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Message in a barrel time (bottles clearly not working) #GetFediHired #jobsearch #needwork.
Starting to really freak out - in search for software developer work in the #Ottawa #Montreal areas; preferably remote. #C #C# #Erlang #Java #NodeJS #Forth #Shell #SQL #BSD #Linux #English #French and more. Very versatile, adaptable, experienced.
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Message in a barrel time (bottles clearly not working) #GetFediHired #jobsearch #needwork.
Starting to really freak out - in search for software developer work in the #Ottawa #Montreal areas; preferably remote. #C #C# #Erlang #Java #NodeJS #Forth #Shell #SQL #BSD #Linux #English #French and more. Very versatile, adaptable, experienced.
I cook too; every office should have someone who can make Neapolitan style #pizzas for team lunches & parties.
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Message in a barrel time (bottles clearly not working) #GetFediHired #jobsearch #needwork.
Starting to really freak out - in search for software developer work in the #Ottawa #Montreal areas; preferably remote. #C #C# #Erlang #Java #NodeJS #Forth #Shell #SQL #BSD #Linux #English #French and more. Very versatile, adaptable, experienced.
I cook too; every office should have someone who can make Neapolitan style #pizzas for team lunches & parties.
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Message in a barrel time (bottles clearly not working) #GetFediHired #jobsearch #needwork.
Starting to really freak out - in search for software developer work in the #Ottawa #Montreal areas; preferably remote. #C #C# #Erlang #Java #NodeJS #Forth #Shell #SQL #BSD #Linux #English #French and more. Very versatile, adaptable, experienced.
I cook too; every office should have someone who can make Neapolitan style #pizzas for team lunches & parties.
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Message in a barrel time (bottles clearly not working) #GetFediHired #jobsearch #needwork.
Starting to really freak out - in search for software developer work in the #Ottawa #Montreal areas; preferably remote. #C #C# #Erlang #Java #NodeJS #Forth #Shell #SQL #BSD #Linux #English #French and more. Very versatile, adaptable, experienced.
I cook too; every office should have someone who can make Neapolitan style #pizzas for team lunches & parties.
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AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
AMG Goes Ranking – Panopticon By Thus SpokeWhether they “invented” it or not, Panopticon’s blend of bluegrass and black metal is distinctive in a way few superficially similar acts can match. From the very start, there was something special, and while the sound grew more refined, its core never changed—there was always an immense sense of drama, emotional intensity, and an unpretentious, honest heart that you could feel whether progenitor Austin Lunn was shrieking in fury or crooning softly.
Panopticon sits apart not only from other USBM acts, but from black metal acts in general. In many senses, the project functions as a kind of antithesis or a subversion of several unfortunate black metal stereotypes. Whereas the “trve” image of the genre is one of aggression and hatred, often to the point of edginess, Panopticon embodies something a lot closer to love, inverting the trope of isolation and darkness into an overwhelming message of solidarity. The rebelliousness embodied by a particularly black metal fondness for (real or affected) devil-worship manifests instead through authentic and peaceful anarchist philosophy. “Nature worship” is delivered through environmentalism rather than religiosity. Though a solo act, there is little, if any, lyrical space devoted to navel-gazing, with the emphasis again being on common human experience, and the natural world we all share. The consistent prominence of samples provides yet another window into the spirit that lies behind every record, as they show glimpses of political fear-mongering and the dehumanization of “undesirable” groups, giving a voice to the fight for workers’ rights, environmental protection, righteous anger, and yet also, hope for the future.
And so, of all the words I associate with Panopticon, “empathy” is near the top. It’s probably the reason that I can’t get through most of these albums without crying. That incredibly human aspect to the music also makes the impact of individual albums very personal, having spoken to my fellow rankers and read their submissions, this is quite evident. Even where we align, our reasons often don’t.
Before we begin, I want to shout out Mystikus Hugebeard in particular. Were it not for him and his orb of infinite wisdom suggesting it in the first place, I would not have dragged myself out of a quiet hiatus and pulled together this piece at all. I feel privileged to be able to write this introduction, given my relative lack of seniority compared to Panopticon’s resident official reviewer, El Cuervo. I guess this shows you where keenness (and a good suggestion) can get you. I hope you’re all ready for a long and lascivious tongue-bathing of one of black metal’s most stoically and understatedly iconic artists.
The Rankings
Thus Spoke
#10. On the Subject of Mortality (2010) – Every Panopticon album has a ‘moment’ for me where I am bowled over by the heady combination of jaw-dropping musical composition and emotional intensity, i.e, a bit that makes me cry. Except for this one. I do love some of these songs in isolation (“Living Eulogy,” “To Make an Idol of Our Fear and Call it God”), but overall, there’s an intangible absence of force, a twist of a knife or sigh of despair, or heart-stopping climax, that relegates Mortality to its unfortunate position. Perhaps the lukewarm vibes are a result of Mortality’s status as a kind of compilation of past tracks initially released in splits and singles, and there’s a subconscious lack (whether on my part or Panopticon’s) of driving central purpose and weight. I hate to put any Panopticon record at the bottom of anything, but something has to be here.
#9. Collapse (2009) – While still a very cool album, Collapse leaves me oddly cold. The trajectory falters a little as it sways between the debut’s vehement rawness, a floatier, more post-black sound, and passages of Appalachian folk which would come to define later Panopticon. Sometimes, they all converge brilliantly (“The Death of Baldr and the Coming War,” “Merkstave,” “Beginning of the End”), and even when the separation is more stark (“Aptrgangr,” “Idavoll,”) the music doesn’t lack coherence, just refinement. Collapse mixes in the new with the old in a way that both evolves Panopticon’s sound and keeps things consistently unique. Its grip is, nonetheless, uneven, with highlights in “The Death…,” “Merkstave,” and “The Beginning of the End” punctuated by lesser movements. As a symptom of a developing style, this is forgivable, especially given where things went.
#8. Autumn Eternal (2015) – Look, I’m sorry; I know this is a fan favorite. I’ve just never seen what so many seem to see in Autumn Eternal when they count it among Panopticon’s best. Yes, it’s beautiful (“Pale Ghosts”) and can be epic, but so are all Panopticon albums, and relative to its sisters, Autumn Eternal’s swooping gestures and delicate caresses feel like a dilution of Panopticon traits, with much less magic than on many other outings. There’s comparatively little fire in the blazing black metal of the charges, and the melodies are simply less interesting (“Oaks Ablaze” and “A Superior Lament”). Even when the execution is—as is to be expected—superb (“Autumn Eternal,” “Pale Ghosts”), I am never as enamored as I am when I listen to other preferred Panopticon moments. This is also the record where I enjoy the folkier touches the least (except for Collapse). And though it’s far from Panopticon’s longest, Autumn Eternal almost drags.
#7. Social Disservices (2011) – Panopticon records have a habit of hitting pretty hard, but Social Disservices hits hard in a very particular way. In addition to its musical strikingness as the smoothest blend yet of atmospheric black metal, it’s also conceptually striking in the form of a brutal gut-punch at the moment you first notice what’s going on. You don’t even need to read the lyrics to experience this epiphany, just the track list. “Resident” becomes “Client,” who becomes “Subject,” and finally “Patient,” adumbrating the insidious progression of control and objectification of the individual by systems of power. As if its biting words and magnificently moving melodies (“Client,” “Patient”) weren’t enough, the distressing samples of screaming babies (“Client”) and overlapping voices of anger and despair (“Subject”) leave absolutely no escape. This effect is so powerful that it proves slightly harmful for this record’s ranking, as there is little to no peace or calm from the onslaught until “Patient”‘s closing act. But every time I do return, I remember it’s a brilliant atmo-black record, and curse my forgetfulness.
#6. Panopticon (2008). Woe to those who dismiss the debut. Powerfully intense in itself, it further blows my mind by how much of the later Panopticon is audible in it. Already so dynamic, and so emotionally and politically-charged, with Lunn’s anti-authoritarian anarchist philosophy (“Flag Burner, Torch Bearer,” “…Speaking…,” “Emma’s Song”) on full display.1 A passionate series of epic-length, sample-splicing blackened storms, prefiguring Panopticon idiosyncrasies to come. Fluent, dynamic drumming that eschews the monotone blastbeat and gives away Lunn’s beginnings as a drummer; dramatic, triumphant rhythmic riffing;2 the touch of atmosphere in resonant chords and weeping tremolos. Already, the emotional core reaches beyond the fury of the angriest moments (“I, Hedonist,” “Emma’s Song”), with “…Speaking…” delivering potent poignancy in stirring, melancholic atmoblack that builds to a fever of pathos. Yes, it needs a trim, and it’s a little rough around the edges, but as the birth of Panopticon, things could hardly have gone better.
#5. The Rime of Memory (2023) – Given the unadulterated praise I heaped upon The Rime of Memory, you’d be forgiven for assuming that this would have ended up higher. But the ridiculous calibre of this band’s discography means that from here on, all albums are at least Excellent, and this one’s being here is more a case of others’ strengths. It’s Panopticon at their most consistently beautiful in the engrossing part folk, part gaze, part blistering black metal way that no subgenre peer can match (“Cedar Skeletons,” “The Blue Against the White”). It’s a paragon of marathon-length black metal songwriting, where the immersion just doesn’t break and the musical and emotional builds and releases are earned, and affecting on a huge scale (“Winter’s Ghost,” “Cedar Skeletons,” “Enduring the Snow Drought”). Like its predecessor …And Again Into the Light, the more prominent use of cello and violin works to further pull on the heartstrings by augmenting melodies with weeping, drawling warmth and sadness. This is how you do atmoblack; or at least, this is how Panopticon is doing it currently, and it’s absolutely wonderful.
#4. Roads to the North (2014) – I consider Roads to the North to be Panopticon’s most Panopticon-sounding album of all. Unlike Autumn Eternal, which analogously distills the core musical aura and is divided into more numerous, shorter songs, Roads to the North pulls no punches in any dimension, never sacrificing the authenticity of bluegrass or the consuming force of black metal. The seamless, and emotionally stirring flow of distinct but univocal movements—especially the “Long Road” trilogy and its gorgeous final part—is nothing short of masterful. And the riffs here are fantastic (“The Echoes of a Disharmonic Evensong,” “In Silence,” “Chase the Grain”); not only vivacious and memorable but so effortlessly matching the spirit of the folk that tells the story of the record in tandem both separately, measuredly, perfectly (“Norwegian Nights”), and with clever, stirring integration (“Where Mountains Pierce the Sky,” “The Sigh of Summer”). There is precious little barring Roads to the North’s entry into my top 3; maybe with more time, it’ll end up there.
#3. Kentucky (2012). When I first heard Kentucky, I didn’t love it. This was probably a knee-jerk reaction to the tin whistle and the uptempo country vibe of the bluegrass tracks. But the characteristically stirring black metal, dramatically rent with thundering drums, gentler folk (“Black Waters,” “Kentucky”), and testimony, always took me. Soon the tin whistle’s dissonance gained a striking thrill, and the rousing, commiserating calls of “Come All Ye Coal Miners” and “Which Side are You On” claimed their rightful position as vital chapters in the tale: the moving story of the Kentucky coal mining industry that ravaged the mountains and ruined lives through abuse and corruption. Heartening, bittersweet hope (“Black Soot and Red Blood”) with uplifting scales and inexorable, battering lows. Huge drama befitting the Appalachian mountains themselves (“Killing the Giants as they Sleep”) with cascading guitar lines, and infinite atmospheres surrounding the stunned sorrow of returning to a devastated landscape. I am unfailingly moved, and can understand why this is #1 for so many, even though it isn’t mine.3
#2. The Scars of Man on the Once Nameless Wilderness (2018) – Scars’ dualistic nature—so often bearing the brunt of criticism as listeners disown either part—is central to its brilliance. With Part 1 centring on the relationship between mankind and nature, Part 2 zooms in closer on the people; the macro and the micro-relations central to the creation and deepening of the Scars. The former epitomizes its focus with wilder black metal that could be favorably compared to Mare Cognitum at times, complete with some of Panopticon’s best riffs (“Blåtimen,” “Sheep in Wolves’ Clothing”) and most dramatically beautiful melodies (“Snow-Burdened Branches”).4 The hinted mournfulness is felt more keenly in Part 2, whose acoustic stylings lay bare the disenfranchisement and loneliness latent under the snow. Panopticon’s best bluegrass lies here, and particularly over the last few weeks I’ve frequently found myself singing most of this album to myself (“The Moss Beneath the Snow,” “Four Walls of Bone,” “A Cross Abandoned.”) A younger, more ignorant me would have scorned my genuine love for the ‘country’-ness of this. Maturing is recognizing that the love for this spectacular double album is justified.
#1. …And Again into the Light (2020). This is not just Panopticon’s best album, but one of my favorite albums of all time. The deeply personal nature is underscored by the unpublished lyrics, and the spellbinding blend of force and delicacy here is perfected. The bluegrass is supernaturally peaceful (“…And Again into the Light,” “Her Golden Laughter Echoes”), passing into black metal with the most grace of any Panopticon example. And when it melts into gaze, in “The Embers at Dawn,” it’s so softly sad it breaks my heart. The intertwining of dizzying violins amidst the tumbling percussion in an avalanche of emotion, only an emphatic crash away from syrupy atmosphere (“Dead Loons,” “Rope Burn Exist”), is a natural and simple perfection of Panopticon’s characteristically ardent style. The heaviness which peaks in devastating “Moth Eaten Soul” is matched in goosebump-inducing ability only by “The Embers At Dawn” and the triumphant close of “Know Hope.” Every track is a monolith, yet they blend into one another so seamlessly, through exquisitely-pitched pauses of ringing chords and bird calls, that I’m practically holding my breath in awe the entire time. And if the incredible music weren’t enough in its own right, the album’s thesis of hope and light for those who feel alone, overwhelmed, and in the dark strengthens it beyond an indubitably iconic status. It’s a masterpiece that even Panopticon may struggle ever to surpass.
El Cuervo
Consigned to History
#10 Panopticon – Had the Panopticon debut arrived a decade earlier, it might have been heralded as something more than it is. Though a clattering, chaotic slice of Norwegian-style black metal, its lengthy compositions and shreddy production give it an edge that many 90s bands didn’t have. But Panopticon features almost none of the qualities that would go on to define the band. This type of music will always have an old-school charm, but in the context of Austin Lunn’s entire discography, it’s an unremarkable introduction given how much his sound would change. If you desperately desire to hear more black metal, it’ll do that job but less well than many of its influences. It’s hard to conceive this record as anything other than a formative learning experience, and it’s far from essential.
#9 Collapse – Lunn’s music frequently boils with righteous, politically-charged indignation, but Collapse is his angriest work. He channels his fury through scything leads and powerful roars, not stepping off the black metal pedal for the first ten minutes of “The Death of Baldr and the Coming War.” But the abrupt side-step into twee bluegrass for the subsequent ten minutes of the record represented a tide-change in black metal, transitioning Lunn from a quasi-Norwegian into someone distinctly more American. The songwriting and melodies here are far from Panopticon’s artistic peak. Both the black metal and folksy passages are fairly rote and lack real cohesion, as one starts and the other ends without proper transitions. But it’s hard to imagine that the band would have hit the heights that it has without the progression audible on Collapse.
Assured Steps
#8 …on the Subject of Mortality – Though Panopticon is best known for its fusion of black metal with bluegrass (blackgrass?), there are also post-rock influences in the pot. These first appear on …on the Subject of Mortality, which marks the beginning of progression away from simple black metal towards subtler black metal. The engaging layers of guitars and bold melodic lines characterize this record compared with its predecessors, even if Lunn’s vocals were still in their rougher, blacker era. And though his prior work had the fire and fury you would expect of a young black metal artist, …on the Subject of Mortality features the dramatic flair that he now evidently enjoys. This partly flows from the music that’s more dynamic – switching from blackened blasting to bold shredding to shimmering walls to lilting interludes – but also an emotive shift from pure anger to a broader spectrum. …on the Subject of Mortality was a confident step towards musical maturity.
#7 The Rime of Memory – The Rime of Memory is basically a good record. Panopticon hasn’t made a record that’s any less than good for a long time. Despite my contemporaneous 3.5 score, it was the first that I wasn’t extremely enthusiastic about since discovering the band. While a number of Panopticon records are overlong, this one suffers the worst for it. I struggle to digest it in one sitting, which defeats the purpose of the art form. And while The Rime of Memory consumes you with its heavy atmosphere and measured pace, it lacks those gilding highlights to bring you to the surface of its deep ocean. The other long albums like …and Again into the Light and Roads to the North boast awesome individual moments that elevate the whole experience, whereas The Rime of Memory holds you below. Others tell me this is the perfect ‘switch-off’ album, but I like music best when it demands my attention. This doesn’t say quite enough to me.
