Search
358 results for “rsears”
-
We fully agree with @MargSchinas and we fully support @vinijr
#EUAntiRacism #NoPlace4Hate
RT @MargSchinas: There is no place for racism in our society - on or off the pitch.Full support to @vinijr.
The European Sports Model must serve as a compass to fight discrimination wherever and whenever it rears its head. https://t.co/LJKx4d1Zuh
🐦🔗: https://n.respublicae.eu/EU_Justice/status/1661302204911824897
-
Looking forward to tomorrow's Folk Horror film festival at Derby Quad cinema, though I feel like crap today. Meniere's Disease rears its head again. Still, I'm determined to go, so bollocks to it!
#film #cinema #horror #menieresdisease -
Looking forward to tomorrow's Folk Horror film festival at Derby Quad cinema, though I feel like crap today. Meniere's Disease rears its head again. Still, I'm determined to go, so bollocks to it!
#film #cinema #horror #menieresdisease -
Looking forward to tomorrow's Folk Horror film festival at Derby Quad cinema, though I feel like crap today. Meniere's Disease rears its head again. Still, I'm determined to go, so bollocks to it!
#film #cinema #horror #menieresdisease -
Footage from Season 2 used in a montazh in Season 6.
Season 6 Episode 14 "Baywatch Angels"
#RandomBaywatch #lvdlpx #Baywatch #BaywatchBums #BaywatchBooty #Caboose #Buns #Rears #Babewatch #BaywatchBabes #Baywatch #BeachLife #BaywatchAngels
-
Footage from Season 2 used in a montazh in Season 6.
Season 6 Episode 14 "Baywatch Angels"
#RandomBaywatch #lvdlpx #Baywatch #BaywatchBums #BaywatchBooty #Caboose #Buns #Rears #Babewatch #BaywatchBabes #Baywatch #BeachLife #BaywatchAngels
-
Footage from Season 2 used in a montazh in Season 6.
Season 6 Episode 14 "Baywatch Angels"
#RandomBaywatch #lvdlpx #Baywatch #BaywatchBums #BaywatchBooty #Caboose #Buns #Rears #Babewatch #BaywatchBabes #Baywatch #BeachLife #BaywatchAngels
-
How are you showing support for Seattle’s Social Housing initiative ahead of the February 14 Special Election #Seattle #YesOnI135 #SocialHousing #HouseOurNeighbors
-
How are you showing support for Seattle’s Social Housing initiative ahead of the February 14 Special Election #Seattle #YesOnI135 #SocialHousing #HouseOurNeighbors
-
How are you showing support for Seattle’s Social Housing initiative ahead of the February 14 Special Election #Seattle #YesOnI135 #SocialHousing #HouseOurNeighbors
-
How are you showing support for Seattle’s Social Housing initiative ahead of the February 14 Special Election #Seattle #YesOnI135 #SocialHousing #HouseOurNeighbors
-
How are you showing support for Seattle’s Social Housing initiative ahead of the February 14 Special Election #Seattle #YesOnI135 #SocialHousing #HouseOurNeighbors
-
#Musk, #Trump & Co proves one thing with finality: #Idolization is bad for #psyche.
Of course it rears its ugly head when times are tough and people need someone to look up to, someone to imprint on.
But as has been proven time and time again, idolizing the rich and powerful is a really bad idea.
Not that it's all bad. Friday was #DillaDay and if anyone deserved to be idolized it's someone like him. But of course, he was a genius composer and an artist and not an #oligarch or a #president.
-
#Musk, #Trump & Co proves one thing with finality: #Idolization is bad for #psyche.
Of course it rears its ugly head when times are tough and people need someone to look up to, someone to imprint on.
But as has been proven time and time again, idolizing the rich and powerful is a really bad idea.
Not that it's all bad. Friday was #DillaDay and if anyone deserved to be idolized it's someone like him. But of course, he was a genius composer and an artist and not an #oligarch or a #president.
-
#Musk, #Trump & Co proves one thing with finality: #Idolization is bad for #psyche.
Of course it rears its ugly head when times are tough and people need someone to look up to, someone to imprint on.
But as has been proven time and time again, idolizing the rich and powerful is a really bad idea.
Not that it's all bad. Friday was #DillaDay and if anyone deserved to be idolized it's someone like him. But of course, he was a genius composer and an artist and not an #oligarch or a #president.
-
This has long been a bugbear of mine and it is good that the Bondi RC is looking into it.
“Royal Commissioner Virginia Bell flagged the inquiry had received a number of submissions from some Jewish people and others who believed the definition of antisemitism the inquiry adopted could be "weaponised in order to suppress criticism of Israel".
It doesn’t take a savant to know the difference between #AntiSemitism and the various flavours of #AntiIsrael, #AntiZionism, #Anti-Ultranationalism, and #Anti-NetanyahuRegime, yet arguably smart and competent peeps seem to have a hard time of it; in particular most political leadership in Australia. Which can only mean one thing. THe conflation of all these terms is a #PoliticalChoice made by fully rational decisions. The question then remains: Why is it so?
I suspect that power and wealth has a lot to do with it along with egocentric, not to say narcicyst, tendencies.
https://www.abc.net.au/news/2026-05-11/overseas-expert-witnesses-to-appear-at-bondi-royal-commission/106662984 -
Saunders and Felagund’s Top Ten(ish) of 2024
By Dr. A.N. Grier
Saunders
Rather than delve into the not-so-good parts of a rollercoaster 2024, which had its share of rough circumstances, I’m using this rare soapbox moment to focus on the positives of another action-packed year of metal. Celebrating ten years of writing at Angry Metal Guy was an achievement that crept up. All these years later I remain beyond stoked and privileged to still be contributing in a small way as the blog has snowballed into the juggernaut it is today.
Unfortunately, I haven’t quite fulfilled my writing productivity goals in 2024. However, even when motivation slips, it still gives me great satisfaction to have a platform to share my thoughts and opinions on the music I love. I cannot match the writing chops or word smithery of our most esteemed scribes. However, honing my craft within my own abilities and drawing inspiration from the excellence of my fellow writers continues to motivate me and hopefully steer listeners toward some great music.
While it may not compete with some of the top-shelf individual years over the past decade, 2024 featured a lot of top-shelf stuff across a multitude of genres sprawled over the heavy spectrum. As per usual, the plethora of releases was overwhelming and again I stumble into the end-of-year chaos with a hefty list of stuff I need to check out or spend more time with. Nevertheless, from the numerous albums, I spent quality time with throughout the year, I eventually arrived at the releases that mattered the most to me, with many gems to no doubt uncover in the end-of-year wash-up. This is probably one of the more eclectic lists I’ve cultivated during my time here. Not sure exactly why that was the case, but a year of fluctuating, uneasy shifts on personal and professional fronts perhaps contributed to the more diverse listening rotation.
To wrap up, a heartfelt thank you to our beloved readership for making this all worthwhile and to all my colleagues/writing buddies and general crew of awesome people comprising the ever-expanding blog. Also shout-out to my list buddy Felagund, here’s hoping our combined powers partially align or otherwise complement and provide some listening inspiration. Lastly, a special heads-up to Angry Metal Guy, Steel Druhm, and the rest of the AMG editors and brains trust for whipping us all into order and doing the behind-the-scenes heavy lifting to keep this great thing chugging along. Cheers.
