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Part 6 of #GwenAndGrey (some overlap with part 5 )
"Grey, please meet my brother's partner in crime, the late Lady Emily Grace. Emily, this is Grey, my spouse."
"A pleasure, Great Dragon."
Grey stared. And stared.
Gwen nudged Grey. "Sorry, pleased to meet you. I have not seen one of your kind so ..."
"Coherent? Stable? Non-kill-crazy? Blame Allen, the sweetheart. He could not bear the thought of me wandering the halls aimless and lost, so he hunted down a spell long lost, and brought my mind back to my spirit."
"That seems, err, I mean" Grey fumbled.
"What my love is trying to say is that that is an incredibly dedicated act on Allen's part, and they wish you the best in your relationship."
Emily laughed "Oh Gwen, you have not changed a scrap. Grey, he started looking when he was seven, and only found the book with Gwen's help. I'll tell you all about it on the way back. Men? We are escorting Lady Gwen and her family back to the castle."
With that the squad of soldiers formed a guard, and they started moving again, with Emily cheerfully relating how two children had dug into the past of Bannock Castle, and eventually uncovered the sorcerer's workshop.
"That is how Gwen learned magic. Of course I mostly have this from everyone else, my own memories of that time are fragmented at best. It was not until after Allen's nineteenth birthday that he finally found the spell. That was four years ago."
"About a month before we eloped, dearest" Gwen supplied. "Emily did not waste any time after she got her mind back. Allen wasn't seen for two days. Almost everyone thought that the castle's ghost was devouring him with the sounds that were coming from his suite" she added, grinning.
"Like you were any better! I heard the stories coming down the mountain! Oops! We are here. Some decorum is called for, I suppose."
Bannock Castle rose above them. Centuries old, it had been rebuilt at least three times, but the keep at the core of it remained intact - although it had been re-roofed many times. The gates were iron-bound and many inches thick, with an iron portcullis beyond. Five walls enclosed the keep, a deep well, stables, and storehouses, along with several dwellings. The keep itself rose nearly a hundred feet into the sky, with huge buttresses supporting the structure.
They passed through the gatehouse, with murder holes above them, and arrow slits to either side, and emerged into the courtyard.
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Remarkable comeback but #seals here in #Norfolk are threatened by our stupidity, carelessness & venality every single day. #Seals are not here for our entertainment
#dogattack #sealselfies #sewage #jetskiers #ghostgear #flyingrings #marinepollution https://www.theguardian.com/environment/2023/jan/27/grey-seals-make-remarkable-comeback-uk-aoe?CMP=Share_iOSApp_Other -
The latest fountain pen video is now available for your viewing pleasure! 🖋️
In this video, I take a deep dive into two intriguing grey inks:
• Colorverse Erebus Crater
• Diamine GhostI explore each ink through swatches and chromatography, followed by a writing sample to show how they perform in real use.
#fountainpens #fountainpen #penreview #writing #fountainpenink #fountainpeninkreview
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Remarkable comeback but #seals here in #Norfolk are threatened by our stupidity, carelessness & venality every single day. #Seals are not here for our entertainment
#dogattack #sealselfies #sewage #jetskiers #ghostgear #flyingrings #marinepollution https://www.theguardian.com/environment/2023/jan/27/grey-seals-make-remarkable-comeback-uk-aoe?CMP=Share_iOSApp_Other -
I was going to procrastinate and do this tomorrow, but I pushed myself to do it today, for Ink Swatch Wednesday: https://cjs-wunderkammer.ghost.io/ink-swatch-wednesday-robert-oster-grey-seas/
#FountainPens #inks #RobertOster #InkSwatchWednesday #SwatchWednesday #blog
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Remarkable comeback but #seals here in #Norfolk are threatened by our stupidity, carelessness & venality every single day. #Seals are not here for our entertainment
#dogattack #sealselfies #sewage #jetskiers #ghostgear #flyingrings #marinepollution https://www.theguardian.com/environment/2023/jan/27/grey-seals-make-remarkable-comeback-uk-aoe?CMP=Share_iOSApp_Other -
Remarkable comeback but #seals here in #Norfolk are threatened by our stupidity, carelessness & venality every single day. #Seals are not here for our entertainment
#dogattack #sealselfies #sewage #jetskiers #ghostgear #flyingrings #marinepollution https://www.theguardian.com/environment/2023/jan/27/grey-seals-make-remarkable-comeback-uk-aoe?CMP=Share_iOSApp_Other -
Remarkable comeback but #seals here in #Norfolk are threatened by our stupidity, carelessness & venality every single day. #Seals are not here for our entertainment
#dogattack #sealselfies #sewage #jetskiers #ghostgear #flyingrings #marinepollution https://www.theguardian.com/environment/2023/jan/27/grey-seals-make-remarkable-comeback-uk-aoe?CMP=Share_iOSApp_Other -
Ανάρτηση και τραγούδι του Ηλία Ζάικου των Blues Wire για τη Γάζα.
στίχοι:
"Comes a time we need to pray to the gods and ghosts of faith
Comes a night we have to grieve for the dreams that fade to grey
There’s a tiny shattered place away from this world
Where the blood is running cold and feels like hope is gone
Gaza…Gaza
Salty water- pale sand – empty ruins - desert land
There were times to shed a tear for the courage we thought was lost
There have been battles won and fights to give, in the end rebellion double crossed
A sound of sadness echoes each and every dawn
You can hear it rising high down by the shore
Gaza…Gaza
Salty water- pale sand – empty ruins - desert land
From the river to the sea people will be free"
https://blueswire1.bandcamp.com/track/gaza
#music #ERisNowPlaying #blues #gaza #γάζα #palestine #μουσική @blueswire -
Ανάρτηση και τραγούδι του Ηλία Ζάικου των Blues Wire για τη Γάζα.
στίχοι:
"Comes a time we need to pray to the gods and ghosts of faith
Comes a night we have to grieve for the dreams that fade to grey
There’s a tiny shattered place away from this world
Where the blood is running cold and feels like hope is gone
Gaza…Gaza
Salty water- pale sand – empty ruins - desert land
There were times to shed a tear for the courage we thought was lost
There have been battles won and fights to give, in the end rebellion double crossed
A sound of sadness echoes each and every dawn
You can hear it rising high down by the shore
Gaza…Gaza
Salty water- pale sand – empty ruins - desert land
From the river to the sea people will be free"
https://blueswire1.bandcamp.com/track/gaza
#music #ERisNowPlaying #blues #gaza #γάζα #palestine #μουσική @blueswire -
Happy Saturday. It's phlox season. 😊
The cultivar name is Grey Lady. Looks amazing at dusk.
#Saturday
#Lilac
#ghostly
#CottageGardens
#Bloomscrolling -
I saw my first ever Brocken Spectre yesterday! I was flying, & out of the window as we descended was a grey aircraft that was shadowing us, occasionally visible through the clouds & surrounded by a rainbow halo. The Brocken Spectre, a phenomenon of light and moisture, has been responsible for mountaineers thinking they are seeing outsize, mysterious human figures on nearby peaks, & is likely behind untold myths of ghosts & giants.
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I was going to procrastinate and do this tomorrow, but I pushed myself to do it today, for Ink Swatch Wednesday: https://cjs-wunderkammer.ghost.io/ink-swatch-wednesday-robert-oster-grey-seas/
#FountainPens #inks #RobertOster #InkSwatchWednesday #SwatchWednesday #blog
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I was going to procrastinate and do this tomorrow, but I pushed myself to do it today, for Ink Swatch Wednesday: https://cjs-wunderkammer.ghost.io/ink-swatch-wednesday-robert-oster-grey-seas/
#FountainPens #inks #RobertOster #InkSwatchWednesday #SwatchWednesday #blog
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I was going to procrastinate and do this tomorrow, but I pushed myself to do it today, for Ink Swatch Wednesday: https://cjs-wunderkammer.ghost.io/ink-swatch-wednesday-robert-oster-grey-seas/
#FountainPens #inks #RobertOster #InkSwatchWednesday #SwatchWednesday #blog
-
I was going to procrastinate and do this tomorrow, but I pushed myself to do it today, for Ink Swatch Wednesday: https://cjs-wunderkammer.ghost.io/ink-swatch-wednesday-robert-oster-grey-seas/
#FountainPens #inks #RobertOster #InkSwatchWednesday #SwatchWednesday #blog
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#beannact #JohnODonohue #poetry
Beannacht
by John O’DonohueOn the day when
The weight deadens
On your shoulders
And you stumble,
May the clay dance
To balance you.And when your eyes
Freeze behind
The grey window
And the ghost of loss
Gets into you,
May a flock of colours,
Indigo, red, green
And azure blue,
Come to awaken in you
A meadow of delight.When the canvas frays
In the currach of thought
And a stain of ocean
Blackens beneath you,
May there come across the waters
A path of yellow moonlight
To bring you safely home.May the nourishment of the earth be yours,
May the clarity of light be yours,
May the fluency of the ocean be yours,
May the protection of the ancestors be yours.And so may a slow
Wind work these words
Of love around you,
An invisible cloak
To mind your life. -
Looking over the parapets of #Carisbooke #Castle we can see the #boneyard beyond. This castle was once the living heart of the Island, but now it is but a broken one. Windswept and grey, a hulk that has stood in one shape or another for over a millennia. How many have died on these walls and how many #shades stand here looking at the #graves? The #shadows of the past clinging thick with the restless dead. #Ghost #GhostStories #Folklore #Cemetery #Folklore #MythicMonday #TombTuesday
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Looking over the parapets of #Carisbooke #Castle we can see the #boneyard beyond. This castle was once the living heart of the Island, but now it is but a broken one. Windswept and grey, a hulk that has stood in one shape or another for over a millennia.
How many have died on these walls and how many #shades stand here looking at the #graves? The #shadows of the past clinging thick with the restless dead.
#Ghost #GhostStories #Folklore #Cemetery #Folklore #MythicMonday
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This thread was originally written and published in March 2024.
For no good reason, I decided to make a chart that shows the changing political make-up of Edinburgh’s municipal government in the last 124 years. It’s a graph whose changing colours and gradients tell lots of different political and historical stories about municipal government in that time, so let’s pick apart 124 years of Edinburgh’s political local history and find out what was going on and why, shall we?
Seat make-up of Edinburgh Town / District / City Council after Municipal Elections, 1920-presentFirst things first, we need to get a few things out of the way. In doing so it helps to avoid coming to the wrong conclusions about the graph and helps to understand what’s going on in the background and how the local electoral system has changed over time.