#6 …and Again into the Light – …and Again into the Light is distinguished most by its sense of creative comfort. By 2021, in the discography, hearing a new Panopticon record is like sliding back into a pair of old slippers. You know what you’re getting, and it’s still better than most others, but it’s not the novel experience of bygone years. Its second key characteristic is its choppiness, boasting some career highlights but contrasted by filler. The eponymous opener is arguably the best in Lunn’s oeuvre, swelling from a folksy acoustic melody into a grand arrangement with sobbing strings. And “The Embers at Dawn” is mesmerizingly gorgeous, possibly the best song he’s ever written. But the core of the record around “A Snowless Winter” does little to stand apart from the strong bookends. The highs comfortably outweigh the lows, but …and Again into the Light doesn’t reach the pantheon of true greatness.
Faltering Genius
#5 Social Disservices – After …on the Subject of Mortality, which feels closer to the post-Kentucky Panopticon, Social Disservices returns to the bleak feel of Collapse. The unsettling speed, roaring vocals, and atonal strings land this record closer to ‘depressive suicidal black metal’ than anything else in the Panopticon discography (try “Resident” for a striking, nasty opening). And even where the music does strip back into quieter passages, it’s textured with upsetting samples; electronic ambience and noise rock combine into some of the most disturbing work in Lunn’s discography (“Subject” conjures deeply uncomfortable feelings). Social Disservices is distinctly monolithic, even within a discography of potent music. Where most of Lunn’s music is marked by melodic or thematic distinctiveness, this album is surprisingly one-note. Its oppressiveness makes for a harder listen than other records on this list, but it’s perfect for scratching that dreadful itch.
#4 The Scars of Man on the Once Nameless Wilderness – This was the greatest surprise for me on this list. After the exemplary run from Kentucky to Autumn Eternal, I welcomed Scars with stratospheric expectations. But the stark partition between black metal and bluegrass, plainer compositions, and sheer length left me disappointed. Returning to the album years later yields something much better than I initially recognized. Make no mistake: it’s still far too long and repetitive. But if you enter with the expectation of a slower pace and simpler arrangements, then there are far worse ways to spend 118 minutes in darkness and introspection. Certainly, it does this job better than The Rime of Memory. I especially love the softer folk arrangements on Part II; without the flabbiness of Part I, Part II would reach higher on this list. I’m no country fan – given that I’m not American, less still rural – but Scars lures me into its sparse but beautiful world with simple melodies and plaintive singing.
The Sweet Spot
#3 Roads to the North – Perhaps due to my own discovery of Panopticon with this record, my perception is that this is the record that broke Panopticon into the international metal market. It’s easy to hear why: the expansive, blackened compositions and off-beat bluegrass pull fans from different places, while the fusion of these core components was more sophisticated and harmonious than on any record prior. Even if I ultimately prefer this album’s predecessor, it was Roads to the North that found Lunn finally finding true harmony between his black metal and bluegrass influences. I also love the sense of progression here. Just as Lunn himself underwent a journey described by the album’s lyrics, it first coaxes and later drags its listener through detailed arrangements that meander through a long but clearly demarcated journey. Roads to the North was the natural culmination of all that was Panopticon until 2014.
#2 Autumn Eternal – If Kentucky marked the starting point of Lunn’s changing circumstances, and Roads to the North marked a period of uncertainty and personal challenges, then Autumn Eternal marked a guarded acceptance of his new life. There’s a moody mournfulness, but it doesn’t sound resentful; there’s a sense of a man achieving comfort. Accordingly, it’s the most melodic, pretty, and immediate of his releases. It prioritizes bold melodies and hopefulness above his prior records, which are frequently distinguished by their anguish and rage. By Panopticon’s own powerful standards, it’s almost easy and enjoyable. This in itself distinguishes Autumn Eternal. But don’t be deceived by the melodies and slickness. There remain fringes of danger that bleed through the heavier tracks, rooted in the dark Minnesotan wilderness. For the casual metal listener, Autumn Eternal is likely the best Panopticon launchpad.
#1 Kentucky – Among Panopticon’s many depictions of working-class strife, it’s Kentucky’s raw, emotional discharge that leaves the strongest mark on me. Although grounded in the eponymous state’s history, perhaps this is because abuse of coal mining communities was commonplace where I’m from, too. It conjures an energy that’s unmatched in the discography. There were many American black metal bands doing the Scandinavian thing before 2012, but none sounded so grounded in America; it sounds like corn and moonshine and rural humility. And though Lunn’s songwriting may have progressed to smoother territory on subsequent releases, Kentucky finds that sweet spot between raw black metal and subtler songcraft that would later grow. The leap from Social Disservices to Kentucky is staggering, considering the mere seven months between the two releases. Although there are plenty of strong albums in Panopticon’s career, it’s Kentucky that feels like lightning in a bottle and one of the best black metal albums ever.
Mystikus Hugebeard
When discussing the sort of black metal that speaks to me, I’ve oft likened it to a blanket. A dense, tactile wall of sounds and emotion so thick that I imagine myself sinking into and wrapping myself in its embrace. In this regard, Panopticon is practically tailor-made to draw my gaze. I am helpless against that which Panopticon offers: spacious, blackened vistas of naturalist imagery painted across lengthy songs, the integration of folk music (in this case Americana, which, like the saxophone, should be a part of far more metal bands), and riffs with such genuine emotional weight behind them. Like any purveyor of black metal, I’ve been spinning Kentucky for years, with the rest of Panopticon’s discography periodically approaching from the periphery. I was eager to participate in this ranking to celebrate the release of Panopticon’s upcoming release, so that I might entrap you readers into listening to me prattle on about one of my favorite artists. And now, it’s rankin’ time!
#10: …on the Subject of Mortality (2010). While it may be at the bottom of the list, this is not a disaster of an album by any means, but it is an unmemorable one. …on the Subject of Mortality was the most experimental album of Panopticon’s early years, and sets the stage for various elements to be explored with more depth in later releases. The tone and atmosphere are all over the place, and the sampling/voice recordings are unlike anything else in the discography. This sense of experimentation would bear great fruit in the next few albums, but …on the Subject of Mortality is in this weird middle ground where the final result feels so flat. Songs feel like little more than 7-10 minutes of a vibe, as the riffs lack sufficient meat or heft. I do like the tone of “To Make an Idol of our Fear and Call it God,” but tracks like “Living Eulogy” and “Watching You” make little impression despite dozens of re-listens. Honestly, the sampled sections made the strongest impact on me, like the sounds of whips and cries in “A Message to the Missionary” or the bombastic orchestral opening to “Living in the Valley of the Shadow of Death.” I will say that it’s not so terrible as to be avoided altogether, but if you’re sufficiently familiar and fond of Panopticon’s other works, then temper your expectations.
#9: Panopticon (2008). In the broad spectrum of Panopticon’s discography, this self-titled debut holds up well enough but is plainly overshadowed by all the growth Panopticon has enjoyed over the years. I admire Panopticon’s diversity, ranging from early versions of the post-black heard in current Panopticon (“Speaking”) to standard black metal vitriol (“Archetype”) and even pseudo-Viking-metal (“The Lay of Grimnir”). It gives the earnest impression of an artist throwing some spaghetti at the wall, with enough songwriting chops to make some of it stick. For the debut of a one-man black metal act, Panopticon’s production is also blessedly solid. But it just lacks the more complex sound and interesting songwriting that Panopticon has refined over time, feeling overwrought by the end as the deluge of long songs lack a strong focus to justify the space. Panopticon is enjoyable enough, to be sure, and it’s fun to see where things began and pick up on nuggets of ideas that would later be expanded upon, but none of the songs truly compel me to return to Panopticon.
#8: Roads to the North (2014). I feel like I’m obliged to like this album more given its place as the second of a trilogy between Kentucky and Autumn Eternal (neither of which are present on this end of the list), but that relationship and inevitable comparison do the album absolutely zero favors. Roads to the North is an undeniably pretty album, being graced with crisp production and having been released after Panopticon really nailed their soundscape in Kentucky, and by virtue alone it is a pleasant journey to take. “The Long Road Pt. 3 (The Sigh of Summer)” in particular is a shimmering haze of post-y noodling that is a delightful space to inhabit. But on the whole, not unlike …on the Subject of Mortality, Roads to the North just feels forgettable, ephemeral. Its evocation of its naturalist themes feels less impactful than the stellar albums on either side of it, and besides a riff here or a folksy jaunt there, not enough material within Roads to the North compels much emotion or demands my attention. Nothing truly offends, and scant little dazzles. But it is nevertheless a beautiful-sounding album.
#7: The Scars of Man on the Once Nameless Wilderness, Pt. 1 & 2 (2018). This was easily the most difficult album to rank. I absolutely adore this album on a conceptual level, as it features some of the band’s most aggressively environmental theming that ought to pair beautifully with the Panopticon soundscape. In particular, a B-Side of primarily Americana/folk music should be a slam dunk after what we’ve heard Panopticon do before, but overall, there’s a sense of wasted potential. There is a lot to enjoy throughout the two-hour Scars of Man. While the heavier A-Side isn’t the most memorable of Panopticon’s work, there are some decent moments in “Blåtimen” and “Sheep in Wolves Clothing,” and the closer “Snow Burdened Branches” genuinely might be my favorite Panopticon song. The B-Side does start strong with the beautiful, post-heavy “The Moss Beneath the Snow” and the folksy “The Wandering Ghost,” but ultimately the B-Side lacks variety and suffers from poor pacing as a result. It is very pretty Americana, as always, but it begins to feel dry and meandering by the time it ends. As a whole, Scars of Man has enough strong points (and one of Panopticon’s best songs) to not place lower, but there are a few too many cracks scattered across the surface to keep it in these lower rungs of the ranking.
#6: Collapse (2009). And now we’ve hit the first album in the ranking where I can say that I just like it with practically zero qualifiers. Panopticon’s sophomore album is less dynamic and far blunter than what came directly before and after it, but it finds a singular and engaging focus on sustained aggression across its few, lengthy tracks. The use of sampling and voice recordings is also tastefully done, jamming most of it in the beginning of “The Death of Baldr and the Coming War,” with a cacophony of politically charged adverts about the Bush administration leading right into some filthy black metal. Indeed, Collapse is a particularly nasty cut of black metal within Panopticon’s discography, not quite yet striking the balance between light and dark tangible in latter-Panopticon. Funnily enough Collapse is also the first time we hear some good ol’ Americana, which is always welcome! The raw, nastier emotional tone of Collapse would be explored with a little more richness in Social Disservices two years later, but I really like the blunt nature of Collapse and its oppressive, absolute sonic discord. Even with only four long tracks that don’t cover all that much ground, Collapse does a hell of a lot with what it has, making for an impactful and enjoyable album.
#5: …and Again into the Light (2021). I’ve poked and prodded at this list ad nauseum, and now that I’m gazing at it from a bird’s-eye view, it genuinely blows my mind that this album ranks only at #5. …and Again into the Light is an absolute beast of an album. While not as suffocatingly dense as Social Disservices or Rime of Memory, in my mind I tend to classify …and Again as Panopticon’s heaviest album. This is Panopticon at their most vulnerable and exposed, as the music evokes a consistent and desperate outcry of feeling. The brutal beatdown of “Moth Eaten Soul” or the visceral climax of “Know Hope” conjure such moving heaviness that lingers across the whole album, which is made all the more powerful in its contrast with the long passages of a somber, folksy atmosphere. This heaviness in conjunction with such sweet sorrow make “Dead Loons” and “The Embers at Dawn” some of Panopticon’s best. …and Again into the Light is maturely and honestly written, a perfect window into the heart of what is so special about the music of Panopticon. The only reason it doesn’t rank higher is because the following albums appeal more to my own specific and inscrutable tastes. That an album like this is at #5 is a testament to how goddamn good Panopticon is, frankly.
#4: Social Disservices (2011). My first listen to Social Disservices was a confused one, because it stands out with its distinct theming. It’s no less emotionally intense than your usual Panopticon, but the tone paints a picture that is more urban than naturalist. Less the wintry chill and more the rough indifference of brutalist concrete, like the industrial sounding drums over buzzing guitars in “Subject.” It drips with malice, eschewing melancholy for dissonant violence in the harsh screeches of infants in “Client.” Yes, my first listen was confused, but every subsequent listen has sunk the hooks in deeper. It’s an uncompromising aural assault of heavy riffs that wouldn’t be (almost) matched until …and Again into the Light, rounded out with the usual undercurrents of beauty. Social Disservices is well-written in a way that makes the most out of this uncharacteristically sadistic atmosphere, offering barely enough room to breathe amidst the tide of brutal riffs. It’s an extremely intense and absorbing album that is unquestionably Panopticon, but a Panopticon quite unlike anything before, and mostly since.
#3: Kentucky (2012). This is basically the Panopticon record. Everything about the Panopticon sound crystallized in Kentucky, from its strong environmental theming conveyed through ancient voice recordings, the lively yet somber Americana work-songs bookending the heavy tracks, and beautiful but crushing post-black metal. Like many people, I imagine, this was my gateway to Panopticon, and it’s a wonderful album. The tragic narrative undercurrent of the injustices suffered by American coal miners is one of the most cohesive and effective narratives Panopticon has crafted. “Bodies Under the Falls” and “Black Soot and Red Blood” are dynamic epics, weaving black metal beautifully with the Americana passages, both within the tracks themselves and without. Kentucky is all just so painstakingly constructed with every element effortlessly balanced against each other. To this day, when I get a craving for Americana or bluegrass, I throw on “Come All Ye Coal Miners.” It’s at number three for me just because I’ve always felt the pacing dips a smidge through the decision to end Kentucky on the concurrent slow tracks “Black Waters” and “Kentucky,” but it’s a non-issue in the grand scheme. Kentucky is iconic, and always will be.
#2: Rime of Memory (2023). I purchased this album directly before my first trip to Austria, in December 2023. As my fiancé and I drove through the Austrian Alps from Salzburg to Zell Am See, we listened to Rime of Memory as night descended. The snowy mountainsides were streaked with shades of blackened blue as “Winter’s Ghost” traversed its steel-string crescendo, encroached upon by the jagged shadows of the pines as the guitars shift to blistering aggression; put simply, it was a fucking transcendent listening experience, and it’s given me the kind of perspective of an album that never quite leaves. Rime of Memory strikes a similarly dense emotional and sonic maximalism that I associate with Social Disservices, with the more robust folksy atmosphere of latter-Panopticon enriching the sound. Rime of Memory is a visceral and nigh-constant blizzard of noise, creating a rich and tactile atmoblack experience supported by some of the strongest material I’ve heard from Panopticon. The somber, languid acoustics that open “Winter’s Ghost,” the raking violins erupting from “Cedar Skeletons,” the crooning lead guitar melody of “Enduring the Snow Drought;” these moments, and more, of aching beauty stand like beacons of blue against the white, alighting the music with feeling. One might argue that Kentucky is the more important album, but this is the one I reach for more eagerly.
#1: Autumn Eternal (2015). This was not an easy choice to make, since Panopticon’s albums are all quite different from one another. They all occupy unique spaces, scratching a different itch with varying levels of efficacy. After agonizing over it, I realized that the unique elements that comprise Autumn Eternal just feel the most, well, right. Some of the sound’s harsher edges have been smoothed out without losing that black metal bite, creating a moving album that feels kinder, more forgiving than it’s counterparts. As a result, a stronger emphasis on melody shines through from the very first moments of “Into the North Woods.” Across Autumn Eternal, this warm melodicism becomes intoxicating, pairing like a fine wine with the album’s diverse array of songs. The riff-heavy “Oaks Ablaze,” the gorgeous escalation of “The Winds Farewell,” even the harsher “Pale Ghosts” and “Sleep to the Sound of Waves Crashing;” no matter the mood, the music radiates warmth and takes on an almost moss-like texture. As alluded to earlier, this is the end of a trilogy, but even without that context, Autumn Eternal wields finality with elegance in the sublime “The Winds Farewell.” It speaks to a powerful album that is both emotionally challenging and accessible. Autumn Eternal is the perfect blend of warm tremolos and windy acoustics, of hopeful melodies and sorrow-tinged atmosphere; it is the apotheosis of Panopticon’s songwriting in conjunction with its themes and soundscape. In other words, to my ears, this is the best version of Panopticon.
