Sonny's Forum Replies
Hi Ben, could you please add the 2010 split EP between Stormcow and Coffins.
https://rateyourmusic.com/release/ep/stormcrow-coffins/stormcrow-coffins/
Hi guys, can I have suggestions for August's playlist in by the 15th. Time allocation is now up to a maximum of 35 minutes for each participating clan member (Vinny, David).
Hi guys, can I have suggestions for August's playlist in by the 15th. Time allocation is now up to a maximum of 35 minutes each (Vinny, Karl).
Some notes on this month's playlist:
1. Electric Wizard - "The Sun Has Turned to Black" (from "We Live", 2004) [submitted by Sonny]
"We Live" is one of my favourite Electric Wizard albums and is very underrated when compared to the band's earlier stuff. It marks a transitional point for the band where the songwriting tightened up as the jam-oriented approach of the original trio was replaced by a more focussed and structured songwriting team when Jus Osborne's partner, Liz Buckingham, became more involved in the process. This is probably the best track on the album with a subsonic guitar tone that may well undermine your home's foundations if played too loudly.
2. Saint Vitus – "Trail of Pestilence" (from "Die Healing", 1995) [submitted by dk]
A great illustration of the crawling, creeping riffs Dave Chandler spent a career producing. Scott Reagers was back behind the mic for this album after the band had dallied with Count Raven's Chritus following Wino's departure and the band turned in their best post-1990 album as a result. Another brilliant track that is a perfect snapshot of what you should expect from St. V.
3. Daevar - "Mirrors" (from "Sub Rosa", 2025) [submitted by Vinny]
I really enjoyed Daevar's previous album "Amber Eyes" so was already well-disposed to this track. It is a catchy muthafucker that is for sure and I genuinely can't understand why a track like this wouldn't garner some radio airplay and even a break into the mainstream. Love it!
4. Concilium - "Red Sun, Red Moon" (from "No Sanctuary", 2019)
Concilium is the brainchild of Kayo Dot / maudlin of the well guitarist Greg Massi and are a female-fronted epic doom act that are very accomplished and skilled songwriters and performers. So far this EP is there only release, but with quality like this on show it would be a huge shame if we didn't hear more from them in the future. This is the closer from the EP and rounds it off in epic and triumphant style.
5. Rothadás - "Vértükör" (from "Töviskert... a kísértés örök érzete... Lidércharang", 2025) [submitted by Vinny]
This Hungarian duo are a completely new one on me, but their thundering, hulking death doom that reaches back to early 90's OSDM is defintely something that will gain favour with me. I love this track and will definitely be looking into these guys further in the very near future.
6. Myraeth - "Monarch" (from "In Glorious Death", 2012)
This is from a 2012 album which is the sole full-length release from the Sydney gothic doomers. Obviously influenced by My Dying Bride, they bring the whole gothic toolbox to bear with violin strings, keys and female vocals to complement the gruff male growls, all ably provided by Samantha Kempster who now has a solo gothic doom project called Promethean Misery. A nice take on the gothic death doom templatethat doesn't overdo the gothic side and so avoids any accusations of cheesiness.
7. Moonspell - "Capricorn at Her Feet" (from "The Antidote", 2003)
Portugal's Moonspell are exceedingly accomplished producers of gothic metal and are always decidedly listenable. The Antidote is one of my favourites and this is another exceedingly memorable and catchy number that should perhaps gain favour beyond the strictly metal sphere.
8. 5ive – "Gulls" (from "Hesperus", 2008) [submitted by dk]
OK, now we have got all that tunefulness out of the way let us get on with the show. 5ive are yet another completely new one on me and are, apparently, a Boston instrumental sludge act. If "Gulls" is typical fare then I think 5ive will gain much favour from fans of Ufomammut and the likes. I am not a huge fan of instrumental doom, but this is very, very good with its driving, kinetic style appealing to me immensely.
9. Secret Cutter - "Spleen" (from "III ", 2025) [submitted by Vinny]
Venomous and ascerbic sludge metal that is filled with all the anger and despair that epitomises the true spirit of sludge metal. This is proper "Fuck off you fucking fucks!"metal.
