formerly from the nobility, Caiwei has fallen onto hard times after her father, a former Justice minister, falls from grace and her parents are murdered. She was working as a coroner and grave digger when Pan Yue finds hers.
Shangguan Zhi – The sister of Pan Yue’s good friend, she’s obsessed about her looks and Pan Yue, and 100% believes that he will marry her.
Bai Xiao Sheng – A street-smart hustler and Yang Caiwei’s best friend.
Zhuo Lan Jiang – A mysterious young vagabond who is Yang Caiwei’s good friend.
Watch Log
Episode 1 and 2
Not gonna lie, I was distracted by the fact that Zheng He Hui Zi, who played Yang Caiwei in episodes 1 and 2, won’t be around after because I love her performance here. I’m going to miss her a lot once Ju Jingyi enters the picture. I liked Zheng a lot as Tao Zi in Wonderland of Love and I hope she gets bigger roles in the future. I think she’s a very natural actress and talented.
Ju Jingyi is definitely very okay as a villain. She needs to do more of these roles!
And what can I say about Liu Xueyi? He’s hard carrying the show. I said to a friend that at this rate, he’s going to collapse from metaphorical exhaustion lol. He has a magnetic presence that I can’t quite define or explain. There was one shot of him appearing in silhouette at the door and I went 🤤
Episode 4
I was pretty surprised that the inevitable confrontation between Pan Yue and Shangguan Zhi aka Caiwei took place so quickly. By the way, I’m liking dak, gothic, moody Pan Yue so much. I want to say, “never change, Pan Yue”, but that won’t be fair, foisting such a miserable state of being to our dashing hero.
I definitely love that he literally wears his grief. The white streaks in his hair – what people assumed was a “vanity move” – was the result of terrible grief. And those gorgeous dark robes! It took me a while to realise that he was wearing the Chinese mourning colours of white, blue and black.
Episode 7
So we find out what happened to Pan Yue right after Yang Caiwei’s “death” and it isn’t pretty. Liu Xueyi is acting the heck out of Pan Yue’s deep grief. Can a person look hot when he’s so grief-stricken? Well, Liu Xueyi can totally pull it off.
Episode 8
I love how this show subverts the typical trope of “accidental kiss happens when they fall on each other”, only instead of the male lead falling onto his lady love it’s the opposite!
Episode 11
I’m now on episode 11. I’m pretty shocked that I’m watching so quickly – that’s usually a good sign that I really like the drama. I hope it doesn’t crash and burn like Yong’an Dream, which I had such high hopes for but eventually gave up midway because of the zero chemistry I sensed between the leads. JJY wasn’t as bad as I thought. I think all those comments made me “ready” for her performance lol. But ngl, I keep thinking, “If only…”
Liu Xueyi is 150% delivering here, and looks like I’m in for some fun times with his character lol.
Episodes 8 to 16
What I love about this drama so far:
- The grieving widower trope – uhm, yeah, just irresistible to us females.
- Liu Xueyi’s performance. Damn, he nails the “broken-hearted widower only lives for revenge” thing. And there’s something about the way he carries himself that is magnetic. The camera adores him in this show. Thanks, director! I’ve always known him as an impeccable actor and was pretty annoyed (for his sake) that he has been in supporting roles for so long. But I stumbled on this Twitter post where he said the supporting roles helped him to play protaganists today. (There’s a reel of the roles he had played since he was 16! I particularly dig the punk biker role with the grey hair. Have a look)
- The emotional connection to the cases – the Lantern Festival serial killing case really hit me in the heart at the end. I couldn’t stop thinking about the story, the tragedy of it all! Now that’s how you write stories. Despite the technical superiority of Judge Dee’s Mystery – better mysteries, camerawork, acting, it didn’t give me the same “oh God I need the next episode” now feeling like In Blossom provokes.
- The big emotional reveal we’re dying for – this keeps us watching episode after episode, wondering, “Will Pan Yue finally find out that his wife, Yang Cai Wei, is still alive and next to him? (Though technically since he didn’t really marry her but Shangguan Zhi, so are they really married?
Episodes 17 and 18
How to look cool in front of your lady love:
Step 1 – Spruce up
Step 2 – Declutter
Step 3 – Pour yourself some tea
Step 4 – Sip slowly
Step 5 – Smile like an idiot when she’s not looking
Results – 😅
Some people may think this is out of character for Pan Yue, but it is precisely because it is so out of character for him that makes this scene adorable. Liu Xueyi’s comedic timing and expressions was on point in this scene!
It is just so lovely to see the forlorn shadow hovering around him finally lifted now that He knows she’s alive and next to him.
Meanwhile, our second lead is busy ruining Pan Yue’s every single attempt to date Caiwei.
Episode 21
Finally, that episode we’ve been waiting for. Yang Caiwei knows that Pan Yue knows she’s not Shangguan Zhi!
That was a fine act by Liu Xueyi when Pan Yue was blind and crying for Yang Caiwei at the hillside. It was uncomfortable watching him so anguished 😢
Also, Yang Changwei finally knows that Pan Yue knows, and that kiss! (And the long lingering camera focuses on Liu Xueyi’s muscles 🤪 when he’s in the bath. Thanks, Mr Director, I truly appreciate it 😆)
Also, Pan Yue’s assistant (Ze) forever being that fly on the wall there to witness their big moments. 😆
There’s also a little sweet moment between Jiang and Bai Xiao Sheng. Kiss her damnit.
I wasn’t surprised by the reveal of who the mastermind in the wheelchair was. But now there’s another big bad in the capital. Hmm!
I know some people seem disappointed that the show is becoming less gothic and lighter in tone, and that Pan Yue is even getting quirkier, but I am loving the change. How about you?
Episode 22
I continue to love the camera work in this show. It is not exactly top-tier, but some scenes are beautifully framed, making the shot look like something straight out of a painting. Love this scene of Pan Yue walking down the corridor.
Not that it should surprise anyone, but Pan Yue, as you know, literally “wears” his grief. His hair turned white from sorrow, and after YCW’s “death”, he wore only blackwhite or occasionally dark blue, always in mourning. If he wore colours, it is always about work (going undercover).
However, his clothes are now brighter and colourful, reflecting his happiness as he is freed from the guilt that was weighing him down.
That emerald robe on him in this episode is a delight. 🤭
Episode 24
One thing I love about this show is how confident and forward the women are. They are not the typical, shy wilting flower types who are reluctant to express their desire for their men. I love the Uno reverse card they did in this scene, where Pan Yue is trying to be the smooth and seductive Cassanova, only to have Caiwei turn the tables on him, pin him to the shelves and and declaring what she thinks about his physical attributes instead 🤭
Episode 28
Me, after viewing this: OMG Pan Yue don’t you die on me
People on social media: OMG he is so pretty when he faints.
Admittedly, Pan Yue is gorgeous even when he faints.
Episode 29
I did it. I submitted to the power of Express episodes. Dang you, Youku, take my money. I have to admit they’re terribly ingenious with the whole thing. First, they charge you for advanced access; you can view an episode six hours ahead of time. And they did not announce the Express package ahead of time lest you decide to skip on the advanced episodes option to get the Express option. I bet you that advanced episode viewers do not get an automatic upgrade and have to pay more to get the express package.
Fortunately, I did not fall for the advanced episodes because it was just useless for me as they land during working hours and I don’t want to be distracted at work. But I did fall for express episodes, yes I did. But I’m really glad I got them because MyDramaList and Twitter was a minefield of spoilers, with an idiot, I mean, someone posting a damn video of a character’s death the moment the express episode was released. If anything, I often buy express packages to spare myself the pain of being spoiled.
But I shall go ahead and talk about this drama.
I think it’s credit to the writers that I’m driven enough to buy express episodes. The only drama I did this with was Mysterious Lotus Casebook. It’s not that the mysteries are especially well-written or compelling, but that I truly, truly care for the characters and want to know how they fare.
Episode 32
All I can say is that I breathed a sigh of relief. CDramas has had this unfortunate trend of going sideways in the last 10 episodes or so that I was holding my breath from episode 28 onwards.
My thoughts about the ending below, hidden in the expanded text.
The ending (spoilers)
Click to reveal my thoughts about the endingI love it. Love, love, love it. Am very satisfied and happy with the ending.
But yes, I feel sad for A-Jiang eventhough I expected it because his tragic end was so heavily foreshadowed. Eventhough I wanted badly for him to live for Xiaosheng’s sakes, I knew somehow, that his tragic end was fiting for the story.
But this tragic though? It’s awful that he literally died a painful death. Writers, you’re too cruel!
Also, I didn’t think he was very smart at the way he went about seeking revenge. For a man who is supposedly clever enough to control a sect and get rid of a rival sect by his own lonesome, I expected more of him. But perhaps his competence was all an illusion because, after all, his dad was still alive and may be pulling strings in the background and mitigating his inexperience.
I wasn’t so sure where they were going with Pan Yue, however. He could meet the tragic end of his real-life counterpart, who was falsely accused of treason and executed along with his family. So, I was genuinely scared that the writers would decide to mirror history and our poor Pan Yue would meet the same end.
But fortunately he did survive, and had a rosy end with his lady love. To bad I didn’t feel a smidgen of chemistry between Liu Xueyi and Jiu Jingyi at this point, so what would’ve been the pinnacle best ending ever felt hollow for me.