AMG Official Ranking
Possible points: 30
#10. On the Subject of Mortality (2010) -5 points
#9. Panopticon (2008) – 8 points
#8. Collapse (2009) -9 points
#7. Social Disservices (2011) – 17 points
#6. Roads to the North (2014) -18 points
#5. The Rime of Memory (2023) -19 points
#4. The Scars of Man on the Once Nameless Wilderness (2018) – 20 points
#3. …And Again into the Light (2020) – 21 points
#2: Autumn Eternal (2015) – 22 points
#1. Kentucky (2012) – 26 points
The Angry Metal Discord Speaks (and for some reason we listen)
#10. The Scars of Man on the Once Nameless Wilderness (2018)
#9. Panopticon (2008)
#8. Social Disservices (2011)
#7. On the Subject of Mortality (2010)
#6. Collapse (2009)
#5.Roads to the North (2014)
#4.The Rime of Memory (2023)
#3. …And Again into the Light (2020)
#2. Kentucky (2012)
#1. Autumn Eternal (2015)
Check out the below for our favourite Panopticon cuts*; as if Panopticon music can really be enjoyed fully in isolated snippets…
* I really really wanted to add “…Speaking…” from Panopticon to this playlist, but the album isn’t on any streaming platform. So I’m putting it here:
#2025 #AmericanMetal #AMGGoesRanking #AMGRankings #AtmosphericBlackMetal #Aug25 #BlackMetal #Folk #MareCognitum #Panopticon #USBM -
“Always look on the bright side of life”*…
The estimable economic historian Louis Hyman has been engaged in an on-going “friendly debate” with his equally-estimable friend and Johns Hopkins colleague Rama Chellappa on “what AI means”…
… As I see this debate, this question of our age, there are two main questions that history can shed some light on.
- Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
- Will AI be controlled by the few or be accessible to the many?
A Complement or a Substitute?
Consider a some of the most important technologies of the past 200 years.
When I am asked about what automation might look like, I inevitably discuss agriculture. Roughly all of our ancestors were farmers and approximately none of us today are. Yet we still eat bread made from wheat. That shift is possible because of automation.
The mechanical thresher, used to process wheat, was a substitute for the most backbreaking work of the harvest. But it also enabled more land to be cultivated, and that land was cultivated more efficiently, allowing for greater harvests. Mechanization of the farm, like the thresher, turned the American Midwest into the breadbasket of the world.
Those displaced farmers found work on railroads, moving all that. And those jobs, according to people at the time, were a kind of liberation from the raw animal labor of threshing. On net, it created demand for more workers at better wages in work more fit for people than beasts. For those that remained farmers, they found other higher-value work to be done. On a farm, there is always more work to do.
The failure, then and now, is to think farmers were only threshers. That was one part of their jobs. Today, our work, for most people, is also a bundle of tasks. Workers then and now could and can focus on parts of their job that are of higher value. And in a new economy, new tasks in new industries will be created. Many of the jobs that we do today (web designer, UI expert) were simply unimaginable in 1850. That is a good thing.
Consider now the assembly line. I’m sure you all know about the staggering increases in productivity that come from the division of labor. If you take my class in industrial history, you would learn deeply about the story of the automobile. With the assembly line, and no other change in technology, car assembly went from 12 and a half hours to about 30 minutes (once they worked out the kinks). Did this reduce the demand for workers? No. It reduced the price of cars. And that increased the demand for workers, who eventually could demand even higher wages through unionization.
It is important here to realize that better tools don’t make us get paid worse. They generally make us get paid more. Why? Because the tool, without the person, is useless. Even for today’s most cutting-edge AIs, that is true. It can code, but it can only code what I imagine it to code. It can draw, but only what I imagine it to draw. That is true for AIs as it was true for the thresher.
So, I would offer that AI will create more growth, more abundance. In the long run, all growth comes from higher productivity.
I would add one more piece to this story. Economic inequality has worsened since roughly 1970. It has worsened, therefore, not in the industrial era, but the digital era. I have argued elsewhere that this happened because for decades we did not use computers as tools of automation but as glorified typewriters (and then as televisions). Our productivity did not increase, especially to justify the expense of computers. Economists have debated for decades now over the lack of increase in productivity that came with the “digital age” of computing, but it is simple. We don’t use them as computers. Now we can.
For the first time now, normal people with their normal problems can use their computers to solve and automate their problems. AI can write code. AI can automate their tedium. The digital age did not bring any gains because it had no yet arrived. We were living through the last gasp of the industrial economy.
It is now here.
This technology will unleash unimaginable productivity gains. It will level the playing field between coders and the rest of us. Coders will lose their jobs, to be sure, but for the rest of us, the bundle of workplace tasks will become much better.
And truthfully, the demand for real computer scientists will probably increase in the era of vibe-coding. Computer science itself is a bundle of skills, of which coding is just one. The more important skill – software and data architecture – will only increase in demand as the usefulness of software expands…
[Hyman goes on to explore the dangers of monopolization (which, for reasons he explains, he believes are overstated); the future of softward (which, he believes, will skew to open-sorce), and of hardware (which, he believes will not be a bottleneck). He concludes…]
… Put together we come to a very different picture of what the digital age will be. The industrial age required massive investments to build the factories to make the products that were in demand. In the digital age, in contrast, the factories to build digital products will be made by the AI on your laptop. That is not inequality. That is equality.
The physical products of the Fordist industrial age were made for the mass market. In contrast, the digital products of the post-fordist digital age will be long-tail products. I don’t need to make mass market products; I can make them for a small niche, or just for myself.
Rather than fostering inequality, AI, then, is a great equalizer. To make products for a global market you don’t need a billion-dollar factory. You just need a laptop. That is astonishing.
That said, it will not be all sunshine and rainbows. Will AI solve the inequities of capitalism or its reliance on externalities as a source of primitive accumulation? Probably not.
But at the same time, AI is not a normal technology in that it has the potential to radically undermine many of the tendencies to concentrate capital that we have seen in the industrial age. We have been automated out of work before, that is nothing new, but it has always concentrated capital in the hands of the few. For the first time, there is potentially an alternative path forward.
AI will bring the digital age out of the hands of the coders. AI will not widen the gap—it will bridge it. Its ubiquity will mean that AI will be a tool that nearly all of us will be able to use in our daily work, which will make ordinary people more productive and prosperous…
Eminently worth reading in full: “Hooray! Post-Fordism Is Finally Here!“
Even as Hyman’s message is reassuring in the context of the flood of jeremiads in which we’re awash, it’s worth remembering that eerily-similar points were made a couple of decades ago about the threat/promise of digital publishing/commerce. Given the then-current conditions and then-plausible futures, those predictions might have come true… but in the event, they didn’t pan out as projected. That said, things are changing, so maybe this time things are different?
(Image above: source)
* song (by Eric Idle) from Monty Python’s Life Of Brian
###
As we resolve to remain rosy, we might send productive birthday greetings to Andrew Meikle; he was born on this date in 1719. A Scottish millwright, he invented the threshing machine (for removing the husks from grain, as mentioned above). One of the key developments of the British Agricultural Revolution in the late 18th century., it was also one of the main causes of the Swing Riots— an 1830 uprising by English and Scottish agricultural workers protesting agricultural mechanization and harsh working conditions.
Threshing machine, invented by Andrew Meikle (source) #agriculture #AI #AndrewMeikle #artificialIntelligence #business #culture #economics #emplyment #Fordism #history #LongTail #LouisHyman #politics #SwingRiots #threshingMachine #work - Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
-
“Always look on the bright side of life”*…
The estimable economic historian Louis Hyman has been engaged in an on-going “friendly debate” with his equally-estimable friend and Johns Hopkins colleague Rama Chellappa on “what AI means”…
… As I see this debate, this question of our age, there are two main questions that history can shed some light on.
- Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
- Will AI be controlled by the few or be accessible to the many?
A Complement or a Substitute?
Consider a some of the most important technologies of the past 200 years.
When I am asked about what automation might look like, I inevitably discuss agriculture. Roughly all of our ancestors were farmers and approximately none of us today are. Yet we still eat bread made from wheat. That shift is possible because of automation.
The mechanical thresher, used to process wheat, was a substitute for the most backbreaking work of the harvest. But it also enabled more land to be cultivated, and that land was cultivated more efficiently, allowing for greater harvests. Mechanization of the farm, like the thresher, turned the American Midwest into the breadbasket of the world.
Those displaced farmers found work on railroads, moving all that. And those jobs, according to people at the time, were a kind of liberation from the raw animal labor of threshing. On net, it created demand for more workers at better wages in work more fit for people than beasts. For those that remained farmers, they found other higher-value work to be done. On a farm, there is always more work to do.
The failure, then and now, is to think farmers were only threshers. That was one part of their jobs. Today, our work, for most people, is also a bundle of tasks. Workers then and now could and can focus on parts of their job that are of higher value. And in a new economy, new tasks in new industries will be created. Many of the jobs that we do today (web designer, UI expert) were simply unimaginable in 1850. That is a good thing.
Consider now the assembly line. I’m sure you all know about the staggering increases in productivity that come from the division of labor. If you take my class in industrial history, you would learn deeply about the story of the automobile. With the assembly line, and no other change in technology, car assembly went from 12 and a half hours to about 30 minutes (once they worked out the kinks). Did this reduce the demand for workers? No. It reduced the price of cars. And that increased the demand for workers, who eventually could demand even higher wages through unionization.
It is important here to realize that better tools don’t make us get paid worse. They generally make us get paid more. Why? Because the tool, without the person, is useless. Even for today’s most cutting-edge AIs, that is true. It can code, but it can only code what I imagine it to code. It can draw, but only what I imagine it to draw. That is true for AIs as it was true for the thresher.
So, I would offer that AI will create more growth, more abundance. In the long run, all growth comes from higher productivity.
I would add one more piece to this story. Economic inequality has worsened since roughly 1970. It has worsened, therefore, not in the industrial era, but the digital era. I have argued elsewhere that this happened because for decades we did not use computers as tools of automation but as glorified typewriters (and then as televisions). Our productivity did not increase, especially to justify the expense of computers. Economists have debated for decades now over the lack of increase in productivity that came with the “digital age” of computing, but it is simple. We don’t use them as computers. Now we can.
For the first time now, normal people with their normal problems can use their computers to solve and automate their problems. AI can write code. AI can automate their tedium. The digital age did not bring any gains because it had no yet arrived. We were living through the last gasp of the industrial economy.
It is now here.
This technology will unleash unimaginable productivity gains. It will level the playing field between coders and the rest of us. Coders will lose their jobs, to be sure, but for the rest of us, the bundle of workplace tasks will become much better.
And truthfully, the demand for real computer scientists will probably increase in the era of vibe-coding. Computer science itself is a bundle of skills, of which coding is just one. The more important skill – software and data architecture – will only increase in demand as the usefulness of software expands…
[Hyman goes on to explore the dangers of monopolization (which, for reasons he explains, he believes are overstated); the future of softward (which, he believes, will skew to open-sorce), and of hardware (which, he believes will not be a bottleneck). He concludes…]
… Put together we come to a very different picture of what the digital age will be. The industrial age required massive investments to build the factories to make the products that were in demand. In the digital age, in contrast, the factories to build digital products will be made by the AI on your laptop. That is not inequality. That is equality.
The physical products of the Fordist industrial age were made for the mass market. In contrast, the digital products of the post-fordist digital age will be long-tail products. I don’t need to make mass market products; I can make them for a small niche, or just for myself.
Rather than fostering inequality, AI, then, is a great equalizer. To make products for a global market you don’t need a billion-dollar factory. You just need a laptop. That is astonishing.
That said, it will not be all sunshine and rainbows. Will AI solve the inequities of capitalism or its reliance on externalities as a source of primitive accumulation? Probably not.
But at the same time, AI is not a normal technology in that it has the potential to radically undermine many of the tendencies to concentrate capital that we have seen in the industrial age. We have been automated out of work before, that is nothing new, but it has always concentrated capital in the hands of the few. For the first time, there is potentially an alternative path forward.
AI will bring the digital age out of the hands of the coders. AI will not widen the gap—it will bridge it. Its ubiquity will mean that AI will be a tool that nearly all of us will be able to use in our daily work, which will make ordinary people more productive and prosperous…
Eminently worth reading in full: “Hooray! Post-Fordism Is Finally Here!“
Even as Hyman’s message is reassuring in the context of the flood of jeremiads in which we’re awash, it’s worth remembering that eerily-similar points were made a couple of decades ago about the threat/promise of digital publishing/commerce. Given the then-current conditions and then-plausible futures, those predictions might have come true… but in the event, they didn’t pan out as projected. That said, things are changing, so maybe this time things are different?
(Image above: source)
* song (by Eric Idle) from Monty Python’s Life Of Brian
###
As we resolve to remain rosy, we might send productive birthday greetings to Andrew Meikle; he was born on this date in 1719. A Scottish millwright, he invented the threshing machine (for removing the husks from grain, as mentioned above). One of the key developments of the British Agricultural Revolution in the late 18th century., it was also one of the main causes of the Swing Riots— an 1830 uprising by English and Scottish agricultural workers protesting agricultural mechanization and harsh working conditions.
Threshing machine, invented by Andrew Meikle (source) #agriculture #AI #AndrewMeikle #artificialIntelligence #business #culture #economics #Fordism #history #LongTail #LouisHyman #politics #SwingRiots #threshingMachine #work - Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
-
“Always look on the bright side of life”*…
The estimable economic historian Louis Hyman has been engaged in an on-going “friendly debate” with his equally-estimable friend and Johns Hopkins colleague Rama Chellappa on “what AI means”…
… As I see this debate, this question of our age, there are two main questions that history can shed some light on.
- Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
- Will AI be controlled by the few or be accessible to the many?
A Complement or a Substitute?
Consider a some of the most important technologies of the past 200 years.
When I am asked about what automation might look like, I inevitably discuss agriculture. Roughly all of our ancestors were farmers and approximately none of us today are. Yet we still eat bread made from wheat. That shift is possible because of automation.
The mechanical thresher, used to process wheat, was a substitute for the most backbreaking work of the harvest. But it also enabled more land to be cultivated, and that land was cultivated more efficiently, allowing for greater harvests. Mechanization of the farm, like the thresher, turned the American Midwest into the breadbasket of the world.
Those displaced farmers found work on railroads, moving all that. And those jobs, according to people at the time, were a kind of liberation from the raw animal labor of threshing. On net, it created demand for more workers at better wages in work more fit for people than beasts. For those that remained farmers, they found other higher-value work to be done. On a farm, there is always more work to do.
The failure, then and now, is to think farmers were only threshers. That was one part of their jobs. Today, our work, for most people, is also a bundle of tasks. Workers then and now could and can focus on parts of their job that are of higher value. And in a new economy, new tasks in new industries will be created. Many of the jobs that we do today (web designer, UI expert) were simply unimaginable in 1850. That is a good thing.
Consider now the assembly line. I’m sure you all know about the staggering increases in productivity that come from the division of labor. If you take my class in industrial history, you would learn deeply about the story of the automobile. With the assembly line, and no other change in technology, car assembly went from 12 and a half hours to about 30 minutes (once they worked out the kinks). Did this reduce the demand for workers? No. It reduced the price of cars. And that increased the demand for workers, who eventually could demand even higher wages through unionization.
It is important here to realize that better tools don’t make us get paid worse. They generally make us get paid more. Why? Because the tool, without the person, is useless. Even for today’s most cutting-edge AIs, that is true. It can code, but it can only code what I imagine it to code. It can draw, but only what I imagine it to draw. That is true for AIs as it was true for the thresher.
So, I would offer that AI will create more growth, more abundance. In the long run, all growth comes from higher productivity.
I would add one more piece to this story. Economic inequality has worsened since roughly 1970. It has worsened, therefore, not in the industrial era, but the digital era. I have argued elsewhere that this happened because for decades we did not use computers as tools of automation but as glorified typewriters (and then as televisions). Our productivity did not increase, especially to justify the expense of computers. Economists have debated for decades now over the lack of increase in productivity that came with the “digital age” of computing, but it is simple. We don’t use them as computers. Now we can.
For the first time now, normal people with their normal problems can use their computers to solve and automate their problems. AI can write code. AI can automate their tedium. The digital age did not bring any gains because it had no yet arrived. We were living through the last gasp of the industrial economy.
It is now here.
This technology will unleash unimaginable productivity gains. It will level the playing field between coders and the rest of us. Coders will lose their jobs, to be sure, but for the rest of us, the bundle of workplace tasks will become much better.