#ish: Anciients // Beyond the Reach of the Sun – Personal dramas, line-up shuffles, and an extended stint away from the studio failed to hamper the triumphant return of Canada’s progressive-stoner-sludge heavyweights Anciients. Beyond the Reach of the Sun marks a strong return that expands the band’s songwriting vision through a standout collection of ambitious, heavily prog-leaning cuts. Loaded with dazzling guitar work and gripping songwriting, Beyond the Reach of the Sun finds the band recalibrating and hitting their songwriting straps without compromising the genre-splicing traits and character they formed across their first couple of albums. It is not a perfect album by any means, with some niggling elements rearing their head, mostly via the way of some bloat, sequencing issues, and a flat production job. But with songs of the outstanding quality of “Despoiled,” “Is it Your God,” and “The Torch” leading the way, the album’s issues fail to extinguish my overall enthusiasm.
#10. Madder Mortem // Old Eyes New Heart – I came to veteran Norwegian progressive metal outfit Madder Mortem late in the game, just as they appeared to be hitting modern-era career peaks via Red in Tooth and Claw, and most recent album, 2018’s Marrow. Six long years in the wilderness and Madder Mortem return without missing a beat, continuing to pump out expressive, powerfully composed jams of their trademark mix of Goth-tinged progressive/alt metal. Although I enjoyed the album from the outset, if anything it has grown in stature since its early year release. The album’s subtleties and bevy of emotion-charged hooks bury deeper into the brain upon repeat doses. The tough period the band endured prior to the unleashing of Old Eyes New Heart is reflected in the album’s raw, potent swell of emotions and overall depth. This is further reflected in the diverse nature of the colorful songwriting, swinging from bluesy, melancholic restraint (“Cold Hard Rain”), pop-infected prog (‘Here and Now”) to urgent, dramatic, and infectious rock powerhouses (“The Head That Wears the Crown,” “Towers”).
#9. Opeth // The Last Will and Testament – As a longtime Opeth fanboy, it is a cool feeling to be genuinely enthused about a new LP, nearly three decades since their underrated Orchid debut. All the pre-release buzz centered on the return of Åkerfeldt’s famed death growls. While certainly a cool and unexpected touch, the fourteenth album The Last Will and Testament is not merely a nostalgic throwback to the band’s glory days. Instead, Opeth fuses those quirky, vintage prog tools from their modern-era material and fuses them into an intricate concept album that is a significant step up from the past couple of uneven efforts and easily their best work since at least 2014’s Pale Communion. Dazzling musicianship, jazzy licks, and inventively crafted, yet notably more focused and concise writing marked an album that features better production and tighter, punchier songs than the band has written in a while. It is also Opeth’s heaviest, most riff-centric release in many moons. Despite the trademark melancholic moods and darker shades, it also sounds as if the band is having real fun, reinforced by the abundance of bouncy, infectious riffs, shreddy solos, and boisterous grooves littering the album. Likely would have earned higher honors with time, as I still feel there is much more to discover.
#8. Oceans of Slumber // Where Gods Fear to Speak – Previously enjoyed the idea of Texan progressive metal powerhouse Oceans of Slumber, more than the execution and finished product. In particular, 2016’s Winter has grown in stature over the years. Yet for much of their career, it has felt like a case of incredible talent and potential not fully realized. That changed on Where Gods Fear to Speak, arguably the band’s most complete, consistent, and hook-laden release. When I felt the prog itch throughout 2024, Where Gods Fear to Speak was often the go-to. An album of lush, moody, drama-filled compositions, deftly contrasting soaring melodies, and skyscraping hooks with muscular riffage and heftier bouts of aggression, the writing is tighter and more compelling than previous efforts. Cammie Beverly’s scene-stealing vocals may take center stage, but this is very much a complete effort, where the rich soundscapes, brooding atmospheres, and technical musicianship shine brightly. Loaded with killer jams, including stirring highlights, “Don’t Come Back from Hell Empty Handed,” “Wish,” and “Poem of Ecstasy,” Where Gods Fear to Speak finally finds Oceans of Slumber firing on all cylinders.
#7. Pyrrhon // Exhaust – In theory, Pyrrhon should be one of my favorite bands. I used to eat up all manner of skronky, dissonant, and abrasive extreme metal. Perhaps my thirst for the weirder, experimental forms of death metal and dissonance has softened over the years. However, while largely enjoying Pyrrhon’s career up to this point, Exhaust feels like the album I have been waiting for the band to deliver. Exhaust dropped unexpectedly and that element of surprise flowed through another oddball, deranged platter of wildly inventive, chaotic, yet oddly accessible (in Pyrrhon terms) extreme metal. From cautious, challenging early listens, I found myself increasingly compelled to revisit Exhaust on a regular basis, marveling at its flexible, fractured songwriting, nimble musicianship, and raw hardcore punk edge infiltrating the dissonant, experimental death metal at the core of the Pyrrhon experience. Gritty production, perfectly unhinged vocal performance from Doug Moore, and occasional burst of groove and shred of accessibility punctuating the chaos (“First as Tragedy, Then as Farce,” “Strange Pains,” “Stress Fractures”) lend the album a refreshingly addictive edge to counterbalance its abrasive, challenging angles.
#6. Replicant // Infinite Mortality – New Jersey’s Replicant previously exhibited their brawny, yet brainy mix of gnarled dissonance, technicality, and knuckle-dragging street grooves to powerful effect. However, third album Infinite Mortality levelled the playing field as the band upped their game to elite levels of controlled chaos, while the writing remained challenging yet strangely accessible and memorable. In spirit, the ugly mix of harshness, discordance, and headbangable blockbuster grooves reminds me of the great Ion Dissonance. Meanwhile, the contrasting blend of unorthodox melody, jagged dissonance, and stuttering, complex song structures come together with cohesion and blunt force, punctuated by the occasional warped solo. Like a harsh, harrowing soundtrack to a bleak dystopian future, Infinite Mortality is a mean, chunky, technical, and deliciously primal slab of advanced disso-tech-death excellence.
#5. Noxis // Violence Inherent in the System – Notably death metal in 2024 was dominated by brutal, dissonant varieties, designed to scramble brains and challenge minds while battering the listener into submission. Refreshingly, unheralded surprise packet Noxis unloaded a killer debut LP to savor. Drawing from an array of old-school influences and ’90s touchstones without ever aping one particular band or style, Noxis unleashed a nostalgic yet unique death metal platter. Managing to at once sound raw and unclean, technical and brutal, thrashy and proggy, sharp and refined, Noxis blaze their way craftily through memorable, riff-infested wastelands with unbridled aggression, speed, and finesse, rubber-stamped by some exceptional bass work. Remnants of the classic Floridian scene mingle with powerful influences, including early Cryptopsy, later-era Death, Atheist, and Cannibal Corpse, resulting in a finished product that sounds fresh and vital, while containing an endearing, workmanlike old-school charm. It works a treat, and the top-notch and frequently inventive writing reveals impressive depth and character that rewards repeat listens.