10. Mares of Thrace - "The Fifth Stage: Depression" (from "The Loss", 2025) [submitted by Vinny]
Mares of Thrace are a band I have been following for some time now, since 2012's "Pilgrimage" album in fact. 2022's The Exile was actually a big step up for the duo and it appears that new album, "The Loss" sees them develop even futher. This is an incredible track with mainwoman, Thérèse Lanz, really laying it on the line with such a desperate and heartfelt vocal performance that it has you genuinely concerned for her well-being. That said, though, I suspect being able to pour yourself so fully into an artisitc endeavour is exceedingly cathartic and I am sure Ms. Lanz will be fine. If the rest of the album is this good then it will certainly feature very highly in my end-of-year list I am sure.
11. Structure - "Will I Deserve It" (from "Heritage", 2025)
Solely judging on the strength of material featured on this here playlist, 2025 looks like being a very good year for Fallen releases. "Heritage" blew me away when listening to it after Vinny nominated it as a monthly feature, leading me to compare it (in effect, if not style) to my all-time favourite "Watching From A Distance". Now maybe that was a little bit over-effusive of me - those are fucking massive boots to fill after all, but I stand by my assessment of this as being an emotionally resonant album that speaks to something inside me in a quite positive way. This opener leads us into the album with a very melodic refrain that makes the whole more accessible than may be expected from a funeral / death doom hybrid.
12. Wolvserpent - "Within the Light of Fire" (from "Perigaea Antahkarana", 2013) [submitted by dk]
I love Wolvserpent's last album, 2016's "Aporia:Kāla:Ananta" but, oddly, I have never looked beyond that album into the rest of their discography. Well this is at least one other I have to check out. I love the kind of psyched-out, ritualistic droning as typified here. It is similar in a way to the direction Oranssi Pazuzu or their Waste of Space Orchestra have taken. It has a very sinister and dark atmosphere as if the listener is overhearing some forbidden occult rite that they should never behold. Great stuff.
13. My Dying Bride - "Thy Raven Wings" (from "A Line of Deathless Kings", 2006)
This is one of my favourite MDB albums as it is more stripped-back than the majority of their catalogue. With less emphasis on the atmospherics, they get down to being a damn fine doom / gothic metal band instead.
14. Yith - "Madness" (from "Immemorial", 2019)
Yith is an act I have been championing for ages now, generally to no noticeable effect. That doesn't deter me however as a guy who is able to so effortlessly combine doom and black metal into such a coherent statement as this must ultimately win through on quality alone. Black / doom hybrids so often have doomy bits and black bits welded together but Yith genuinely takes from both worlds and serves us up examples of a distinct sub-genre. Dark and desperate stuff that is made of nightmares.
15. SubRosa - "Whippoorwill" (from "No Help for the Mighty Ones", 2011)
Another excellent, but now defunct, band that have been high up on my list of favourites for some time. There is a certain unsettling quality to SubRosa's doom metal, as if there is something in the Salt Lake City air. The strings and layered vocals over the ponderous doom riffs always sound a little discordant and never allow complacency to set in, keeping you on your guard. "No Help for the Mighty Ones" was the precursor to the immense classic that was "More Constant Than the Gods" and "Whipoorwill" gives an insight into what was on the horizon.
16. Mournful Congregation - "The Paling Crest" (from "The Exuviae of Gods: Part II", 2023) [submitted by Sonny]
MC tend to get overlooked in the great funeral doom bands conversations, but this is a little unfair to the Aussies in my book. They haven't been as prolific as some, or maybe as consistent, but at their best they are excellent purveyors of this most morose of all sub-genres. Their two "Exuviae of the Gods" EPs are examples of them on top form and although I actually prefer "Part I" to "II", "The Paling Crest" rounds off the series in fine form with a wistful introspection that feels like the protagonist reaching back through the years towards lost loves and glories.