And truthfully, the demand for real computer scientists will probably increase in the era of vibe-coding. Computer science itself is a bundle of skills, of which coding is just one. The more important skill – software and data architecture – will only increase in demand as the usefulness of software expands…
[Hyman goes on to explore the dangers of monopolization (which, for reasons he explains, he believes are overstated); the future of softward (which, he believes, will skew to open-sorce), and of hardware (which, he believes will not be a bottleneck). He concludes…]
… Put together we come to a very different picture of what the digital age will be. The industrial age required massive investments to build the factories to make the products that were in demand. In the digital age, in contrast, the factories to build digital products will be made by the AI on your laptop. That is not inequality. That is equality.
The physical products of the Fordist industrial age were made for the mass market. In contrast, the digital products of the post-fordist digital age will be long-tail products. I don’t need to make mass market products; I can make them for a small niche, or just for myself.
Rather than fostering inequality, AI, then, is a great equalizer. To make products for a global market you don’t need a billion-dollar factory. You just need a laptop. That is astonishing.
That said, it will not be all sunshine and rainbows. Will AI solve the inequities of capitalism or its reliance on externalities as a source of primitive accumulation? Probably not.
But at the same time, AI is not a normal technology in that it has the potential to radically undermine many of the tendencies to concentrate capital that we have seen in the industrial age. We have been automated out of work before, that is nothing new, but it has always concentrated capital in the hands of the few. For the first time, there is potentially an alternative path forward.
AI will bring the digital age out of the hands of the coders. AI will not widen the gap—it will bridge it. Its ubiquity will mean that AI will be a tool that nearly all of us will be able to use in our daily work, which will make ordinary people more productive and prosperous…
Eminently worth reading in full: “Hooray! Post-Fordism Is Finally Here!“
Even as Hyman’s message is reassuring in the context of the flood of jeremiads in which we’re awash, it’s worth remembering that eerily-similar points were made a couple of decades ago about the threat/promise of digital publishing/commerce. Given the then-current conditions and then-plausible futures, those predictions might have come true… but in the event, they didn’t pan out as projected. That said, things are changing, so maybe this time things are different?
(Image above: source)
* song (by Eric Idle) from Monty Python’s Life Of Brian
###
As we resolve to remain rosy, we might send productive birthday greetings to Andrew Meikle; he was born on this date in 1719. A Scottish millwright, he invented the threshing machine (for removing the husks from grain, as mentioned above). One of the key developments of the British Agricultural Revolution in the late 18th century., it was also one of the main causes of the Swing Riots— an 1830 uprising by English and Scottish agricultural workers protesting agricultural mechanization and harsh working conditions.
Threshing machine, invented by Andrew Meikle (source) #agriculture #AI #AndrewMeikle #artificialIntelligence #business #culture #economics #Fordism #history #LongTail #LouisHyman #politics #SwingRiots #threshingMachine #work - Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
-
“Always look on the bright side of life”*…
The estimable economic historian Louis Hyman has been engaged in an on-going “friendly debate” with his equally-estimable friend and Johns Hopkins colleague Rama Chellappa on “what AI means”…
… As I see this debate, this question of our age, there are two main questions that history can shed some light on.
- Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
- Will AI be controlled by the few or be accessible to the many?
A Complement or a Substitute?
Consider a some of the most important technologies of the past 200 years.
When I am asked about what automation might look like, I inevitably discuss agriculture. Roughly all of our ancestors were farmers and approximately none of us today are. Yet we still eat bread made from wheat. That shift is possible because of automation.
The mechanical thresher, used to process wheat, was a substitute for the most backbreaking work of the harvest. But it also enabled more land to be cultivated, and that land was cultivated more efficiently, allowing for greater harvests. Mechanization of the farm, like the thresher, turned the American Midwest into the breadbasket of the world.
Those displaced farmers found work on railroads, moving all that. And those jobs, according to people at the time, were a kind of liberation from the raw animal labor of threshing. On net, it created demand for more workers at better wages in work more fit for people than beasts. For those that remained farmers, they found other higher-value work to be done. On a farm, there is always more work to do.
The failure, then and now, is to think farmers were only threshers. That was one part of their jobs. Today, our work, for most people, is also a bundle of tasks. Workers then and now could and can focus on parts of their job that are of higher value. And in a new economy, new tasks in new industries will be created. Many of the jobs that we do today (web designer, UI expert) were simply unimaginable in 1850. That is a good thing.
Consider now the assembly line. I’m sure you all know about the staggering increases in productivity that come from the division of labor. If you take my class in industrial history, you would learn deeply about the story of the automobile. With the assembly line, and no other change in technology, car assembly went from 12 and a half hours to about 30 minutes (once they worked out the kinks). Did this reduce the demand for workers? No. It reduced the price of cars. And that increased the demand for workers, who eventually could demand even higher wages through unionization.
It is important here to realize that better tools don’t make us get paid worse. They generally make us get paid more. Why? Because the tool, without the person, is useless. Even for today’s most cutting-edge AIs, that is true. It can code, but it can only code what I imagine it to code. It can draw, but only what I imagine it to draw. That is true for AIs as it was true for the thresher.
So, I would offer that AI will create more growth, more abundance. In the long run, all growth comes from higher productivity.
I would add one more piece to this story. Economic inequality has worsened since roughly 1970. It has worsened, therefore, not in the industrial era, but the digital era. I have argued elsewhere that this happened because for decades we did not use computers as tools of automation but as glorified typewriters (and then as televisions). Our productivity did not increase, especially to justify the expense of computers. Economists have debated for decades now over the lack of increase in productivity that came with the “digital age” of computing, but it is simple. We don’t use them as computers. Now we can.
For the first time now, normal people with their normal problems can use their computers to solve and automate their problems. AI can write code. AI can automate their tedium. The digital age did not bring any gains because it had no yet arrived. We were living through the last gasp of the industrial economy.
It is now here.
This technology will unleash unimaginable productivity gains. It will level the playing field between coders and the rest of us. Coders will lose their jobs, to be sure, but for the rest of us, the bundle of workplace tasks will become much better.
And truthfully, the demand for real computer scientists will probably increase in the era of vibe-coding. Computer science itself is a bundle of skills, of which coding is just one. The more important skill – software and data architecture – will only increase in demand as the usefulness of software expands…
[Hyman goes on to explore the dangers of monopolization (which, for reasons he explains, he believes are overstated); the future of softward (which, he believes, will skew to open-sorce), and of hardware (which, he believes will not be a bottleneck). He concludes…]
… Put together we come to a very different picture of what the digital age will be. The industrial age required massive investments to build the factories to make the products that were in demand. In the digital age, in contrast, the factories to build digital products will be made by the AI on your laptop. That is not inequality. That is equality.
The physical products of the Fordist industrial age were made for the mass market. In contrast, the digital products of the post-fordist digital age will be long-tail products. I don’t need to make mass market products; I can make them for a small niche, or just for myself.
Rather than fostering inequality, AI, then, is a great equalizer. To make products for a global market you don’t need a billion-dollar factory. You just need a laptop. That is astonishing.
That said, it will not be all sunshine and rainbows. Will AI solve the inequities of capitalism or its reliance on externalities as a source of primitive accumulation? Probably not.
But at the same time, AI is not a normal technology in that it has the potential to radically undermine many of the tendencies to concentrate capital that we have seen in the industrial age. We have been automated out of work before, that is nothing new, but it has always concentrated capital in the hands of the few. For the first time, there is potentially an alternative path forward.
AI will bring the digital age out of the hands of the coders. AI will not widen the gap—it will bridge it. Its ubiquity will mean that AI will be a tool that nearly all of us will be able to use in our daily work, which will make ordinary people more productive and prosperous…
Eminently worth reading in full: “Hooray! Post-Fordism Is Finally Here!“
Even as Hyman’s message is reassuring in the context of the flood of jeremiads in which we’re awash, it’s worth remembering that eerily-similar points were made a couple of decades ago about the threat/promise of digital publishing/commerce. Given the then-current conditions and then-plausible futures, those predictions might have come true… but in the event, they didn’t pan out as projected. That said, things are changing, so maybe this time things are different?
(Image above: source)
* song (by Eric Idle) from Monty Python’s Life Of Brian
###
As we resolve to remain rosy, we might send productive birthday greetings to Andrew Meikle; he was born on this date in 1719. A Scottish millwright, he invented the threshing machine (for removing the husks from grain, as mentioned above). One of the key developments of the British Agricultural Revolution in the late 18th century., it was also one of the main causes of the Swing Riots— an 1830 uprising by English and Scottish agricultural workers protesting agricultural mechanization and harsh working conditions.
Threshing machine, invented by Andrew Meikle (source) #agriculture #AI #AndrewMeikle #artificialIntelligence #business #culture #economics #Fordism #history #LongTail #LouisHyman #politics #SwingRiots #threshingMachine #work - Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
-
“Always look on the bright side of life”*…
The estimable economic historian Louis Hyman has been engaged in an on-going “friendly debate” with his equally-estimable friend and Johns Hopkins colleague Rama Chellappa on “what AI means”…
… As I see this debate, this question of our age, there are two main questions that history can shed some light on.
- Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
- Will AI be controlled by the few or be accessible to the many?
A Complement or a Substitute?
Consider a some of the most important technologies of the past 200 years.
When I am asked about what automation might look like, I inevitably discuss agriculture. Roughly all of our ancestors were farmers and approximately none of us today are. Yet we still eat bread made from wheat. That shift is possible because of automation.
The mechanical thresher, used to process wheat, was a substitute for the most backbreaking work of the harvest. But it also enabled more land to be cultivated, and that land was cultivated more efficiently, allowing for greater harvests. Mechanization of the farm, like the thresher, turned the American Midwest into the breadbasket of the world.
Those displaced farmers found work on railroads, moving all that. And those jobs, according to people at the time, were a kind of liberation from the raw animal labor of threshing. On net, it created demand for more workers at better wages in work more fit for people than beasts. For those that remained farmers, they found other higher-value work to be done. On a farm, there is always more work to do.
The failure, then and now, is to think farmers were only threshers. That was one part of their jobs. Today, our work, for most people, is also a bundle of tasks. Workers then and now could and can focus on parts of their job that are of higher value. And in a new economy, new tasks in new industries will be created. Many of the jobs that we do today (web designer, UI expert) were simply unimaginable in 1850. That is a good thing.
Consider now the assembly line. I’m sure you all know about the staggering increases in productivity that come from the division of labor. If you take my class in industrial history, you would learn deeply about the story of the automobile. With the assembly line, and no other change in technology, car assembly went from 12 and a half hours to about 30 minutes (once they worked out the kinks). Did this reduce the demand for workers? No. It reduced the price of cars. And that increased the demand for workers, who eventually could demand even higher wages through unionization.
It is important here to realize that better tools don’t make us get paid worse. They generally make us get paid more. Why? Because the tool, without the person, is useless. Even for today’s most cutting-edge AIs, that is true. It can code, but it can only code what I imagine it to code. It can draw, but only what I imagine it to draw. That is true for AIs as it was true for the thresher.
So, I would offer that AI will create more growth, more abundance. In the long run, all growth comes from higher productivity.
I would add one more piece to this story. Economic inequality has worsened since roughly 1970. It has worsened, therefore, not in the industrial era, but the digital era. I have argued elsewhere that this happened because for decades we did not use computers as tools of automation but as glorified typewriters (and then as televisions). Our productivity did not increase, especially to justify the expense of computers. Economists have debated for decades now over the lack of increase in productivity that came with the “digital age” of computing, but it is simple. We don’t use them as computers. Now we can.
For the first time now, normal people with their normal problems can use their computers to solve and automate their problems. AI can write code. AI can automate their tedium. The digital age did not bring any gains because it had no yet arrived. We were living through the last gasp of the industrial economy.
It is now here.
This technology will unleash unimaginable productivity gains. It will level the playing field between coders and the rest of us. Coders will lose their jobs, to be sure, but for the rest of us, the bundle of workplace tasks will become much better.
And truthfully, the demand for real computer scientists will probably increase in the era of vibe-coding. Computer science itself is a bundle of skills, of which coding is just one. The more important skill – software and data architecture – will only increase in demand as the usefulness of software expands…
[Hyman goes on to explore the dangers of monopolization (which, for reasons he explains, he believes are overstated); the future of softward (which, he believes, will skew to open-sorce), and of hardware (which, he believes will not be a bottleneck). He concludes…]
… Put together we come to a very different picture of what the digital age will be. The industrial age required massive investments to build the factories to make the products that were in demand. In the digital age, in contrast, the factories to build digital products will be made by the AI on your laptop. That is not inequality. That is equality.
The physical products of the Fordist industrial age were made for the mass market. In contrast, the digital products of the post-fordist digital age will be long-tail products. I don’t need to make mass market products; I can make them for a small niche, or just for myself.
Rather than fostering inequality, AI, then, is a great equalizer. To make products for a global market you don’t need a billion-dollar factory. You just need a laptop. That is astonishing.
That said, it will not be all sunshine and rainbows. Will AI solve the inequities of capitalism or its reliance on externalities as a source of primitive accumulation? Probably not.
But at the same time, AI is not a normal technology in that it has the potential to radically undermine many of the tendencies to concentrate capital that we have seen in the industrial age. We have been automated out of work before, that is nothing new, but it has always concentrated capital in the hands of the few. For the first time, there is potentially an alternative path forward.
AI will bring the digital age out of the hands of the coders. AI will not widen the gap—it will bridge it. Its ubiquity will mean that AI will be a tool that nearly all of us will be able to use in our daily work, which will make ordinary people more productive and prosperous…
Eminently worth reading in full: “Hooray! Post-Fordism Is Finally Here!“
Even as Hyman’s message is reassuring in the context of the flood of jeremiads in which we’re awash, it’s worth remembering that eerily-similar points were made a couple of decades ago about the threat/promise of digital publishing/commerce. Given the then-current conditions and then-plausible futures, those predictions might have come true… but in the event, they didn’t pan out as projected. That said, things are changing, so maybe this time things are different?
(Image above: source)
* song (by Eric Idle) from Monty Python’s Life Of Brian
###
As we resolve to remain rosy, we might send productive birthday greetings to Andrew Meikle; he was born on this date in 1719. A Scottish millwright, he invented the threshing machine (for removing the husks from grain, as mentioned above). One of the key developments of the British Agricultural Revolution in the late 18th century., it was also one of the main causes of the Swing Riots— an 1830 uprising by English and Scottish agricultural workers protesting agricultural mechanization and harsh working conditions.
Threshing machine, invented by Andrew Meikle (source) #agriculture #AI #AndrewMeikle #artificialIntelligence #business #culture #economics #emplyment #Fordism #history #LongTail #LouisHyman #politics #SwingRiots #threshingMachine #work - Is AI a complement or a substitute for labor? That is, will it increase demand for and the productivity of workers, or decrease it?
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💡 Ever feel like your thoughts are bottled up?
Message in a Decanter by Rafael Salazar captures that golden moment of solitude where imagination becomes liquid truth. 🍷🌊https://rafaelsalazar.com/featured/message-in-a-decanter-rafael-salazar.html
#SurrealArt #GlassDreams #buyintoart #artmatters #fineartamerica #fediverse #fediart #fedigiftshop #mastoart #mastodon #mastoartist #flipboard #RafaelSalazar #ContemporaryArt @Flipboard
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💡 Ever feel like your thoughts are bottled up?
Message in a Decanter by Rafael Salazar captures that golden moment of solitude where imagination becomes liquid truth. 🍷🌊https://rafaelsalazar.com/featured/message-in-a-decanter-rafael-salazar.html
#SurrealArt #GlassDreams #buyintoart #artmatters #fineartamerica #fediverse #fediart #fedigiftshop #mastoart #mastodon #mastoartist #flipboard #RafaelSalazar #ContemporaryArt @Flipboard
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💡 Ever feel like your thoughts are bottled up?
Message in a Decanter by Rafael Salazar captures that golden moment of solitude where imagination becomes liquid truth. 🍷🌊https://rafaelsalazar.com/featured/message-in-a-decanter-rafael-salazar.html
#SurrealArt #GlassDreams #buyintoart #artmatters #fineartamerica #fediverse #fediart #fedigiftshop #mastoart #mastodon #mastoartist #flipboard #RafaelSalazar #ContemporaryArt @Flipboard
-
💡 Ever feel like your thoughts are bottled up?
Message in a Decanter by Rafael Salazar captures that golden moment of solitude where imagination becomes liquid truth. 🍷🌊https://rafaelsalazar.com/featured/message-in-a-decanter-rafael-salazar.html
#SurrealArt #GlassDreams #buyintoart #artmatters #fineartamerica #fediverse #fediart #fedigiftshop #mastoart #mastodon #mastoartist #flipboard #RafaelSalazar #ContemporaryArt @Flipboard
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“When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)commentary
“When Harry Met Sally” is Rob Reiner’s everlasting message of love
A classic scene written to reflect Reiner’s love for his wife, Michele, embraces a brighter future
By Coleman Spilde, Senior Writer, Published December 17, 2025 12:00PM (EST)
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)It’s almost time for the page to turn again. Whether we like it or not, time marches on, the year comes to a close and we reflect on everything that’s happened. It’s a time for old friends, new loves, and speaking to our feelings so that we don’t dare carry a single burden into another year.