Until 1974, people voted for the Town Council, which was the elected1 component of what was known formally as the Lord Provost, Magistrates and Council of the City and Royal Burgh of Edinburgh but almost universally as just the Corporation. The city was divided up into wards, as it is now, and each ward had three councillors, one of whom was elected each year on rotation. Each councillor served a three year term after which they retired but could stand again for re-election. This meant that voters were expected to vote annually for one councillor, the ballots of which were always held in the first week of November until in 1948 they were shifted to May. If a councillor stepped down or died during their term of office there would either be a by-election or if it was close to the next election then two seats would be up for grabs. Very occasionally, the entire Town Council was up for vote, e.g. after the amalgamation of Edinburgh and Leith in 1920 and when the date of ballots moved from November to May in 1948.
The Town Council in April 1961, the Lord Provost (John Greig Dunbar) and Bailies (senior Magistrates) sit at the head of the meeting. The Labour members are on the left, the Progressives on the right © Edinburgh City LibrariesIn 1974, voters went to the polls to vote for members of the new District Council. The District was the lower tier of municipal government established by the Local Government (Scotland) Act 1973. Edinburgh, Mid-, East and West Lothian Districts together formed the upper tier; Lothian Regional Council. This new system came into effect on May 16th 1975 and had votes every three (later four) years for the entire council, with a single councillor elected per ward on a first-past-the-post system. In 1995, voters went to the polls for the unitary authority of the City (of Edinburgh) Council as a result of the Local Government etc. (Scotland) Act 1994 which abolished the Regional Councils and devolved their powers to new unitary authorities based roughly on the Districts (or closely, in the case of Edinburgh). City Council elections followed the same electoral system as the District until 2007, when the Local Governance (Scotland) Act 2004 changed this to a multi-member ward system, with three or four councillors elected every five years by proportional representation.
n.b. The graphs do not show the results of any intermediate by-elections, or the proportion of votes cast, it only shows the proportion of seats on the council that were held by each political grouping after the election of that year.
1920s. Moderates and Socialists
Edinburgh Town Council make-up 1920-30Our graph starts at 1920, when a full Town Council election was held on account of Leith having just been incorporated in to the City under the terms of the Edinburgh Boundaries Extension and Tramways Act 1920. The city was completely dominated at this time by the purple of the Moderates – not a formal party, but a political bloc of small-c conservatives, Liberals, Unionists, Liberal-Unionists and Independents who were strongly aligned to the Church of Scotland and whose purpose was largely to keep the right sort of people running the city and keep the red Socialists2 of Labour out.
Central Edinburgh Constituency Labour Party banner, 1925. © Edinburgh City LibrariesThe Moderates were effective in the latter purpose but inevitably Edinburgh’s first Labour councillor was elected on November 2nd 1909 when dentist John Alexander Young was returned for the Dalry ward. Although by 1930 Labour had crept slowly up to sixteen councillors – after a jump from 6 to 14 in 1926, (just shy of 1/4 of the Council – there was still no sign of the city “going red” as was threatening in Glasgow. Just peeping in at the top in 1930 is the thin grey line of a single independent councillor, Alexander Thomson, who would shift his allegiance to the Moderates in 1933.
1930s. Progressives and Protestants
Edinburgh Town Council make-up 1930-44Between 1930 and 1940 there were two big changes in the Town Council – none of which actually affected who actually ran the City. In 1936 the loose, purple assemblage of the Moderates re-constituted themselves as the dark blue band of the Progressives, a more formally constituted party to counter the threat posed by Labour. On the formation of the Glasgow Progressives, where by now Labour was in control of the Town Council, the Scotsman described them as “an organisation which would effectively combat the Socialist menace, break down the apathy of many citizens, and co-ordinate all Moderate opinion in the city.” The other big change during this time was the brief but rapid rise and fall of the black band of John Cormack’s Protestant Action Society.
The banner of Loyal Orange Lodge no. 188, who style themselves “Cormack’s Protestant Defenders” on parade in Edinburgh, Lodge photo from public facebook group.Protestant Action were an extreme, anti-Catholic organisation whose basic platform was “No Popery“. Cormack made a habit of causing trouble wherever he could, stoking sectarian tensions in overcrowded and underprivileged wards, whipping up his supporters into violence and occasional riots, but always careful to be able to absolve himself of the blame. He formed his party in 1933 and in 1934’s election it got one councillor on 6% of the popular vote. By 1935 it got 21% and three seats, peaking in 1936 with a worrying 31% of the vote and nine seats. But not even Cormack’s force of oratory could hold his unruly grouping together; the established Protestant power of the Orange Order would have little to do with them. They picked fights with the fascists and the communists and then they picked fights amongst themselves. Support for Protestant Action soon waned and in the last pre-war municipal election of 1938 they had dropped back to 12% and 6 seats. John Cormack however would cling on to his seat in South Leith, becoming the “Father of the Council” in 1956 as its longest serving member. This seniority entitled him to the office of Bailie, one that conferred significant authority. He retired in 1961.
Post-war. Labour Rising
Edinburgh Town Council make-up 1944-55On the outbreak of war in 1939, the Government suspended municipal elections for the duration and so the Town Council sat, as it was, for the duration. Its representation did change however in 1940 when Dalry Labour councillors David Stephen (1938 election intake) and George Boath (1939 by-election) resigned their party and changed allegiance to the dark red band of the Communists. With no by-elections possible, they continued to serve under this particular banner until elections re-started in 1945 when they were duly voted out at the first opportunity.
Except from “Old Street, Edinburgh” by William Wilson, 1935. A scene looking up the old Elder Street to St. James Square and showing canvassers for the forthcoming general election. CC-by-NC National Galleries ScotlandIn line with the national trend, Labour saw an upsurge in post-war popularity, with its share of 40% of the popular vote translating to an increase to 27 seats, or 40% of the Town Council. This position was reversed in 1949 when they went back to 15 seats and 22% of the popular vote. Again this mirrored popular, national discontent with the Labour government and a recovery in Conservative fortunes. It was not until 1955 that Labour had managed to regain the ground it had lost to the Progressives six years previous, so the political status quo in the city was maintained throughout the decade. Protestant Action lost their seats coming up for re-election in 1945 and 1946, with only John Cormack able to cling on, as the thin black line at the bottom of the graph, from 1947 onwards.
1955-65. Progressive Decline
Edinburgh Town Council make-up 1955-65The story of the next ten years was one of a long, slow waning in the fortunes of the Progressives. Throughout the decade Labour was able to make ground against them, until by the 1962 election both parties polled 38.5% of the popular vote, and in 1963 for the first time ever in Edinburgh Labour briefly surpassed the Progressives by this measure, 39.6% vs. 36.0%. But the three year system meant it was a long, slow process to effect political change although Labour had narrowed the gap between them and the Progressives to a single seat (32 vs. 33) by 1964, they were never quite able to bridge it. It cannot be seen in this chart, but in 1965 the Labour local vote collapsed to 27.9%, their worst since 1949, and the Progressives recovered to 58% after a run of five bad years. A new entrant onto the political scene in 1957 was Lady Morton (Hilda Sherwood Morton), who was elected for the orange strip of the Liberals in Merchiston ward. She was the first of her party to do so after it began to stand a few candidates in the city in 1955; by 1963 they had picked up four more for a total of five.
1965-74. End of the Old Order
Edinburgh Town Council make-up 1965-74The next ten years following 1965 saw the first big shake-ups on the Edinburgh local political scene beyond the glacially slow 50 year rise of Labour. Most importantly, it was the decade in which party political politics, which had been more or less kept out of Municipal Government for the last 50 years, finally took over. Firstly, in 1962 the Unionist party started standing candidates. This was a centre-right political party that stood for Westminster elections in Scotland and that was aligned to the (English) Conservatives. In other parts of Scotland the National Liberal Party stood; both they and the Unionists took the Conservative whip in the House of Commons. In 1965 the Unionists formally merged with the Conservatives to form the Scottish Conservative & Unionist Party, joined in 1968 by the National Liberals. Just as the Moderates had given way to the Progressives, so to did the Progressives give way to the Conservatives, but over a much longer timescale. Note that the press had long called both the Progressives and the Unionists “Tories“. Most of the Progressive old guard continued to stand as such, but new candidates stood instead as Conservatives. The result was that after their first candidates were elected in 1962, the light blue band of the Conservatives gradually and seamlessly usurped the old party, which finally died out alongside the long-established Town Council in 1974.
During this period, the Labour party found its position for a while squeezed between the strengthened Tory bloc and the insurgent yellow blob of the Scottish National Party, which enjoyed a brief flurry of popularity after Winnie Ewing’s breakthrough victory in the 1967 Hamilton by-election. In 1968 they swelled to 35% of the popular local vote in Edinburgh and by 1969 had ten councillors, before rapdily collapsing back to local indifference by 1972 with just 2.9% of the vote. The first Scottish nationalist candidate had stood for the Town Council way back in 1932 but no more stood until 1956-59 when their handful of candidates polled less than 1% of the popular vote.
Jack Kane, Lord Provost of Edinburgh 1972-75; official portrait by Alexander Goudie. True to his down-to-earth form, he has eschewed donning his official robes. He was the first Lord Provost to decline the honorary knighthood that his position conferred. © Museums & Galleries EdinburghBy 1972, the SNP threat had gone, the Progressives were in terminal decline and Labour was recovering, and as a result it finally managed to become the largest party on the council, with 33 seats to the opposition’s 30. It had only taken them 63 years since their first councillor was sworn in! Their leader, Jack Kane, was elected Lord Provost that year, the first Labour holder of that post. With the final elections to the old Town Council in 1973, Labour had 34 seats and finally had a majority!
1974-95. District Days
Edinburgh District Council make-up 1974-95In 1974, the residents of Edinburgh went to the polls to vote for their new District Council, which replaced a system of local Government that had been going in one form or another for the past 700 years or more. Interestingly, although archaic titles such as Lord Provost and Bailie were meant to be swept away, they were kept on as honorific positions. The District Council performed many of the functions of the old Edinburgh Corporation, but strategic issues such as Transport, Education, Regional Planning, Police and Fire were run by the upper tier of Regional Councils.
Lothian Regional Council ghost sign, 20 plus years after that authority ceased to be. Photo © SelfThe results of the first election saw the Conservatives come out as the largest party, with one more seat than Labour. They lacked an overall majority but got it at the next ballot in 1977, with 34 of 67 seats. This marked the high point of the Conservative party in Edinburgh’s local government, and they have been in decline ever since. After the election of 1984, Labour increasingly dominated local politics. At the final District Council election in 1992, they took 30 of 62 seats, with the (by now) Liberal Democrats holding the balance of power. But by now there were more than two big parties in local politics and the single member wards with first-past-the-post electoral system did not function fairly. The Liberal Democrats in 1992 got 15% of the popular vote but only 3% of the seats. The SNP got 14% of the vote and no seats! Labour were flattered by the system, getting 48% of the seats on 29% of the vote.