#4. Dissimulator // Lower Form Resistance – There are some serviceable, enjoyable thrash-aligned albums in 2024, but one stood head and shoulders above the competition. Comprised of a grizzled bunch of underground Canadian musicians hellbent on fusing advanced technical thrash assaults with sick old-school death-thrash, a fuckton of killer riffs, quirky vocoder action, and razor-sharp hooks, Lower Form Resistance has consistently provided an adrenaline-filled shot of thrash when needing that specific fix. Dissimulator rewires thrash in intricate and intriguing ways, giving me the same giddy rush as past experiences with the likes of Capharnaum, Vhol, and Revocation. Excited to hear what these dudes conjure up next. In the meantime, Lower Form Resistance will continue to keep my thrash cogs oiled through potent bangers like “Warped,” “Automoil & Robotoil,” and “Hyperline Underflow.”
#3. Huntsmen // The Dry Land – After somehow sleeping on 2018 debut American Scrap and subsequently their apparent sophomore slumping second album, I finally righted my wrongs by delving into the strange and wildly unique woodlands of Chicago metal troupe Huntsmen and their phenomenal third LP, The Dry Land. A raw, rustic, and emotionally striking explosion of genre-bending excellence, where blackened sludge, doom, post, prog, folk, and Americana influences coalesce into an intoxicating and frequently thrilling musical formula, rich in detail and emotion. The skilled genre mashing is cohesive and genuine, loaded with surprises, structural twists, dramatic ebbs and flows, deep burrowing hooks, and contrasting vocal trade-offs to seal the deal on a remarkable album. Despite only a small handful of songs comprising the album (six in total), Huntsmen make every moment count, from blazing longer numbers with stunning contrasts and peaks (“This, Our Gospel,” “In Time, All things”) to plaintive folk dusted rock (“Lean Times”), through to the stunningly moving, compact power of “Rain.” Huntsmen occupy a unique space in the metalverse.
#2. Borknagar // Fall – I have a slightly odd history with Norwegian legends Borknagar. I recall being taken by their excellent 2012 album Urd, yet oddly enough I didn’t extend my listening beyond that isolated release. Things changed with 2019’s True North, a typically solid offering that inspired my explorations of portions of their vast and consistently engaging catalog. The twelfth album Fall marks their first album since True North and again features an outstanding line-up of talents, including founding mastermind Øystein Brun, multi-talented keyboardist/clean vocalist Lars Nedland, and ace up their sleeve bass/vocal powerhouse ICS Vortex. Fall smacks of a veteran band not merely content to coast on their laurels but rather carve freshly creative trajectories for their now signature blend of epic prog, triumphant Viking, and icy black metal to thrive. An extra shot of old-school blackened aggression and fuller production boosted an album of consistently high quality. Fall became a true all-occasions album in 2024; often uplifting me when I felt down or giving me a punchy charge when the need arose. Wall-to-wall prime cuts feature, headlined by the storming “Summits,” moody earworm, “The Wild Lingers”, and the striking, epic shimmer of “Moon.” Stalwarts still operating at the top of their game.
#1. Counting Hours // The Wishing Tomb – Not since Fvneral Fvkk’s remarkable Carnal Confessions debut has a doom album struck as hard as the second platter of sadboi misery perpetrated by Finland’s excellent Counting Hours. While doom and its death-doom companion may not always dominate my listening habits, when an album does hit that sweet spot, it usually leaves a profound impact. Few forms of metal generate the emotional resonance of quality doom and Counting Hours tears at the heartstrings through a riveting collection of gorgeously played and executed death-doom ditties, spearheaded by former members of the hugely underrated Rapture. Ilpo Paasela backs up the stellar musicianship, superb guitar work, and tight, addictive songwriting with a stunning mix of emotively raw, stately cleans and rugged death growls. The whole package packs an emotional wallop, yet its soulful edge and hopelessly addictive hooks and sing-along moments prevent a drop too deeply into depressive waters, as such earwormy gems as “Timeless Ones,” “All That Blooms (Needs to Die),” and “Starlit / Lifeless” attest. The Wishing Tomb is an epic album to lose yourself in.
Honorable Mentions:
- Blood Incantation // Absolute Elsewhere – Did I overrate Absolute Elsewhere? Possibly. Is it overhyped? Absolutely. Yet Blood Incantation remains a brave, adventurous band and Absolute Elsewhere represents a welcome return to form from these gifted, star-gazing space cadets. A flawed but effective fusing of their death metal roots with an increased focus on ’70s-inspired progressive rock and trippy psych flourishes.
- 200 Stab Wounds // Manual Manic Procedures – I barely took notice of Cleveland’s 200 Stab Wounds debut LP, but sophomore album Manual Manic Procedures provided one of the real surprise packets in 2024. It very nearly cracked the main list sheerly through heavy rotation. A meaty, adrenaline-charged shot of muscular death into the veins.
- Ripped to Shreds // Sanshi – Another reliably awesome slab of old-school death from Andrew Lee and co. Increasingly shreddy, extravagant solo work and a grindier edge powered one of their best albums yet.
- Nails // Every Bridge Burning – Nails is back and that is a great thing. New line-up, the same mode of short, sharp, blast-your-skin-off aggression, head-caving grooves, and hate-filled energy.
- Unhallowed Deliverance // Of Spectre and Strife – A pleasant surprise and one of the best debut albums in 2024. German tech-slam-brutal death juggernaut Unhallowed Deliverance knocked it out of the park with limited subtlety but a heap of talent, creativity, and songwriting smarts.
- Wormed // Omegon – With Ulcerate’s latest release not quite hitting me on the intense level of others, and having run out of time to properly digest and rank the obvious high-quality new Defeated Sanity, Wormed’s long-awaited return gave me my fix of calculated brutality via futuristic, slammy, technical brutal death executed in typically warped, mind-blowing fashion.
- Khirki // Κυκεώνας – Following up an impressive, well-received debut LP is no easy feat. Kenstrosity steered many of us from the AMG community onto Greek band Khirki’s Κτηνωδία debut in 2021, so I eagerly anticipated Khirki’s return for the second go around. The resulting album met expectations through a fiery, passionate, and eclectic mix of metal, rock, and traditional Greek folk.
- Sergeant Thunderhoof // The Ghost of Badon Hill – A late-year list shaker, underappreciated UK psych-prog-stoner outfit Sergeant Thunderhoof unleased a more restrained, psych-enhanced, and introspective album, showing signs of being a genuine grower since its November release, despite not quite hitting the irresistible highs of 2022’s This Sceptred Veil.
Disappointments o’ the Year:
- Several highly anticipated albums did not quite land the killer blows I was hoping for. Respectable to very good albums, but I expected better from Vola (admittedly a grower), Caligula’s Horse, Ihsahn, and especially Zeal and Ardor.
Non-Metal Picks:
- St Vincent, SIR, Michael Kiwanuka, Allie X, MGMT
Song ‘o the Year:
- Counting Hours – “Timeless Ones”
There were any number of standouts and potential Song o’ the Year candidates that could have nabbed top honors, including several counterparts from Counting Hours’ spectacular sophomore album. In the end, I settled on the (proper) album opener of my album of the year, as the tune that really hooked me initially from an album that captivated my soul. A rich, emotive piece of dark, melodic death-doom with superlative guitar melodies and a chorus for the ages. Honorable mention to Huntsmen’s “Rain.”