Needless to say, shaking off 2025 will require quite a bit of verbal blotting. The year has felt like a century, at best, and just when things were supposed to wind down and get quiet, a weekend of tumult and tragedy reminded the world just how much we’re suffering.
An antisemitic massacre during a Hanukkah celebration at Australia’s Bondi Beach. A shooting at Brown University killed two students and injured nine others. And, late Sunday night, the horrific, violent deaths of Hollywood legend Rob Reiner and his wife, Michele Singer Reiner, purportedly at the hands of their son, Nick. The extent of the horror is indescribable, and it’s occurring on a global scale. And, yes, it often feels as though the weight of it is too much to bear. All we’re left with is confusion and the frustrating feeling of helplessness. We are at our wits’ end. There is no more avoiding, no more pretending. Something has got to change as soon as possible.
There’s something to that. I don’t mean to sound trite or wilfully glib, but it’s merely the truth that every ending is followed by a beginning. Reiner’s seminal film “When Harry Met Sally” is full of them — beginnings and endings, false starts and full stops. It’s a movie for dreamers, realists and romantics alike, the kind of film that’s so fantastic and so painfully human that its brilliant existence is reason enough to believe in good things. Reiner’s filmography was full of these gems, with stunners like “Stand By Me” and “The Princess Bride” that defined not just their era but people’s entire lives.
(Emma McIntyre/Getty Images for TCM) Rob Reiner, Meg Ryan and Billy Crystal attend The 30th Anniversary Screening of “When Harry Met Sally…” on April 11, 2019 in Hollywood, California.Loving openly and candidly shouldn’t feel like a radical act, but in a world proliferated with violence and hatred, it’s become one.
“When Harry Met Sally,” however, is a special kind of classic. It’s no mere comfort watch, and certainly no chick flick. It’s a film for autumn, winter, spring and summer, just as much of a Christmas and New Year’s movie as it is a Valentine’s Day or anniversary movie. In its bones, there is a deep, true love that is the result of a close working relationship with screenwriter Nora Ephron, stars Billy Crystal and Meg Ryan, and Reiner’s wife, Michele, whom he met and fell in love with during production. Their passion incited a change of the film’s ending, and in turn, one of the all-time great professions of love ever captured on film — a change of fate, right at the stroke of midnight. Call it lightning in a bottle. Call it evidence of magic. Call it a kernel of hope to hold onto as we turn the page.
Related, The questions “When Harry Met Sally” make us consider today
In Kristin Marguerite Doidge’s 2022 biography of Ephron, the author peers into the fascinating details behind Ephron and Reiner’s long-gestating film, which began as an idea tossed toward Ephron from Reiner after a few lunch meetings. It was over those meals where Ephron became intrigued with the way Reiner talked about his bachelorhood. His anecdotes would become the basis for Crystal’s character, Harry, while Ryan’s witty foil, Sally, was the embodiment of Ephron’s sharp and observant eye. “This is a talk piece,” Reiner said about the film in 1985. “There are no chase scenes, no food fights. This is walks, phones, restaurants, movies.”
Editor’s Note: Movie information below, a new feature from DWD. –DrWeb
When Harry Met Sally... Plot: Sex always gets in the way of friendships between men and women. At least, that's what Harry Burns believes. So when Harry meets Sally Albright and a deep friendship blossoms between them, Harry's determined not to let his attraction to Sally destroy it. But when a night of weakness ends in a morning of panic, can the pair avoid succumbing to Harry's fears by remaining friends and admitting they just might be the perfect match for each other? The Movie DB: 7.404/10 Information Runtime: 96 min Genre: Comedy, Romance, Drama Language: English Country: United States of America Budget: $16,000,000 Revenue: $92,823,546 Homepage: Release date: July 12 1989A talk piece, indeed. While it’s Ephron’s characteristically strong dialogue and flair for realism that so many viewers fall head over heels for, Reiner’s blissfully simplistic direction is what captures the spark of two people slowly falling in love. Across years, Reiner follows Harry and Sally from their first meeting during a long-haul drive after college through their reconnection and eventual friendship and flirtation. There are long walks and even longer talks, conversations in book stores, on the leaf-strewn concrete sidewalks of a bygone era of New York City and, of course, on the phone.
Ephron based the late-night phone conversations between Sally and Harry on Reiner’s frequent talks with Crystal, when the two would watch something on television together and provide commentary throughout. From Sally’s overly particular restaurant orders to Harry’s shock that women fake orgasms, all of it came out in the development process between Ephron and Reiner, and made it into the script. “When Harry Met Sally” rings so true because there isn’t a single false note in its lovely sonata.
Continue/Read Original Article Here: “When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
#1989 #BillyCrystal #Director #Everlasting #MegRyan #MessageOfLove #NoraEphron #RobReiner #Salon #SalonCom #WhenHarryMetSally -
“When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)commentary
“When Harry Met Sally” is Rob Reiner’s everlasting message of love
A classic scene written to reflect Reiner’s love for his wife, Michele, embraces a brighter future
By Coleman Spilde, Senior Writer, Published December 17, 2025 12:00PM (EST)
Billy Crystal as Harry Burns and Meg Ryan as Sally Albright in “When Harry Met Sally” (Columbia Pictures)It’s almost time for the page to turn again. Whether we like it or not, time marches on, the year comes to a close and we reflect on everything that’s happened. It’s a time for old friends, new loves, and speaking to our feelings so that we don’t dare carry a single burden into another year.
Needless to say, shaking off 2025 will require quite a bit of verbal blotting. The year has felt like a century, at best, and just when things were supposed to wind down and get quiet, a weekend of tumult and tragedy reminded the world just how much we’re suffering.
An antisemitic massacre during a Hanukkah celebration at Australia’s Bondi Beach. A shooting at Brown University killed two students and injured nine others. And, late Sunday night, the horrific, violent deaths of Hollywood legend Rob Reiner and his wife, Michele Singer Reiner, purportedly at the hands of their son, Nick. The extent of the horror is indescribable, and it’s occurring on a global scale. And, yes, it often feels as though the weight of it is too much to bear. All we’re left with is confusion and the frustrating feeling of helplessness. We are at our wits’ end. There is no more avoiding, no more pretending. Something has got to change as soon as possible.
There’s something to that. I don’t mean to sound trite or wilfully glib, but it’s merely the truth that every ending is followed by a beginning. Reiner’s seminal film “When Harry Met Sally” is full of them — beginnings and endings, false starts and full stops. It’s a movie for dreamers, realists and romantics alike, the kind of film that’s so fantastic and so painfully human that its brilliant existence is reason enough to believe in good things. Reiner’s filmography was full of these gems, with stunners like “Stand By Me” and “The Princess Bride” that defined not just their era but people’s entire lives.
(Emma McIntyre/Getty Images for TCM) Rob Reiner, Meg Ryan and Billy Crystal attend The 30th Anniversary Screening of “When Harry Met Sally…” on April 11, 2019 in Hollywood, California.Loving openly and candidly shouldn’t feel like a radical act, but in a world proliferated with violence and hatred, it’s become one.
“When Harry Met Sally,” however, is a special kind of classic. It’s no mere comfort watch, and certainly no chick flick. It’s a film for autumn, winter, spring and summer, just as much of a Christmas and New Year’s movie as it is a Valentine’s Day or anniversary movie. In its bones, there is a deep, true love that is the result of a close working relationship with screenwriter Nora Ephron, stars Billy Crystal and Meg Ryan, and Reiner’s wife, Michele, whom he met and fell in love with during production. Their passion incited a change of the film’s ending, and in turn, one of the all-time great professions of love ever captured on film — a change of fate, right at the stroke of midnight. Call it lightning in a bottle. Call it evidence of magic. Call it a kernel of hope to hold onto as we turn the page.
Related, The questions “When Harry Met Sally” make us consider today
In Kristin Marguerite Doidge’s 2022 biography of Ephron, the author peers into the fascinating details behind Ephron and Reiner’s long-gestating film, which began as an idea tossed toward Ephron from Reiner after a few lunch meetings. It was over those meals where Ephron became intrigued with the way Reiner talked about his bachelorhood. His anecdotes would become the basis for Crystal’s character, Harry, while Ryan’s witty foil, Sally, was the embodiment of Ephron’s sharp and observant eye. “This is a talk piece,” Reiner said about the film in 1985. “There are no chase scenes, no food fights. This is walks, phones, restaurants, movies.”
Editor’s Note: Movie information below, a new feature from DWD. –DrWeb
When Harry Met Sally... Plot: Sex always gets in the way of friendships between men and women. At least, that's what Harry Burns believes. So when Harry meets Sally Albright and a deep friendship blossoms between them, Harry's determined not to let his attraction to Sally destroy it. But when a night of weakness ends in a morning of panic, can the pair avoid succumbing to Harry's fears by remaining friends and admitting they just might be the perfect match for each other? The Movie DB: 7.404/10 Information Runtime: 96 min Genre: Comedy, Romance, Drama Language: English Country: United States of America Budget: $16,000,000 Revenue: $92,823,546 Homepage: Release date: July 12 1989A talk piece, indeed. While it’s Ephron’s characteristically strong dialogue and flair for realism that so many viewers fall head over heels for, Reiner’s blissfully simplistic direction is what captures the spark of two people slowly falling in love. Across years, Reiner follows Harry and Sally from their first meeting during a long-haul drive after college through their reconnection and eventual friendship and flirtation. There are long walks and even longer talks, conversations in book stores, on the leaf-strewn concrete sidewalks of a bygone era of New York City and, of course, on the phone.
Ephron based the late-night phone conversations between Sally and Harry on Reiner’s frequent talks with Crystal, when the two would watch something on television together and provide commentary throughout. From Sally’s overly particular restaurant orders to Harry’s shock that women fake orgasms, all of it came out in the development process between Ephron and Reiner, and made it into the script. “When Harry Met Sally” rings so true because there isn’t a single false note in its lovely sonata.
Continue/Read Original Article Here: “When Harry Met Sally” is Rob Reiner’s everlasting message of love – Salon.com
#1989 #BillyCrystal #Director #Everlasting #MegRyan #MessageOfLove #NoraEphron #RobReiner #Salon #SalonCom #WhenHarryMetSally -
#Reading in Week Forty-Two of 2025 | Oct 13–19 | ~2450 words | ~13,800 characters | Tag to mute: #BokBooks |
━━━━━━━━━━●●●●○ Gypsy - Poul Anderson (ss) 1950
Traveler was one of the first interstellar colonization ships to use the newly-discovered hyperdrive engine. It was supposed to take eight days to get to Alpha Centauri. Except the engine exploded when it was activated, and the ship ended up in a distant part of the galaxy, beyond the ship's ability to find Earth.For twenty years the ship sought Earth or another habitable planet, before discovering Harbor, on which the crew and passengers settled. But after a decade, some colonists were getting restless. While most people wanted to build homes and spread out, some missed traveling: the new systems to explore every week or three, the exciting planets and moons, the glorious views.
So a quarter of the population decided to say goodbye to their planet-loving neighbors, and set forth on their wanderings again. The story follows one man who admits he's of a journeying disposition and has pretended otherwise for a decade, and his wife who pretends she's not the stay-at-home type, that she'll be happy wherever her husband goes.
●●●◐○ Sea Siege - Andre Norton (nov) 1957
International tensions are high. Open-air atom-bomb tests are common. There's a radioactive red algal scum spreading on the oceans, which marine biologist Gunston and his colleague Hughes were investigating from their base on (the fictional) Caribbean island San Isadore. Griff Gunston, the head scientist's 15-year-old son, also lived on the island with his widowed father.Griff was one of the first to notice that octopuses near the island were acting oddly, with more intelligence and less fear of humans. Some types were also getting vastly larger. The island also experienced a Nessie-like sea serpent that had threatened some fishing boats. Other boats were lost, and when found, were intact, though they were missing all crew, but no lifeboats.
A group from the US Navy was building… something… on the west end of the British island. Then all radio contact was lost with the rest of the worlds, and days of radioactive rain fell. A volcano was also born near the island. This is the story of Griff and the islanders and the Navy surviving what was probably a distant World War Three, and may also have been an alien invasion.
●●◐○○ The Legendary Ship - Edward Page Mitchell (ss) 1885
In 1880, a historian is forced to deal with a manuscript. By the precepts of his trade, he should believe it. It was written by a minister known to be rational and truthful, and the handwriting matched other papers the cleric had written. It was a first-hand account, confirmed by other documents. But the events detailed within were not rational as the historian understood reality. Thus:Unlike some other colonies, the New Haven colony survived on trade, and in 1646 that flagged, threatening the city's survival. So the town elders decided to build a great trading ship to directly take up trade with Mother England, rather than depend on others. An early frost froze the newly-built ship in at its river dock, meaning it had to back out of the ice: a bad omen.
The ship launched, and presumably crossed the Atlantic. When the time came that it should return, it did not. For a month, the townsfolk prayed to have some news of what had transpired, for they were of an "as God wills" nature and wouldn't ask for the ship's return. Then the ship did return, with no one visible on deck.
The ship stopped some distance from land, and a crowd gathered ashore. After a short time, the crowd witnessed the effects of a great storm, though there was no wind or rain. Sails were tattered, and masts snapped; then the keel broke. A small bank of fog blew past, and when it was gone a minute later, so was the ship. And the people gave thanks to God for him showing them the fate of the ship.
●●●○○ Deadly Afternoon - Stan Muir (ss) 2020
Reading the anthology Murder in the Nudist Colony has been a bit slow, so I'm speeding it up by splitting out the individual stories. This one is set in a nudist village in the South of France, where a woman is found sunbathing on a beach, hours after sundown. She's dead.The woman asphyxiated. Cause: a nerve agent. Officer Simon Persan began interviewing people about Myriam Boyer. He visits various neighbors and shopkeepers, and they answer his questions, all of them ending their interviews with a remark that he should not be going around clothed, because it disrespects the naturist village's people.
The case is solved at the end, and as Simon is putting away evidence for the trial, he opens a leaflet that a real estate agent whom Myriam had been in discussion with gave him. It's about #naturism and the village, and Simon decides to rent a cottage and give it a try.
●●◐○○ The Tachypomp - Edward Page Mitchell (ss) 1874
Professor Surd, mathematician, teaches a lecture class: “seventy young men who, individually and collectively, preferred x to XX; who had rather differentiate than dissipate”.¹ The seventy-first student is Tom Furnace, who is a mathematical dullard.Tom wishes to begin courting Abscissa Surd, the professor's daughter. The professor says Tom must prove his mathematical worth to do so. Surd considers that Furnace must square the circle, but decides that's too easy, so he sets Furnace a task of saying how, mathematically, a train could travel sixty miles in one minute, at a time it took trains an hour to cover that distance.
Tom goes to an older friend. Rivarol says it's a shame that Surd hadn't stuck with his earlier idea, since he himself had squared the circle years ago, and had the proof around somewhere in his cluttered apartment. Rivarol tells Furnace he must think, and a week later calls him back to tell him the solution to the problem, which the text goes over at some length. The tale concludes with a twist ending.
●●●◐○ The Alternative Lives of Aiden Anderson {Middle Falls 14} - Shawn Inmon (nov) 2021
In the first eleven books of the Middle Falls series, the rules were unchanging. A person died, then woke up at some earlier point in their life, and lived again, always resetting to the same point if they died again, until in one final life they achieved emotional maturity and moved on.Occasionally there was a nudge by — call it an angel, though they're really more techs — who took physical form to have a conversation with a looper. But there was no other interference, and the reset point stayed the same.
In Book Twelve, a deeper change was made to a looper's life, to spare him pain from the cancer that was killing him, so that he could have a chance of progress in the short 26-day loop he was stuck in. And when he made sufficient progress, his cancer magically vanished and he was allowed to live out that life.
In Book Thirteen, Charles of the short loops, now a tech in the Universal Life Center, made a single change in the reset point of the current looper whose quasi-reincarnation were being told. By Book Fourteen, Charles was making multiple changes.
Aiden, who died in an auto accident at 55 and came back at age 8, came back at 18 after dying in another auto accident at 17. And then had an interlude at 55 again, after dying from truck kun again at 35. But then an angel sent him back to age 17. And we're told by The Machine, koan-obliquely, that more random resets will be the rule going forward.