1995-. The Rainbow Council
City of Edinburgh Council make-up 1995-2022It was all change again in 1995, when voters at the local elections now went to choose their City Council, a unitary authority based largely on the boundaries and functions of the old District but with the additional responsibilities of the Regions, which would disappear the following year, also. There was no fundamental changes however; Labour continued to dominate, the Conservatives continued their decline and the Liberal Democrats filled the void for the sort of voter who would once have been religiously Moderate or Progressive but who found they couldn’t bring themselves to vote Conservative due to national issues. By 2003, Labour retained a slim majority (31 of 59 seats), with the Liberal Democrats the next largest bloc on 15.
The SNP had a real problem however – they were reliably getting 15-30% of the popular vote in the Council elections but rarely picked up seats; they gone 1.7% of the seats on 21.5% of the vote in 1999. Labour in contrast had more than 50% of the seats on less than one third of the vote. This democratic deficit was remedied in 2007 when a new system of multi-member wars elected by Single Transferable Vote (proportional representation) was brought in. This had the immediate effect of giving the long-suppressed SNP a huge boost, with one fifth of the popular vote and council seats gained that year. The change was disastrous for Labour however, whose commanding position was built on the shaky foundations of an unrepresentative electoral system and their number of seats more than halved, to one much more in line with their overall popularity. The changes also let in the Scottish Green Party, who after standing candidates in one form or another in the city since 1980 finally picked up 3 seats. Rainbow politics had finally arrived!
The story of the rest of the period covered by our graph is largely now the story of Scottish and British national politics. The Conservatives continued to decline in popularity, but got a post-2014 Independence Referendum boost; the Liberal Democrats were punished heavily in 2012 after their coalition government at Westminster with the former party, and their recovery has been slow and largely concentrated in their traditional base of the west of the city. Labour have been largely unable to capitalise on these changes however – caught between any number of local and national issues – as the SNP and Green popular vote has held up and continued to creep upwards, with a combined 40% in 2017 and 2022.
Portobello political window in 2014. National politics has now come to dominate local politics. © Edinburgh City LibrariesThe last local election in 2022 was one fought heavily on manifestos of national issues, despite these not being something that any local Council has any jurisdiction in. As a result, it saw the Conservative turn in their worst ever result for the Moderate-Progressive-Conservative bloc in the 122 years of our graph, with just 18% of the vote and 14% (nine) seats. Labour managed only 19% of the vote and 20% of the seats, their second-worst result in 100 years and yet somehow managed to pull various political strings and favours to run a minority administration; something the SNP failed to have sufficient support from their opposition to do, despite remaining the largest party by both seats and popular vote.
Who knows what 2027 might bring!
- There was an honorary seat on the Town Council for each of the Deacon Conveners (senior office holders) of the Merchant Company and the Incorporated Trades, meaning two members of the Town Council were unelected ↩︎
- The Scotsman perceived the Socialists as an extreme threat to the established order of the city and was strongly and persistently hostile to them in the 1920s through to the 1940s. In its reporting it almost always referred to them as just “the Socialists” ↩︎
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These threads © 2017-2024, Andy Arthur
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Moderates, Progressives, Communists and Protestants: the thread about 122 years of local political change in Edinburgh
For no good reason, I decided to make a chart that shows the changing political make-up of Edinburgh’s municipal government in the last 124 years. It’s a graph whose changing colours and gradients tell lots of different political and historical stories about municipal government in that time, so let’s pick apart 124 years of Edinburgh’s political local history and find out what was going on and why, shall we?
Seat make-up of Edinburgh Town / District / City Council after Municipal Elections, 1920-presentFirst things first, we need to get a few things out of the way. In doing so it helps to avoid coming to the wrong conclusions about the graph and helps to understand what’s going on in the background and how the local electoral system has changed over time.
Until 1974, people voted for the Town Council, which was the elected1 component of what was known formally as the Lord Provost, Magistrates and Council of the City and Royal Burgh of Edinburgh but almost universally as just the Corporation. The city was divided up into wards, as it is now, and each ward had three councillors, one of whom was elected each year on rotation. Each councillor served a three year term after which they retired but could stand again for re-election. This meant that voters were expected to vote annually for one councillor, the ballots of which were always held in the first week of November until in 1948 they were shifted to May. If a councillor stepped down or died during their term of office there would either be a by-election or if it was close to the next election then two seats would be up for grabs. Very occasionally, the entire Town Council was up for vote, e.g. after the amalgamation of Edinburgh and Leith in 1920 and when the date of ballots moved from November to May in 1948.
The Town Council in April 1961, the Lord Provost (John Greig Dunbar) and Bailies (senior Magistrates) sit at the head of the meeting. The Labour members are on the left, the Progressives on the right © Edinburgh City LibrariesIn 1974, voters went to the polls to vote for members of the new District Council. The District was the lower tier of municipal government established by the Local Government (Scotland) Act 1973. Edinburgh, Mid-, East and West Lothian Districts together formed the upper tier; Lothian Regional Council. This new system came into effect on May 16th 1975 and had votes every three (later four) years for the entire council, with a single councillor elected per ward on a first-past-the-post system. In 1995, voters went to the polls for the unitary authority of the City (of Edinburgh) Council as a result of the Local Government etc. (Scotland) Act 1994 which abolished the Regional Councils and devolved their powers to new unitary authorities based roughly on the Districts (or closely, in the case of Edinburgh). City Council elections followed the same electoral system as the District until 2007, when the Local Governance (Scotland) Act 2004 changed this to a multi-member ward system, with three or four councillors elected every five years by proportional representation.
n.b. The graphs do not show the results of any intermediate by-elections, or the proportion of votes cast, it only shows the proportion of seats on the council that were held by each political grouping after the election of that year.
1920s. Moderates and Socialists
Edinburgh Town Council make-up 1920-30Our graph starts at 1920, when a full Town Council election was held on account of Leith having just been incorporated in to the City under the terms of the Edinburgh Boundaries Extension and Tramways Act 1920. The city was completely dominated at this time by the purple of the Moderates – not a formal party, but a political bloc of small-c conservatives, Liberals, Unionists, Liberal-Unionists and Independents who were strongly aligned to the Church of Scotland and whose purpose was largely to keep the right sort of people running the city and keep the red Socialists2 of Labour out.
Central Edinburgh Constituency Labour Party banner, 1925. © Edinburgh City LibrariesThe Moderates were effective in the latter purpose but inevitably Edinburgh’s first Labour councillor was elected on November 2nd 1909 when dentist John Alexander Young was returned for the Dalry ward. Although by 1930 Labour had crept slowly up to sixteen councillors – after a jump from 6 to 14 in 1926, (just shy of 1/4 of the Council – there was still no sign of the city “going red” as was threatening in Glasgow. Just peeping in at the top in 1930 is the thin grey line of a single independent councillor, Alexander Thomson, who would shift his allegiance to the Moderates in 1933.
1930s. Progressives and Protestants
Edinburgh Town Council make-up 1930-44Between 1930 and 1940 there were two big changes in the Town Council – none of which actually affected who actually ran the City. In 1936 the loose, purple assemblage of the Moderates re-constituted themselves as the dark blue band of the Progressives, a more formally constituted party to counter the threat posed by Labour. On the formation of the Glasgow Progressives, where by now Labour was in control of the Town Council, the Scotsman described them as “an organisation which would effectively combat the Socialist menace, break down the apathy of many citizens, and co-ordinate all Moderate opinion in the city.” The other big change during this time was the brief but rapid rise and fall of the black band of John Cormack’s Protestant Action Society.
The banner of Loyal Orange Lodge no. 188, who style themselves “Cormack’s Protestant Defenders” on parade in Edinburgh, Lodge photo from public facebook group.Protestant Action were an extreme, anti-Catholic organisation whose basic platform was “No Popery“. Cormack made a habit of causing trouble wherever he could, stoking sectarian tensions in overcrowded and underprivileged wards, whipping up his supporters into violence and occasional riots, but always careful to be able to absolve himself of the blame. He formed his party in 1933 and in 1934’s election it got one councillor on 6% of the popular vote. By 1935 it got 21% and three seats, peaking in 1936 with a worrying 31% of the vote and nine seats. But not even Cormack’s force of oratory could hold his unruly grouping together; the established Protestant power of the Orange Order would have little to do with them. They picked fights with the fascists and the communists and then they picked fights amongst themselves. Support for Protestant Action soon waned and in the last pre-war municipal election of 1938 they had dropped back to 12% and 6 seats. John Cormack however would cling on to his seat in South Leith, becoming the “Father of the Council” in 1956 as its longest serving member. This seniority entitled him to the office of Bailie, one that conferred significant authority. He retired in 1961.
Post-war. Labour Rising
Edinburgh Town Council make-up 1944-55On the outbreak of war in 1939, the Government suspended municipal elections for the duration and so the Town Council sat, as it was, for the duration. Its representation did change however in 1940 when Dalry Labour councillors David Stephen (1938 election intake) and George Boath (1939 by-election) resigned their party and changed allegiance to the dark red band of the Communists. With no by-elections possible, they continued to serve under this particular banner until elections re-started in 1945 when they were duly voted out at the first opportunity.
Except from “Old Street, Edinburgh” by William Wilson, 1935. A scene looking up the old Elder Street to St. James Square and showing canvassers for the forthcoming general election. CC-by-NC National Galleries ScotlandIn line with the national trend, Labour saw an upsurge in post-war popularity, with its share of 40% of the popular vote translating to an increase to 27 seats, or 40% of the Town Council. This position was reversed in 1949 when they went back to 15 seats and 22% of the popular vote. Again this mirrored popular, national discontent with the Labour government and a recovery in Conservative fortunes. It was not until 1955 that Labour had managed to regain the ground it had lost to the Progressives six years previous, so the political status quo in the city was maintained throughout the decade. Protestant Action lost their seats coming up for re-election in 1945 and 1946, with only John Cormack able to cling on, as the thin black line at the bottom of the graph, from 1947 onwards.