Felgund
I don’t know about you, but I’m tired of living in interesting times. But as that wizened sage, Gandalf so wisely reminds us: “So do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given to us.”
So what have I been doing with the time that has been given? A fair amount, as it turns out. 2024 has certainly been a tumultuous year for our small family. On the one hand, the business that I launched in 2023 has been chugging along for well over a year and a half now, and I think I’m far enough along in the process that I feel (at least somewhat) comfortable calling it a success. The baby that we brought home from the hospital is now, inexplicably, a whip-smart 7-year-old. My wife’s career continues to blossom as she continues to moonlight as my business manager. Things are good.
And yet 2024 also proved to be harder than I’d ever imagined. My dad died back in April, an experience that remains both devastating and surreal. He’d had multiple sclerosis for well over a decade, and as I’m sure many of you know, MS is a grasping, grinding petty little disease. But for as much as it stole, it proved incapable of taking away who my father was; it couldn’t quite make off with what made him him. He was my best friend before his diagnosis, and he remained my best friend up until that impossible evening in a hospital room in early April. Truth be told, he’s still my best friend, only now he’s free to walk wherever I see fit to imagine him.
Despite my best efforts, I realized pretty quickly you can’t capture a life in a few paragraphs. I couldn’t do it in his eulogy, and I certainly won’t attempt to do so on a heavy metal blog. But I will share this:
My dad was a carpenter by trade and an artist by choice; he was a fisherman and a cook; he was a handyman, a builder, a designer, and a writer; he taught himself how to play guitar, and he’s perhaps the singular reason why I’m writing for this website today. Because while he wasn’t a fan of metal himself, he instilled in me not only a love for music, but an interest in the process; in the people who create it, the minds that shape it, and the passion that births it.
He played in countless bands in his youth, and I can think of no better way to honor his memory than by sharing some of his music with you all. With Steel’s blessing, I’m embedding a two-song demo (“A Place in Time” and “Street Legal”) ripped from a cassette my old man recorded in the late 80s, so apologies in advance for the questionable quality. He composed both the music and lyrics, played guitar and bass, and sang on both tracks, which were devised when he was perhaps at his Rush fanboy peak. It’s been a delight and a balm hearing his voice again, captured as it was in a moment when he was young, vibrant, and doing what he loved.
So here we are. Despite (or perhaps because of) this, I managed to consume a fair amount of metal this year. And while I was far less productive as a writer than I’d hoped and I wasn’t able to listen to as much as I originally planned, I discovered a plethora of new music here on AMG that soothed what Neil Peart once referred to as his “baby soul.” And surprisingly, I found much of that solace in the discordant, the dissonant, and the off-kilter, as the list below probably reflects. But more importantly, I found compassion, support, and understanding amongst the writing staff here. And while they may not know it, I will be forever thankful for the folks who showed me such boundless kindness during a year that felt decidedly unkind. Thank you, my friends.
Now let’s get to to it. Here are my top ten(ish) albums of 2024.
#(ish). Beaten to Death // Sunrise Over Rigor Mortis – It almost feels like cheating to place an 18-minute album in my Top 10(ish), but here we are. 2024 proved to be a year where my interest in grind and grind-adjacent acts expanded, and this “ish” is the result. While I wasn’t aware of Beaten to Death prior to this release, I was quickly swept away by Sunrise Over Rigor Mortis’ ability to bludgeon its idiosyncratic way into my brain and coil there like the most glorious of infections. Beaten to Death has delivered a concise helping of grinding goodness, with crispy prog edges and a schmear of off-kilter humor. Back catalog, here I come!
#10. Sleepytime Gorilla Museum // Of the Last Human Being – Gardenstale’s gushing review of Sleepytime Gorilla Museum’s fourth album Of the Last Human Being was a tough endorsement to ignore, as was an invocation of Diablo Swing Orchestra. So I threw caution to the wind and leaped headlong into this experimental maelstrom. And I’m so happy I did. Don’t let the runtime dissuade you; Of the Last Human Being doesn’t feel nearly as long as it is, and over that relatively brief timespan, you’re provided with a front-row seat to the aural equivalent of perhaps the most fun kind of performance art. Hard-edged riffs, off-kilter instrumentation, ominous theatrics interlaced with beautiful, sparse melodies, and all capped off by the deranged croons of chief carnival barker Nils Frykdahl. If I’d spent more time with this record it may have placed higher, but as it is, I’m happy it’s making an appearance at the number 10 spot.
#9. Sur Austru // Datura Strǎhiarelor – Despite Twelve underrating this album, I suppose I should commend him for introducing me to Sur Austru in the first place. This Romanian outfit’s third full-length Datura Strǎhiarelor is a potent blend of rumbling, blackened fury, and melodic folk metal, with plenty of flute work, orchestration, choral elements, and plaintive keys thrown in. And, while the gruff, chanting growls might rub some listeners the wrong way, it was this aspect more than any other that first grabbed my attention, and proceeded to keep it. And while I haven’t a clue what the vocalists are shouting at me, the tone and placement in the mix feels just right, especially for this brand of folk-infused black metal. Such is the strength of Sur Austru that this album began as my “ish” before eventually working its way to ninth. Mightly bold of them.
#8. Necrowretch // Swords of Dajjal – Some of the entries on this list were either late discoveries or took some time before they got their dirty little hooks in me. Necrowretch’s Swords of Dajjal was not one of them. As soon as I spun it back in February, it was love at first listen. Swords of Dajjal focuses on the greater deceiver in Islamic mythology, and explores that tradition through the use of ferocious blackened death metal (with perhaps a dollop or two of thrash thrown in). Although, as Carcharodon rightly pointed out in his review, the “blackened” part is doing most of the heavy lifting here. And that’s not a bad thing, as Necrowretch is more than adept at crafting memorable hooks and an engaging atmosphere without sacrificing heft or freneticism. Swords of Dajjal is an unmitigated success, and my only real gripe is that Necrowretch dropped a new platter so early in the year that it may go overlooked on too many end-of-year lists.
#7. The Vision Bleak // Weird Tales – Grier and I may not see eye to eye on music, but what can I say? The man knows his way around gothic metal. So when he awarded a 4.0 to Weird Tales back in April, what was I to do? If you said wait several months before bothering to press play, you’re correct. But folks, I may have been late to the party, but it’s a rager nonetheless. The Vision Bleak has produced an emotive, memorable, downright heart-wrenching concept album; one that is both lush and harsh, both achingly melodic and morosely heavy. Weird Tales isn’t my usual cup of tea, but The Vision Bleak has rejected my assertion by doing what many similar acts appear incapable of doing: cohesively balancing “gothic” and “metal” without lessening the impact of either. A well-earned addition, indeed.
#6. Stenched // Purulence Gushing from the Coffin – While Rots-giving may have been tarnished by a less-than-stellar release from Rotpit back in November, I’ve moved on since then, and am now proudly celebrating Stenched-mas. The Manly n’ Mighty Steel reviewed this one-man grimy death outfit last month, and even though I was still smarting from my failed attempt to poach Purulence Gushing from the Coffin for myself, I can’t in good conscience deny how hard this globular mass of funerary muck rips. From the first track to the last, you’ll be rocking a near-permanent stank face, and you can’t blame that solely on the fungal miasma wafting from your speakers. The truth is, Stenched has delivered a masterclass in riff-heavy, moss-encrusted death metal; the kind that’s perfect to drag your knuckles to. Purulence Gushing from the Coffin is the exact kind of no-frills, all-guts death metal I needed in 2024, and that’s why it’s sitting pretty at 6.