About the supposed – “cliffhanger” ending. I’m not sure why people say it’s a cliffhanger. It’s more like a teaser, a possibility etc. It will not ruin the entire series for you nor will it render it “unfinished” in any way. The entire arc is needly wrapped up, so don’t worry, proceed it peace.
Just who is No.1? Well, who knows at this point. Despite its popularity, I highly doubt In Blossom will get a second season, so I have no idea why in the world the writers thought inserting this would be a good idea.
Final review
Sure, In Blossom was not perfect by any stretch of the imagination, but Pan Yue (or rather, Liu Xueyi) gave me so much joy. Liu Xueyi’s magnetic presence was the entire drama for me, seriously. Darling, please grace me with your abs and dark, embroidered hanfus once again. The world needs this community service.
With CDramas being the way they are, I really expected it to just go sideways sharply towards the end, but it didn’t! The storytelling, while not perfect and sometimes terribly convenient, held up till the very end. No fillers, no unnecessary side quests. No jealous rivals that bjorked everything up.
I would say this has bumped off Wonderland of Love as my favourite lite, cracktastic drama. Finally, a drama I can happily rewatch! I thought the story, while problematic at some bits were tightly woven throughout.There were no weird, unnecessary side quests, noble idiocy moments or side characters that fill up the space but don’t do anything.
What’s not great
Yes, they be downsides for this drama too.
The awful make-up
Dear god in heaven who did the makeup? Especially for Ju Jing Yi’s? Because those fake eyelashes are killing me inside. I don’t know if it’s the camerawork or the makeup but sometimes the makeup feels too obvious (even on the men) and it takes me out. Also, I swear, I was totally horrified to see tape on one actor’s face at one point. Hello, styling crew, were you asleep when putting on those wigs? Because I kept seeing the glue marks. I don’t usually notice these things, but the eff-ups are so glaring I could not ignore them.But thumbs up for the wardrobe folks tho. Those robes on Zhuo Lan Jiang and Pan Yue are gorgeous. The women’s seem blander in comparison.
Ju Jingyi’s performance
In Blossom created an unexpected storm in the teacup: Ju Jing Yi’s acting.Her performance just doesn’t match the skills of the first actress who played Yang Caiwe, Zheng He Hui Zi.
After going through the five stages of grief, knowing that I won’t see her again, I settled in with Jing Yi’s acting, which I eventually decided wasn’t terrible. Not good, but not terrible. A fine distinction. Though, I really, really miss Zheng He Hui Zi’s subtle physical mannerisms. The way she struts around, not caring if the world thinks she’s ugly.
Jing Yi moved around like a delicate flower. I wished she’d adopt Zheng’s more broad movements. I also missed the way Zheng projected this determined yet resigned air about her. Jing Yi’s Caiwei was too bubbly and perky. What I would do for that glimpse of sad determination and resignation of Caiwei’s again.
Again, I don’t think Jing Yi’s performance is terrible. Fun fact – I have a list of bad actors whose shows I refuse to watch because they’re just awful. But Jing Yi is not on that list. Yet.
But admittedly, this is my first drama with her, though I did watch a few episodes of Legend of Yunxi and barely remember her performance there. If it’s true that she is the same in every single drama, my patience would run very thin indeed.
The chemistry between our main couple, alas, is sadly lukewarm
Not at arctic levels like our couple in Yong’an Dream, but far from what I call “hot” or “phew we need to see them kiss more.”A lot of people abandoned the drama due to the switcheroo, especially since they had a hard time transitioning from Zheng He Hui Zi’s better acting to Ju Jing Yi’s less nuanced one. I asked a friend – why did we continue when others didn’t? And, honestly, it’s down to a few things:
- Liu Xueyi
- Pan Yue’s character growth
I’ve noticed Liu Xueyi’s talent for a few years already, most notably in dramas such as Blood of Youth and Qing Luo. Not only is he an Adonis, he can act circles around the main leads of the dramas he’s always a second lead or a supporting actor. In Blossom is finally his chance to shine, and he delivers incredibly well, especially since the styling of his character is absolute perfection with those gorgeous embroidered robes, the white streaks of his hair and more.
Another reason why I continued watching In Blossom is because I’m not the sort to watch dramas nor is romance a primary motivation for me to watch a drama.
Meaning, I’m not the sort to ship anyone or even watch a drama purely for the romance. I’ve always been primarily attracted by character growth. And the more potential there is for that, the more I want to watch a show.
Watching Pan Yue change from confident, romantic hero to being a gothic, mourning, driven-by-vengeance widower was fascinating to watch. And towards the end, when Pan Yue regains the spark he had in the first two episodes, we are delighted for him.
Usually, Pan Yue’s romantic life would have been a wonderful enhancer to this journey, but due to Jing Yi being overshadowed by Zheng’s impactful performance, and due to Zheng and Liu Xueyi having such dynamite chemistry and Ju Jing Yi’s inability to surpass or even match that … well, darling, we have a problem.
So, Pan Yue’s peak happiest moment, when he finally reunites with his lady love, feels hollow.
But is this enough to forsake the entire show? Well, it really depends on your primary motivation or drive to watch the drama. Like I mentioned, I’m not the sort to ship anyone, not even the main couple. In fact, I tend to watch dramas where there’s little emphasis on romance.
So, if you’re the sort of person who’s interested in Pan Yue’s character growth or just want a simple, rip-roaring, wuxia-ish tale, In Blossom will be right for you. However, if you’re looking for a hot romance you can swoon over, you may have to be extremely forgiving of the acting performances or look elsewhere. Like Wonderland of Love, The Sword and the Brocade or of course, the doyen of sizzling chemistry, Dream of Splendor.
Final rating: 3 out of 5 stars
#3Stars #CDrama #CDramas #China #ChineseDrama #CostumedDrama #drama #inBlossom #liuXueyi #romance
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By Baguette of Bodom
Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?
Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).
Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.
The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.
Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.
Rating: Good!
DR: 5 | Format Reviewed: FLAC
Label: Starstorm Records (self-run)
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 7th, 2025#2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan
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By Baguette of Bodom
Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?
Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).
Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.
The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.
Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.
Rating: Good!
DR: 5 | Format Reviewed: FLAC
Label: Starstorm Records (self-run)
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 7th, 2025#2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan
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By Baguette of Bodom
Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?
Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).
Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.
The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.
Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.
Rating: Good!
DR: 5 | Format Reviewed: FLAC
Label: Starstorm Records (self-run)
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 7th, 2025#2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan
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By Baguette of Bodom
Electronic music and metal joining forces is often treated with suspicion. Not electronic in the ‘band member finds a Casio keyboard in their cellar’ sense,1 but a genuine fusion of the two with synthesizers on the forefront. Esprit D’Air is one of the more recent bands making waves with their take on this mix. A Japanese band formed in London in 2010 and spearheaded by Kai (The Sisters of Mercy—yes, that one), they’ve quickly formed their identity around a catchy blend of alternative metal, J-rock, and trance, among other stranger things. One break-up and reformation later, debut album Constellations finally appeared in 2017, followed by 2022’s Oceans and 2024’s Seasons.2 Fourth full-length Aeons is looking to delve deeper into Esprit D’Air’s niche, attempting a more varied package without any of their usual guest features help. How do they handle this melting pot of genres alone?
Aeons is here to have fun, first and foremost. While the resurrected post-2016 incarnation of Esprit D’Air is technically a solo project—Kai being the only ‘official’ full-time member—they do function as a band in practice. Frontman Kai and partner-in-crime Takeshi Tokunaga are behind most of the album’s writing and instrumentation, with Jan-Vincent Velazco handling the drum department. It’s difficult to pin down simple comparison points to Esprit D’Air’s genre soup shenanigans, but the majority of Aeons is built around alternative metal filtered through an anthemic, rock-oriented quality, the likes of X Japan (“Like a Phoenix”). Occasionally, their sound even leans towards the AOR, power-ish metal soar of newer Battle Beast (“Shadow of Time,” “Silver Leaf”). The guitar work usually resides next to or behind the keyboards, but it does a fine job adding extra heaviness to the album, and the instrumentation in general is tight and snappy. Kai’s vocal chops also play a major role on the record, further decorating strong choruses with melodic, J-rock-inspired vocal lines (“Chronos,” “羽ばたけ”).
Esprit D’Air has a penchant for strong hooks, especially on keyboards. Tracks like “Silver Leaf” and “Like a Phoenix” highlight the album’s greatest strengths, fusing together J-rock with extremely catchy synth patches that borrow from both techno and trance. Crucially, its multifaceted arsenal of keyboard and guitar styles makes the songs distinct from one another. Though the guitars could be more prominent, their relatively simplistic rhythmic role is complemented by powerful leads and intricate solo work when needed. The band’s attitude on instrumentation and songwriting is at times reminiscent of the way Elyose fuses early 2000s electronic and metal influences together, occasionally drifting towards their modern djentier alt-metal sound (“Chronos,” Lost Horizon”) or even the melodic downtuned attack of Periphery (“Quetzalcoatl”). Through their spectrum of styles, Aeons fulfills the band’s threat to feature more variety in a sleeker form.