July 2025
1. Electric Wizard - "The Sun Has Turned to Black" (from "We Live", 2004) [submitted by Sonny]
2. Saint Vitus – "Trail of Pestilence" (from "Die Healing", 1995) [submitted by dk]
3. Daevar - "Mirrors" (from "Sub Rosa", 2025) [submitted by Vinny]
4. Concilium - "Red Sun, Red Moon" (from "No Sanctuary", 2019)
5. Rothadás - "Vértükör" (from "Töviskert... a kísértés örök érzete... Lidércharang", 2025) [submitted by Vinny]
6. Myraeth - "Monarch" (from "In Glorious Death", 2012)
7. Moonspell - "Capricorn at Her Feet" (from "The Antidote", 2003)
8. 5ive – "Gulls" (from "Hesperus", 2008) [submitted by dk]
9. Secret Cutter - "Spleen" (from "III ", 2025) [submitted by Vinny]
10. Mares of Thrace - "The Fifth Stage: Depression" (from "The Loss", 2025) [submitted by Vinny]
11. Structure - "Will I Deserve It" (from "Heritage", 2025)
12. Wolvserpent - "Within the Light of Fire" (from "Perigaea Antahkarana", 2013) [submitted by dk]
13. My Dying Bride - "Thy Raven Wings" (from "A Line of Deathless Kings", 2006)
14. Yith - "Madness" (from "Immemorial", 2019)
15. SubRosa - "Whippoorwill" (from "No Help for the Mighty Ones", 2011)
16. Mournful Congregation - "The Paling Crest" (from "The Exuviae of Gods: Part II", 2023) [submitted by Sonny]
July 2025
1. Bathory - "Enter the Eternal Fire" (from "Under the Sign of the Black Mark", 1987) [submitted by Sonny]
2. Norrhem - "Teräsmyrskyssä" (from "Aurinko ja teräs", 2025) [submitted by Vinny]
3. Enthroned - "Deny the Holy Book of Lies" (from "Prophecies of Pagan Fire", 1995) [submitted by Karl]
4. Trespasser - "To the Barricades!" (from "Чому не вийшло?", 2018) [submitted by Sonny]
5. Immortal - "Storming Through Red Clouds and Holocaustwinds" (from "Pure Holocaust", 1993) [submitted by Karl]
6. Varathron - "Unholy Funeral" (from "His Majesty at the Swamp", 1993) [submitted by Karl]
7. Enslaved - "Lifandi liv undir hamri" (from "Vikingligr veldi", 1994) [submitted by Sonny]
8. Regnum Noricum - "Aminata Muscaria" (from "Lost Legacy", 2025) [submitted by Vinny]
9. Groza - "Dysthymian Dreams" (from "Nadir", 2024) [submitted by Saxy]
10. Shylmagoghnar - "A New Dawn" (from "Emergence", 2014) [submitted by Andi]
11. Häxkapell - "Metamorfos" (from "Om jordens blod och urgravens grepp", 2025) [submitted by Vinny]
12. Mystifier - "The Baphometic Goat of Knights Templar in the 12th Century" (from "Göetia", 1993) [submitted by Karl]
13. Niden Div. 187 - "A View in the Mirror Black" (from "Impergium", 1997) [submitted by Karl]
14. Lycopolis - "Lord of the Necropolis" (from "The Procession", 2021) [submitted by Sonny]
15. Mortuary Drape - "Evil Death" (from "Secret Sudaria", 1997) [submitted by Karl]
16. Void of Hope - "The Hollow Hymn" (from "Proof of Existence", 2025) [submitted by Vinny]
17. Deathspell Omega - "Wings of Predation" (from "Paracletus", 2010) [submitted by Sonny]
18. Summoning - "Beyond Bloodred Horizons" (from "Lugburz", 1995) [submitted by Karl]
19. Malokarpatan - "Ve starém mlyne čerti po nocách mariáš hrávajú" (from "Nordkarpatenland", 2017) [submitted by Sonny]
20. Moonsorrow - "Pimeä" (from "Verisäkeet", 2005)
Tool - Lateralus (2001)
At the time of its release I was very much a fan of Lateralus, its take on progressive metal was so dense and industrialised as to be a little alienating, yet it also felt quite intimate and personal at the same time, which was a combination I found to be endlessly fascinating. Over time I cooled to Tool and the endless bullshit that seemed to get bandied about on internet forums on their behalf, but as I listen to Lateralus again after a lengthy break, I am beginning to feel some of the attachment to the record I originally forged over twenty years ago beginning to resolidify. Sure, a lot of their fans are still pretentious as fuck, but frankly that's just noise, whereas Lateralus itself is far from that, but is a fairly unique-sounding album within my collection. Yeah, I'm gonna call it - this is a great record and no amount of internat crap will deter me from that position!