#5. Aklash // Reincarnation – How are we already at the Top Five? And what better way to kick off this most treasured of positions than with the melodic black metal stylings of Aklash on their fourth album Reincarnation? Aklash received a solid write-up in June’s Stuck in the Filter by our very own Kenstrosity, and their most recent outing has continued to climb higher and higher on my list the more I’ve spun it. Part black metal, part progressive metal, part trad metal (epic choruses included), Reincarnation packs a wallop in just a short 37 minutes. overflowing with varied instrumentation and keen lyrical chops, grandiose in scope and medieval in tone, yet more personal than it has any right to be, Aklash is firing on all cylinders here, and, as such, is perfectly suited for anyone’s top 5.
#4. Devenial Verdict // Blessing of Despair – And, just like that, more death metal rears its ugly head. I’m still surprised at how high up Devenial Verdict’s sophomore album landed on my list, primarily because their 2022 debut Ash Blind failed to connect. But Blessing of Despair seems to have arrived just in time for my increasing flirtation with the cruel mistress that is dissodeath. As such, I found myself utterly taken with Devenial Verdict’s latest, overflowing as it is with equally heavy doses of discordant ferocity and mournful melodicism. And while Blessing of Despair is an undeniably heavy record, it makes sure to leave plenty of room for quieter moments, where slower sections and sparse instrumentation have room to bloom and breathe. This approach not only results in a wonderfully balanced album but ensures the bludgeoning that’s sure to follow is all the more impactful. Consider me reformed.
#3. Aborted // Vault of Horrors – I’m fairly certain that any death metal fan worth their salt is legally required to include the latest Aborted release on their end-of-year list. Over 25 years and 12 albums into their carnal career, these death metal titans need no introduction. Blood-drenched, gore-soaked, and happily grindy, Aborted are in a league all their own, and it shows on Vault of Horrors. The music remains tight and explosive, building a menacing atmosphere that pervades only the stickiest of grindhouse theaters. Besides, with songs dedicated to classics like Return of the Living Dead, Hellraiser, and The Texas Chainsaw Massacre, how could I do anything other than include this gem of an album in my top 3? I for one welcome our horror-themed overlords.
#2. Noxis // Violence Inherent in the System – What began as a random pick from the promo sump by one Kenstrosity quickly rose to become a favorite of the death metal maniacs (those with good taste, anyway) on the AMG staff. Now, more importantly, it’s nabbed the second-highest honor on my year-end list. Noxis’ first full-length album Violence Inherent in the System sounds like the product of a much more experienced band. The songwriting is top-notch, the performances are big and bold without being overwrought, and the sticky riffs stay wedged in your mind long after the album ends. And yet for all of its bombast, Noxis is still able to infuse their debut with oodles of atmosphere, not to mention a level of balance between death metal orthodoxy and fresh bells and whistles (and horns) that would make even Thanos grimace in jealousy. Special attention must also be paid to Joe Lowrie’s snare tone and Dave Kirsch’s godlike bass performance.
#1. Pyrrhon // Exhaust – I suppose I was always destined to end up here, I just didn’t know it right away. Pyrrhon’s fifth full-length Exhaust didn’t initially grab me the way some of my other entries did. However, on repeat spins, I found myself falling deeper and deeper into its frenetic, dissonant embrace, discovering both nuances and subtleties amidst the proggy cacophony. On an album that thoroughly explores the universal theme of exhaustion, be it physical, mental, social, or economic, Pyrrhon’s brand of noise-tinged death metal feels like the ideal tool with which to scrawl their livid manifesto. But what truly sets Exhaust apart is its unrelenting groove, stoked by Pyrrhon’s inventive capacity to not only feature but to uplift its unique brand of melodicism amidst the unrelenting maelstrom. It’s hard to overstate just how critical this aspect is to Exhaust’s success, especially since it would have been so easy to excise. But Exhaust’s manic ferocity, which swerves jerks, hops, and heaves, is all the better for it. And while its charms were initially lost on me, I found it easier and easier to finally succumb to its tremulous tendrils. Any record with that kind of staying power (not to mention a theme so applicable to my own experiences this past year) has more than earned my top spot for 2024.
Honorable Mentions:
- Defeated Sanity // Chronicles of Lunacy – Defeated Sanity is a brutal tech death stalwart at this point, and now seven albums in, Chronicles of Lunacy only further cements that status. Chronicles of Lunacy provides the listener with track after aggressively intricate track exploring lunacy in its many forms, but the real treat here is Lille Gruber’s masterful performance on the drums.
- Full of Hell // Coagulated Bliss – while I don’t think I’ve become a complete grind convert, albums like Full of Hell’s Coagulated Bliss and Beaten to Death’s Sunrise Over Rigor Mortis certainly set me on the path to one day become a proud proselytizer. You can’t deny Coagulated Bliss’ infectious groove and whirlwind pace, although I agree with the Dolphin’s rating adjustment.
- Undeath // More Insane – no, it’s not as good as It’s Time…to Rise from the Grave, and there’s no reason to pretend that it is. Nor does it need to be. While More Insane may not reach the lofty heights of its predecessor, it still showcases an Undeath doing what it does best, while also hinting at an undeniable ability to evolve into an even sharper, more fetid OSDM beast.
- 200 Stab Wounds // Manual Manic Procedures – while I wasn’t entirely kind in my review of 200 Stab Wounds’ debut, Mark Z suggested I take their follow-up Manual Manic Procedures for a spin, and I’m glad I did. It’s clear they’ve grown as artists, and their sophomore effort reflects that heightened maturity. Keep stabbing on, your crazy diamonds!
- Mamaleek // Vida Blue – I’m confident this album captures what it would sound like if Tom Waits listened to too much Ashenspire before leaving for the recording studio. Long, difficult, and bold, I found myself returning again and again to Vida Blue no matter how challenging I found the experience. While this album didn’t make my top 10, I’m convinced a future Mamaleek release will.
Song o’ the Year:
- Noxis – ”Skullcrushing Defilement”
This song goes hard. Exceptionally hard. In truth, there are any number of tunes from Violence Inherent in the System that fit the “Song o’ the Year” bill, but I had to give the edge to “Skullcrushing Defilement.” Not only does it begin with an absolutely searing bass solo, but it sets the stage for the four-string onslaught that’s to come. There’s a noticeable Cannibal Corpse influence that I can’t help but love here, alongside heaping doses of maniacal melodicism, turbocharged technicality, and an earworm chorus to boot. Abandon all cervical spines, ye who enter here.