The variety of Aeons, while intriguing, is a double-edged sword. There’s a particular spot around tracks 8–10 where the album’s alternative edge morphs into an edgier, nu-informed sound, both instrumentally and vocally (“Broken Mirror,” “絶望の光”). Despite Esprit D’Air kind of pulling it off, it doesn’t fit the album’s mood, especially not with all of it centered on one region. Half-ballad “Stardust” also quiets the album’s thunder somewhat, its bright but melancholic soundscape causing Kai to overstep his optimal vocal range. Fortunately, the majority of Aeons is memorable and at times even infectious. Its brevity softens its missteps; where Oceans landed at almost an hour, Aeons does more in nearly half the amount of time. This slick 35-minute runtime means its speed bumps aren’t fatal, but the middle of the album does still sag in comparison to the powerful start and finish.
Aeons ends up being an entertaining, tight bundle of melodic genre-defying goodness. Its catchy rock/metal attack blends together everything ’00s, and the electronic influences are particularly satisfying. The record’s inconsistency does leave something to be desired, and its sonical direction is unfocused at points, but the positives ultimately outweigh its stumbles. When I picked up the promo for Aeons, I wasn’t sure what I was getting myself into or what to expect. Now, it’s apparent Esprit D’Air have made an album that amounts to more than its components imply. I reckon their appeal can reach beyond their cited genre tags, and there’s plenty of room to further expand on their best qualities in the future.
Rating: Good!
DR: 5 | Format Reviewed: FLAC
Label: Starstorm Records (self-run)
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: November 7th, 2025#2025 #30 #aeons #alternativeMetal #battleBeast #electronicMetal #electronicore #elyose #espritDair #jRock #japaneseMetal #nov25 #periphery #review #reviews #starstormRecords #theSistersOfMercy #tranceMetal #xJapan
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CW: Being sexy in OpenSim requires illegal content all over that's as new as possible and absolutely over the top and impractical, but don't you dare reject it
I think I've figured out OpenSim's current "sexiness standards" for female avatars.
The thing in OpenSim in 2025 is: Not only are the sexiness standards completely absurd by now, but female avatars seem to be required to be as sexy as possible, always and everywhere. Refuse, and you're likely to be ostracised for it.
In general, legal content disfigures you greatly because it isn't on the same level as the best premium payware in Second Life. Hardly anyone will openly admit that their avatars consist entirely of illegal parts, down to the often unmodified shape. But not few are ready and willing to roast you for wearing anything legal.
On top of that, the Second Life rat race for always having only the newest and hottest stuff on your avatar has reached OpenSim. Not only must you wear ripped Second Life content, but you must wear Second Life content that was ripped no more than two years ago. Not even one year for clothes.
Just like in Second Life, the "best" female mesh body is Legacy. It's apparently the very definition of "sexy". After all, there are freebie stores that only offer female clothes for Legacy now. I don't know what it's like in Second Life, but here in OpenSim, female avatars seem to also be required to have hips twice as wide as their waist and thighs that are way thicker than their head is big. Tone your shape down, and you're no longer sexy.
As so many freebie store owners wanted to offer Legacy and wanted to offer that body exclusively, there are at least ten different independent Legacy imports. I guess all of them were no-transfer originally. Those who imported them didn't want other freebie store owners to steal their stolen mesh bodies and harvest the visitors they wanted to claim for themselves. In the meantime, at least some Legacy variants were god-moded, either to full perms or simply to be put up in another freebie store while remaining no-transfer.
By the way: It doesn't look like anyone could ever be bothered to give Legacy a new name.
Next comes LaraX. Its target audience appears to be those who want a new hot body while largely keeping the looks of their avatars. Except for the face because they replace the head that often.
On a distant third place, there's Simona. To my best knowledge, this ripped copy of Maitreya Lara 5.3 is only available on the one sim in Trianon-World for which it was "created". That sim also offers LaraX under the name of Xara.
I guess nobody acquires Athena for new avatars anymore. The same goes for any variant of SLink Physique Hourglass (BBHG, Je'Thai HG and especially Decadence-HG, the only one that was given basic BoM support as far as I know) even though that body is even more extreme in shape than Legacy. A typical HG avatar used to have hips three times as wide as the waist.
Of course, an EvoX head is mandatory for "good-looking" avatars nowadays. The same goes for Doux hair. By next year, your avatar will be painfully outdated without 2K skins. 2K PBR skins even if PBR support is added to BoM until then. I'm not sure whether veins have become a must now; I guess the community is torn between the highest possible detail level and perfection. I mean, if realism really was that essential, female avatars would be based on Legacy Perky or LaraX Petite, and I would be criticised for my absurdly big boobs. But as things are right now, Legacy Perky and LaraX Petite are still constantly on the verge of being regarded underage because everyone is used to huge boobs.
Clothing really shows the shift in what's considered sexy.
For example, five years ago, 15cm stilettos were the sexiness benchmark. Back then already, almost all female avatars ran around with their feet permanently in a high-heel position, even when they were barefoot. I mean, at most beach events, I was the only one capable of changing the foot position without requiring working avatar scripts and changing my height accordingly without using the hover height slider. All the Athenas were often powerless after Hypergridding because their avatar scripts no longer worked, and Athena is notorious for blowing up when detached and re-attached while out and about on the Hypergrid. Something else, by the way, that I can do with Ruth2 v4 with no problems, even if Ruth2 v4 has much more advanced scripted BoM support than any ripped Second Life body.
Nowadays, 15cm stilettos are the absolute minimum requirement for not being compared with an ugly old granny. If you want to be sexy, you have to wear sandals with 30cm stiletto heels and 15cm platform soles. Always and everywhere. And I've actually seen even higher footwear in stores. Not long until those 15cm platforms will be the norm, and the even higher ones will be the minimum for sexiness.
It wasn't that long ago that skirts were a kind of touchy issue. Super-short micro-mini skirts and dresses were preferred, not only because they caused little to no clipping due to less-than-optimal rigging, but also for sexiness. Still, many worried that their undies could peek out. Or their private parts because their skirt or dress was so clingy that it was impossible to wear mesh underwear underneath it. Rigging these garments required a few tricks.
In the meantime, the first skirts and dresses appeared that always bare your buttocks.
Nowadays, if you want to be sexy, you have to wear skirts and dresses which are so short that they reveal your underwear while you're standing up. In fact, they must even reveal your underwear to you when you switch your camera to front view, and then the camera is hovering a great deal higher than your own head. These skirts and dresses usually come with their own underwear, but it's often as tiny as one can get away with. Technically speaking, you could get banned from the OSgrid Plazas for wearing such clothes because the Plaza rules cite "exposed underwear" as a bannable offence.
Some things haven't changed, however. You're still expected to bare as much skin as possible because only the maximum amount of bare skin is sexy. A two-part outfit must bare your midriff. Ideally, so should a dress, at least partially; alternatively, it must reveal as much cleavage as is tolerable on a General-rated sim.
This, of course, goes together with the wide-spread idea that it's always not only summer everywhere in OpenSim, but actually sweltering heat. Yes, even on a Christmas-themed, snow-covered winter sim at night. Oh, and yes, you can walk and even dance on 15cm platforms with 30cm stiletto heels both on snow and ice and on sand. People will most likely keep this attitude up even when winter sims have started using PBR materials for snow and ice to be even more realistic. Being as sexy as possible is such a hard requirement that adapting your outfit to your surroundings has become a complete no-no.
Hosiery is only allowed in the shape of nylon stockings with the garters in plain sight, worn more like lingerie than to keep your legs warm in colder weather. Still, completely naked legs are sexier. One reason why nobody has ever stolen nylon tights from Second Life.
And lastly, and this hasn't changed either: You must never make full use of the capabilites of BoM. It's only for skins, make-up and, more recently, skin details. You must never use it to wear layer clothes. In this light, I wonder why two new shops with layer clothes have opened in the last few months if actually wearing them is frowned upon. The other reason why nobody has ever stolen nylon tights from Second Life.
If you're like me, and you refuse to both wear illegal content all over and participate in that maximum sexiness game all the time, you'd better have friends whom you can hang around with, who support you and your style and who may even back you up and defend you.
#OpenSim #OpenSimulator #SecondLife #Metaverse #VirtualWorlds #VirtualClothing #VirtualFashion -
CW: Being sexy in OpenSim requires illegal content all over that's as new as possible and absolutely over the top and impractical, but don't you dare reject it
I think I've figured out OpenSim's current "sexiness standards" for female avatars.
The thing in OpenSim in 2025 is: Not only are the sexiness standards completely absurd by now, but female avatars seem to be required to be as sexy as possible, always and everywhere. Refuse, and you're likely to be ostracised for it.
In general, legal content disfigures you greatly because it isn't on the same level as the best premium payware in Second Life. Hardly anyone will openly admit that their avatars consist entirely of illegal parts, down to the often unmodified shape. But not few are ready and willing to roast you for wearing anything legal.
On top of that, the Second Life rat race for always having only the newest and hottest stuff on your avatar has reached OpenSim. Not only must you wear ripped Second Life content, but you must wear Second Life content that was ripped no more than two years ago. Not even one year for clothes.
Just like in Second Life, the "best" female mesh body is Legacy. It's apparently the very definition of "sexy". After all, there are freebie stores that only offer female clothes for Legacy now. I don't know what it's like in Second Life, but here in OpenSim, female avatars seem to also be required to have hips twice as wide as their waist and thighs that are way thicker than their head is big. Tone your shape down, and you're no longer sexy.
As so many freebie store owners wanted to offer Legacy and wanted to offer that body exclusively, there are at least ten different independent Legacy imports. I guess all of them were no-transfer originally. Those who imported them didn't want other freebie store owners to steal their stolen mesh bodies and harvest the visitors they wanted to claim for themselves. In the meantime, at least some Legacy variants were god-moded, either to full perms or simply to be put up in another freebie store while remaining no-transfer.