And I've told you nothing about the plot or main character of this book. But Aiden was a middling student who was a decent musician. His first life, he and some others formed a band that had one semi-successful album and than a less-successful one before breaking up. Aiden went on to become a backup musician for other bands.
In his first re-life, he tried to start an earlier, better musical career, but died just after his first failure. In his third life, he formed a business flipping houses with the parents of his best friend, who took him in after his mother died of cancer, a loss Aiden never really recovered from, and was never able to change.
In his next life he did the same, but this time he was able to save his girlfriend and her family from a house fire, and married. He was later able to incorporate music into his life, and this is the one that got him past the pervasive grief of never having a father, and losing both grandparents, his mother, and his girlfriend while young.
●●●●○ Tiger by the Tail - Poul Anderson (ss) 1951
The Terran Empire was decadent and declining, so no surprise that the younger and smaller Scothani Empire dreamed of conquering it. And having some inside information would be a help toward that aim, so they kidnapped Captain Dominic Flandry, the Terran Empire's top intelligence agent. That's where their plan went wrong.In his year of captivity at the Scothani Court – for the Scothani were really a feudal people, and had only obtained ultra-drive from alien traders – Flandry talked to many people, and was able to turn various factions against each other, and even brother against brother, getting the royal second son to conspire against the heir apparent. And at the end, he got a message to his superiors. Even well past its prime, the Terran Empire was able to crush the Scothani Imperium.
●●●●○ Uncovered {Emma Nelson 4} - P.Z. Walker (nov) 2023
The final Emma Nelson naturist mystery. In this volume, Amarika reveals why she created three powered individuals (sees-through-walls Emma, light-from-his-hands Brody, and finger-cuts-metal Madison): to break a particular man out of prison while he's being transferred to another facility.The cops manage to catch the gang involved, though Emma is shot in the arm during the chaos. Amarika is killed, and now no one will know how she – whom the man in the prison transport called a 'bruja' when he saw her – gave people powers.
On the semi-police front, a buried chest is found on a farm, and then a skeleton near it, and police officers Emma and Jeff are called in to check it out, since the couple are nudists and the big farm family who own the land are as well.
This gets the couple involved with the family. The nudist part of the book also sees Emma and Jeff's cop friend Jo-Anne involved in the trunk case. She becomes close to one of the naturist men there, to the extent that she and her five-year-old son, Oliver, begin visiting and adopt naturism, which Emma and Jeff have been saying she should try since Book One. There were also some naturist hikes, and the opening of the new nudist health center.
●●◐○○ Lefty Feep Gets Henpecked {Lefty Feep 21} - Robert Bloch (ss) 1945
It's once more time for Lefty Feep to go on vacation to avoid his creditors. Fortunately for him his scientist friends Mordecai Meetch and Sylvester Veetch have invented an elixir to make hens grow bigger, and Lefty agrees to go on the road and peddle it to chicken farmers.He promptly meets a lovely farmer's daughter, whose chicken-raising father's farm has been having trouble with chicken thieves and stolen eggs. The son of the county's richest man holds their mortgage, and is threatening to foreclose unless Daisy Falfa marries him. Lefty gets drunk with her father, and when the bottle's empty, goes out to get another one. In the rain and dark, he mistakenly grabs a bottle of Rooster Booster, and takes a couple of big swigs on the way in.
The next morning, Lefty wakes up a four-foot-tall rooster. He gets shooed out to the chicken pen, and that night he's chicken-napped by Luke the mortgage-holder, who's leaving nothing to chance. Lefty, along with some super-sized chickens he got to drink the elixir, saves the day, and the potion wore off, letting Lefty return to the city and tell his tall tale.
●●●○○ The Beautiful People - Charles Beaumont (ss) 1952
[This story is the basis of the Twilight Zone episode “Number 12 Looks Just Like You”.] At age nineteen, all humans on the Stations undergo the Transformation, whereby they're surgically and chemically remade into tall, slim, perfect-skin, model-attractive adults.Mary's mother takes the 18-year-old girl to the psychiatrist. He assumes the problem is that Mary can't understand why she can't become as perfect as her older friends now, and has to wait. In fact, Mary doesn't want to undergo the Transformation at all, inchoately wondering where the real her will be after everything?
This situation is unprecedented, and the authorities hold hearings to investigate. In the end they, supported by public petitions, make their decision on what's to be done with Mary.
●●●●◐ Crawlies - Annie Bellet (ss) 2012
An intelligent but uneducated girl who belongs to a youth-gang led by a more-violent Fagin-figure, hides from trouble in a packing case. Waking from sleep, Sadie finds she is no longer on her space station, but has unwittingly stowed away on a spaceship crewed by the land-squid Teuthiads, popularly called Crawlies. She passes out, but is found in time to escape oxygen poisoning.Then her troubles get bigger when the trading ship she's on is attacked by a human-crewed pirate ship. Sadie ends up helping the Teuthiad crew against the pirates, and they give her what she wants, a ride to Mirzam Station, a nicer station place where she can get a starter job on a freighter, and work up to a better life.
━━━━━━━━━━
Cumulative 2025 totals as of Week Forty-Two:
253 ss | 27 nvt | 05 nva | 106 nov | #books
━━━━━━━━━━[1] That women have XX chromosomes was known in 1874? What I've seen online suggests that Mendel studied heritable units in the 1860s, but that particular chromosomes determined sex was only discovered in 1903. So I don't know where Mitchell is getting this nomenclature.
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As part of our 100-year celebrations, we would like to hear stories from you on how The Company of Biologists has impacted your careers.
Send us your message:
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DATE: May 12, 2026 at 04:00PM
SOURCE: PSYPOST.ORG** Research quality varies widely from fantastic to small exploratory studies. Please check research methods when conclusions are very important to you. **
-------------------------------------------------TITLE: New study finds sustainable living relies on stable personality traits, not temporary bursts of willpower
Recent research suggests that people who naturally possess higher levels of self-control tend to engage in more environmentally friendly habits over time. However, short-term changes in a person’s willpower do not directly lead to greener choices. These findings provide evidence that making sustainable choices easier, rather than relying on individual discipline, might be a more effective way to encourage eco-friendly habits. The study was published in the Journal of Environmental Psychology.
Scientists conducted this study to better understand the psychological traits that drive people to protect the environment. Environmental challenges like climate change and biodiversity loss require immediate action from everyday people. Actions that reduce a person’s negative impact on the planet are known as pro-environmental behaviors. Taking these actions often requires individuals to override their immediate conveniences for the sake of long-term ecological goals.
Pursuing these long-term goals requires a degree of self-regulation. Self-control is a specific and essential type of self-regulation. It involves managing internal reactions, delaying gratification, and resisting unwanted behavioral impulses. Previous research suggests that people with higher self-control tend to act more sustainably because they can keep long-term goals in mind.
“The idea first struck me during a very ordinary moment,” said Jingguang Li, a professor of psychology at Dali University in China. “I had just finished a bottle of water and there was no recycling bin in sight. I felt the urge to simply discard it, but instead I held onto it until I found a proper disposal point.”
“That minor internal struggle made me curious: do people with stronger self-control naturally gravitate toward greener choices in their daily lives?” Li said. His laboratory was already studying self-control, making the connection to everyday environmental behavior a natural extension of their work.
Most previous studies on this topic relied on cross-sectional designs. A cross-sectional study looks at a group of people at a single point in time, much like a photograph. This makes it difficult to know the exact direction of the relationship between variables.
“Previous studies found that more self-controlled people also report more sustainable habits, but almost all of that evidence came from cross-sectional surveys, single snapshots in time,” Li told PsyPost. “That leaves a crucial ambiguity: does the link simply reflect stable differences between people, or can a real change in self-control actually drive a change in behavior?”
This single-snapshot approach also leaves room for survey bias. “Because both self-control and pro-environmental behavior are socially valued traits, respondents filling out a one-shot questionnaire tend to paint a consistently positive picture of themselves,” Li said. “If they rate themselves as highly disciplined, they often feel compelled to rate themselves as environmentally conscious too.”
This bias can artificially inflate the correlation, making the two traits look more tightly linked than they truly are in daily life. “To get around both problems, we followed the same participants across multiple time points,” Li said. “Spacing out the measurements helps separate genuine directional effects from the bias of wanting to appear virtuous in a single sitting.”
Longitudinal studies track the exact same individuals across multiple points in time. This allows scientists to see how changes in one trait might predict changes in another trait over months or years. The researchers specifically chose to study adolescents and young adults. Late adolescence and early adulthood are periods when individuals are still developing their self-regulation capacities and forming their long-term environmental habits.
In the first study, the researchers recruited 221 high school students from a public school in China. The sample included about 66 percent female students with an average age of roughly 16 years old. The researchers assessed the students twice, with a full year passing between the first and second assessment waves. During each wave, the students filled out paper questionnaires in their classrooms while supervised by research assistants.
To measure self-control, the scientists used a 13-item questionnaire. Students rated statements about their ability to resist temptation and their tendency to think before acting. To measure pro-environmental behavior, the students rated how often they engaged in specific green activities over the past 12 months. These activities included recycling cans, saving energy at home, or buying products in reusable containers.
When analyzing the data, the scientists used a statistical technique called a cross-lagged panel model. This method looks at how a variable at the first time point predicts a different variable at the second time point. The findings of this first study showed that higher self-control at the start of the year predicted an increase in pro-environmental behaviors by the end of the year.
The researchers conducted a second study to expand on these findings using a larger sample and a longer timeframe. The second study included 1286 university students from a single university in China. This group was about 63 percent female with an average age of roughly 19 years old. Instead of just two check-ins, the researchers tracked these students across three distinct waves, with exactly one year between each wave.
Because the study spanned three full years, the scientists could use a more advanced statistical tool called a random-intercept cross-lagged panel model. This advanced statistical model separates the survey data into two different mathematical layers. The first layer looks at stable differences between different people. The second layer looks at temporary fluctuations within the exact same person.
Separating these layers helps scientists avoid confusing a stable personality trait with a passing state of mind. At the stable, trait-like level, the researchers found a positive association between the two factors. Individuals who consistently showed higher self-control compared to their peers also consistently reported more sustainable behaviors. This suggests that self-control is a stable personal trait strongly linked to living a greener lifestyle.
At the fluctuating, individual level, the data showed a different pattern. When a specific student experienced a natural drop or increase in their own typical self-control, it did not predict any subsequent change in their sustainable habits. This suggests that year-to-year shifts in a person’s willpower do not directly drive short-term changes in how they treat the environment.
“We were genuinely surprised by what we found inside the same person over time,” Li said. “At the outset, we had assumed that if someone’s self-control improved, their pro-environmental behavior would improve with it. But when we tracked the same individuals across waves, natural fluctuations in self-control simply did not translate into meaningful shifts in pro-environmental behavior.”
“The link is really anchored in stable, long-term trait differences,” Li continued. “It underscores that promoting sustainability requires more than urging people to ‘try harder’; we need to build habits and shape environments that make green choices effortless.”
The results provide evidence that having greener habits is part of an overarching lifestyle rather than a fleeting mood. “The main message is that the connection between self-control and green behavior is primarily a stable trait-level pattern: people who generally have stronger self-control also tend to live more sustainably across time,” Li said. “Yet when we tracked the same individuals over multiple waves, short-term ups and downs in their self-control did not reliably produce immediate changes in their environmental habits.”
“So it is not about heroic bursts of willpower in the moment; it is about who you are, on average, over the long haul,” Li added. “That distinction matters for everyday life. Sustainable living is really a marathon built from countless small decisions, turning off lights, carrying reusable bags, sorting waste, that add up over months and years.”
This highlights the need for structural changes that make sustainable choices easier for everyone. “If we rely solely on asking people to ‘try harder’ each time, we are fighting an uphill battle against human nature,” Li said. “A smarter approach is to reduce the self-control demand itself. Putting reminder stickers near light switches, placing recycling bins in convenient locations, or sharing monthly electricity or water-use feedback with family members can make the green choice the easy choice.”
Communities can also use nudging strategies to encourage green behaviors. Nudging involves designing choices in a way that guides people toward a desired action without restricting their freedom. Making recycling bins more accessible or automatically opting people into green energy plans reduces the amount of willpower needed to help the planet. “By designing environments and routines that minimize friction, we can promote sustainable actions without requiring constant mental effort,” Li said.
The researchers also note that self-control could be used as a helpful metric when assembling teams to tackle climate issues. People with naturally high self-control might be better equipped to handle the long-term demands of environmental advocacy. “One final thought: when selecting people for roles with significant environmental responsibilities, it makes sense to weigh self-control alongside their environmental attitudes and professional competence,” Li said.
The study does have a few limitations that should be noted. “We used self-report questionnaires and focused on Chinese high school and university students,” Li said. “That makes the findings suggestive rather than definitive. Future work should test whether the same pattern holds in other populations and with objective measures, such as actual behavioral tasks or real-world tracking, before drawing firmer conclusions.”
In addition, the one-year gap between the data collection waves might have missed smaller, short-term connections between willpower and sustainable choices. A full year is a long time, and a person’s self-control might fluctuate on a daily or weekly basis.
Going forward, the researchers plan to look at other psychological traits that support sustainable living. “Our next step is to understand why some people follow through on environmental intentions while others do not,” Li said. “We are especially interested in grit, passion and perseverance for long-term goals, because environmental protection is not a one-off act; it is a decades-long commitment.”
“The Paris Agreement, for instance, sets carbon-neutrality targets for the mid-twenty-first century, a timeline that feels distant to most people alive today,” Li noted. “That means safeguarding the planet demands sustained effort against slow, incremental payoffs, exactly the conditions where grit should matter.”
The scientists hope to figure out exactly how to foster this type of long-term dedication. “We want to test whether grit and related traits can help explain who stays the course in the face of such delayed rewards, and whether we can design interventions or educational programs that cultivate this kind of persistence for ecological goals,” Li said.
The study, “Longitudinal associations between self-control and pro-environmental behaviors,” was authored by Xingbo Wang, Yanru Liu, Yalun Zhang, Zhenglian Su, Liyun Hua, Yajun Zhao, and Jingguang Li.
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DATE: May 14, 2026 at 04:30AM
SOURCE: STAT NEWS MENTAL HEALTHTITLE: STAT+: Treatment for alcohol addiction is undergoing a seismic shift. Many say it’s overdue
All Jillian wanted was to regain control of her drinking.
At 38, she knew alcohol had already cost her a marriage and begun to threaten her career. What had started as typical college-age shenanigans had morphed into regularly overindulging at professional happy hours, and eventually into an all-day urge to drink. Most days, a bottle of vodka journeyed from standing full in a cabinet to laying empty in a recycling bin.
“I got to the point where I said: Holy shit, I can’t stop on my own,” Jillian said.
Her boyfriend was at a loss. Her therapist’s harm-reduction tactics helped at times, but the relapses kept coming. And while her family doctor encouraged her attempts to cut back, he never prescribed medication that might help. In the end, Jillian took the only path she knew: She sought a local Alcoholics Anonymous meeting.
But the mutual help group didn’t do the trick, either. She found the programming too God-centric and the messaging about achieving sudden, permanent abstinence unrealistic. At several points, men aggressively pursued her and other women there, offering rides home or seeking their phone numbers under the guise of mentorship. When she did find camaraderie, it was with other attendees who met up after meetings to drink at a nearby bar.
Continue to STAT+ to read the full story…
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NYU Information for Practice puts out 400-500 good quality health-related research posts per week but its too much for many people, so that bot is limited to just subscribers. You can read it or subscribe at @PsychResearchBot
Since 1991 The National Psychologist has focused on keeping practicing psychologists current with news, information and items of interest. Check them out for more free articles, resources, and subscription information: https://www.nationalpsychologist.com
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#weeklyreview 07/2026
February 8th – 14th, 2026
Summary
Somehow super hectic week. That’s why I only got to post last weeks review yesterday. Struggling with project management or the lack thereof in the office. More AI fiddling that I’m rather happy with. Good progress on #project25 and the China vacation plan. Also still enjoying the book about the Vienna Circle a lot.
AI, AI and more AI
This is a big topic for me right now. At the office of course but also in personal experiments.
Fediverse journaling plugin
With help of AI coding I’m getting to realise many small ideas I had but would never have had the time to realise. This week I’ve create a little WordPress plugin to use the fediverse as a journaling assistant.
I spent a lot of time in my fediverse clients (mostly Mona, IceCubes or the Mastodon web interface). So why not use that as an input channel for my weekly blogging. I tried different other approaches over the last few months to recollect what I was busy with during the week. Having scripts collecting my Mastodon posts over the weeks and compiling them into a weekly overview page for instance. So I thought it might be useful to just sent message in the Fediverse to my blog for journaling.