#200StabWounds #2024 #Aborted #Aklash #AllieX #Anciients #Archspire #Atheist #BeatenToDeath #BlogPosts #BloodIncantation #Borknagar #CaligulaSHorse #CannibalCorpse #Capharnaum #CountingHours #Crytopsy #Death #DefeatedSanity #DevenialVerdict #DiabloSwingOrchestra #Dissimulator #Dissonance #FullOfHell #FvneralFvkk #Huntsmen #Ihsahn #Khirki #Lists #MadderMortem #Mamaleek #MGMT #MichaelKiwanuka #Nails #Necrowretch #Noxis #OceansOfSlumber #Opeth #Pyrrhon #Rapture #Replicant #Revocation #RippedToShreds #Rotpit #SaundersAndFelagundSTopTenIshOf2024 #SergeantThunderfoot #SIR #SleepytimeGorillaMuseum #StVincent #Stenched #SurAustru #TheVisionBleak #TomWaits #Ulcerate #Undeath #UnhallowedDeliverance #Vhöl #Wormed #ZealAndArdor
-
Protestwandeling / herdenking Februaristaking 2026
Mr. Visserplein, Amsterdam, woensdag 25 februari om 18:00 CET
(English below)
Op 25 februari 1941 kwamen Amsterdammers massaal in opstand tegen de naziterreur jegens hun Joodse stadsgenoten. Tienduizenden arbeiders stopten met werken en legden Amsterdam twee dagen plat: de jaarlijks herdachte Februaristaking. Maar herdenken is meer dan kransen leggen. Nooit meer kan alleen als we altijd waakzaam zijn en rebelleren wanneer fascisme de kop opsteekt.
Want de wereldwijde opmars van extreemrechts is angstaanjagend. De VS ontvoert dagelijks mensen vanwege hun uiterlijk. ICE executeert tegendemonstranten op klaarlichte dag op straat. In Europa schieten fascistische leiders als paddenstoelen uit de grond. De genocide op Palestijnen gaat ondanks wereldwijde protesten ongehinderd door.
Ook in Nederland gaat het mis. Extreemrechts groeit als kool. Verworven vrijheden en sociale voorzieningen verdwijnen. Wekelijks staan knokploegen met prinsenvlaggen voor AZCs. De Tweede Kamer stemde voor een FvD-motie om antifascime als terrorisme te klasseren.
Fascisten verkondigen openlijk de antisemitische omvolkingsmythe: het complot dat een Joodse elite de Europese bevolking en cultuur vervangt door niet-witte mensen. De PVV, FvD en andere extreemrechtse partijen willen deze nepcrisis oplossen met gesloten grenzen en 'remigratie’, een term recht uit de breinen achter de Holocaust.
Allemaal koren op de molen van georganiseerde (neo-)nazi’s, die steeds vaker openlijk op straat hun haat uiten.
De lessen van de Februaristaking – voor elkaar opkomen en verzetten tegen haat en onderdrukking – zijn sinds de nazi-bezetting nooit relevanter geweest. De Holocaust kon plaatsvinden omdat de meerderheid zweeg.
Het moment om je uit te spreken is NU.
Daarom organiseert Mokum Tegen Fascisme op 25 februari, ná de officiële herdenking op het Jonas Daniel Meijerplein, een protestwandeling. Met verhalen, gedichten en muziek vertalen we de lessen van toen naar vandaag, zodat de vlam van verzet tegen extreemrechts opnieuw ontbrandt.
Verzamelen: vanaf 18.00 uur, Meester Visserplein. Wij serveren soep! Na een tocht door het centrum eindigen we weer op het Meester Visserplein.
-----
On February 25, 1941, Amsterdammers rose up en masse against the Nazi terror against their Jewish fellow citizens. Tens of thousands of workers stopped work and paralyzed Amsterdam for two days: the annually commemorated February Strike. But commemoration is more than just laying wreaths. Never again is possible only if we are always vigilant and rebel when fascism rears its ugly head.
Because the global rise of the far right is terrifying. The US kidnaps people daily because of their appearance. ICE executes counter-protesters in broad daylight on the streets. In Europe, fascist leaders are springing up like mushrooms. The genocide of Palestinians continues unhindered despite worldwide protests.
Things are also going wrong in the Netherlands. The far right is growing rapidly. Acquired freedoms and social services are disappearing. Every week, gangs with Prince's flags stand in front of asylum centers. The House of Representatives voted in favor of a motion by the FvD party to classify anti-fascism as terrorism.
Fascists openly proclaim the antisemitic "repopulation myth": the conspiracy that a Jewish elite is replacing the European population and culture with non-white people. The PVV (Party for Freedom), FvD (Foundation for the Democracy), and other far-right parties want to solve this fake crisis with closed borders and "remigration," a term coined by the minds behind the Holocaust. All of this is grist to the mill of organized (neo-)Nazis, who are increasingly openly expressing their hatred in the streets.
The lessons of the February Strike—standing up for each other and resisting hatred and oppression—have never been more relevant since the Nazi occupation. The Holocaust was possible because the majority remained silent.
The time to speak out is NOW.
That's why Mokum Tegen Fascisme is organizing a protest walk on February 25th, after the official commemoration at Jonas Daniel Meijerplein. With stories, poems, and music, we will translate the lessons of the past to today, so that the flame of resistance against the far right can be rekindled.
Gathering: from 6:00 PM at Meester Visserplein. We'll be serving soup! After a stroll through the city center, we'll finish back at Meester Visserplein.
[Mokum Tegen Fascisme (bron/source)]
https://acties.todon.nl/event/herdenking-februaristaking-2026
-
I see a lot of fancy modern locomotives featured on Mastodon's train track Tuesday, but none are finer than EMD's F7. This one operatates at the Illinois Railway Museum. The fact that this particular locomotive went into service the year and month I was born has nothing to do with it
#TrainTrackTuesday #trains #railroad #Chicago #Illinois #mchenrycounty #CNW #Metra #nikon #photography
https://www.irm.org/cgi-bin/rsearch.cgi?diesel=Chicago+&+North+Western=411
-
CW: More about not great mental health
Unfortunately I’m still in a really crappy headspace today. This is due to many little or trifling things that, in the grand scheme of things, could be considered mere annoyances but, put together all at once, are really affecting my mental health. In a moment of absolute insanity, I agreed to serve as secretary for our homeowner association board. I’m now learning,too late, what a thankless job this is. Lots and lots of stuff is being thrown at me at once, a lot of which I can’t deal with immediately because of #A11Y issues. They don’t seem to grasp the A11Y concept. Our monthly board meeting is tonight, needless to say I’m not looking forward to it. Another example: Recently I started joining the #BITS chats on the weekend. Those who know know. I thought that might be a good way to reach out to others and extend my circle. Last night, I dialed in, and for about five minutes, I was completely ignored. I have the same problem there that I have in big rooms with a lot of people talking at once, where I have no idea when to jump in, and I usually guess wrong. The stress of this is one of the rare times that my childhood stutter rears its ugly head. I dialed in later, and for reasons unknown I was put on mute. I couldn’t unmute, so I left. To be fair, I know none of this is personal or directed at me in any way. But when your head is messed up you get some stupid messages. Anyway, that’s where I’m at today.