1955-65. Progressive Decline
Edinburgh Town Council make-up 1955-65The story of the next ten years was one of a long, slow waning in the fortunes of the Progressives. Throughout the decade Labour was able to make ground against them, until by the 1962 election both parties polled 38.5% of the popular vote, and in 1963 for the first time ever in Edinburgh Labour briefly surpassed the Progressives by this measure, 39.6% vs. 36.0%. But the three year system meant it was a long, slow process to effect political change although Labour had narrowed the gap between them and the Progressives to a single seat (32 vs. 33) by 1964, they were never quite able to bridge it. It cannot be seen in this chart, but in 1965 the Labour local vote collapsed to 27.9%, their worst since 1949, and the Progressives recovered to 58% after a run of five bad years. A new entrant onto the political scene in 1957 was Lady Morton (Hilda Sherwood Morton), who was elected for the orange strip of the Liberals in Merchiston ward. She was the first of her party to do so after it began to stand a few candidates in the city in 1955; by 1963 they had picked up four more for a total of five.
1965-74. End of the Old Order
Edinburgh Town Council make-up 1965-74The next ten years following 1965 saw the first big shake-ups on the Edinburgh local political scene beyond the glacially slow 50 year rise of Labour. Most importantly, it was the decade in which party political politics, which had been more or less kept out of Municipal Government for the last 50 years, finally took over. Firstly, in 1962 the Unionist party started standing candidates. This was a centre-right political party that stood for Westminster elections in Scotland and that was aligned to the (English) Conservatives. In other parts of Scotland the National Liberal Party stood; both they and the Unionists took the Conservative whip in the House of Commons. In 1965 the Unionists formally merged with the Conservatives to form the Scottish Conservative & Unionist Party, joined in 1968 by the National Liberals. Just as the Moderates had given way to the Progressives, so to did the Progressives give way to the Conservatives, but over a much longer timescale. Note that the press had long called both the Progressives and the Unionists “Tories“. Most of the Progressive old guard continued to stand as such, but new candidates stood instead as Conservatives. The result was that after their first candidates were elected in 1962, the light blue band of the Conservatives gradually and seamlessly usurped the old party, which finally died out alongside the long-established Town Council in 1974.
During this period, the Labour party found its position for a while squeezed between the strengthened Tory bloc and the insurgent yellow blob of the Scottish National Party, which enjoyed a brief flurry of popularity after Winnie Ewing’s breakthrough victory in the 1967 Hamilton by-election. In 1968 they swelled to 35% of the popular local vote in Edinburgh and by 1969 had ten councillors, before rapdily collapsing back to local indifference by 1972 with just 2.9% of the vote. The first Scottish nationalist candidate had stood for the Town Council way back in 1932 but no more stood until 1956-59 when their handful of candidates polled less than 1% of the popular vote.
Jack Kane, Lord Provost of Edinburgh 1972-75; official portrait by Alexander Goudie. True to his down-to-earth form, he has eschewed donning his official robes. He was the first Lord Provost to decline the honorary knighthood that his position conferred. © Museums & Galleries EdinburghBy 1972, the SNP threat had gone, the Progressives were in terminal decline and Labour was recovering, and as a result it finally managed to become the largest party on the council, with 33 seats to the opposition’s 30. It had only taken them 63 years since their first councillor was sworn in! Their leader, Jack Kane, was elected Lord Provost that year, the first Labour holder of that post. With the final elections to the old Town Council in 1973, Labour had 34 seats and finally had a majority!
1974-95. District Days
Edinburgh District Council make-up 1974-95In 1974, the residents of Edinburgh went to the polls to vote for their new District Council, which replaced a system of local Government that had been going in one form or another for the past 700 years or more. Interestingly, although archaic titles such as Lord Provost and Bailie were meant to be swept away, they were kept on as honorific positions. The District Council performed many of the functions of the old Edinburgh Corporation, but strategic issues such as Transport, Education, Regional Planning, Police and Fire were run by the upper tier of Regional Councils. The District also expanded the boundaries of the City to include outlying areas such as Currie, Balerno, Kirkliston and South Queensferry, which had previously been semi-independent Districts (or in the case of Queensferry, a Burgh) within the old Midlothian County (thank you to Paul Cockburn for pointing this fact out).
Lothian Regional Council ghost sign, 20 plus years after that authority ceased to be. Photo © SelfThe results of the first election saw the Conservatives come out as the largest party, with one more seat than Labour. They lacked an overall majority but got it at the next ballot in 1977, with 34 of 67 seats. This marked the high point of the Conservative party in Edinburgh’s local government, and they have been in decline ever since. After the election of 1984, Labour increasingly dominated local politics. At the final District Council election in 1992, they took 30 of 62 seats, with the (by now) Liberal Democrats holding the balance of power. But by now there were more than two big parties in local politics and the single member wards with first-past-the-post electoral system did not function fairly. The Liberal Democrats in 1992 got 15% of the popular vote but only 3% of the seats. The SNP got 14% of the vote and no seats! Labour were flattered by the system, getting 48% of the seats on 29% of the vote.
1995-. The Rainbow Council
City of Edinburgh Council make-up 1995-2022It was all change again in 1995, when voters at the local elections now went to choose their City Council, a unitary authority based largely on the boundaries and functions of the old District but with the additional responsibilities of the Regions, which would disappear the following year, also. There was no fundamental changes however; Labour continued to dominate, the Conservatives continued their decline and the Liberal Democrats filled the void for the sort of voter who would once have been religiously Moderate or Progressive but who found they couldn’t bring themselves to vote Conservative due to national issues. By 2003, Labour retained a slim majority (31 of 59 seats), with the Liberal Democrats the next largest bloc on 15.
The SNP had a real problem however – they were reliably getting 15-30% of the popular vote in the Council elections but rarely picked up seats; they gone 1.7% of the seats on 21.5% of the vote in 1999. Labour in contrast had more than 50% of the seats on less than one third of the vote. This democratic deficit was remedied in 2007 when a new system of multi-member wards elected by Single Transferable Vote (proportional representation) was brought in. This had the immediate effect of giving the long-suppressed SNP a huge boost, with one fifth of the popular vote and council seats gained that year. The change was disastrous for Labour however, whose commanding position was built on the shaky foundations of an unrepresentative electoral system and their number of seats more than halved, to one much more in line with their overall popularity. The changes also let in the Scottish Green Party, who after standing candidates in one form or another in the city since 1980 finally picked up 3 seats. Rainbow politics had finally arrived!
The story of the rest of the period covered by our graph is largely now the story of Scottish and British national politics. The Conservatives continued to decline in popularity, but got a post-2014 Independence Referendum boost; the Liberal Democrats were punished heavily in 2012 after their coalition government at Westminster with the former party, and their recovery has been slow and largely concentrated in their traditional base of the west of the city. Labour have been largely unable to capitalise on these changes however – caught between any number of local and national issues – as the SNP and Green popular vote has held up and continued to creep upwards, with a combined 40% in 2017 and 2022.
Portobello political window in 2014. National politics has now come to dominate local politics. © Edinburgh City LibrariesThe last local election in 2022 was one fought heavily on manifestos of national issues, despite these not being something that any local Council has any jurisdiction in. As a result, it saw the Conservative turn in their worst ever result for the Moderate-Progressive-Conservative bloc in the 122 years of our graph, with just 18% of the vote and 14% (nine) seats. Labour managed only 19% of the vote and 20% of the seats, their second-worst result in 100 years and yet somehow managed to pull various political strings and favours to run a minority administration; something the SNP failed to have sufficient support from their opposition to do, despite remaining the largest party by both seats and popular vote.
Who knows what 2027 might bring!
- There was an honorary seat on the Town Council for each of the Deacon Conveners (senior office holders) of the Merchant Company and the Incorporated Trades, meaning two members of the Town Council were unelected ↩︎
- The Scotsman perceived the Socialists as an extreme threat to the established order of the city and was strongly and persistently hostile to them in the 1920s through to the 1940s. In its reporting it almost always referred to them as just “the Socialists” ↩︎
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This thread was originally written and published in March 2024.
For no good reason, I decided to make a chart that shows the changing political make-up of Edinburgh’s municipal government in the last 124 years. It’s a graph whose changing colours and gradients tell lots of different political and historical stories about municipal government in that time, so let’s pick apart 124 years of Edinburgh’s political local history and find out what was going on and why, shall we?
Seat make-up of Edinburgh Town / District / City Council after Municipal Elections, 1920-presentFirst things first, we need to get a few things out of the way. In doing so it helps to avoid coming to the wrong conclusions about the graph and helps to understand what’s going on in the background and how the local electoral system has changed over time.
Until 1974, people voted for the Town Council, which was the elected1 component of what was known formally as the Lord Provost, Magistrates and Council of the City and Royal Burgh of Edinburgh but almost universally as just the Corporation. The city was divided up into wards, as it is now, and each ward had three councillors, one of whom was elected each year on rotation. Each councillor served a three year term after which they retired but could stand again for re-election. This meant that voters were expected to vote annually for one councillor, the ballots of which were always held in the first week of November until in 1948 they were shifted to May. If a councillor stepped down or died during their term of office there would either be a by-election or if it was close to the next election then two seats would be up for grabs. Very occasionally, the entire Town Council was up for vote, e.g. after the amalgamation of Edinburgh and Leith in 1920 and when the date of ballots moved from November to May in 1948.
The Town Council in April 1961, the Lord Provost (John Greig Dunbar) and Bailies (senior Magistrates) sit at the head of the meeting. The Labour members are on the left, the Progressives on the right © Edinburgh City LibrariesIn 1974, voters went to the polls to vote for members of the new District Council. The District was the lower tier of municipal government established by the Local Government (Scotland) Act 1973. Edinburgh, Mid-, East and West Lothian Districts together formed the upper tier; Lothian Regional Council. This new system came into effect on May 16th 1975 and had votes every three (later four) years for the entire council, with a single councillor elected per ward on a first-past-the-post system. In 1995, voters went to the polls for the unitary authority of the City (of Edinburgh) Council as a result of the Local Government etc. (Scotland) Act 1994 which abolished the Regional Councils and devolved their powers to new unitary authorities based roughly on the Districts (or closely, in the case of Edinburgh). City Council elections followed the same electoral system as the District until 2007, when the Local Governance (Scotland) Act 2004 changed this to a multi-member ward system, with three or four councillors elected every five years by proportional representation.
n.b. The graphs do not show the results of any intermediate by-elections, or the proportion of votes cast, it only shows the proportion of seats on the council that were held by each political grouping after the election of that year.
1920s. Moderates and Socialists
Edinburgh Town Council make-up 1920-30Our graph starts at 1920, when a full Town Council election was held on account of Leith having just been incorporated in to the City under the terms of the Edinburgh Boundaries Extension and Tramways Act 1920. The city was completely dominated at this time by the purple of the Moderates – not a formal party, but a political bloc of small-c conservatives, Liberals, Unionists, Liberal-Unionists and Independents who were strongly aligned to the Church of Scotland and whose purpose was largely to keep the right sort of people running the city and keep the red Socialists2 of Labour out.