4.5/5 (upped from my long-standing 4/5)
I have just been taking a look at and rating the covers of a few recent additions to the site and I have to say that I have immense respect for Ben's devotion in trying to source high quality images of what seem to be increasingly low-effort covers. To spend hours sifting through such frankly awful "artwork" must be a bit of a chore. I know that the predominence of streaming has pretty much negated the need for striking or aesthetically pleasing cover art, but some of the shit masquerading as such over recent years makes some of the old hand-drawn death or black metal cassette demos look like Leonardo DaVinci's handiwork.
Destiny's End - Breathe Deep the Dark (1998)
I was recommended this by a friend on RYM earlier in the year and finally got round to giving it a spin. It appears that Destiny's End were a fairly short-lived USPM outfit that featured Helstar vocalist James Rivera. Forming in '97, they released a couple of albums before splitting in 2001, "Breath Deep the Dark" being the debut. If I do dip my toes into power metal, which I do like to do every now and then - I am nothing if not persistent - then it is to the US version that I turn. In truth this ain't sctually half bad and is a reasonable example of USPM, to my inexperienced ears at least. There is a whole heap of energy and enthusiasm on display here, along with reasonably impressive technical ability. There are a shed full of riffs and the soloing is energetic and frenetic without ever becoming too self-indulgent, with twin guitarists Dan DeLucie and Perry Grayson (who actually featured on the Isen Torr EP "Mighty and Superior" that I love) playing off each other to great effect. James Rivera's vocals are up front and in your face, which I guess is the norm for power metal and while he likes to exercise his range, he isn't much given to the vocal histrionics that ruin many a PM album for me.
All-in-all I would have to say that this was quite a nice surprise and I am a little flummoxed as to why Destiny's End are so obscure - their two albums are on here but have zero ratings so far. I have certainly heard worse USPM and I would definitely recommend this to anyone for who enjoys the genre. I am undecided whether it deserves a 4/5 just yet, so I have gone with a 3.5+.
3.5+/5
I have only just got round to this one and I am liking what I am hearing at this point. I will give it a few more spins and see if I can work a review up.
Ripper are yet another of the superb thrash acts hailing from the Santiago / Valpairiso area of Chile, forming in 2007 and still going strong. That said, the lineup that recorded 2016's Experiment of Existence is very different to today's with only band founder, guitarist and vocalist, Patricio Spalinger, remaining. The entire album was written by bassist Pablo Cortés who departed in 2019 and is now to be found in death metal acts, Suppression and Ancient Crypts. As is fairly typical for the chilean thrash scene, Experiment of Existence is very tightly performed and especially aggressive deaththrash that captures the essence of something like Seven Churches, but with more ambitious songwriting and a greater emphasis on technical skill.
One thing you may have come to expect when you spin a chilean thrash album is that you are gonna get some killer thrash riffs along with electrifying soloing thrills and Experiment of Existence certainly doesn't disappoint with Ripper delivering in spades. One particular area where the chileans excel though is in the rhythm department and, again, Ripper tick that box too. Drummer Nicolás Villanueva, who was also sticksman for another favourite of mine, Parkcrest, is an excellent thrash drummer with a powerful and busy style that never misses a beat and his timekeeping drives the tracks at considerable velocity throughout. As I mentioned earlier, bassist Pablo Cortés wrote the album and this may be one of the reasons for the prominence of his driving and fairly complex basslines although, in truth, a prominent bass presence in the mix is yet another telltale sign of the modern chilean thrash scene. Patricio Spalinger's vocals are are of a vemomously ascerbic style that sounds like it takes a lot from Chuck Schuldiner's influence.
So, basically, Ripper have reached back to one of the most interesting times in metal's development as thrash was inexorably metamorphosing into death metal and given it a modern makeover with generally better production values and technical competence whilst never losing sight of what made those times so exciting in the first place. The tightness of the performance is a testament to the four guys' ability and you will be hard-pressed to find a metaphorical musical hair out of place here. Experiment of Existence is a triumph of high velocity, aggressive and muscular thrash metal that proves that thrash didn't die in the 90's - it just moved south!