By the way: It doesn't look like anyone could ever be bothered to give Legacy a new name.
Next comes LaraX. Its target audience appears to be those who want a new hot body while largely keeping the looks of their avatars. Except for the face because they replace the head that often.
On a distant third place, there's Simona. To my best knowledge, this ripped copy of Maitreya Lara 5.3 is only available on the one sim in Trianon-World for which it was "created". That sim also offers LaraX under the name of Xara.
I guess nobody acquires Athena for new avatars anymore. The same goes for any variant of SLink Physique Hourglass (BBHG, Je'Thai HG and especially Decadence-HG, the only one that was given basic BoM support as far as I know) even though that body is even more extreme in shape than Legacy. A typical HG avatar used to have hips three times as wide as the waist.
Of course, an EvoX head is mandatory for "good-looking" avatars nowadays. The same goes for Doux hair. By next year, your avatar will be painfully outdated without 2K skins. 2K PBR skins even if PBR support is added to BoM until then. I'm not sure whether veins have become a must now; I guess the community is torn between the highest possible detail level and perfection. I mean, if realism really was that essential, female avatars would be based on Legacy Perky or LaraX Petite, and I would be criticised for my absurdly big boobs. But as things are right now, Legacy Perky and LaraX Petite are still constantly on the verge of being regarded underage because everyone is used to huge boobs.
Clothing really shows the shift in what's considered sexy.
For example, five years ago, 15cm stilettos were the sexiness benchmark. Back then already, almost all female avatars ran around with their feet permanently in a high-heel position, even when they were barefoot. I mean, at most beach events, I was the only one capable of changing the foot position without requiring working avatar scripts and changing my height accordingly without using the hover height slider. All the Athenas were often powerless after Hypergridding because their avatar scripts no longer worked, and Athena is notorious for blowing up when detached and re-attached while out and about on the Hypergrid. Something else, by the way, that I can do with Ruth2 v4 with no problems, even if Ruth2 v4 has much more advanced scripted BoM support than any ripped Second Life body.
Nowadays, 15cm stilettos are the absolute minimum requirement for not being compared with an ugly old granny. If you want to be sexy, you have to wear sandals with 30cm stiletto heels and 15cm platform soles. Always and everywhere. And I've actually seen even higher footwear in stores. Not long until those 15cm platforms will be the norm, and the even higher ones will be the minimum for sexiness.
It wasn't that long ago that skirts were a kind of touchy issue. Super-short micro-mini skirts and dresses were preferred, not only because they caused little to no clipping due to less-than-optimal rigging, but also for sexiness. Still, many worried that their undies could peek out. Or their private parts because their skirt or dress was so clingy that it was impossible to wear mesh underwear underneath it. Rigging these garments required a few tricks.
In the meantime, the first skirts and dresses appeared that always bare your buttocks.
Nowadays, if you want to be sexy, you have to wear skirts and dresses which are so short that they reveal your underwear while you're standing up. In fact, they must even reveal your underwear to you when you switch your camera to front view, and then the camera is hovering a great deal higher than your own head. These skirts and dresses usually come with their own underwear, but it's often as tiny as one can get away with. Technically speaking, you could get banned from the OSgrid Plazas for wearing such clothes because the Plaza rules cite "exposed underwear" as a bannable offence.
Some things haven't changed, however. You're still expected to bare as much skin as possible because only the maximum amount of bare skin is sexy. A two-part outfit must bare your midriff. Ideally, so should a dress, at least partially; alternatively, it must reveal as much cleavage as is tolerable on a General-rated sim.
This, of course, goes together with the wide-spread idea that it's always not only summer everywhere in OpenSim, but actually sweltering heat. Yes, even on a Christmas-themed, snow-covered winter sim at night. Oh, and yes, you can walk and even dance on 15cm platforms with 30cm stiletto heels both on snow and ice and on sand. People will most likely keep this attitude up even when winter sims have started using PBR materials for snow and ice to be even more realistic. Being as sexy as possible is such a hard requirement that adapting your outfit to your surroundings has become a complete no-no.
Hosiery is only allowed in the shape of nylon stockings with the garters in plain sight, worn more like lingerie than to keep your legs warm in colder weather. Still, completely naked legs are sexier. One reason why nobody has ever stolen nylon tights from Second Life.
And lastly, and this hasn't changed either: You must never make full use of the capabilites of BoM. It's only for skins, make-up and, more recently, skin details. You must never use it to wear layer clothes. In this light, I wonder why two new shops with layer clothes have opened in the last few months if actually wearing them is frowned upon. The other reason why nobody has ever stolen nylon tights from Second Life.
If you're like me, and you refuse to both wear illegal content all over and participate in that maximum sexiness game all the time, you'd better have friends whom you can hang around with, who support you and your style and who may even back you up and defend you.
#OpenSim #OpenSimulator #SecondLife #Metaverse #VirtualWorlds #VirtualClothing #VirtualFashion -
Walking Corpse – Our Hands, Your Throat Review
By Saunders
Heavyweights Gridlink and Rotten Sound have led the grindcore charge in 2023, but to discount less heralded acts carving a presence in the modern grind scene runs the risk of overlooking the next big thing. Hailing from Gothenburg, Sweden, Walking Corpse independently released an EP and debut full-length, 2020’s The Fear Takes Hold, before inking a deal with one of heavy music’s more impressive modern labels, Transcending Obscurity. Presumably named after the legendary Brutal Truth song, Walking Corpse take the essence of traditional, old school grind, including such raw, precision attributes and glass-shattering intensity of classic Brutal Truth, yet throw down other intriguing elements and influences. They craft an uncompromising, eleven-track shitstorm of teeth-gnashing, jaw-shattering grind. Can the upstart power trio harness this unhinged cacophony into a cohesive and memorable batch of songs?
Walking Corpse impress with a tight batch of songs, mostly eschewing sub one-to-two-minute jams, for more fully fleshed, yet still compact timeframes. Our Hands, Your Throat will have your head spinning once Walking Corpse are finished putting the boot into your battered body after the 34-minute explosion has expired. The sleeker sonic profile, shreds of melody and white-knuckle tension recalls fellow Swedes Nasum and Gadget, amidst shades of Nails and Antigama for good measure. Gritty undertones of sludgy hardcore, noise, and death are leveraged into the curb-stomping assault. It’s intense, unrelenting stuff, with the noisy chaotic grinding enough to scare off the less seasoned listener, though will no doubt please grind aficionados up for the challenge.
“Dreamflesh Navigator” hits like a hammer blow to the back of the head, setting a rabidly aggressive tone of face-melting grind. The frenetic attack and noisy dissonance offering a blood-pumping good time. After the blistering beginning across the first couple of tracks, the punky, d-beaten charge and groovier stomp of “Our Hands, Your Throat” offers a modicum of respite and accessibility to latch onto, showcasing Walking Corpse’s ability to shift between varied modes of destruction. Similarly, “The Wheel” stretches across nearly five minutes, deftly shifting tempos between speed-riddled blasts, crunchy slower moments, and swaggering, sludge-infected passages of grimy dread. It’s a killer, ambitious slab of forward-thinking grind. There is much to enjoy on the longer songs, allowing Walking Corpse to flex their creative muscles. However, shorter throat-stabbing grind cuts will keep the traditionalists happy (“Brainworm,” Malediction,” ‘Forever Sleep”). Walking Corpse are perhaps at their most intriguing when they wrap their razor-sharp, abrasive grind with other genre elements. “Nothing Grows Here” deftly ping pongs from savage grind blasts to violent bursts of sludge, hardcore, and technical, unhinged grooves to unsettle the nerves.
Closer “Eye of an Angry God” possesses a bonkers edge, its measured opening giving way to zippy riffs and skronky axe battery, wrapping the album in an intense, brain-scrambling manner. Our Hands, Your Throat backs its nasty, serrated riffs and tornado-like percussive battery with a tight technical bent, meshing nicely with the band’s varied execution and slight experimental inclinations. Fredrik Rojas (guitars, bass) covers impressive ground, his fleet-fingered fretboard abuse and warped dissonance encompassing elements of grind, sludge, noise and death with aplomb, firing off catchy riff-driven nuggets amidst the technically proficient chaos. Magnus Dahlin (drums, bass) smashes his kit with manic energy and finesse, while vocalist Henrik Blomqvist ties together the trio’s tight package with a solid array of hardcore-tinged barks, growls and higher-pitched screams.
There are no major faults, only nitpicks to level at Our Hands, Your Throat. It is perhaps not the most instantly gratifying grind album, taking a few listens to fully appreciate the band’s unique quirks and make sense of the more subtle hooks. The whole album can seem impenetrable on occasion, but it is worth sticking with. Sleek, though gritty production features jagged, impactful instrumental tones. However, despite a reasonably dynamic master, the solid length and noisy, relentless nature can bring on some ear fatigue. Our Hands, Your Throat catapults Walking Corpse towards the upper tier of the grind pack in 2023. Though perhaps not the best place to start for entry-level listeners testing the grind waters, Walking Corpse smashed out a varied, in-your-face slice of top-shelf grind, scalpel-sharp yet delivered with the burly force of a ten-ton hammer.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Transcending Obscurity Records
Websites: walkingcorpse.bandcamp.com | facebook.com/Walkingcorpse/Gbg
Releases Worldwide: December 1st, 2023#40 #Antigama #BrutalTruth #Gadget #Gridlink #Grind #Grindcore #Hardcore #Nails #Nasum #Noise #OurHandsYourThroat #Review #Reviews #RottenSound #Sludge #SwedishMetal #TranscendingObscurityRecords #WalkingCorpse
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20 Great Songs by The Police
The Police in concert, Atlanta 1979; Sting (vocals, bass), Andy Summers (guitar, vocals), Stewart Copeland (drums, vocals). images: Acroterion (cropped).By the time The Police played Shea Stadium in August 1983 and with a number one album in the charts, they were the biggest band in the world. Somewhat unintuitively for fans soon after this pop pinnacle, they’d go on indefinite hiatus for decades. After a unique journey, it was a dignified way to bow out for three musicians – Sting, Andy Summers, and Stewart Copeland – who’d come from such disparate backgrounds as to make their union an unlikely one to begin with.