-
Acidosis – Arrival Review By Creeping IvyWhen I think about Miami, the first things that come to mind are excellent empanadas, terrible traffic, and Cynic. What doesn’t come to mind is thrash, although I’ve learned that the Magic City has some history in this regard (Solstice). Thrash quintet Acidosis currently resides in Los Angeles, but their own history dates back to a Miami high school in the mid-to-late 2000s, where frontperson Ben Katzman and guitarist Diego Edsel first formed the band. Arrival, Acidosis’s long-gestating debut album, re-records and reimagines songs Katzman, Edsel, and crew first concocted when they were teenagers. Acidosis may lie their heads in La La Land, but the flamingo-pink background and seafoam-green eyelid tentacles adorning that cover clearly aim to put Miami on the thrash map.1
Arrival is a survivor story, in more ways than one. After dissolving Acidosis, Katzman served stints in several other acts and even competed in season 46 of Survivor.2 In reforming the band, Katzman and Edsel enlist the talents of Harry Schwarz (drums), Jonathan Rusten (rhythm guitars), and Deo Budnevich (lead guitars) to create Arrival, a 9-song, 26-minute thrash incursion.3 Acidosis channels Municipal Waste in wasting no time with long songs, favoring crossovery bangers filled with riffs more rambunctious than a pitbull. “Arrival” opens things up with a sly devil, “They Live!” keeps the party going with punk energy, and “Hostile Negotiations” caps nifty pull-offs and speedy power chords with a delicious tag. Later on, Acidosis conjure the classics, with riffing reminiscent of the chromaticism of Megadeth (“Mankind”) and the stomp-age of Anthrax (“Deadly Fits”). I have no idea how much/little these songs have changed since Katzman and crew were in high school, but Arrival’s riffs have survived the test of time.
Ben Katzman ultimately supplies the fuel that powers this Miami Thrash Machine. As a vocalist, he sounds like a less shouty, more tuneful Tony Foresta (Municipal Waste). Katzman knows how to implant a titular line in the listener’s head (“Hostile Negotiations,” “Mankind”) and when to throw some anthemic ‘whoas’ into the mix (“They Live!”). As a bassist, he is equally integral to imbuing Acidosis with its unique charm. Whether (re)charing songs with a bass break (“They Live!,” “Where I Stand”) or shredding a low-end solo (“Hostile Negotiations”), Katzman kills it on the four strings, with a tone that is just the right amount of distorted and clangy. Arrival is clearly Katzman’s passion project, and his passion shines throughout.
Alas, no album with roots in Vice City was going to pass without sin. While I appreciate the spirit of succinct songwriting here, some tracks are definitely in need of more flesh. “Hostile Negotiations” is a banger that would benefit from bridge development, and album-closer “Where I Stand” opens with a country western lick that implies scope that isn’t realized. Switching from slothful songwriting to gluttonous album-craft: the interludes are completely unnecessary. Arrival isn’t even ten minutes old before “Interlude” breaks up the thrash action, and “Interlude 2” intervenes after only two more tracks that total less than nine minutes. These interludes, though short, disrupt the energetic pace, lengthening an album that’s chief virtue is its brevity. Arrival also suffers from inconsistent soloing. Edsel and Budnevich trade off on many of these tracks, revealing that one of these shredders is stronger than the other. Unfortunately, there are several moments where uncontrolled guitar wrath rears its ugly head, with solos sounding like they’re struggling (“Mankind,” “Deadly Fits”).
Having hypocritically cast my critical stones, I will say that none of these sins are deadly. The long-awaited Arrival of Acidosis is a fun time, certainly worth a 26-minute investment from thrashers and metalheads more broadly. Acidosis play a familiar style with no real innovation, but they stamp it with their own personality, much of which stems from Katzman’s presence as a frontman and essential bassist. Add Acidosis to the list of things I positively associate with Miami—I’ll scope out the line if and when they serve up their next platter of thrash turnovers.
Rating: 3.0/5.04
#2026 #30 #Acidosis #AmericanMetal #Anthrax #Arrival #ColleenGreen #Cynic #GuerillaToss #MannequinPussy #Mar26 #Megadeth #MunicipalWaste #Review #Reviews #SelfReleased #Solstice #ThrashMetal #Torche
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026 -
Guess who's really building those surveillance AI models? Flock's secret sauce got spilled: turns out gig workers in the Philippines are doing the heavy lifting of classifying footage for their US cameras. The 'future of AI' often looks a lot like the past of cheap labor.
What are your privacy concerns here?
#FlockAI #Surveillance #TechNews #WorkerRights #AIethics 🔗 Details: https://www.wired.com/story/flock-uses-overseas-gig-workers-to-build-its-surveillance-ai/
-
Turbo’s Tribunal – Mills of Tribunal Review By Grin Reaper
Melodic heavy metal outfit Turbo’s Tribunal heralds the arrival of Mills of Tribunal, hoping to light a fire that warms the dark recesses of our cynical hearts.1 Hailing from Denmark, Turbo’s Tribunal is the invention of mastermind and sole contributor Andreas Thunbo. Having toiled on demos, EPs, and splits over the last couple of decades, Mills of Tribunal presents Thunbo’s first full-length endeavor. Citing legendary acts like Iron Maiden, Judas Priest, and Running Wild as creative touchstones, can Turbo’s Tribunal live up to the lofty expectations, or does Mills of Tribunal need further refinement under the grinding wheel?
Though the promo material for Turbo’s Tribunal lists a handful of inspirations, the one I hear most immediately is Iron Maiden. And while I’d like to say that you can’t go wrong using such an exalted act as a template, the truth is some bands define a sound so well that treading too closely creates an unattainable promise for listeners. Thankfully, Turbo’s Tribunal admirably balances inspiration and originality, evoking muses without aping them. Specifically, Mills of Tribunal most reminds me of Piece of Mind, though later 80s Maiden seeps in via sustained synth twinkles (“Draw the Line” and “Satan Is Here”). Priestliness also rears its head, particularly on the intro to “Men of the World,” and Running Wild’s guitar and bass interplay runs rampant throughout.
Mills of Tribunal by Turbo’s Tribunal
For a record where Thunbo provides all the instrumentation, Mills of Tribunal occupies a remarkably three-dimensional soundscape. The bell of the ball is Turbo’s Tribunal’s bouncing bass, fluttering and chugging on every track with delightful, Steve Harris-inspired melodicism.2 Spotlighted by a spacious mix, I can’t resist the enchantments of Mills of Tribunal’s well-crafted grooves and countermelodies (“Deliberation” and “Summon the Tribunal”). Nearly as alluring as the basswork, guitars dance and swirl, establishing a fleet lead here (“Draw the Line”) and a supporting power chord there (“Men of the World”). Meanwhile, synths enrich the atmosphere of many tracks, supplying subtle retro pangs reminiscent of Somewhere in Time or Rush’s Grace Under Pressure. Through it all, Thunbo’s higher register cleans pierce with melodic clarity, occasionally summoning the specter of a subdued King Diamond. And while I think that Turbo’s Tribunal vocals are good, examining them closely highlights larger opportunities across Mills of Tribunal.