4.5/5
[Apologies as it appears that this isn't on Spotify. I caught up with it on Bandcamp and have ordered a CD from Discogs so I don't have to bend over backwards next time I want to give it a spin.]
Earth Crisis - Destroy the Machines (1995)
I am not super familiar with a lot of metalcore, outside of a few big names like Converge and Trivium and I have only very recently tried to explore it further. I find a lot of it to be very samey, with little to differentiate a lot of the bands, but Earth Crisis certainly are not one of them. Destroy the Machines sounds very much to me like a straight edge band that has discovered Sepultura's Chaos AD and thought "We'll have some of that". I like quite a few straight edge bands, even though they can be annoyingly preachy, and Chaos AD is a great record, so that combination works really well for me.
Vocals can often be a personal bugbear with metalcore acts, but Karl Buechner has a raggedness to his voice that makes it sound less shouty and forced than most and that is definitely a plus. A lot of more modern metalcore feels like it has moved away from the punk side of the equation, but Earth Crisis are most definitely authentic when it comes to their punk credentials, which gives the album a looseness that allows it to breathe rather than the constipated tightness of more recent metalcore orthodoxy. The riffs are great, even pretty groovy at times, yet still contain a lethal agressiveness that lets everyone know exactly just how pissed off these guys are. If more metalcore sounded like this then I would most definitely be a bigger fan.
4.5/5
Demolition Hammer - Tortured Existence (1990)
Demolition Hammer's debut is a brutal thrash classic, with a death metal production job (courtesy of Scott Burns at Morrisounds) that gives it as solid a punch as an eponymous demolition hammer indeed would pack. Despite the production, this definitely is a thrash record, with chugging riffs, scorching solos and a rough and aggressive thrash vocalist, not a guttural-voiced death metal growler. Also on the vocal front, a dead giveaway is the USHC-informed backing gang vocals often deployed by Anthrax that are regularly wheeled out here. These are not criticisms though, this is a great example of a thrash band pushing right up to the dividing line and turning in a heavy-duty thrash record that showed that, even as late as 1990, there was still life in the old dog yet.
4.5/5
Listening to these older thrashers that haven't been remastered on Spotify, does show a stark difference between older and more recent production methods with the uncompromising nature of modern, highly compressed releases being in stark contrast to the warmer sound of older stuff. I think I like the old way better as it lets you take more in than the wall of sound you are often faced with nowadays.
Батюшка [Batushka] - Литоургиiа [Litourgiya] (2015)
Despite all the falling out, legal wranglings and bullshit arguments over the band name ownership, this is still one of the most interesting black metal records of the 2010's with it's blend of quite muscular melodic black metal and liturgical chants. I've not listened to it in a while, so it was well overdue a spin and it still stands up very well. Despite being an irreligious bastard, I have always found Eastern Orthodox chanting to be quite stirring stuff, so combining it with black metal was pretty much guaranteed to appeal to me. Pity it all went sideways so fast with the two competing Batushkas (prior to court adjudication) falling somewhat short of the debut's magnificence and soiling its legacy in the process.
Checked this out as it is one of Andi's two 0.5 star rated releases. In truth I don't really know what to make of an album like this. I am probably very wrong, but this doesn't seem like a very serious release and its heavy reliance on samples, despite the whole album only being 25 minutes long, seems like a low-effort affair. Cybergrind really ain't my thing and even though this is far from the worst example I have heard, my in-built aversion to too much chaos is stretched beyond its limit here. Strangely, I think that some of the "riffs" if replicated by a capable grindcore band with some real vocals attached would be pretty good. So I would say the guy can write grindcore riffs, but can't execute them very well... and there is just too much going on for my brain to deal with.
2/5
Grindcore has some of the most terrible band names in my opinion, ranging from ridiculous to just offensive for the sake of offensiveness. Another good reason why grindcore is not worth my time. While a couple of the most notorious examples include A.C. and Pig Destroyer, two more come from bands whose albums I've reviewed are, to my ears, the sh*ttiest releases I've heard in all of metal, and the only ones I've rated 0.5 stars. You can find what they are here: https://metal.academy/users/profile/97/ratings?rating=0.5
I haven't heard either of those albums, Andi, but I will check them out and get back to you!!