From their start, they borrowed from everything around them to go along with their punk-inspired energy while not fitting in with any scene or specific sound. Too young to be classic, too old to be punk, they rode the new wave with their heads down, keeping their jazz and prog chops strictly under wraps. What they also did was turn the idea of the pop rock power trio on its head, developing a unique sound never to be replicated by any other band since. And they had great songs to get them there. Here are 20 of them, hits and deep cuts alike, that illustrate their singular identity.
***
Roxanne
Bassist and singer Sting had been writing songs for several years before co-founding The Police with drummer Stewart Copeland in 1977. Soon after, the technically accomplished Andy Summers joined the band, with his background in progressive rock adding to their sonic arsenal. It was at this point that Sting’s penchant for more sophisticated and musically varied material found fertile soil.
For instance, “Roxanne” was a bossa nova number before they arranged it into the reggae-rock hybrid heard on 1978’s debut record Outlandos D’Amour. Sting’s clarion call voice is accompanied by the now familiar chopping chords and inverted pulse to accompany a story of obsession and control. After a slow-burn on the charts that took the better part of a year as it was re-released in North America, “Roxanne” was the initial vehicle in which they began their journey from clubs to stadiums and would become a live staple.
Listen: Roxanne
Can’t Stand Losing You
“Can’t Stand Losing You” follows a similar template as “Roxanne”, and then some, threatening to betray their skills as top shelf musicians in the field of raw and elemental punk aggression. The rock-reggae dynamic is in place, but also with a kind of dub-inspired ambient middle section. Luckily, dub was the accepted form of chill out music among punks by 1978. The band would expand upon that middle section on stage where it would later morph into the instrumental track “Regatta De Blanc”.
These musical additions of more ambient textures would inform their sound later on with their greater use of effects pedals and atmospherics. Lyrically, the song is marked by black humour, containing lines that are more of a parody of a particular kind of pop song than anything to take seriously. “Can’t Stand Losing You” eventually scored a number two position in the UK and played a vital role in convincing the record company to release their full-length debut.
Listen: Can’t Stand Losing You
Next to You
Opening the Outlandos D’Amour record, this cut is a callback to their days masquerading as a punk band, with only former Police guitarist Henry Padovani having any punk cred among the three of them. Of all their fast and short early songs, this one hits the sweet spot best. Like “Roxanne” it’s also a song about obsession, a theme that writer Sting would revisit throughout the band’s discography.
On this cut, you’d never know that Andy Summers had a well-established Sixties-era R&B, psychedelic, and progressive pedigree as he lays on the appropriate punk-oriented attack to match Sting’s growl of a voice and Copeland’s ferocious drumming. Still not exactly punk rock, it delivered the same spirit. Foo Fighters covered “Next to You” on stage a number of times in the 21st century, at least once with Stewart Copeland sitting in, proving that its immediacy and punk rock attack endures.
Listen: Next to You
Hole in My Life
“Hole in My Life” breaks the pattern of The Police as a punk-inspired band with an affinity for reggae. As it turned out, they were no one-trick pony. Although that reggae influence is in place particularly in Sting’s vocal, James Brown-inspired funk is present here, too. The band build tension on a sweaty groove, accompanied by the YEAH vocal shots to make this one funky track indeed. It certainly demonstrates their cohesion as musicians, revealing the advanced level at which they were operating as instrumentalists.
“Hole in My Life” doesn’t necessarily find them capturing the Police sound as it would come to be. But it hints at some of the stylistic influences that would feed its DNA later found in songs like “Too Much Information” and “O My God”. It also shows how versatile they are as musicians, holding an arrangement in balance while adding dynamic flair at the same time.
Listen: Hole in My Life
Message in a Bottle
“Message in a Bottle” is where The Police begin to come into their own sound, and where the signs that they’d thrown out the pop rock power trio rulebook are most evident. Stewart Copeland’s drums are way out front. Andy Summers’ guitar provides vibrancy and colour while remaining a few steps back. Sting’s bass and Copeland’s drums are often foils for each other instead of acting as a unified rhythm section.
With those dynamics in place, “Message in a Bottle” sounds and feels like a statement of intent outside of any particular genre or scene. The song delves into more sophisticated themes of isolation and vulnerability while still retaining the appealing aggression and instrumental prowess they’d hinted at on their debut. The Police really gel here like never before on their first number one single in the UK and top ten internationally, arguably against the odds considering how many rules they’ve broken.
Listen: Message in a Bottle
Walking on the Moon
Leaning into dub music even further as many post-punk bands were doing by late 1979, “Walking on the Moon” is spare and spacious, led by a low-end riff on which Copeland’s echoey drums and splashes of serrated guitar from Summers are anchored. Serving as their second single from Regatta de Blanc, and their second number one in Britain, “Walking on the Moon” suggests the euphoric feeling of being in love, and of being in the moment, suspended in time.
This cut isn’t derived from a traditional radio-friendly pop sound at all, and even hints at Sting’s background as a jazz bassist. Yet the subject matter and the hookiness of the bass riff make it utterly compelling as a mesmeric drone that works against traditional pop immediacy. In this, it becomes something more than the sum of its parts as one listens with that low-end throb being so hypnotic as to keep us engaged throughout.
Listen: Walking on the Moon
Bring on the Night
Andy Summers’ flowing guitar lines on this against Sting’s ominous bass sets the scene for this nocturnally-oriented cut with a literary angle. The opening lyrics borrow from T.S Eliot’s “The Love Song of J. Alfred Proofrock” in this song about retreating into the darkness of non-existence. Like “Walking on the Moon”, this cut is designed with holes in its sound that helps create the backdrop for this dark night of the soul tune, in part inspired by Norman Mailer’s The Executioner’s Song.
The Police go beyond a three-pronged attack found on their debut and enter into a world of greater sonic nuance. With that, they continue to redefine how a three-piece band operates to deliver more sophisticated material, going beyond the usual rock guitar-bass-drums dynamics to service the overall effect of pure atmosphere in support of a narrative. Also – this cut was a direct inspiration to the central riff and groove to Stevie Nicks’ “Edge of Seventeen”. So, there’s that, too.
Listen: Bring on the Night
Deathwish
Notable for it being one of only a few co-writes between all three members, along with the absence of a chorus, “Deathwish” is like a post-punk teenage tragedy song just before the tragedy in question happens. A companion piece to “Bring on the Night” in a way, this song deals in dark roads, fading headlight beams, and a hint of youthful nihilism that served as the last vestiges of the punk rock mentality in their music.
The Police lock into a mechanical groove that is all about building tension. As well-known as they are as purveyors of hit singles, “Deathwish” is an excellent example of The Police as a jam band, creating a sound that is primarily about a vamping groove defined by a masterclass command of tension and release held in balance – something they’re great at which their singles don’t reveal in quite this same way.
Listen: Deathwish
Driven to Tears
When 1980’s Zenyatta Mondatta came out, The Police had ramped up as a global phenomenon. The pressure was on as their first world tour kicked off in the early part of the year. Even as rushed as they were to follow up with a third record in the middle of tour dates, they were still able to create some of their most memorable songs. This was one of them, a lament to Third World poverty and with its ire aimed at voyeuristic media; too many cameras, not enough food.
Rooted in an amalgam of reggae, dub, and rock music, “Driven to Tears” doubles down on the echoey and phased sound they’d established on their previous record, the highlights being Andy Summers’ minimalist shards of guitar and wail of a solo, sympatico with Sting’s resigned vocal, and Copeland’s percussive accents. This cut would be a precursor to the political material Sting would pursue in his solo career, with this tune remaining to be a mainstay in his setlists.
Listen: Driven to Tears
Don’t Stand So Close to Me
Inspired by Victor Nabokov’s Lolita, Sting’s “Don’t Stand So Close to Me” is one of The Police’s most recognizable and celebrated hits. By this time, Andy Summers’ command of effect pedals begins to take a bigger role in their sound, expanding what he’s able to do with his parts to create engaging sonic environments in which to present the songs. “Don’t Stand So Close to Me” is one of the best examples of that signature set of textures.
The low and ominous wash of sound from him sets the stage for the drama of misguided attraction, loss of innocence, and failed ethics. For a top ten hit, this is some dark subject matter. Adorned with an energetic and catchy chorus that contrasts the more sombre verses, “Don’t Stand So Close to Me” is a high point that demonstrates the pinnacle of their interplay as a band in the studio.