Central Edinburgh Constituency Labour Party banner, 1925. © Edinburgh City LibrariesThe Moderates were effective in the latter purpose but inevitably Edinburgh’s first Labour councillor was elected on November 2nd 1909 when dentist John Alexander Young was returned for the Dalry ward. Although by 1930 Labour had crept slowly up to sixteen councillors – after a jump from 6 to 14 in 1926, (just shy of 1/4 of the Council – there was still no sign of the city “going red” as was threatening in Glasgow. Just peeping in at the top in 1930 is the thin grey line of a single independent councillor, Alexander Thomson, who would shift his allegiance to the Moderates in 1933.
1930s. Progressives and Protestants
Edinburgh Town Council make-up 1930-44Between 1930 and 1940 there were two big changes in the Town Council – none of which actually affected who actually ran the City. In 1936 the loose, purple assemblage of the Moderates re-constituted themselves as the dark blue band of the Progressives, a more formally constituted party to counter the threat posed by Labour. On the formation of the Glasgow Progressives, where by now Labour was in control of the Town Council, the Scotsman described them as “an organisation which would effectively combat the Socialist menace, break down the apathy of many citizens, and co-ordinate all Moderate opinion in the city.” The other big change during this time was the brief but rapid rise and fall of the black band of John Cormack’s Protestant Action Society.
The banner of Loyal Orange Lodge no. 188, who style themselves “Cormack’s Protestant Defenders” on parade in Edinburgh, Lodge photo from public facebook group.Protestant Action were an extreme, anti-Catholic organisation whose basic platform was “No Popery“. Cormack made a habit of causing trouble wherever he could, stoking sectarian tensions in overcrowded and underprivileged wards, whipping up his supporters into violence and occasional riots, but always careful to be able to absolve himself of the blame. He formed his party in 1933 and in 1934’s election it got one councillor on 6% of the popular vote. By 1935 it got 21% and three seats, peaking in 1936 with a worrying 31% of the vote and nine seats. But not even Cormack’s force of oratory could hold his unruly grouping together; the established Protestant power of the Orange Order would have little to do with them. They picked fights with the fascists and the communists and then they picked fights amongst themselves. Support for Protestant Action soon waned and in the last pre-war municipal election of 1938 they had dropped back to 12% and 6 seats. John Cormack however would cling on to his seat in South Leith, becoming the “Father of the Council” in 1956 as its longest serving member. This seniority entitled him to the office of Bailie, one that conferred significant authority. He retired in 1961.
Post-war. Labour Rising
Edinburgh Town Council make-up 1944-55On the outbreak of war in 1939, the Government suspended municipal elections for the duration and so the Town Council sat, as it was, for the duration. Its representation did change however in 1940 when Dalry Labour councillors David Stephen (1938 election intake) and George Boath (1939 by-election) resigned their party and changed allegiance to the dark red band of the Communists. With no by-elections possible, they continued to serve under this particular banner until elections re-started in 1945 when they were duly voted out at the first opportunity.
Except from “Old Street, Edinburgh” by William Wilson, 1935. A scene looking up the old Elder Street to St. James Square and showing canvassers for the forthcoming general election. CC-by-NC National Galleries ScotlandIn line with the national trend, Labour saw an upsurge in post-war popularity, with its share of 40% of the popular vote translating to an increase to 27 seats, or 40% of the Town Council. This position was reversed in 1949 when they went back to 15 seats and 22% of the popular vote. Again this mirrored popular, national discontent with the Labour government and a recovery in Conservative fortunes. It was not until 1955 that Labour had managed to regain the ground it had lost to the Progressives six years previous, so the political status quo in the city was maintained throughout the decade. Protestant Action lost their seats coming up for re-election in 1945 and 1946, with only John Cormack able to cling on, as the thin black line at the bottom of the graph, from 1947 onwards.
1955-65. Progressive Decline
Edinburgh Town Council make-up 1955-65The story of the next ten years was one of a long, slow waning in the fortunes of the Progressives. Throughout the decade Labour was able to make ground against them, until by the 1962 election both parties polled 38.5% of the popular vote, and in 1963 for the first time ever in Edinburgh Labour briefly surpassed the Progressives by this measure, 39.6% vs. 36.0%. But the three year system meant it was a long, slow process to effect political change although Labour had narrowed the gap between them and the Progressives to a single seat (32 vs. 33) by 1964, they were never quite able to bridge it. It cannot be seen in this chart, but in 1965 the Labour local vote collapsed to 27.9%, their worst since 1949, and the Progressives recovered to 58% after a run of five bad years. A new entrant onto the political scene in 1957 was Lady Morton (Hilda Sherwood Morton), who was elected for the orange strip of the Liberals in Merchiston ward. She was the first of her party to do so after it began to stand a few candidates in the city in 1955; by 1963 they had picked up four more for a total of five.
1965-74. End of the Old Order
Edinburgh Town Council make-up 1965-74The next ten years following 1965 saw the first big shake-ups on the Edinburgh local political scene beyond the glacially slow 50 year rise of Labour. Most importantly, it was the decade in which party political politics, which had been more or less kept out of Municipal Government for the last 50 years, finally took over. Firstly, in 1962 the Unionist party started standing candidates. This was a centre-right political party that stood for Westminster elections in Scotland and that was aligned to the (English) Conservatives. In other parts of Scotland the National Liberal Party stood; both they and the Unionists took the Conservative whip in the House of Commons. In 1965 the Unionists formally merged with the Conservatives to form the Scottish Conservative & Unionist Party, joined in 1968 by the National Liberals. Just as the Moderates had given way to the Progressives, so to did the Progressives give way to the Conservatives, but over a much longer timescale. Note that the press had long called both the Progressives and the Unionists “Tories“. Most of the Progressive old guard continued to stand as such, but new candidates stood instead as Conservatives. The result was that after their first candidates were elected in 1962, the light blue band of the Conservatives gradually and seamlessly usurped the old party, which finally died out alongside the long-established Town Council in 1974.
During this period, the Labour party found its position for a while squeezed between the strengthened Tory bloc and the insurgent yellow blob of the Scottish National Party, which enjoyed a brief flurry of popularity after Winnie Ewing’s breakthrough victory in the 1967 Hamilton by-election. In 1968 they swelled to 35% of the popular local vote in Edinburgh and by 1969 had ten councillors, before rapdily collapsing back to local indifference by 1972 with just 2.9% of the vote. The first Scottish nationalist candidate had stood for the Town Council way back in 1932 but no more stood until 1956-59 when their handful of candidates polled less than 1% of the popular vote.
Jack Kane, Lord Provost of Edinburgh 1972-75; official portrait by Alexander Goudie. True to his down-to-earth form, he has eschewed donning his official robes. He was the first Lord Provost to decline the honorary knighthood that his position conferred. © Museums & Galleries EdinburghBy 1972, the SNP threat had gone, the Progressives were in terminal decline and Labour was recovering, and as a result it finally managed to become the largest party on the council, with 33 seats to the opposition’s 30. It had only taken them 63 years since their first councillor was sworn in! Their leader, Jack Kane, was elected Lord Provost that year, the first Labour holder of that post. With the final elections to the old Town Council in 1973, Labour had 34 seats and finally had a majority!
1974-95. District Days
Edinburgh District Council make-up 1974-95In 1974, the residents of Edinburgh went to the polls to vote for their new District Council, which replaced a system of local Government that had been going in one form or another for the past 700 years or more. Interestingly, although archaic titles such as Lord Provost and Bailie were meant to be swept away, they were kept on as honorific positions. The District Council performed many of the functions of the old Edinburgh Corporation, but strategic issues such as Transport, Education, Regional Planning, Police and Fire were run by the upper tier of Regional Councils.
Lothian Regional Council ghost sign, 20 plus years after that authority ceased to be. Photo © SelfThe results of the first election saw the Conservatives come out as the largest party, with one more seat than Labour. They lacked an overall majority but got it at the next ballot in 1977, with 34 of 67 seats. This marked the high point of the Conservative party in Edinburgh’s local government, and they have been in decline ever since. After the election of 1984, Labour increasingly dominated local politics. At the final District Council election in 1992, they took 30 of 62 seats, with the (by now) Liberal Democrats holding the balance of power. But by now there were more than two big parties in local politics and the single member wards with first-past-the-post electoral system did not function fairly. The Liberal Democrats in 1992 got 15% of the popular vote but only 3% of the seats. The SNP got 14% of the vote and no seats! Labour were flattered by the system, getting 48% of the seats on 29% of the vote.
1995-. The Rainbow Council
City of Edinburgh Council make-up 1995-2022It was all change again in 1995, when voters at the local elections now went to choose their City Council, a unitary authority based largely on the boundaries and functions of the old District but with the additional responsibilities of the Regions, which would disappear the following year, also. There was no fundamental changes however; Labour continued to dominate, the Conservatives continued their decline and the Liberal Democrats filled the void for the sort of voter who would once have been religiously Moderate or Progressive but who found they couldn’t bring themselves to vote Conservative due to national issues. By 2003, Labour retained a slim majority (31 of 59 seats), with the Liberal Democrats the next largest bloc on 15.
The SNP had a real problem however – they were reliably getting 15-30% of the popular vote in the Council elections but rarely picked up seats; they gone 1.7% of the seats on 21.5% of the vote in 1999. Labour in contrast had more than 50% of the seats on less than one third of the vote. This democratic deficit was remedied in 2007 when a new system of multi-member wars elected by Single Transferable Vote (proportional representation) was brought in. This had the immediate effect of giving the long-suppressed SNP a huge boost, with one fifth of the popular vote and council seats gained that year. The change was disastrous for Labour however, whose commanding position was built on the shaky foundations of an unrepresentative electoral system and their number of seats more than halved, to one much more in line with their overall popularity. The changes also let in the Scottish Green Party, who after standing candidates in one form or another in the city since 1980 finally picked up 3 seats. Rainbow politics had finally arrived!
The story of the rest of the period covered by our graph is largely now the story of Scottish and British national politics. The Conservatives continued to decline in popularity, but got a post-2014 Independence Referendum boost; the Liberal Democrats were punished heavily in 2012 after their coalition government at Westminster with the former party, and their recovery has been slow and largely concentrated in their traditional base of the west of the city. Labour have been largely unable to capitalise on these changes however – caught between any number of local and national issues – as the SNP and Green popular vote has held up and continued to creep upwards, with a combined 40% in 2017 and 2022.