A.C. is a dumb name - it doesn't even make sense.
I had a quick look to see if I had encountered Structure's main man, Bram Bijlhout, before and the only time our paths have crossed was Officium Triste's 2013 album, Mors Viri, which I honestly can't remember listening to and which I rated a measly two-and-a-half stars, so not an auspicious start then. However, whether my long forgotten score is an accurate reflection of Mors Viri's quality or not, one of us has changed because I honestly cannot express how utterly affecting and emotional I found Heritage to be. This may sound a bit odd considering Pim Blankenstein uses the guttural growls of extreme metal and the ponderous riffs are huge, crushing affairs, but there is also a melancholy yearning oozing out from under that crushing weight which is often accentuated by lighter instrumental moments.
Heritage actually straddles the line between death doom and funeral doom, allowing for well-executed tempo variations that ensures the generally medium-length tracks don't succumb to saminess. The riffs are melodic and memorable in the main, and really do strike an impressive balance between musical and emotional weight, providing the discerning metalhead with more than enough heaviness to satisfy their craving whilst simultaneously tugging at their heartstrings. The lead work often soars above the miasma created by the riffs, rhythm section and guttural growling like a released spirit taking its leave of the soul-crushing grind of earthbound existence, shrieving itself of its earthly cares and reaching towards its personal nirvana.
I haven't sat down with a lyric sheet, so I don't know what the philosophy behind Heritage is, but for some reason I can't help but feel uplifted and hopeful both whilst and after listening to it, as if it is saying, no matter how hard and heavy things may be, ultimately everything will be OK. This may be fanciful on my part, and yes, it is steeped in melancholy and a gruelling weight, but there is a ray of something more at the heart of the album that genuinely makes me feel good and that is something that I have found in very short supply in recent times. I am exceedingly impressed and it will take a fucking great record to beat this to my AOTY for 2025.
5/5 (and then some!!)
Do you know if there is a vinyl version available, Vinny? I have ordered the CD from Bandcamp but would love this on vinyl.
Just looked on the label website and only has CD option. Metal Archives lists digital as only other option.
OK cheers Vinny. It may be one of those where they want to see the response to the album before committing to a vinyl issue.
After Reign in Blood, when it seemed the gore-drenched four-piece could only follow up such an extreme and brutal album by doubling down and going all-in, they did just the opposite and pulled back from the edge with a much more considered release. The title track looms with an ominous intro that blindsided those looking to continue where Reign in Blood left off. RiB is my favourite Slayer album and, in truth one of the greatest metal albums ever released and South of Heaven still delivers some high-adrenaline rippers, such as "Silent Scream" that echo RiB's inherent brutality, but the ratcheting back of the tempo enable South of Heaven space to breathe and reveal it's horrors with an almost leisurely relish. The title track, "Live Undead", "Mandatory Suicide" and "Spill the Blood" seem to revel in the slowly revealed horrors they contain and may be even more effective for it. Where Reign in Blood hits like a mallet to the skull and gives no pause for reflection, South of Heaven wants to show you the instruments of its horror so you can feel the fear. It would have been very easy for Slayer to just recycle their Frankenstein monster of an album, but I think they deserve more credit for the route they actually took with South of Heaven.
As everyone here knows I am not the biggest fan of power metal, but if pressed I would definitely say that I much prefer the US version as it feels grittier and more hard-edged than the often bloated beast that is the european version. Likewise, Manilla Road isn't a band I have a great deal of history with, but I really like The Deluge. This doesn't sound a million miles away from classic Iron Maiden to my ears and that ain't a bad thing in my book. Galloping, uptempo riffs and a surfeit of fretboard-searing solos make for a dynamic and thrilling listen with no time to think of anything but banging that damn head!! The only reservation I have is that the vocalist is a little nasal-sounding for my taste, but its no big deal and doesn't detract from an otherwise excellent slab of metal splendour.