Listen: Don’t Stand So Close to Me
When the World is Running Down, You Make the Best of What’s Still Around
Contemplating the end of the world was a common pursuit by the dawn of the 1980s. This one is a post-apocalyptic story about being the last person on earth, with boredom and loneliness as more formidable enemies than zombies or giant insects. But what this song also does is to explore a common theme that Sting has expanded upon on other songs – the nature of isolation and its debilitating effects on the human spirit in the modern day.
The R&B influences heard on “Hole in My Life” come through here again in Sting’s phrasing, even if it’s within the context of a more consolidated Police sound full of spacious echo and phasing. His distant vocal sounds like its being broadcast over short-wave radio brings the point about loneliness and a lack of connection into sharp relief.
Listen: When the World is Running Down, You Make the Best of What Still Around
De Do Do Do, De Da Da Da
For such a literary-minded songwriter, Sting takes his own medium to task on this song that was a massive worldwide hit for The Police. “De Do Do Do, De Da Da Da” expounds on the language of the heart being more meaningful than political rhetoric used to obscure truths. In addition to the pointed lyrical subject matter, The Police’s skills as instrumentalists were well on display with sophisticated chords, unique textures, and rhythmic complexity a-plenty that really stood out on the radio at the time.
The middle instrumental section alone feels like they could have taken the song in any direction between the three of them. Their advanced instrumental proficiency was rightly celebrated at this point rather than denigrated as it might have been only a few years before when they were playing at CBGB for a punk audience. Times had changed and eventually so would The Police, particularly as the expectations for hit after hit plus the rigours of global tours increased.
Listen: De Do Do Do, De Da Da Da
Invisible Sun
The pressures on the band would continue by the time they recorded 1981’s Ghost in the Machine. In the meantime, Sting had his eye on the headlines. “Invisible Sun” was his take on sectarian violence and military intervention in Northern Ireland at the time, those conditions making it difficult for people living there to see what the future would hold for them and for generations to come.
The Police sound morphed here thanks to a greater use of synthesizers and with a less pop-oriented, more post-punk feel. Sting uses a lower register to deliver his vocal in the verses, then double-tracked in the chorus to communicate a cry for hope in the bleakness of the times. “Invisible Sun” is tellingly far less oriented around the ensemble playing of the three members. That’s played out in various degrees on the whole record, made during a tense time when the ties were fraying between bandmates.
Listen: Invisible Sun
Spirits in the Material World
A big part of the change to The Police sound by Ghost in the Machine was a switch in the production team, with Nigel Gray replaced with Hugh Padgham. Another was Sting’s tendency to record solo demos rather than working out arrangements on the floor with the band. On this cut, that resulted in more synthesized sounds closer to his initial demos to accompany his amazingly bonkers dub-inspired bassline and almost frenzied double-tracked upper register vocals.
Reduced in his role in the arrangement on this cut, Andy Summers still makes his mark via his almost classical flourishes in the instrumental break and into the last verse. Stewart Copeland holds down a pulse anchored to his hi-hat as the song’s complex rhythm shifts in unexpected ways from off-beats in the verses to on-beats in the chorus to accompany the themes of failure and disconnection in human systems and the spiritual malaise that results.
Listen: Spirits in the Material World
Every Little Thing She Does is Magic
Sting wrote this song several years before The Police even formed, and certainly not with their sound in mind. For inclusion on Ghost in the Machine, he worked with keyboardist Jean Roussel who laid down the central piano riff around which this hit song was based. Summers and Copeland were not in favour of this outside element when it came to their material. Yet, the finished product was undeniable, even to them.
“Every Little Thing She Does is Magic” shines very brightly – a shimmering love song that sounded great on the radio at the time, and adds important colour to the album. Copeland’s drumming in particular is exceptional, adding the edge the song needs to keep it from being too soft, and still within the realm of The Police sound as listeners had come to know it.
Listen: Every Little Thing She Does is Magic
Secret Journey
In the middle of a whirlwind of becoming the biggest band in the world while the connections between bandmates were strained to their limits, Sting turned inward. “Secret Journey” is concerned with spiritual exploration, possibly to counteract the very worldly expectations set upon his shoulders and those of his band.
Andy Summers distinguishes himself on this cut, his Roland guitar synthesizer creating the expansive introduction and atmospheric touches throughout. This tune tonally anchors the whole record which is decidedly less brightly lit and certainly more world-weary than Zenyatta Mondatta. This was during a time on which Stewart Copeland reflected in his excellent 2006 documentary Everyone Stares: The Police Inside Out that “it was getting lonely in this band”.
Listen: Secret Journey
Every Breath You Take
After a period apart and in pursuit of solo projects – acting, film composing, and an ambient guitar album – The Police came back strong with a new album which is arguably their best. Synchronicity stormed up the charts in 1983, with this song leading the pack. A seemingly straightforward love song on the surface, it reveals the dark theme of possession found on “Roxanne” on closer inspection, paired with yet another disturbing element – surveillance.
Andy Summers’ arpeggiated guitar lines that cut between major and minor chords set the mood and are iconic by now, while Stewart Copeland’s drums are uncharacteristically restrained – a big part of what makes this song so tense. As much as this song is well-travelled by now, it’s easy to forget that it contains some of Sting’s best singing, making great use of his full range.
Listen: Every Breath You Take
Synchronicity II
Inspired by Arthur Koestler’s Roots of Coincidence, Sting’s story about a put-upon middle-class family man told in contrast to images of a rising horror beneath the surface of a dark Scottish loch is a terrifying statement about the human psyche and its limits. This song is Sting at his most cinematic as the pressures build inside the central character and as the beast far away rises further to the surface as both a metaphor and a parallel for the man’s repressed rage.
Musically, “Synchronicity II” is the full realization of The Police sound on an epic scale. Copeland’s drums are fully unleashed, sounding like waves crashing against a shore. Summers’ roaring riff answers Sting’s authoritative vocal, also adding in atonal squeals and bestial wails to fill in the gaps. This is a towering rock song full of portent, which in the Cold War era certainly reflected the atmosphere of its times.
Listen: Synchronicity II
Wrapped Around Your Finger
The imbalanced power dynamics only hinted at in “Don’t Stand So Close to Me” come to their maturity here in this tune about mentorship, ambition, and betrayal. With lines that reflect a kind of sorcerer’s apprentice tale, “Wrapped Around Your Finger” captures the imagination with a sense of foreboding, feeling like a whole movie inside its five-minute running time.
This song is arguably the most detailed of all The Police’s hit singles when it comes to the arrangement. Stewart Copeland provides a whole orchestra of percussion behind the spare synth lines and Andy Summers’ portentous wash of treated guitar and echoey phrasing. Sting shows his maturity as a songwriter here in a cinematic tune about how quickly the tables can turn in a relationship, with parties often taking what they can from each other before moving on.
Listen: Wrapped Around Your Finger
Tea in the Sahara
The final track on the UK version of Synchronicity, the lyrics in “Tea in the Sahara” take on the quality of a myth, inspired by Paul Bowles’ novel The Sheltering Sky that contains this tale of an unfulfilled promise. It’s appropriately accompanied by Andy Summers’ guitar effects that evoke the unspoiled dunes of a moonlit African desert with Copeland’s interplay between hi-hat and kick drum accents supporting Sting’s heartbeat-like bassline.
Of all the songs on Synchronicity, this one reflects what the band’s sound might have been had they gathered in the studio to record a sixth record – warm, timeless, stylistically ambiguous, and wonderfully multilayered. In this expectation by 1984, we listeners were the sisters waiting in the desert for the promised prince who would never return – at least not with a follow-up album.
Listen: Tea in the Sahara
***
Runners up and bubbling under:
- Fall Out
- Truth Hits Everybody
- So Lonely
- Born in the 50s
- Bed’s Too Big Without You
- A Sermon
- No Time This Time
- Voices Inside My Head
- Canary in a Coalmine
- Man in a Suitcase
- Omegaman
- Demolition Man
- One World (Not Three)
- Darkness
- Shambelle
- I Burn for You
- Murder by Numbers
- King of Pain
- O My God
- Walking in Your Footsteps
***
When the Police gathered for their reunion tour in 2007, they knew that the material they’d created no longer belonged to them, and that there was nothing more for them to add other than by playing it together again. That realization took the pressure off them, allowing them to frame the material as the star of the show, with the three musicians who created it as merely the conduits. Given the strong personalities involved, that certainly shows the depth of value of their songs – many of them driven by conflict and dark impulses that resonated with a whole generation.
For the three musicians, the reunion seemed to do them as much good as it did for fans to hear them play these songs again. After decades of solo projects, they could view The Police in retrospect at a safe distance. It certainly underscored the point that their material stands on its own in any era whether the three play together again or not. That’s a significant achievement that goes beyond any other ambition, Shea Stadium included.
To learn more about The Police, investigate thepolice.com
You might also want to check out YouTube host, producer, and musician Rick Beato’s series of interviews with all three members of The Police in which each of them talk about the band and their own musical approaches while in it:
Stewart Copeland | Sting | Andy Summers
Check out Stewart Copeland’s YouTube channel on which, among other things, he hosts impromptu jams with a lot of musicians you’ve heard of. And for an added delightful bonus, here’s some footage of Stewart Copeland playing percussion on “Wrapped Around Your Finger” during the band’s 2007-08 reunion tour. It is something!
Andy Summers is active on Instagram. Check out his feed at @andysummers_official
And of course, Sting hasn’t exactly slacked off as a solo artist. His site is (perhaps predictably) sting.com.