The individual tracks on Mills of Tribunal furnish a polished debut, although in totality, Turbo’s Tribunal suffers from the tangle of a safety net. Too many mid-paced songs, repetitive vocals, and too narrow a scope of sounds limit what Mills of Tribunal could be. Make no mistake, what’s on tap here is unequivocally good, but it’s like the aural counterpart to a sepia photograph—limited dynamism paints the album in a uniformity that artificially imposes limits on what Mills achieves. While Thunbo does a fine job on the mic, there’s too little variation. Adding some gritty phrasing or a guest vocalist would help satisfy the need for the sonic diversity required to drive anticipation and tension. Besides the drums, which are inoffensive and unremarkable, the instrumentation delivers beefy trad character, though I wish Turbo’s Tribunal experimented more with the guitar tone; like the vocals, a lack of range imposes a ceiling. While many things are done well on Mills of Tribunal, there’s ample potential for a greater outing, and if addressed, closing these gaps will help push future platters into fatally fun territory.
Despite some missed opportunities on risk-taking, Turbo’s Tribunal offers an entertaining debut that’s sure to garner fans. Audible basscraft that draws Steve Harris comparisons should get people’s attention, as should a rich DR and a restrained forty-minute runtime. Mills of Tribunal marks a success that most new bands would be proud of,3 and Thunbo deserves praise for such a tight and well-composed dish. If Turbo’s Tribunal can maintain the engaging songwriting while amplifying the tolerance for danger and risks, the next album might just burn the place down in a heavy metal inferno.
Rating: Good
#2026 #30 #DanishMetal #HeavyMetal #IronMaiden #Jan26 #JawbreakerRecords #JudasPriest #KingDiamond #MelodicHeavyMetal #MillsOfTribunal #Review #Reviews #RunningWild #Rush #TraditionalMetal #TurboSTribunal
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Jawbreaker Records
Websites: turbostribunal.bandcamp.com | facebook.com/turbostribunal
Releases Worldwide: January 23rd, 2026 -
Bondi royal commission to hear challenge to antisemitism definition
By Phoebe PinA royal commission sparked by the Bondi terror attack is this week expected to hear from groups who challenge the commission's accepted definition of antisemitism, as well as expert witnesses from the United Kingdom.
-
Bondi royal commission to hear challenge to antisemitism definition
By Phoebe PinA royal commission sparked by the Bondi terror attack is this week expected to hear from groups who challenge the commission's accepted definition of antisemitism, as well as expert witnesses from the United Kingdom.
-
Bondi royal commission to hear challenge to antisemitism definition
By Phoebe PinA royal commission sparked by the Bondi terror attack is this week expected to hear from groups who challenge the commission's accepted definition of antisemitism, as well as expert witnesses from the United Kingdom.
-
Bondi royal commission to hear challenge to antisemitism definition
By Phoebe PinA royal commission sparked by the Bondi terror attack is this week expected to hear from groups who challenge the commission's accepted definition of antisemitism, as well as expert witnesses from the United Kingdom.
-
Bondi royal commission to hear challenge to antisemitism definition
By Phoebe PinA royal commission sparked by the Bondi terror attack is this week expected to hear from groups who challenge the commission's accepted definition of antisemitism, as well as expert witnesses from the United Kingdom.
-
Raphael Weinroth-Browne – Lifeblood Review
By Twelve
Raphael Weinroth-Browne of Kamancello and Musk Ox, among other groups, is, in my mind, the most interesting cellist in metal. This is in large part due to the fact that he actually plays a lot of non-metal. Musk Ox is a fantastic chamber folk project with nary a distortion to be heard. His debut solo release, Worlds Within, covers a lot of ground, but is largely a work of classical music. And yet, you can just hear in the way he plays that Weinroth-Browne is a metal musician. The influence and emotion is just there, whatever he’s doing and however he’s doing it. The follow-up to Worlds Within, Lifeblood, offers a similar premise: one man with a cello and a pocket full of dreams. The question is clear: are there worlds within Lifeblood, or will it end up feeling lifeless?
Certainly not the latter; Lifeblood is a very lively album, upbeat and intricate with many layers to explore. Compared with Worlds Within, it feels like Weinroth-Browne has placed a greater emphasis on “roles.” As it progresses, you almost get the sense that there is a “lead/vocalist” Raphael Weinroth-Browne on cello, a rhythm Weinroth-Browne on cello, a bass Weinroth-Browne on cello, and a percussion Weinroth-Browne on cello. The four Weinroths-Browne build upon each other’s work, taking simple ideas and layering them upon each other until the whole transcends its basic components. The titanic “Ophidian” does this extremely well. For nearly nine minutes, it tells largely the same story—but beneath the surface, the bass Weinroth-Browne is building to an anxious crescendo, the rhythm Weinroth-Browne is weaving a tapestry, and the lead Weinroth-Browne is practically singing through his cello, with all the passion and inflection you’d expect from an actual singer. Of course, there is no singer—Lifeblood is purely instrumental—but it does not need one.
Last year, I had the unexpected pleasure to see Musk Ox live in concert, where they performed Inheritance—my 2021 album of the year!—in full. At the time, I was struck by just how much better Weinroth-Browne’s cello sounds live. It’s a rich, expansive, expressive instrument and, despite how amazing Worlds Within sounds, I’ve felt it missed some of that low-end power that gives the cello its majesty. Lifeblood seems to address this thought. It has a richer sound than its predecessor and a mighty low end. Weinroth-Browne’s influence from metal rears its head on songs like “Lifeblood” and “Possession,” where he treats his (“bass”) cello like a guitar, utilizing what are essentially power chords to give the songs weight. On “Nethereal” and “Labyrinthine,” he goes a little lighter, but the influence is still there; the former is a slow build to an electric payoff, while the latter leans lighter and more excitable; “Labyrinthine’s” layers build with fun, lively backdrops that give the song a journeying feel. It’s not “cello metal” like Apocalyptica; Rather, Weinroth-Browne’s fusion of classical and metal themes is expert enough to feel like it isn’t overtly one or the other.
Like most classically-inspired instrumental albums, Lifeblood is best experienced as a whole and can be thought of as a journey. This is its greatest strength, and I imagine for some will be its primary drawback. Indeed, I find it difficult to just sit down and play “Labyrinthine;” on its own, it’s a good song, but may feel a bit long or a bit much. But start with the opener “Lifeblood,” and it draws you in. It begins in a similar vein to Worlds Within, but quickly establishes its own identity. It does a great job of luring the listener into Lifeblood, and flows naturally into “Possession,” and from there into “Ophidian,” and so on. With that said, I do think Lifeblood is a touch long—and front-loaded. After the gorgeous “Pyre,” Lifeblood’s best songs—to my ears, at least—are behind it, which makes the near-hour-long runtime feel like a bit much. It’s never bad in any sense, but with so many paths to traverse, it does feel a little lost by the end.
But only a little—I can’t stress enough that Lifeblood is a fantastic musical journey that establishes Weinroth-Browne as a supremely talented composer, cellist, and musician. It is a rare album, one that rewards multiple listens, evokes myriad emotions, and creates a lasting impression. It really is remarkable. Who needs a band when you have an army of Raphael Weinroth-Browne?
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: raphaelweinroth-browne.bandcamp.com | raphaelweinrothbrowne.com | facebook.com/raphcello
Releases Worldwide: October 3rd, 2025#2025 #35 #Apocalyptica #CanadianMetal #Classical #Kamancello #Lifeblood #MuskOx #Oct25 #RaphaelWeinrothBrowne #Review #Reviews #SelfRelease