I had a quick look to see if I had encountered Structure's main man, Bram Bijlhout, before and the only time our paths have crossed was Officium Triste's 2013 album, Mors Viri, which I honestly can't remember listening to and which I rated a measly two-and-a-half stars, so not an auspicious start then. However, whether my long forgotten score is an accurate reflection of Mors Viri's quality or not, one of us has changed because I honestly cannot express how utterly affecting and emotional I found Heritage to be. This may sound a bit odd considering Pim Blankenstein uses the guttural growls of extreme metal and the ponderous riffs are huge, crushing affairs, but there is also a melancholy yearning oozing out from under that crushing weight which is often accentuated by lighter instrumental moments.
Heritage actually straddles the line between death doom and funeral doom, allowing for well-executed tempo variations that ensures the generally medium-length tracks don't succumb to saminess. The riffs are melodic and memorable in the main, and really do strike an impressive balance between musical and emotional weight, providing the discerning metalhead with more than enough heaviness to satisfy their craving whilst simultaneously tugging at their heartstrings. The lead work often soars above the miasma created by the riffs, rhythm section and guttural growling like a released spirit taking its leave of the soul-crushing grind of earthbound existence, shrieving itself of its earthly cares and reaching towards its personal nirvana.
I haven't sat down with a lyric sheet, so I don't know what the philosophy behind Heritage is, but for some reason I can't help but feel uplifted and hopeful both whilst and after listening to it, as if it is saying, no matter how hard and heavy things may be, ultimately everything will be OK. This may be fanciful on my part, and yes, it is steeped in melancholy and a gruelling weight, but there is a ray of something more at the heart of the album that genuinely makes me feel good and that is something that I have found in very short supply in recent times. I am exceedingly impressed and it will take a fucking great record to beat this to my AOTY for 2025.
5/5 (and then some!!)
Do you know if there is a vinyl version available, Vinny? I have ordered the CD from Bandcamp but would love this on vinyl.
Thanks fellas.
I have found myself really missing messing around with The Fallen playlist on a regular basis, so I am going back to compiling it monthly, starting with July. As main co-contributor, Vinny, if you want to post any suggestions before the end of the weekend then that is cool. Any non-clan members may make one suggestion each, again before the end of the weekend. David, if you want to contribute with any suggestions as a clan member let me know and I will spell out the deal.
So, going forward I will be compiling two playlists a month with the Fallen playlist being issued every month and the Horde and North playlists alternating. July is the turn of the North, so The Horde will be August, the North September and so on.
Thanks folks...
I'm interested. Let me know what the rules are for submissions either here or by PM. Is there a song length limit for instance? In the meantime, I'll have a look through the past playlist tracklistings.
Nice one David. Currently the only clan members submitting suggestions are myself and Vinny and we have been limited to 50 minutes total each. If you wish to become a regular contributor, as a clan member I would then change these limits to 30 minutes each, allowing non-clan members to submit one each (Saxy and Andi have been the only ones contributing from outside the Fallen). Within the 30 minutes you can submit songs of any length, so one 30 minute song, two 15 minute songs or whatever up to the 30 minute maximum total. I will use any spare minutes within the two hours to attempt to include tracks from sub-genres that may have been ignored. As far as repeating previous picks goes, if it hasn't appeared for over a year then I am inclined to include it. Suggestions should usually be in by the 15th of the month, so for August's playlist suggestions should be posted by 15th July. If you want to suggest some picks for the July playlist then post them here before Sunday night.
Likewise, if you wish to become a regular contributor to the Horde and / or the North then let me know either via PM or on the respective clan playlist suggestions threads and I will adjust the timing requirements as required.
I have found myself really missing messing around with The Fallen playlist on a regular basis, so I am going back to compiling it monthly, starting with July. As main co-contributor, Vinny, if you want to post any suggestions before the end of the weekend then that is cool. Any non-clan members may make one suggestion each, again before the end of the weekend. David, if you want to contribute with any suggestions as a clan member let me know and I will spell out the deal.
So, going forward I will be compiling two playlists a month with the Fallen playlist being issued every month and the Horde and North playlists alternating. July is the turn of the North, so The Horde will be August, the North September and so on.
Thanks folks...
Get well soon, Andi.