Portobello political window in 2014. National politics has now come to dominate local politics. © Edinburgh City LibrariesThe last local election in 2022 was one fought heavily on manifestos of national issues, despite these not being something that any local Council has any jurisdiction in. As a result, it saw the Conservative turn in their worst ever result for the Moderate-Progressive-Conservative bloc in the 122 years of our graph, with just 18% of the vote and 14% (nine) seats. Labour managed only 19% of the vote and 20% of the seats, their second-worst result in 100 years and yet somehow managed to pull various political strings and favours to run a minority administration; something the SNP failed to have sufficient support from their opposition to do, despite remaining the largest party by both seats and popular vote.
Who knows what 2027 might bring!
- There was an honorary seat on the Town Council for each of the Deacon Conveners (senior office holders) of the Merchant Company and the Incorporated Trades, meaning two members of the Town Council were unelected ↩︎
- The Scotsman perceived the Socialists as an extreme threat to the established order of the city and was strongly and persistently hostile to them in the 1920s through to the 1940s. In its reporting it almost always referred to them as just “the Socialists” ↩︎
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Cafe Chill Episode 2023-48: Nerddelic Studio Works, Telefon Tel Aviv and more
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Listen on PRX: https://exchange.prx.org/pieces/506751-cafe-chill-episode-2023-48
-=-=-=-=-=-=-=-=-=-=-Café Chill is Public Radio’s weekly curated chill mix, produced by KNHC National Productions (@[email protected]) in Seattle, and heard on noncommercial radio stations across the USA.
The latest episode of Cafe Chill includes tracks from Nerddelic Studio Works, Telefon Tel Aviv and more. Hosted by Seth. Working in the background is me (Richard).
Playlist:
- VIQ–Journey
Release: Last Path
Label: VIQ - Jinsang–journey
Release: life
Label: VinDig - Pacific Coliseum–Wave Catalyst (High Tide)
Release: Ocean City
Label: Coastal Haze - Boards of Canada–Hey Saturday Sun
Release: The Campfire Headphase
Label: Warp Records - Blackboxx–Midnight Dance
Release: Seablushed – EP
Label: Slime - Yppah–Grey Eyes
Release: Grey Eyes – Single
Label: Future Archive Recordings - Nerddelic Studio Works–Snore
Release: The Sun & the Moon
Label: Nerddelic Studio Works - Marley Carroll–Water Temple
Release: Ice Cavern / Water Temple – Single
Label: Loci Records - Poldoore–Celestial (A Tribute To Nujabes)
Release: Celestial (A Tribute To Nujabes) – Single
Label: Poldoore Music - Tycho–Japan (Instrumental)
Release: Japan – Single
Label: Mom+Pop/Ninja Tune - Telefon Tel Aviv–Life Is All About Taking Things In and Putting Things Out
Release: Fahrenheit Fair Enough
Label: Ghostly International - Veiled Dawn–Intro/Origins
Release: I – EP
Label: 2713475 Records DK2 - Borealism–Slide
Release: So What’s New With You?
Label: Borealism
You can also listen at:
https://www.c895.org/show/cafe-chill/
https://cafechill.orgPhoto: “Autumn Morning Mist”. Credit: Kobuk Valley National Park/National Park Service, public domain.
Hope your day is a bit of a delight.
#20HoursAfterDawn #Ambient #Ametsub #Anenon #AphexTwin #ArmsandSleepers #BoomBip #C895 #CasinoVersusJapan #Cepia #Chill #downtempo #GoldPanda #gonima #KNHC #Komodo #Mvnners #PublicRadio #radio #Rykard #seattle
- VIQ–Journey
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#1boy #1girl #2others #alcohol #animal_ears #animal_print #beer #beer_can #bikini #black_choker #black_hair #black_horns #black_jacket #black_necktie #blush #breasts #can #chainsaw #chainsaw_man #choker #cigarette #cleavage #closed_eyes #collared_shirt #cow_horns #cow_print #cow_print_bikini #cow_print_gloves #cow_tail #crop_top #drink_can #elbow_gloves #eyepatch #fake_animal_ears #formal_clothes #ghost_devil_(chainsaw_man) #ghost_hands #gloves #green_eyes #grey_background #hayakawa_aki #highres #himeno_(chainsaw_man) #holding #holding_cigarette #horns #jacket #jiansketch #kill_la_kill #large_breasts #live_tucker_reaction_(meme) #looking_at_viewer #looking_to_the_side #medium_hair #meme #midriff #multiple_others #mundane_utility #navel #necktie #parody #pochita_(chainsaw_man) #poptepipic #print_bikini #print_gloves #print_thighhighs #shirt #short_hair #simple_background #smoking #strong_zero #style_parody #suit #swimsuit #tail #tank_top #thighhighs #topknot #underwear #veins #veiny_hands #white_shirt #white_tank_top #wide_hips https://danbooru.donmai.us/posts/5828100
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When the Ballroom went to war: the thread about Portobello’s Marine Gardens wartime role as a landing craft factory
Much has been written on the enigmatic Portobello Marine Gardens pleasure park, a short-lived leisure complex which opened in 1909 only to close in 1914 when it was requisitioned by the military for wartime use, never to open again.
Postcard of Marine Gardens in 1909 showing the various buildings and entertainments, looking across the Firth of Forth to Fife. The 3,500 seat concert hall is the domed building in the middle right, the 1,000 place ballroom and roller-skating rink is the lower building on the right below it with the barrel-vaulted roof.Some of this story can be seen below in an old thread on Twitter from Portobello Library.
https://twitter.com/PortyLibrary/status/1448604902968680451?s=20&t=royrHdQcpBrv3nsFxF0MWQ
The operating company was forced into liquidation in 1916, unable to make any income and still liable for rates and taxes. After the War the city Corporation bought and cleared most of the site, but some was bought by local entertainments entrepreneur Frederick R. Graham-Yooll who refurbished and re-opened the grand ballroom (half the size of a football pitch and one of the largest in Scotland). This would become one of the most prestigious and popular in the country.
The interior of the ballroom in 1912 in its glory days. A big open space with no obstructing roof supports, as good for building bus bodies as for dancing in. Edinburgh and Scottish Collection, Edinburgh City Libraries.War intervened once again in 1939 and the venue closed its doors again when it was at the peak of its popularity, the last dances being advertised in the Edinburgh Evening News for the coming week on Friday September 1st. Once again the military moved in, troops of the Kings Own Scottish Borderers being billeted there and entertaining the locals at the adjacent football stadium, playing as the Edinburgh Borderers. The venue saw occasional use for concerts organised to entertain servicemen or public displays of military or civil defence drills at the stadium. Valuation rolls for 1940-41 show that the site was owned by the “Trustees of the late F. R. Graham-Yooll” but much of it occupied by the War Department.
Around that time (probably late 1942) the Scottish Motor Traction Company – universally known as SMT – took over the ballroom for use as a coachbuilding works. This company was a vast conglomerate that spanned Scotland and had its fingers in any number of pies. It ran a significant share of the country’s public bus services outside of the main cities and much of its long-distance coaches; it briefly ran an airline, was at the forefront of the motor trade and had its own in-house coachbuilding operations making bus and coach bodies for its fleet. In the below aerial photo of 1962 the barrel-vaulted roof of the old ballroomcan be seen surrounded by later additions. To its east is a large new works, the Marine Garage of Edinburgh Corporation Transport.
SMT‘s Marine Garden works, post-war photo of 1962. The works on the right under construction for Edinburgh Corporation Transport is the Marine Garage, now operated by Lothian Buses. © Edinburgh City Libraries, Edinburgh and Scottish Collection, Edinburgh City LibrariesZooming right in, you can even still read the ghost sign of “Marine Gardens Ballroom” on the front, 23 years on from its closure.
The peeling paint of “Marine Gardens Ballroom” can be clearly discerned on the old façade, now largely hidden away by extensions added later. © Edinburgh City Libraries, Edinburgh and Scottish Collection, Edinburgh City LibrariesAn advert in the Sales by Auction listing in the Scotsman on 6th August 1942 gives a possible date for the takeover of the ballroom:
Monday 10th August at 11… Within the yard of Messrs. Adam Currie & Sons, ltd. West Saville Terrace. Ballroom and Restaurant Furnishings, Removed from The Marine Gardens, Portobello
Everything was up for sale, from tables and chairs to couches and settees all the way through to cigarette vending machines, chip slicers, champagne glasses and a ham-slicing machine!
In addition to taking on and expanding the old ballroom, SMT extended the operation on vacant land to the west on behalf of the Admiralty – who paid for 87,200 square feet of modern factory buildings to be constructed. Here they built some sixty Bedford OWB Utility bus bodies here with no aluminium (which was a strategic material for the aircraft industry) and with austere bodywork and finishes for economy’s sake and also undertook work for Edinburgh Corporation Transport.
1944 Ordnance Survey map showing Marine Gardens. The central building is the expanded ballroom, with the newer factory to its north. To its south, the old speedway racing dirt track is noted as a “test track” where vehicles exiting the works could be given a shakedown drive. Reproduced with the permission of the National Library of ScotlandBut the Admiralty wasn’t interested in buses. Why then had they gone to this expense then? The answer lies in the map and on the below photograph – if you look closely you can see that there was a slipway leading from the works, across the beach and into the Firth of Forth.
1958 aerial photo of Portobello showing Marine Gardens football and speedway stadium at the bottom, SMT’s ballroom works above it and beyond the factory constructed by them for the Admiraly. Notice the slipway extending across the shoreline in the middle of the shot. SAR031664 via Britain From AboveBuses don’t need slipways, so what was one doing here? The answer is that the Admiralty did not want SMT to build buses, they wanted them to engage in war work and were build amphibious landing craft! Marine Gardens was a purpose-built site for the production of the Landing Craft Assault – better known as the LCA.
A factory fresh LCA on a trolley for moving it through the factory of Harris Lebus Ltd. in Tottenham Hale where it was built. You can see the diagonal pattern of the teak planking, and the riveted, rectangular panels of armour plate along the sides. Imperial War Museum collection, IWM A9838The LCA was a small, mass-produced craft which took troops the final few miles from ship to shore and which was used in the invasions of Sicily, Normandy, south France, Walcheren and the Scheldt; as well as across the Far East. It was built largely from wood; a steam-bent keel of Canadian elm and mahogany frames covered in a shell of double diagonal teak planking over which some steel armour plating was bolted. This sort of construction suited small boat builders used to making wooden yachts, rowboats, fishing boats etc. but such businesses were already heavily engaged in war work. Coach-builders, who were skilled in assembly techniques and working with composite structures of steel and wood – and were more than familiar with the Ford V8 bus engines that powered the LCA – were under-employed during wartime and so were perfectly suited to taking up its production.