I’ve got the ActivityPub plugin installed and thus my Blog is just a normal account in the fediverse that I can mention or sent messages to. I’ve wrote a plugin in which I can authorise specific fediverse users in a WordPress author profile. If these fediverse users mention the WordPress author profile, that post gets appended to a weekly draft post on the Blog.
Now whenever I have something noteworthy, I’ll mention my blog account in my fediverse post and it gets automatically appended to a weekly review draft. At the end of the week I already have a list of things that bothered me during the week.
The code can be found here.
Some snippets from this weeks journal:
2026-02-11 17:37:06
I’d call it “vibe project management” where you just pretend to have a project plan. It visually looks like project plan. But factually it doesn’t make any sense because it has been created with Photoshop for Powerpoint …@falko2026-02-12 12:59:10
@Nico prinzipiell läuft es. Genutzt wird das Modell jetzt von einem Pi Coding Agent der in einer Debian VM läuft 🙈 @falkoI’ve tried my luck with an open weight coding model and the Pi Coding agent. Downloaded the qwen3-coder-next:latest model for Ollama. That’s a whopping 51GB in size as barely fits into my physical memory. The Pi coding agent was running inside a virtual machine. It works in principle… but is so slow that a reasonable test wasn’t really practical for the moment. Have to play a bit more with it. With that setup one could theoretically realise a fully offline coding agent. But I guess some more beefy hardware is needed. Although an Apple Silicon M2 Max isn’t really a slow machine.
Project Management in the age of vibe everything
To be honest, this has started much before AI and vibe coding became popular. The tendency to make up project plans with tools that are not meant for project planning. Most notorious in this field are Project Plans in Excel, Powerpoint or JIRA.
Why am I so upset about it? In my eyes a project plan helps you prioritise and visualise work by listing the tasks and milestones and putting them in chronological order. You define dependencies between tasks and maybe even resources. Once that has been established (and I don’t say this is trivial to collect) you can use proper project management software to identify the critical path of your project. That is the one sequence of events that you have to focus on. All the others will not move you necessarily closer to your project end (because they’re not on the critical path) until the items on the critical path are not finished.
It will also help you assess the effects of time lines slippage. How does that the affect to overall project timing? Or you can identify bottlenecks in your plan due to resources overload. So all good things that you management usually wants to see and from you as a project manager.
Yet, many project plans are just vibe fiddled with the likes of office software. So it just looks similar to a project plan visually. But these tools don’t help you actually manage your project. They just visualise what you think your project plan is. Not backed by hard data.
The most hilarious experience in this context was my conversation with the Atlassian Rovo AI assistant on the topic this week. Asked whether JIRA can be used for project management it of course answered that JIRA is actually best for this. Then probed how chronological order and critical path can then be managed it needed to back off and admit that you can’t do that in JIRA without lots of add-ons and/or paid extensions.
What puzzles me is, that this kind of “let’s just wing it” project management is accepted in many companies. My theory is, that management knows precisely that their demand for speed, quality and resource usage is completely unrealistic. Too much work get’s committed with too little resources. Milestone be set before the actually planning happened because it was promised to a customer or C-suite guy. Proper project management would proof with hard data that the timeline is totally unrealistic.
But with just vibe coded project plans they can just press and demand. And people obey with over-hours and compromises in quality and features.
Rural restaurants
On Sunday we’ve been at the lovely Kastanienhof in Flieth. A traditional village restaurant with traditional German food. It was really delicious and at a very affordable price range. For the three of us we payed something around 60 EUR in total including drinks and my starter. That’s about as much as I pay for me alone in Berlin when having BBQ ribs at Chicago Williams 😉
That Sunday morning I was helping a friend to put a new hard disk into his laptop. I needed more space and fortunately bought the new NVMe SSD already back in November. The same 4 TB disks now costs more than 100 EUR more thanks to the AI hype.
It had to be a Windows 11 installation as that’s what he had to use for his work. I’m not judging. It went surprisingly smooth. We’ve created a bootstick from the existing installation with the Windows 11 installer. He had already looked up a video on how to disassemble the laptop. That was a huge timesaver as the HP Laptop had 5 hidden screws that we had to uncover under the rubber feet.
New disk in, booted from USB and started the installation. After about 15 min the new OS was running and could start to install the needed software from scratch. He knew all his accounts and password and so we were done in a few hours with the whole setup. I honestly expected more fiddling needed.
China here we come
The planning of the upcoming China trip progresses. I’ve contacted a few friends in Beijing and established communication via WeChat with them now. We had stayed in contact loosely via Facebook and LinkedIN. Both services are just bad … for various reasons. But we switched to Chinas most popular chat app. They immediately offered pick up service and are generally excited to meet again. We’ve also got the rest of the schedule mostly sorted and now need to book the hotels and tours. It’s getting real.
#project25 update
This week the insulation material for the attic arrived and work is supposed to start next week. We quickly unloaded the stuff and placed partially into the attic and living room for convenience.
Unfortunately I noticed that the heating seemed to have stopped. It’s hopefully “just” because of low fuel level in the oil tanks. I had initially only bought 1000L back in June 2025 expecting this to last about a year.
I really have no experience with this kind of heating system. We didn’t spent much time in the house yet so the heating was set to winter mode most of the time. But then we also had a pretty cold winter so far and not insulated attic is kind of open to the lower floor norw. I’ve tried to seal it as good as possible with styrofoam plates. Still the heating seems to guzzle a lot of oil… that soon needs to be replace by a proper heat pump system.
still ice on the lake14 at last
Kiddo turned 14 this week … of course they grow up so fast 🙂
Learning
Learned (rather got it confirmed) this week from our doctor that ADS & depression is much harder noticed in women because they’re much better at blending in and make an effort to just play along to expectations. That of course is taxing and taking lots of energy which makes their symptoms even worse.
Reading
no changes over last week
#activitypub #coffee #enEN #project25 #tasskaff #Uckermark #weekly #weeklyreview #wordpress -
#weeklyreview 07/2026
February 8th – 14th, 2026
Summary
Somehow super hectic week. That’s why I only got to post last weeks review yesterday. Struggling with project management or the lack thereof in the office. More AI fiddling that I’m rather happy with. Good progress on #project25 and the China vacation plan. Also still enjoying the book about the Vienna Circle a lot.
AI, AI and more AI
This is a big topic for me right now. At the office of course but also in personal experiments.
Fediverse journaling plugin
With help of AI coding I’m getting to realise many small ideas I had but would never have had the time to realise. This week I’ve create a little WordPress plugin to use the fediverse as a journaling assistant.
I spent a lot of time in my fediverse clients (mostly Mona, IceCubes or the Mastodon web interface). So why not use that as an input channel for my weekly blogging. I tried different other approaches over the last few months to recollect what I was busy with during the week. Having scripts collecting my Mastodon posts over the weeks and compiling them into a weekly overview page for instance. So I thought it might be useful to just sent message in the Fediverse to my blog for journaling.
I’ve got the ActivityPub plugin installed and thus my Blog is just a normal account in the fediverse that I can mention or sent messages to. I’ve wrote a plugin in which I can authorise specific fediverse users in a WordPress author profile. If these fediverse users mention the WordPress author profile, that post gets appended to a weekly draft post on the Blog.
Now whenever I have something noteworthy, I’ll mention my blog account in my fediverse post and it gets automatically appended to a weekly review draft. At the end of the week I already have a list of things that bothered me during the week.
The code can be found here.
Some snippets from this weeks journal:
2026-02-11 17:37:06
I’d call it “vibe project management” where you just pretend to have a project plan. It visually looks like project plan. But factually it doesn’t make any sense because it has been created with Photoshop for Powerpoint …@falko2026-02-12 12:59:10
@Nico prinzipiell läuft es. Genutzt wird das Modell jetzt von einem Pi Coding Agent der in einer Debian VM läuft 🙈 @falkoI’ve tried my luck with an open weight coding model and the Pi Coding agent. Downloaded the qwen3-coder-next:latest model for Ollama. That’s a whopping 51GB in size as barely fits into my physical memory. The Pi coding agent was running inside a virtual machine. It works in principle… but is so slow that a reasonable test wasn’t really practical for the moment. Have to play a bit more with it. With that setup one could theoretically realise a fully offline coding agent. But I guess some more beefy hardware is needed. Although an Apple Silicon M2 Max isn’t really a slow machine.
Project Management in the age of vibe everything
To be honest, this has started much before AI and vibe coding became popular. The tendency to make up project plans with tools that are not meant for project planning. Most notorious in this field are Project Plans in Excel, Powerpoint or JIRA.
Why am I so upset about it? In my eyes a project plan helps you prioritise and visualise work by listing the tasks and milestones and putting them in chronological order. You define dependencies between tasks and maybe even resources. Once that has been established (and I don’t say this is trivial to collect) you can use proper project management software to identify the critical path of your project. That is the one sequence of events that you have to focus on. All the others will not move you necessarily closer to your project end (because they’re not on the critical path) until the items on the critical path are not finished.
It will also help you assess the effects of time lines slippage. How does that the affect to overall project timing? Or you can identify bottlenecks in your plan due to resources overload. So all good things that you management usually wants to see and from you as a project manager.
Yet, many project plans are just vibe fiddled with the likes of office software. So it just looks similar to a project plan visually. But these tools don’t help you actually manage your project. They just visualise what you think your project plan is. Not backed by hard data.
The most hilarious experience in this context was my conversation with the Atlassian Rovo AI assistant on the topic this week. Asked whether JIRA can be used for project management it of course answered that JIRA is actually best for this. Then probed how chronological order and critical path can then be managed it needed to back off and admit that you can’t do that in JIRA without lots of add-ons and/or paid extensions.
What puzzles me is, that this kind of “let’s just wing it” project management is accepted in many companies. My theory is, that management knows precisely that their demand for speed, quality and resource usage is completely unrealistic. Too much work get’s committed with too little resources. Milestone be set before the actually planning happened because it was promised to a customer or C-suite guy. Proper project management would proof with hard data that the timeline is totally unrealistic.
But with just vibe coded project plans they can just press and demand. And people obey with over-hours and compromises in quality and features.
Rural restaurants
On Sunday we’ve been at the lovely Kastanienhof in Flieth. A traditional village restaurant with traditional German food. It was really delicious and at a very affordable price range. For the three of us we payed something around 60 EUR in total including drinks and my starter. That’s about as much as I pay for me alone in Berlin when having BBQ ribs at Chicago Williams 😉
That Sunday morning I was helping a friend to put a new hard disk into his laptop. I needed more space and fortunately bought the new NVMe SSD already back in November. The same 4 TB disks now costs more than 100 EUR more thanks to the AI hype.
It had to be a Windows 11 installation as that’s what he had to use for his work. I’m not judging. It went surprisingly smooth. We’ve created a bootstick from the existing installation with the Windows 11 installer. He had already looked up a video on how to disassemble the laptop. That was a huge timesaver as the HP Laptop had 5 hidden screws that we had to uncover under the rubber feet.
New disk in, booted from USB and started the installation. After about 15 min the new OS was running and could start to install the needed software from scratch. He knew all his accounts and password and so we were done in a few hours with the whole setup. I honestly expected more fiddling needed.
China here we come
The planning of the upcoming China trip progresses. I’ve contacted a few friends in Beijing and established communication via WeChat with them now. We had stayed in contact loosely via Facebook and LinkedIN. Both services are just bad … for various reasons. But we switched to Chinas most popular chat app. They immediately offered pick up service and are generally excited to meet again. We’ve also got the rest of the schedule mostly sorted and now need to book the hotels and tours. It’s getting real.
#project25 update
This week the insulation material for the attic arrived and work is supposed to start next week. We quickly unloaded the stuff and placed partially into the attic and living room for convenience.
Unfortunately I noticed that the heating seemed to have stopped. It’s hopefully “just” because of low fuel level in the oil tanks. I had initially only bought 1000L back in June 2025 expecting this to last about a year.
I really have no experience with this kind of heating system. We didn’t spent much time in the house yet so the heating was set to winter mode most of the time. But then we also had a pretty cold winter so far and not insulated attic is kind of open to the lower floor norw. I’ve tried to seal it as good as possible with styrofoam plates. Still the heating seems to guzzle a lot of oil… that soon needs to be replace by a proper heat pump system.
still ice on the lake14 at last
Kiddo turned 14 this week … of course they grow up so fast 🙂
Learning
Learned (rather got it confirmed) this week from our doctor that ADS & depression is much harder noticed in women because they’re much better at blending in and make an effort to just play along to expectations. That of course is taxing and taking lots of energy which makes their symptoms even worse.
Reading
no changes over last week
#activitypub #coffee #enEN #project25 #tasskaff #Uckermark #weekly #weeklyreview #wordpress -
#weeklyreview 07/2026
February 8th – 14th, 2026
Summary
Somehow super hectic week. That’s why I only got to post last weeks review yesterday. Struggling with project management or the lack thereof in the office. More AI fiddling that I’m rather happy with. Good progress on #project25 and the China vacation plan. Also still enjoying the book about the Vienna Circle a lot.
AI, AI and more AI
This is a big topic for me right now. At the office of course but also in personal experiments.
Fediverse journaling plugin
With help of AI coding I’m getting to realise many small ideas I had but would never have had the time to realise. This week I’ve create a little WordPress plugin to use the fediverse as a journaling assistant.
I spent a lot of time in my fediverse clients (mostly Mona, IceCubes or the Mastodon web interface). So why not use that as an input channel for my weekly blogging. I tried different other approaches over the last few months to recollect what I was busy with during the week. Having scripts collecting my Mastodon posts over the weeks and compiling them into a weekly overview page for instance. So I thought it might be useful to just sent message in the Fediverse to my blog for journaling.
I’ve got the ActivityPub plugin installed and thus my Blog is just a normal account in the fediverse that I can mention or sent messages to. I’ve wrote a plugin in which I can authorise specific fediverse users in a WordPress author profile. If these fediverse users mention the WordPress author profile, that post gets appended to a weekly draft post on the Blog.
Now whenever I have something noteworthy, I’ll mention my blog account in my fediverse post and it gets automatically appended to a weekly review draft. At the end of the week I already have a list of things that bothered me during the week.
The code can be found here.
Some snippets from this weeks journal:
2026-02-11 17:37:06
I’d call it “vibe project management” where you just pretend to have a project plan. It visually looks like project plan. But factually it doesn’t make any sense because it has been created with Photoshop for Powerpoint …@falko2026-02-12 12:59:10
@Nico prinzipiell läuft es. Genutzt wird das Modell jetzt von einem Pi Coding Agent der in einer Debian VM läuft 🙈 @falkoI’ve tried my luck with an open weight coding model and the Pi Coding agent. Downloaded the qwen3-coder-next:latest model for Ollama. That’s a whopping 51GB in size as barely fits into my physical memory. The Pi coding agent was running inside a virtual machine. It works in principle… but is so slow that a reasonable test wasn’t really practical for the moment. Have to play a bit more with it. With that setup one could theoretically realise a fully offline coding agent. But I guess some more beefy hardware is needed. Although an Apple Silicon M2 Max isn’t really a slow machine.
Project Management in the age of vibe everything
To be honest, this has started much before AI and vibe coding became popular. The tendency to make up project plans with tools that are not meant for project planning. Most notorious in this field are Project Plans in Excel, Powerpoint or JIRA.
Why am I so upset about it? In my eyes a project plan helps you prioritise and visualise work by listing the tasks and milestones and putting them in chronological order. You define dependencies between tasks and maybe even resources. Once that has been established (and I don’t say this is trivial to collect) you can use proper project management software to identify the critical path of your project. That is the one sequence of events that you have to focus on. All the others will not move you necessarily closer to your project end (because they’re not on the critical path) until the items on the critical path are not finished.
It will also help you assess the effects of time lines slippage. How does that the affect to overall project timing? Or you can identify bottlenecks in your plan due to resources overload. So all good things that you management usually wants to see and from you as a project manager.
Yet, many project plans are just vibe fiddled with the likes of office software. So it just looks similar to a project plan visually. But these tools don’t help you actually manage your project. They just visualise what you think your project plan is. Not backed by hard data.
The most hilarious experience in this context was my conversation with the Atlassian Rovo AI assistant on the topic this week. Asked whether JIRA can be used for project management it of course answered that JIRA is actually best for this. Then probed how chronological order and critical path can then be managed it needed to back off and admit that you can’t do that in JIRA without lots of add-ons and/or paid extensions.