EEE-OH-oh!
Enjoy!
#20GreatSongs #70sMusic #80sMusic #AndySummers #StewartCopeland #Sting #ThePolice
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20 Great Songs by The Police
The Police in concert, Atlanta 1979; Sting (vocals, bass), Andy Summers (guitar, vocals), Stewart Copeland (drums, vocals). images: Acroterion (cropped).By the time The Police played Shea Stadium in August 1983 and with a number one album in the charts, they were the biggest band in the world. Somewhat unintuitively for fans soon after this pop pinnacle, they’d go on indefinite hiatus for decades. After a unique journey, it was a dignified way to bow out for three musicians – Sting, Andy Summers, and Stewart Copeland – who’d come from such disparate backgrounds as to make their union an unlikely one to begin with.
From their start, they borrowed from everything around them to go along with their punk-inspired energy while not fitting in with any scene or specific sound. Too young to be classic, too old to be punk, they rode the new wave with their heads down, keeping their jazz and prog chops strictly under wraps. What they also did was turn the idea of the pop rock power trio on its head, developing a unique sound never to be replicated by any other band since. And they had great songs to get them there. Here are 20 of them, hits and deep cuts alike, that illustrate their singular identity.
***
Roxanne
Bassist and singer Sting had been writing songs for several years before co-founding The Police with drummer Stewart Copeland in 1977. Soon after, the technically accomplished Andy Summers joined the band, with his background in progressive rock adding to their sonic arsenal. It was at this point that Sting’s penchant for more sophisticated and musically varied material found fertile soil.
For instance, “Roxanne” was a bossa nova number before they arranged it into the reggae-rock hybrid heard on 1978’s debut record Outlandos D’Amour. Sting’s clarion call voice is accompanied by the now familiar chopping chords and inverted pulse to accompany a story of obsession and control. After a slow-burn on the charts that took the better part of a year as it was re-released in North America, “Roxanne” was the initial vehicle in which they began their journey from clubs to stadiums and would become a live staple.
Listen: Roxanne
Can’t Stand Losing You
“Can’t Stand Losing You” follows a similar template as “Roxanne”, and then some, threatening to betray their skills as top shelf musicians in the field of raw and elemental punk aggression. The rock-reggae dynamic is in place, but also with a kind of dub-inspired ambient middle section. Luckily, dub was the accepted form of chill out music among punks by 1978. The band would expand upon that middle section on stage where it would later morph into the instrumental track “Regatta De Blanc”.
These musical additions of more ambient textures would inform their sound later on with their greater use of effects pedals and atmospherics. Lyrically, the song is marked by black humour, containing lines that are more of a parody of a particular kind of pop song than anything to take seriously. “Can’t Stand Losing You” eventually scored a number two position in the UK and played a vital role in convincing the record company to release their full-length debut.
Listen: Can’t Stand Losing You
Next to You
Opening the Outlandos D’Amour record, this cut is a callback to their days masquerading as a punk band, with only former Police guitarist Henry Padovani having any punk cred among the three of them. Of all their fast and short early songs, this one hits the sweet spot best. Like “Roxanne” it’s also a song about obsession, a theme that writer Sting would revisit throughout the band’s discography.
On this cut, you’d never know that Andy Summers had a well-established Sixties-era R&B, psychedelic, and progressive pedigree as he lays on the appropriate punk-oriented attack to match Sting’s growl of a voice and Copeland’s ferocious drumming. Still not exactly punk rock, it delivered the same spirit. Foo Fighters covered “Next to You” on stage a number of times in the 21st century, at least once with Stewart Copeland sitting in, proving that its immediacy and punk rock attack endures.
Listen: Next to You
Hole in My Life
“Hole in My Life” breaks the pattern of The Police as a punk-inspired band with an affinity for reggae. As it turned out, they were no one-trick pony. Although that reggae influence is in place particularly in Sting’s vocal, James Brown-inspired funk is present here, too. The band build tension on a sweaty groove, accompanied by the YEAH vocal shots to make this one funky track indeed. It certainly demonstrates their cohesion as musicians, revealing the advanced level at which they were operating as instrumentalists.
“Hole in My Life” doesn’t necessarily find them capturing the Police sound as it would come to be. But it hints at some of the stylistic influences that would feed its DNA later found in songs like “Too Much Information” and “O My God”. It also shows how versatile they are as musicians, holding an arrangement in balance while adding dynamic flair at the same time.
Listen: Hole in My Life
Message in a Bottle
“Message in a Bottle” is where The Police begin to come into their own sound, and where the signs that they’d thrown out the pop rock power trio rulebook are most evident. Stewart Copeland’s drums are way out front. Andy Summers’ guitar provides vibrancy and colour while remaining a few steps back. Sting’s bass and Copeland’s drums are often foils for each other instead of acting as a unified rhythm section.
With those dynamics in place, “Message in a Bottle” sounds and feels like a statement of intent outside of any particular genre or scene. The song delves into more sophisticated themes of isolation and vulnerability while still retaining the appealing aggression and instrumental prowess they’d hinted at on their debut. The Police really gel here like never before on their first number one single in the UK and top ten internationally, arguably against the odds considering how many rules they’ve broken.
Listen: Message in a Bottle
Walking on the Moon
Leaning into dub music even further as many post-punk bands were doing by late 1979, “Walking on the Moon” is spare and spacious, led by a low-end riff on which Copeland’s echoey drums and splashes of serrated guitar from Summers are anchored. Serving as their second single from Regatta de Blanc, and their second number one in Britain, “Walking on the Moon” suggests the euphoric feeling of being in love, and of being in the moment, suspended in time.
This cut isn’t derived from a traditional radio-friendly pop sound at all, and even hints at Sting’s background as a jazz bassist. Yet the subject matter and the hookiness of the bass riff make it utterly compelling as a mesmeric drone that works against traditional pop immediacy. In this, it becomes something more than the sum of its parts as one listens with that low-end throb being so hypnotic as to keep us engaged throughout.
Listen: Walking on the Moon
Bring on the Night
Andy Summers’ flowing guitar lines on this against Sting’s ominous bass sets the scene for this nocturnally-oriented cut with a literary angle. The opening lyrics borrow from T.S Eliot’s “The Love Song of J. Alfred Proofrock” in this song about retreating into the darkness of non-existence. Like “Walking on the Moon”, this cut is designed with holes in its sound that helps create the backdrop for this dark night of the soul tune, in part inspired by Norman Mailer’s The Executioner’s Song.
The Police go beyond a three-pronged attack found on their debut and enter into a world of greater sonic nuance. With that, they continue to redefine how a three-piece band operates to deliver more sophisticated material, going beyond the usual rock guitar-bass-drums dynamics to service the overall effect of pure atmosphere in support of a narrative. Also – this cut was a direct inspiration to the central riff and groove to Stevie Nicks’ “Edge of Seventeen”. So, there’s that, too.
Listen: Bring on the Night
Deathwish
Notable for it being one of only a few co-writes between all three members, along with the absence of a chorus, “Deathwish” is like a post-punk teenage tragedy song just before the tragedy in question happens. A companion piece to “Bring on the Night” in a way, this song deals in dark roads, fading headlight beams, and a hint of youthful nihilism that served as the last vestiges of the punk rock mentality in their music.
The Police lock into a mechanical groove that is all about building tension. As well-known as they are as purveyors of hit singles, “Deathwish” is an excellent example of The Police as a jam band, creating a sound that is primarily about a vamping groove defined by a masterclass command of tension and release held in balance – something they’re great at which their singles don’t reveal in quite this same way.
Listen: Deathwish
Driven to Tears
When 1980’s Zenyatta Mondatta came out, The Police had ramped up as a global phenomenon. The pressure was on as their first world tour kicked off in the early part of the year. Even as rushed as they were to follow up with a third record in the middle of tour dates, they were still able to create some of their most memorable songs. This was one of them, a lament to Third World poverty and with its ire aimed at voyeuristic media; too many cameras, not enough food.
Rooted in an amalgam of reggae, dub, and rock music, “Driven to Tears” doubles down on the echoey and phased sound they’d established on their previous record, the highlights being Andy Summers’ minimalist shards of guitar and wail of a solo, sympatico with Sting’s resigned vocal, and Copeland’s percussive accents. This cut would be a precursor to the political material Sting would pursue in his solo career, with this tune remaining to be a mainstay in his setlists.
Listen: Driven to Tears
Don’t Stand So Close to Me
Inspired by Victor Nabokov’s Lolita, Sting’s “Don’t Stand So Close to Me” is one of The Police’s most recognizable and celebrated hits. By this time, Andy Summers’ command of effect pedals begins to take a bigger role in their sound, expanding what he’s able to do with his parts to create engaging sonic environments in which to present the songs. “Don’t Stand So Close to Me” is one of the best examples of that signature set of textures.
The low and ominous wash of sound from him sets the stage for the drama of misguided attraction, loss of innocence, and failed ethics. For a top ten hit, this is some dark subject matter. Adorned with an energetic and catchy chorus that contrasts the more sombre verses, “Don’t Stand So Close to Me” is a high point that demonstrates the pinnacle of their interplay as a band in the studio.
Listen: Don’t Stand So Close to Me
When the World is Running Down, You Make the Best of What’s Still Around
Contemplating the end of the world was a common pursuit by the dawn of the 1980s. This one is a post-apocalyptic story about being the last person on earth, with boredom and loneliness as more formidable enemies than zombies or giant insects. But what this song also does is to explore a common theme that Sting has expanded upon on other songs – the nature of isolation and its debilitating effects on the human spirit in the modern day.