The wounded being helped on board a landing craft, the Raid on Vaagso, December 1941. IWM N481Such was the importance of the LCA to the war effort that the Admiralty wouldn’t allow its designer – Thornycroft – to manage production directly. Instead it organised a huge network of subcontractors; bus and coach builders, furniture & cabinet makers, joiners… Anyone who could work wood on an industrial scale. Anecdotal evidence suggests businesses around Portobello were involved in producing teak body parts, which were taken to Marine Gardens for assembly onto the hull frames. The largely complete little vessels were launched into the Forth down the slipway and towed to a shipyard for final fitting out – west along the Forth coast to Granton or Bo’ness, east to Cockenzie or across the Firth to Burntisland and St. Monans. About 2,000 LCAs were built across hundreds of assembly yards and thousands of subcontractors and although I can’t find specific production volumes for Marine Gardens but by the time of Operation Overlord in June 1944, some 60 a month were being turned out.
Once the local supply-chain was established and the workforce had been upskilled for the production of LCAs, larger craft were entrusted to Marine Gardens and a number of larger and more complex Landing Craft, Mechanised (LCM, predictably) were next built, with the first launched in November 1944 and series production entering the water in January 1945. The LCMs built at Marine Gardens were the Mark VII version, displacing 28 tons (63 tons fully loaded), 60 feet long by 16 feet wide and powered by two Packard diesel engines whose 290 horsepower could get a top speed of 11 knots. They could carry two light armoured vehicles or one larger one weighing up to 35 tons.
29th January 1945, launch of an LCM at Marine Gardens into the Forth by the Lady Provost of Edinburgh, Diana Falconer, wearing the uniform of the Women’s Royal Naval Service (WRNS or Wrens) and being presented with a bouquet of flowers by one of the female welders, Mrs Duncan. This was the second such launch from the works.The vessel shown above is the LCM Mark VII, a late-war British-built variant of an American design by the Higgins Corporation that was suited to mass production by a relatively unskilled workforce. The Evening News reported multiple launches throughout the final year of the war; one more in February (launched by Lady and Sir William Young Darling, two in March launched by local women who worked on them, one in April and one in June launched by Mrs W. McDonald of Downfield Place, a worker who had won the SMT Saving’s Group competition. Up to twenty-nine of these craft may have been built at Portobello and after the war a scale model of LCM7174 was presented by SMT to the Scottish United Services Museum for display in Edinburgh Castle.
LCM7174 at sea, this was the prototype vessel launched at Marine Gardens in November 1944. Imperial War Museum collection, A27908I haven’t yet found any further details about the work that took place at Marine Gardens during the war years – they may also have been assembling military trucks. However we can get a little more insight on Canmore Trove, which shows architects drawings for air raid shelters and emergency decontamination showers at the works (the latter being a very Heath Robinson arrangement of a bucket on a pulley with a bit of string and a pull handle!). The relative extent of the female versus male facilities gives an indication of the balance of the sexes in the wartime workforce.
After the war, SMT retained the older half of the site based on the old Ballroom and operated it both as a coachbuilding works and later a general bus depot. The government-financed factory to the west was put up for disposal and in 1947 was allocated to Hayward Tyler Ltd. to build oil pumps and to Graham Enock Ltd. to manufacture milking, milk bottling and bottle washing machinery. SMT rebuilt their works around 1963, demolishing the remains of the old ballroom in the process, and were joined next door at this time by the rival Edinburgh Corporation Transport, who opened their Marine Garage on the site next door, which had been the football and speedway stadium.
https://www.flickr.com/photos/48252636@N07/5029439915/
SMT became part of the state-owned Scottish Bus Group, with its organisation restructured into area bus operating companies, trading as Eastern Scottish in these parts. Eastern was reorganised in 1985 ahead of deregulation of the industry in 1986. Marine Works was placed into an engineering subsidiary called SBG Engineering Ltd. They did work for the various SBG companies as well as contracting, including body panel and spray painting work for British Rail’s nearby Craigentinny depot. When the privatisation of the Scottish Bus Group was planned in 1989, it was decided that SBG Engineering (which also had major works in Motherwell, Kilmarnock, Kirkcaldy and Inverness) was not included, and Motherwell and Marine Gardens were unceremoniously shut down.
Remarkably, a substantial part of the wartime factory still survives (for now) as a car servicing works and salerooms. The building below is that which can be seen in the aerial photo at the head of the slipway.
Google Streetview 2025 image of the car showroom site at Marine Gardens. The grey-painted building is that seen in the aerial photo of the wartime landing craft factory.Note to readers: unfortunately in April 2026, a third-party plug-in more than exceeded its authority and broke many of the image links on this site. No images were lost but I will have to restore them page-by-page, which may take some time. In the meantime please bear with me while I go about rectifying this issue.
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Stuck in the Filter: May 2025’s Angry Misses
By Kenstrosity
Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!
Kenstrosity’s Meanest Meanies
Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]
Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.
Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]
West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.
Thus Spoke’s Shiny Scraps
Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]
DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.
ClarkKent’s Bestial Beats
Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]
While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.
Owlswald’s Feathered Echoes
Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]
After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.
Killjoy’s Dreamy Delights
Asthénie // Iridescence [May 5th, 2025 – Self-Release]
Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.
Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]
Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.
Dolphin Whisperer’s Dusky Deposition
Slumbering Sun // Starmony [May 9th, 2025 – Self Release]
Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.
Tyme’s Tragic Tones
Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]
Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.
#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_
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Stuck in the Filter: May 2025’s Angry Misses
By Kenstrosity
Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!
Kenstrosity’s Meanest Meanies
Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]
Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.
Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]
West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.
Thus Spoke’s Shiny Scraps
Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]
DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.
ClarkKent’s Bestial Beats
Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]
While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.
Owlswald’s Feathered Echoes
Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]
After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.
Killjoy’s Dreamy Delights
Asthénie // Iridescence [May 5th, 2025 – Self-Release]
Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.
Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]
Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.
Dolphin Whisperer’s Dusky Deposition
Slumbering Sun // Starmony [May 9th, 2025 – Self Release]
Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.
Tyme’s Tragic Tones
Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]
Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.
#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_
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Stuck in the Filter: May 2025’s Angry Misses
By Kenstrosity
Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!
Kenstrosity’s Meanest Meanies
Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]
Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.
Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]
West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.
Thus Spoke’s Shiny Scraps
Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]
DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.
ClarkKent’s Bestial Beats
Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]
While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.
Owlswald’s Feathered Echoes
Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]
After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.
Killjoy’s Dreamy Delights
Asthénie // Iridescence [May 5th, 2025 – Self-Release]
Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.
Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]
Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.
Dolphin Whisperer’s Dusky Deposition
Slumbering Sun // Starmony [May 9th, 2025 – Self Release]
Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.
Tyme’s Tragic Tones
Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]
Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.
#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_
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Stuck in the Filter: May 2025’s Angry Misses
By Kenstrosity
Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!
Kenstrosity’s Meanest Meanies
Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]
Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.
Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]
West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.
Thus Spoke’s Shiny Scraps
Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]
DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.
ClarkKent’s Bestial Beats
Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]
While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.
Owlswald’s Feathered Echoes
Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]
After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.
Killjoy’s Dreamy Delights
Asthénie // Iridescence [May 5th, 2025 – Self-Release]
Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.
Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]
Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.
Dolphin Whisperer’s Dusky Deposition
Slumbering Sun // Starmony [May 9th, 2025 – Self Release]
Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.
Tyme’s Tragic Tones
Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]
Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.
#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_
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Stuck in the Filter: May 2025’s Angry Misses
By Kenstrosity
Every day we toil, rain or shine, to find you the semi-finest ore of the month. Lately, though, it’s been mostly rain. Leaks abound, uniforms are soaked to the bone, the chutes are slick and slippery. We must continue, however, to provide for the masses!Unfortunately, we don’t have any resources to keep anything dry in this godforsaken place. I hope you like your Filter nuggets soggy!
Kenstrosity’s Meanest Meanies
Death Whore // Blood Washes Everything Away [May 16th, 2025 – Self-Release]
Hailing from Nancy, France, crust/death newcomers Death Whore unleashed what is surely one of the meanest records of the year so far. A debut capable of humbling some of the better releases by far more seasoned acts, Blood Washes Everything Away is a nonstop cavalcade of stank-face, bone-shattering riffs. From the onset of vicious onslaught “Inhaling the Dead,” to the stomp and swerve that is the massive “Infernal Terror Machine” and “None Are Forgotten,” to the blistering and evil “12 Worm Wounds,” Death Whore crafted 11 brutally addictive, but smart and lean cuts guaranteed to snap necks. They allow only the sharpest hooks to imbue accessibility to this killer material, but make no sacrifice to the filthy, crust-laden tones and textures determined to pummel and paste (“Noyé dans le sang,” “Motorthroat ’79,” “Savage Aesthetic Revenge”). Throw in a refreshing message criticizing late-stage capitalistic trends, worldwide misappropriation of wealth by the elite class, and the futility of hard work in the modern era for those struggling to meet their basic needs (“You Owe Me a Living”), and you’ve got a record after my heart. I can already tell that I’m going to regret not saving Blood Washes Everything Away from Filter relegation by the time this publishes, but don’t let my transgression in this matter stop you from enjoying of deep Death Whore.
Executionist // Sacrament of the Sick [May 16th, 2025 – Self-Release]
West Virginian death thrashers Executionist were not on my radar. First off, I am, historically, very picky when it comes to thrash. It slaps when it slaps and leaves me cold when it doesn’t. Lately, though, I’ve been digging the style more and more, and Executionist’s particularly meaty take on Kreator WIOLENCE has my attention thoroughly affixed. With debut LP Sacrament of the Sick, Executionist bring on the riffs, but elevate them with blackened tremolos, rabid barks, and an immense bass tone. Opener proper “Edge of Annihilation” pulls no punches, but only hints at the quality held beyond. There’s an almost At the Gates-like sense of melody here, one which works in tandem with deadly riffs and blackened char instead of as a mere surface-level decoration (“Wheels of War,” “Divided We Stand… United We Fall”). While Sacrament of the Sick relies heavily on the long form for its song structures, creating a spot of bloat, there’s usually something memorable and interesting to keep me invested in the story from beginning to end (“Thy Kingdom Come,” “Sacrament of the Sick”). With just a little tightening of the screws, Executionist could easily become the next big name in thrash. Until then, rest easy knowing Sacrament of the Sick is a worthy contender on its own merits.