What puzzles me is, that this kind of “let’s just wing it” project management is accepted in many companies. My theory is, that management knows precisely that their demand for speed, quality and resource usage is completely unrealistic. Too much work get’s committed with too little resources. Milestone be set before the actually planning happened because it was promised to a customer or C-suite guy. Proper project management would proof with hard data that the timeline is totally unrealistic.
But with just vibe coded project plans they can just press and demand. And people obey with over-hours and compromises in quality and features.
Rural restaurants
On Sunday we’ve been at the lovely Kastanienhof in Flieth. A traditional village restaurant with traditional German food. It was really delicious and at a very affordable price range. For the three of us we payed something around 60 EUR in total including drinks and my starter. That’s about as much as I pay for me alone in Berlin when having BBQ ribs at Chicago Williams 😉
That Sunday morning I was helping a friend to put a new hard disk into his laptop. I needed more space and fortunately bought the new NVMe SSD already back in November. The same 4 TB disks now costs more than 100 EUR more thanks to the AI hype.
It had to be a Windows 11 installation as that’s what he had to use for his work. I’m not judging. It went surprisingly smooth. We’ve created a bootstick from the existing installation with the Windows 11 installer. He had already looked up a video on how to disassemble the laptop. That was a huge timesaver as the HP Laptop had 5 hidden screws that we had to uncover under the rubber feet.
New disk in, booted from USB and started the installation. After about 15 min the new OS was running and could start to install the needed software from scratch. He knew all his accounts and password and so we were done in a few hours with the whole setup. I honestly expected more fiddling needed.
China here we come
The planning of the upcoming China trip progresses. I’ve contacted a few friends in Beijing and established communication via WeChat with them now. We had stayed in contact loosely via Facebook and LinkedIN. Both services are just bad … for various reasons. But we switched to Chinas most popular chat app. They immediately offered pick up service and are generally excited to meet again. We’ve also got the rest of the schedule mostly sorted and now need to book the hotels and tours. It’s getting real.
#project25 update
This week the insulation material for the attic arrived and work is supposed to start next week. We quickly unloaded the stuff and placed partially into the attic and living room for convenience.
Unfortunately I noticed that the heating seemed to have stopped. It’s hopefully “just” because of low fuel level in the oil tanks. I had initially only bought 1000L back in June 2025 expecting this to last about a year.
I really have no experience with this kind of heating system. We didn’t spent much time in the house yet so the heating was set to winter mode most of the time. But then we also had a pretty cold winter so far and not insulated attic is kind of open to the lower floor norw. I’ve tried to seal it as good as possible with styrofoam plates. Still the heating seems to guzzle a lot of oil… that soon needs to be replace by a proper heat pump system.
still ice on the lake14 at last
Kiddo turned 14 this week … of course they grow up so fast 🙂
Learning
Learned (rather got it confirmed) this week from our doctor that ADS & depression is much harder noticed in women because they’re much better at blending in and make an effort to just play along to expectations. That of course is taxing and taking lots of energy which makes their symptoms even worse.
Reading
no changes over last week
#activitypub #coffee #enEN #project25 #tasskaff #Uckermark #weekly #weeklyreview #wordpress -
#weeklyreview 07/2026
February 8th – 14th, 2026
Summary
Somehow super hectic week. That’s why I only got to post last weeks review yesterday. Struggling with project management or the lack thereof in the office. More AI fiddling that I’m rather happy with. Good progress on #project25 and the China vacation plan. Also still enjoying the book about the Vienna Circle a lot.
AI, AI and more AI
This is a big topic for me right now. At the office of course but also in personal experiments.
Fediverse journaling plugin
With help of AI coding I’m getting to realise many small ideas I had but would never have had the time to realise. This week I’ve create a little WordPress plugin to use the fediverse as a journaling assistant.
I spent a lot of time in my fediverse clients (mostly Mona, IceCubes or the Mastodon web interface). So why not use that as an input channel for my weekly blogging. I tried different other approaches over the last few months to recollect what I was busy with during the week. Having scripts collecting my Mastodon posts over the weeks and compiling them into a weekly overview page for instance. So I thought it might be useful to just sent message in the Fediverse to my blog for journaling.
I’ve got the ActivityPub plugin installed and thus my Blog is just a normal account in the fediverse that I can mention or sent messages to. I’ve wrote a plugin in which I can authorise specific fediverse users in a WordPress author profile. If these fediverse users mention the WordPress author profile, that post gets appended to a weekly draft post on the Blog.
Now whenever I have something noteworthy, I’ll mention my blog account in my fediverse post and it gets automatically appended to a weekly review draft. At the end of the week I already have a list of things that bothered me during the week.
The code can be found here.
Some snippets from this weeks journal:
2026-02-11 17:37:06
I’d call it “vibe project management” where you just pretend to have a project plan. It visually looks like project plan. But factually it doesn’t make any sense because it has been created with Photoshop for Powerpoint …@falko2026-02-12 12:59:10
@Nico prinzipiell läuft es. Genutzt wird das Modell jetzt von einem Pi Coding Agent der in einer Debian VM läuft 🙈 @falkoI’ve tried my luck with an open weight coding model and the Pi Coding agent. Downloaded the qwen3-coder-next:latest model for Ollama. That’s a whopping 51GB in size as barely fits into my physical memory. The Pi coding agent was running inside a virtual machine. It works in principle… but is so slow that a reasonable test wasn’t really practical for the moment. Have to play a bit more with it. With that setup one could theoretically realise a fully offline coding agent. But I guess some more beefy hardware is needed. Although an Apple Silicon M2 Max isn’t really a slow machine.
Project Management in the age of vibe everything
To be honest, this has started much before AI and vibe coding became popular. The tendency to make up project plans with tools that are not meant for project planning. Most notorious in this field are Project Plans in Excel, Powerpoint or JIRA.
Why am I so upset about it? In my eyes a project plan helps you prioritise and visualise work by listing the tasks and milestones and putting them in chronological order. You define dependencies between tasks and maybe even resources. Once that has been established (and I don’t say this is trivial to collect) you can use proper project management software to identify the critical path of your project. That is the one sequence of events that you have to focus on. All the others will not move you necessarily closer to your project end (because they’re not on the critical path) until the items on the critical path are not finished.
It will also help you assess the effects of time lines slippage. How does that the affect to overall project timing? Or you can identify bottlenecks in your plan due to resources overload. So all good things that you management usually wants to see and from you as a project manager.
Yet, many project plans are just vibe fiddled with the likes of office software. So it just looks similar to a project plan visually. But these tools don’t help you actually manage your project. They just visualise what you think your project plan is. Not backed by hard data.
The most hilarious experience in this context was my conversation with the Atlassian Rovo AI assistant on the topic this week. Asked whether JIRA can be used for project management it of course answered that JIRA is actually best for this. Then probed how chronological order and critical path can then be managed it needed to back off and admit that you can’t do that in JIRA without lots of add-ons and/or paid extensions.
What puzzles me is, that this kind of “let’s just wing it” project management is accepted in many companies. My theory is, that management knows precisely that their demand for speed, quality and resource usage is completely unrealistic. Too much work get’s committed with too little resources. Milestone be set before the actually planning happened because it was promised to a customer or C-suite guy. Proper project management would proof with hard data that the timeline is totally unrealistic.
But with just vibe coded project plans they can just press and demand. And people obey with over-hours and compromises in quality and features.
Rural restaurants
On Sunday we’ve been at the lovely Kastanienhof in Flieth. A traditional village restaurant with traditional German food. It was really delicious and at a very affordable price range. For the three of us we payed something around 60 EUR in total including drinks and my starter. That’s about as much as I pay for me alone in Berlin when having BBQ ribs at Chicago Williams 😉
That Sunday morning I was helping a friend to put a new hard disk into his laptop. I needed more space and fortunately bought the new NVMe SSD already back in November. The same 4 TB disks now costs more than 100 EUR more thanks to the AI hype.
It had to be a Windows 11 installation as that’s what he had to use for his work. I’m not judging. It went surprisingly smooth. We’ve created a bootstick from the existing installation with the Windows 11 installer. He had already looked up a video on how to disassemble the laptop. That was a huge timesaver as the HP Laptop had 5 hidden screws that we had to uncover under the rubber feet.
New disk in, booted from USB and started the installation. After about 15 min the new OS was running and could start to install the needed software from scratch. He knew all his accounts and password and so we were done in a few hours with the whole setup. I honestly expected more fiddling needed.
China here we come
The planning of the upcoming China trip progresses. I’ve contacted a few friends in Beijing and established communication via WeChat with them now. We had stayed in contact loosely via Facebook and LinkedIN. Both services are just bad … for various reasons. But we switched to Chinas most popular chat app. They immediately offered pick up service and are generally excited to meet again. We’ve also got the rest of the schedule mostly sorted and now need to book the hotels and tours. It’s getting real.
#project25 update
This week the insulation material for the attic arrived and work is supposed to start next week. We quickly unloaded the stuff and placed partially into the attic and living room for convenience.
Unfortunately I noticed that the heating seemed to have stopped. It’s hopefully “just” because of low fuel level in the oil tanks. I had initially only bought 1000L back in June 2025 expecting this to last about a year.
I really have no experience with this kind of heating system. We didn’t spent much time in the house yet so the heating was set to winter mode most of the time. But then we also had a pretty cold winter so far and not insulated attic is kind of open to the lower floor norw. I’ve tried to seal it as good as possible with styrofoam plates. Still the heating seems to guzzle a lot of oil… that soon needs to be replace by a proper heat pump system.
still ice on the lake14 at last
Kiddo turned 14 this week … of course they grow up so fast 🙂
Learning
Learned (rather got it confirmed) this week from our doctor that ADS & depression is much harder noticed in women because they’re much better at blending in and make an effort to just play along to expectations. That of course is taxing and taking lots of energy which makes their symptoms even worse.
Reading
no changes over last week
#activitypub #coffee #enEN #project25 #tasskaff #Uckermark #weekly #weeklyreview #wordpress -
#weeklyreview 07/2026
February 8th – 14th, 2026
Summary
Somehow super hectic week. That’s why I only got to post last weeks review yesterday. Struggling with project management or the lack thereof in the office. More AI fiddling that I’m rather happy with. Good progress on #project25 and the China vacation plan. Also still enjoying the book about the Vienna Circle a lot.
AI, AI and more AI
This is a big topic for me right now. At the office of course but also in personal experiments.
Fediverse journaling plugin
With help of AI coding I’m getting to realise many small ideas I had but would never have had the time to realise. This week I’ve create a little WordPress plugin to use the fediverse as a journaling assistant.
I spent a lot of time in my fediverse clients (mostly Mona, IceCubes or the Mastodon web interface). So why not use that as an input channel for my weekly blogging. I tried different other approaches over the last few months to recollect what I was busy with during the week. Having scripts collecting my Mastodon posts over the weeks and compiling them into a weekly overview page for instance. So I thought it might be useful to just sent message in the Fediverse to my blog for journaling.
I’ve got the ActivityPub plugin installed and thus my Blog is just a normal account in the fediverse that I can mention or sent messages to. I’ve wrote a plugin in which I can authorise specific fediverse users in a WordPress author profile. If these fediverse users mention the WordPress author profile, that post gets appended to a weekly draft post on the Blog.
Now whenever I have something noteworthy, I’ll mention my blog account in my fediverse post and it gets automatically appended to a weekly review draft. At the end of the week I already have a list of things that bothered me during the week.
The code can be found here.
Some snippets from this weeks journal:
2026-02-11 17:37:06
I’d call it “vibe project management” where you just pretend to have a project plan. It visually looks like project plan. But factually it doesn’t make any sense because it has been created with Photoshop for Powerpoint …@falko2026-02-12 12:59:10
@Nico prinzipiell läuft es. Genutzt wird das Modell jetzt von einem Pi Coding Agent der in einer Debian VM läuft 🙈 @falkoI’ve tried my luck with an open weight coding model and the Pi Coding agent. Downloaded the qwen3-coder-next:latest model for Ollama. That’s a whopping 51GB in size as barely fits into my physical memory. The Pi coding agent was running inside a virtual machine. It works in principle… but is so slow that a reasonable test wasn’t really practical for the moment. Have to play a bit more with it. With that setup one could theoretically realise a fully offline coding agent. But I guess some more beefy hardware is needed. Although an Apple Silicon M2 Max isn’t really a slow machine.
Project Management in the age of vibe everything
To be honest, this has started much before AI and vibe coding became popular. The tendency to make up project plans with tools that are not meant for project planning. Most notorious in this field are Project Plans in Excel, Powerpoint or JIRA.
Why am I so upset about it? In my eyes a project plan helps you prioritise and visualise work by listing the tasks and milestones and putting them in chronological order. You define dependencies between tasks and maybe even resources. Once that has been established (and I don’t say this is trivial to collect) you can use proper project management software to identify the critical path of your project. That is the one sequence of events that you have to focus on. All the others will not move you necessarily closer to your project end (because they’re not on the critical path) until the items on the critical path are not finished.
It will also help you assess the effects of time lines slippage. How does that the affect to overall project timing? Or you can identify bottlenecks in your plan due to resources overload. So all good things that you management usually wants to see and from you as a project manager.
Yet, many project plans are just vibe fiddled with the likes of office software. So it just looks similar to a project plan visually. But these tools don’t help you actually manage your project. They just visualise what you think your project plan is. Not backed by hard data.
The most hilarious experience in this context was my conversation with the Atlassian Rovo AI assistant on the topic this week. Asked whether JIRA can be used for project management it of course answered that JIRA is actually best for this. Then probed how chronological order and critical path can then be managed it needed to back off and admit that you can’t do that in JIRA without lots of add-ons and/or paid extensions.
What puzzles me is, that this kind of “let’s just wing it” project management is accepted in many companies. My theory is, that management knows precisely that their demand for speed, quality and resource usage is completely unrealistic. Too much work get’s committed with too little resources. Milestone be set before the actually planning happened because it was promised to a customer or C-suite guy. Proper project management would proof with hard data that the timeline is totally unrealistic.
But with just vibe coded project plans they can just press and demand. And people obey with over-hours and compromises in quality and features.
Rural restaurants
On Sunday we’ve been at the lovely Kastanienhof in Flieth. A traditional village restaurant with traditional German food. It was really delicious and at a very affordable price range. For the three of us we payed something around 60 EUR in total including drinks and my starter. That’s about as much as I pay for me alone in Berlin when having BBQ ribs at Chicago Williams 😉
That Sunday morning I was helping a friend to put a new hard disk into his laptop. I needed more space and fortunately bought the new NVMe SSD already back in November. The same 4 TB disks now costs more than 100 EUR more thanks to the AI hype.
It had to be a Windows 11 installation as that’s what he had to use for his work. I’m not judging. It went surprisingly smooth. We’ve created a bootstick from the existing installation with the Windows 11 installer. He had already looked up a video on how to disassemble the laptop. That was a huge timesaver as the HP Laptop had 5 hidden screws that we had to uncover under the rubber feet.
New disk in, booted from USB and started the installation. After about 15 min the new OS was running and could start to install the needed software from scratch. He knew all his accounts and password and so we were done in a few hours with the whole setup. I honestly expected more fiddling needed.
China here we come
The planning of the upcoming China trip progresses. I’ve contacted a few friends in Beijing and established communication via WeChat with them now. We had stayed in contact loosely via Facebook and LinkedIN. Both services are just bad … for various reasons. But we switched to Chinas most popular chat app. They immediately offered pick up service and are generally excited to meet again. We’ve also got the rest of the schedule mostly sorted and now need to book the hotels and tours. It’s getting real.
#project25 update
This week the insulation material for the attic arrived and work is supposed to start next week. We quickly unloaded the stuff and placed partially into the attic and living room for convenience.
Unfortunately I noticed that the heating seemed to have stopped. It’s hopefully “just” because of low fuel level in the oil tanks. I had initially only bought 1000L back in June 2025 expecting this to last about a year.
I really have no experience with this kind of heating system. We didn’t spent much time in the house yet so the heating was set to winter mode most of the time. But then we also had a pretty cold winter so far and not insulated attic is kind of open to the lower floor norw. I’ve tried to seal it as good as possible with styrofoam plates. Still the heating seems to guzzle a lot of oil… that soon needs to be replace by a proper heat pump system.
still ice on the lake14 at last
Kiddo turned 14 this week … of course they grow up so fast 🙂
Learning
Learned (rather got it confirmed) this week from our doctor that ADS & depression is much harder noticed in women because they’re much better at blending in and make an effort to just play along to expectations. That of course is taxing and taking lots of energy which makes their symptoms even worse.
Reading
no changes over last week
#activitypub #coffee #enEN #project25 #tasskaff #Uckermark #weekly #weeklyreview #wordpress