The R&B influences heard on “Hole in My Life” come through here again in Sting’s phrasing, even if it’s within the context of a more consolidated Police sound full of spacious echo and phasing. His distant vocal sounds like its being broadcast over short-wave radio brings the point about loneliness and a lack of connection into sharp relief.
Listen: When the World is Running Down, You Make the Best of What Still Around
De Do Do Do, De Da Da Da
For such a literary-minded songwriter, Sting takes his own medium to task on this song that was a massive worldwide hit for The Police. “De Do Do Do, De Da Da Da” expounds on the language of the heart being more meaningful than political rhetoric used to obscure truths. In addition to the pointed lyrical subject matter, The Police’s skills as instrumentalists were well on display with sophisticated chords, unique textures, and rhythmic complexity a-plenty that really stood out on the radio at the time.
The middle instrumental section alone feels like they could have taken the song in any direction between the three of them. Their advanced instrumental proficiency was rightly celebrated at this point rather than denigrated as it might have been only a few years before when they were playing at CBGB for a punk audience. Times had changed and eventually so would The Police, particularly as the expectations for hit after hit plus the rigours of global tours increased.
Listen: De Do Do Do, De Da Da Da
Invisible Sun
The pressures on the band would continue by the time they recorded 1981’s Ghost in the Machine. In the meantime, Sting had his eye on the headlines. “Invisible Sun” was his take on sectarian violence and military intervention in Northern Ireland at the time, those conditions making it difficult for people living there to see what the future would hold for them and for generations to come.
The Police sound morphed here thanks to a greater use of synthesizers and with a less pop-oriented, more post-punk feel. Sting uses a lower register to deliver his vocal in the verses, then double-tracked in the chorus to communicate a cry for hope in the bleakness of the times. “Invisible Sun” is tellingly far less oriented around the ensemble playing of the three members. That’s played out in various degrees on the whole record, made during a tense time when the ties were fraying between bandmates.
Listen: Invisible Sun
Spirits in the Material World
A big part of the change to The Police sound by Ghost in the Machine was a switch in the production team, with Nigel Gray replaced with Hugh Padgham. Another was Sting’s tendency to record solo demos rather than working out arrangements on the floor with the band. On this cut, that resulted in more synthesized sounds closer to his initial demos to accompany his amazingly bonkers dub-inspired bassline and almost frenzied double-tracked upper register vocals.
Reduced in his role in the arrangement on this cut, Andy Summers still makes his mark via his almost classical flourishes in the instrumental break and into the last verse. Stewart Copeland holds down a pulse anchored to his hi-hat as the song’s complex rhythm shifts in unexpected ways from off-beats in the verses to on-beats in the chorus to accompany the themes of failure and disconnection in human systems and the spiritual malaise that results.
Listen: Spirits in the Material World
Every Little Thing She Does is Magic
Sting wrote this song several years before The Police even formed, and certainly not with their sound in mind. For inclusion on Ghost in the Machine, he worked with keyboardist Jean Roussel who laid down the central piano riff around which this hit song was based. Summers and Copeland were not in favour of this outside element when it came to their material. Yet, the finished product was undeniable, even to them.
“Every Little Thing She Does is Magic” shines very brightly – a shimmering love song that sounded great on the radio at the time, and adds important colour to the album. Copeland’s drumming in particular is exceptional, adding the edge the song needs to keep it from being too soft, and still within the realm of The Police sound as listeners had come to know it.
Listen: Every Little Thing She Does is Magic
Secret Journey
In the middle of a whirlwind of becoming the biggest band in the world while the connections between bandmates were strained to their limits, Sting turned inward. “Secret Journey” is concerned with spiritual exploration, possibly to counteract the very worldly expectations set upon his shoulders and those of his band.
Andy Summers distinguishes himself on this cut, his Roland guitar synthesizer creating the expansive introduction and atmospheric touches throughout. This tune tonally anchors the whole record which is decidedly less brightly lit and certainly more world-weary than Zenyatta Mondatta. This was during a time on which Stewart Copeland reflected in his excellent 2006 documentary Everyone Stares: The Police Inside Out that “it was getting lonely in this band”.
Listen: Secret Journey
Every Breath You Take
After a period apart and in pursuit of solo projects – acting, film composing, and an ambient guitar album – The Police came back strong with a new album which is arguably their best. Synchronicity stormed up the charts in 1983, with this song leading the pack. A seemingly straightforward love song on the surface, it reveals the dark theme of possession found on “Roxanne” on closer inspection, paired with yet another disturbing element – surveillance.
Andy Summers’ arpeggiated guitar lines that cut between major and minor chords set the mood and are iconic by now, while Stewart Copeland’s drums are uncharacteristically restrained – a big part of what makes this song so tense. As much as this song is well-travelled by now, it’s easy to forget that it contains some of Sting’s best singing, making great use of his full range.
Listen: Every Breath You Take
Synchronicity II
Inspired by Arthur Koestler’s Roots of Coincidence, Sting’s story about a put-upon middle-class family man told in contrast to images of a rising horror beneath the surface of a dark Scottish loch is a terrifying statement about the human psyche and its limits. This song is Sting at his most cinematic as the pressures build inside the central character and as the beast far away rises further to the surface as both a metaphor and a parallel for the man’s repressed rage.
Musically, “Synchronicity II” is the full realization of The Police sound on an epic scale. Copeland’s drums are fully unleashed, sounding like waves crashing against a shore. Summers’ roaring riff answers Sting’s authoritative vocal, also adding in atonal squeals and bestial wails to fill in the gaps. This is a towering rock song full of portent, which in the Cold War era certainly reflected the atmosphere of its times.
Listen: Synchronicity II
Wrapped Around Your Finger
The imbalanced power dynamics only hinted at in “Don’t Stand So Close to Me” come to their maturity here in this tune about mentorship, ambition, and betrayal. With lines that reflect a kind of sorcerer’s apprentice tale, “Wrapped Around Your Finger” captures the imagination with a sense of foreboding, feeling like a whole movie inside its five-minute running time.
This song is arguably the most detailed of all The Police’s hit singles when it comes to the arrangement. Stewart Copeland provides a whole orchestra of percussion behind the spare synth lines and Andy Summers’ portentous wash of treated guitar and echoey phrasing. Sting shows his maturity as a songwriter here in a cinematic tune about how quickly the tables can turn in a relationship, with parties often taking what they can from each other before moving on.
Listen: Wrapped Around Your Finger
Tea in the Sahara
The final track on the UK version of Synchronicity, the lyrics in “Tea in the Sahara” take on the quality of a myth, inspired by Paul Bowles’ novel The Sheltering Sky that contains this tale of an unfulfilled promise. It’s appropriately accompanied by Andy Summers’ guitar effects that evoke the unspoiled dunes of a moonlit African desert with Copeland’s interplay between hi-hat and kick drum accents supporting Sting’s heartbeat-like bassline.
Of all the songs on Synchronicity, this one reflects what the band’s sound might have been had they gathered in the studio to record a sixth record – warm, timeless, stylistically ambiguous, and wonderfully multilayered. In this expectation by 1984, we listeners were the sisters waiting in the desert for the promised prince who would never return – at least not with a follow-up album.
Listen: Tea in the Sahara
***
Runners up and bubbling under:
- Fall Out
- Truth Hits Everybody
- So Lonely
- Born in the 50s
- Bed’s Too Big Without You
- A Sermon
- No Time This Time
- Voices Inside My Head
- Canary in a Coalmine
- Man in a Suitcase
- Omegaman
- Demolition Man
- One World (Not Three)
- Darkness
- Shambelle
- I Burn for You
- Murder by Numbers
- King of Pain
- O My God
- Walking in Your Footsteps
***
When the Police gathered for their reunion tour in 2007, they knew that the material they’d created no longer belonged to them, and that there was nothing more for them to add other than by playing it together again. That realization took the pressure off them, allowing them to frame the material as the star of the show, with the three musicians who created it as merely the conduits. Given the strong personalities involved, that certainly shows the depth of value of their songs – many of them driven by conflict and dark impulses that resonated with a whole generation.
For the three musicians, the reunion seemed to do them as much good as it did for fans to hear them play these songs again. After decades of solo projects, they could view The Police in retrospect at a safe distance. It certainly underscored the point that their material stands on its own in any era whether the three play together again or not. That’s a significant achievement that goes beyond any other ambition, Shea Stadium included.
To learn more about The Police, investigate thepolice.com
You might also want to check out YouTube host, producer, and musician Rick Beato’s series of interviews with all three members of The Police in which each of them talk about the band and their own musical approaches while in it:
Stewart Copeland | Sting | Andy Summers
Check out Stewart Copeland’s YouTube channel on which, among other things, he hosts impromptu jams with a lot of musicians you’ve heard of. And for an added delightful bonus, here’s some footage of Stewart Copeland playing percussion on “Wrapped Around Your Finger” during the band’s 2007-08 reunion tour. It is something!
Andy Summers is active on Instagram. Check out his feed at @andysummers_official
And of course, Sting hasn’t exactly slacked off as a solo artist. His site is (perhaps predictably) sting.com.
EEE-OH-oh!
Enjoy!
#20GreatSongs #70sMusic #80sMusic #AndySummers #StewartCopeland #Sting #ThePolice