Thus Spoke’s Shiny Scraps
Ghost Bath // Rose Thorn Necklace [May 9th, 2025 – Nuclear Blast]
DSBM is a genre of necessity tied to a particular mood, and it’s not a happy one. In spite—or perhaps because—of this,1 it’s one I usually enjoy. Ghost Bath’s take on this particular type of misery music has fluctuated between more black metal and more post, and I personally found it never quite stuck. Rose Thorn Necklace, however, has kept me coming back for repeated mope sessions for weeks. It’s still recognisably Ghost Bath thanks to those same echoing howls that lurch into voiceless high-pitched wails (“Well, I Tried Drowning”), and a familiarity about the bitter refrains. But synths now play a prominent role in driving melody2 both dreamy (“Grotesque Display,” “Throat Cancer”) and uncomfortably upbeat (“Vodka Butterfly”), as things swing back in the direction of post-leaning DSBM. Layered strums lace into pessimistic chord swings and scream-resonant atmoblack (title, track, “Dandelion Tea,” “Stamen and Pistil”), sometimes recalling Harakiri for the Sky. It manages to be pretty, in that characteristically depressing way, as minor melodies bleed into blackened tantrums (“Well, I Tried Drowning”) or ride on synths as harrowing screams narrate (“Throat Cancer”). The snippets of coughing (“Dandelion Tea”), sobbing (“Vodka Butterfly”), and sirens (“Throat Cancer”) are par for the course, but still very effective, and the ending duo “Needles” and the horribly—but brilliantly—named “Throat Cancer” is kind of…genuinely lovely in a really gross, demoralising sense. I’m converted.
ClarkKent’s Bestial Beats
Animalize // Verminateur [May 23, 2025 – Dying Victims Productions]
While the album cover might not inspire confidence, make no mistake, Animalize is worthy of your attention. On their sophomore album, Verminateur, these Frenchmen bring youth and energy to the old school speed and traditional metal scene. They mix up mid-tempo tunes with high-octane thrash, and even throw in a lovely piano ballad for good measure (“Priere de Remords”). On tracks like “Chevel Astral” and “Au Jugement de Soi” you can hear influences ranging from Accept to Def Leppard, while the lightning-fast “Verminateur” sounds like a blast from Judas Priest’s Painkiller. Front man Coyote brings plenty of charm, ranging from excitedly shrill to cool-headed, all while executing some well-timed “oohs” and infectious laughter here and there. Fortunately, he doesn’t carry all of the weight. Jessman and RattleGab keep the riffs spicy throughout, ensuring Animalize never phones it in, while Lynx’s drumming adds some much-needed heft. The songwriting is nice and tight, allowing the album to clock in at a tidy 36 minutes. As good as each song is, the icing on the cake is “Envahisseurs,” which will end up as a strong candidate for song of the year. It brings a killer riff and thrilling energy that’s sure to get the Statue of Liberty to drop her torch and make some devil horns.
Owlswald’s Feathered Echoes
Pandemia // Darkened Devotion [May 16th, 2025 – Hammerheart Records]
After a decade between releases, Czech death metal veterans Pandemia burst back onto the scene with their sixth full-length, Darkened Devotion. Still channeling the menacing souls of legends like Vader and Immolation, Darkened Devotion marks a significant yet successful pivot towards a more accessible sound for Pandemia. Delivering bone-crushingly heavy and succinct songs that are both memorable and easily palatable, Pandemia haven’t lost their edge—they’ve simply refined it. From “Nightmare Paradox’s” gut-punching, wicked riffing to “Catalepsy’s” gratifying, atmospheric thrash-inspired arpeggiations, every part of Darkened Devotion feels focused and tastefully executed. New drummer Jake Bayer (Cutterred Flesh) is an absolute beast, shaping Darkened Devotion’s mammoth backbone with thunderous rapid-fire double bass runs (“Blessed, Blessed Oblivion,” “Depths”), intricate tom fills (“The Pallor of Detest,” “The Wretched Dance”) and precision blasts (“Nighttime Paradox,” “A Sea to Breathe In”). Returning guitarist Alex Marek—last heard on 2005’s Riven—unleashes a barrage of infectious shredding that makes headbanging involuntary. Jaroslav “Jarda” Friedrich’s bass and Jikra Krš’s vocals complement Bayer and Marek’s authority with angry drawls and guttural, gravely growls. The album’s overall tone is immense, effortlessly engulfing listeners into its nocturnal anxieties with ease. With Darkened Devotion, Pandemia have forged a refined and brutal auditory feast that genuinely took me by surprise. Embrace the darkness.
Killjoy’s Dreamy Delights
Asthénie // Iridescence [May 5th, 2025 – Self-Release]
Iridescence is literally a colorful piece of music. Named after the naturally occurring phenomenon of an object appearing to change colors, Asthénie assigned a different color to each of these five songs. The guitars are the main focus here—whether with a glimmer (“Mélèze”) or a shimmer (“Indigo”), they brilliantly showcase the prettier side of post metal. Hardcore-tinged screams boldly accentuate the guitars’ vibrant hues, providing heft and urgency. Somewhat ironically, “Gris” (meaning grey) takes up the most time at 11 minutes and is the most developed contrast between the calm and furious. At only 35 minutes in total, Iridescence passes like a beautiful breeze with little fluff or filler. While by no means necessary, some clean vocals could potentially add even more color to a future release. Though this is not the first instance this year of a post-black record patterned after various wavelengths in the visible light spectrum, Iridescence is resplendent in its own right.
Au Clair de Lune // In the Wake of Dusk [May 16th, 2025 – Self-Release]
Moonlight and bodies of water share an intrinsic artistic bond. There’s something deeply enchanting about a celestial, ghostly source of illumination amidst a dark, murky setting. Leonard Sinaguglia’s blackgaze project Au Clair de Lune aurally combines these two aesthetics via dreamy, floaty guitars and synths akin to Autumn Nostalgie and, of course, Alcest’s Écailles de Lune. At times, the melodies are smooth and glassy like the surface of a lake (“Echoing Silhouettes,” “Neon Dusk”). Other times, they’re upbeat and catchy as a rip current (“Anaemoia,” “Distant Glow”). The principal vocal style is a mild rasp, more for flavor than heaviness, though Falyriae adds her airy singing voice on occasion. Although the track order and overall pacing usually find a good balance between the atmospheric parts and the punchy parts, the longer track lengths make In the Wake of Dusk feel a bit fluffy in places. But even so, Au Clair de Lune provides a satisfying and transportative experience to an unearthly realm.
Dolphin Whisperer’s Dusky Deposition
Slumbering Sun // Starmony [May 9th, 2025 – Self Release]
Music is the closest thing we have to magic in this world. When a great song or a great album graces your ears, it’s a clean sweep to any combo the head, heart, and gyrating body. Such was the case with Lone Star Doomsters Slumbering Sun and their debut release The Ever-Living Fire back in 2023. With a fragile heart in one hand and a fat riff in the other, their take on the kind of sadboi doom you’d hear in bands like Warning or early Pallbearer struck me deep. On Starmony, much of the same elements return: growling bass underpinning stadium-sized riffs, Ozzy-like vocals that bustle with a modern emotion and charisma, and a posty playfulness that allows long-form compositions to swell and soar. The only trouble is that it takes a couple songs for Starmony to settle into that same form of riffed-out hypnosis, with the one-two intro of “Together Forever” and “Keep It a Secret” sounding like the middle drive of a live set rather than the start of an introspective journey. But with the violin-assisted weeping catharsis of “Midsommar Night’s Dream” and “Wanderlust,” the waltzing melody of “Danse Macabre,” and the Thin Lizzy-styled dueling leads of “The Tower,” Slumbering Sun again finds a monstrous groove in hopeful and hammering songcraft. And, of course, if you get a chance to catch this act live like I did, just a few days before The Dolphlet emerged, you’ll fall extra prey to the kinds of doomy incantations that Slumbering Sun conjures with their mystic-minded compositions. In fat riffs we trust, and in sorrowful hearts we linger.
Tyme’s Tragic Tones
Enterré Vivant // 悪罪 (Akuzaï) [May 26th, 2025 – Antiq]
Comprised of French multi-instrumentalist Erroiak and vocalist Sakrifiss—whose 25-year residency in Japan heavily influences the music—depressive black metallers Enterré Vivant’s3 third album, Akuzaï, blew me away. My DSBM bar was set long ago by Shining‘s unfuckwithable V: Halmstad, and yet Akuzaï has come along to give it a run for its money. Centered around 10 Buddhist sins, Akuzaï relates the experiences of Japanese civilians and victims during the Second World War. From the emotionally charged cover photo depicting a mother breastfeeding her newborn shortly after the bombing of Nagasaki,4 to the haunting interludes and shimmering, melancholic melodies within, Akuzaï melds traditional, tremolo-picked guitars and icy vocals ala Summoning and Emperor (“Sesshô,” “Shin’i”) with Moonsorrow-esque keys, Japanese-influenced flutes and violins, along with ghostly moaning howls to create its depressive atmospheres. Transitioning from the twisted croaks of interlude “Waraguchi,” album highlight “Jain” begins with mournful pianos and a pensive, tremolo-picked lead before crashing forth in waves of crushingly cascading chords and Sakrifiss’ tortured screams, its eight and a half minutes awash in black metal sadness. By the time the wails of a suffering child floated in around the seven-and-a-half-minute mark, my arms had broken out in goosebumps, and my heart was fucking broken. Offering yet another lens through which to view the torturous horrors of war, Akuzaï is harrowing, relentless, and not to be missed.
#2025 #Accept #Alcest #AmericanMetal #Animalize #Asthénie #AtTheGates #AtmosphericBlackMetal #AuClaireDeLune #AutumnNostalgie #Blackgaze #BloodWashesEverythingAway #Crust #CutterredFlesh #CzechMetal #DarkenedDevotion #DeathMetal #DeathWhore #DefLeppard #DoomMetal #DSBM #DyingVictimsProductions #Emperor #EnterréVivant #Executionist #Falyriae #FrenchMetal #GhostBath #HammerheartRecords #HarakiriForTheSky #Hardcore #HeavyMetal #Immolation #InTheWakeOfDusk #Iridescence #ItalianMetal #JudasPriest #Kreator #May25 #MelodicBlackMetal #MelodicDeathMetal #Moonsorrow #NuclearBlast #Pallbearer #Pandemia #PostBlackMetal #PostMetal #Review #Reviews #RoseThornNecklace #SacramentOfTheSick #SelfRelease #Shining #SlumberingSun #Starmony #StuckInTheFilter #StuckInTheFilter2025 #Summoning #ThinLizzy #ThrashMetal #Vader #Verminateur #Warning #悪罪Akuzaï_