Slipknot - Iowa (2001)
I am not going to claim to be any great authority on nu-metal, but there was a spell there in the early 2000s when I got caught up with it a bit, mainly through friends, and I do possess a handful of nu-metal CDs, this probably being the best of them. The thing about Slipknot was that they seemed far more aggressively angry than most of the other nu-metal acts. Korn and Linkin Park just felt a bit whiny to me, whereas Slipknot seemed to be determined to make someone pay for their grievances. This probably comes down to the fact that there is a greater leaning towards death metal in the Slipknot gene sequence than in that of their contemporaries, giving them a more violent and heavier aesthetic. I'm not espousing Slipknot as one of the top-drawer metal acts ever, but they did have a big impact on early-2000s metal and listening to Iowa again as I write this, I gotta say I am actually having a real blast with it. That said, the two parts of Vermillion from The Subliminal Verses are far and away my favourites from the whole nu-metal scene, but that album, as a whole, is more patchy than Iowa.
3.5/5
As good a place as any to start. I said in my introduction that drone metal was my route back into metal after listening to lots of drone/noise such as New Zealander Campbell Kneale's Birchville Cat Motel. His drone metal outfit tops my drone metal Top 10 and has done for some time. I have the vinyl version that includes two songs, the CD version and the one on youtube contains an extra track in the middle. Not on spotify. Maybe if I get a bit of time I can work up a review of this one.
Top 10
01. Black Boned Angel – Verdun (2009)
02. Earth - Earth 2: Special Low Frequency Version (1993)
03. Sunn O))) – “Monoliths & Dimensions” (2009)
04. Sunn O))) – “Black One” (2005)
05. Nadja – Guilted by the Sun (2007)
06. Boris - Boris at Last -Feedbacker- (2003)
07. Wolvserpent - Aporia:Kāla:Ananta (2016)
08. Bismuth - The Slow Dying of the Great Barrier Reef (2018)
09. Boris - Amplifier Worship (1998)
10. Earth - Extra-Capsular Extraction (1991)
Nice top ten David. We have a lot of overlap in our drone metal taste it appears.
I need to check out Black Boned Angel further. I enjoyed Supereclipse a lot, yet haven't listened to any more of their stuff. That's another one for the list!
It's probably worth pointing out that should you be unhappy with your original clan selections you can easily change them by sending a PM to Ben who will do the necessary.
Hey, David, nice to see you decided to join up. Welcome to the site, hope you enjoy your interactions here as we are all pretty chill people and are always pleased to see new members getting involved. There are a few features here that are a little different to other sites, such as the monthly feature releases for each clan and the specific clan playlists that are hosted on Spotify. If you have any questions about interacting with the site you can post them on the "Questions & Answers" thread on the General Forum board, or just PM me and I will try to answer as best I can. Ben or Daniel most definitely will be able to do so for sure.
Immolation's "Close to a World Below" has just made it onto the 20+ ratings chart and is now sitting at #1 showing what fantastic taste the Metal Academy members have!
Blind Guardian's "Imaginations From the Other Side" has also debuted on the 20+ chart at #8, Deftones' "White Pony" has come in at #27 and Ulver's "Bergtatt" at #29.
There are now 77 releases on the 20+ chart.
1. The Fallen
Absolutely my favourite clan. Funeral doom, death doom and good old trad and conventional doom have appealed to me for the longest time. I grew into drone and sludge and have even started to get more into gothic metal. I was a huge fan of stoner metal initially, but it has paled a bit for me over the last year or two and often bores me now.
2. The North
The more furious and raw the better, but I like most black metal sub-genres. Folk metal, not so much, but even that has some releases I enjoy. Sure, there are plenty of sub-par bedroom artists out there, but the great far and away outweighs the poor.
3. The Horde
I wasn't always the biggest fan of death metal, but I never really knew many DMheads. I was more a grindcore guy. Since joining Metal Academy and being guided by members who definitely are knowledgeable I have really got into it and, as a relative newcomer, it still holds many pleasant surprises for me. I will pass on cybergrind, though if that's OK.
4. The Pit
As a guy who was around when the early thrash albums hit, The Pit will always hold a lot of nostalgia for me, but thankfully, mainly due to the burgeoning South American thrash scene centred on Santiago and Valpairiso it is no longer just just about the nostalgia. I am not massively into groove metal, though.
5. The Guardians
Again, as a metalhead since the mid-70s the Guardians will always be home to some of my longest-lasting favourites, so there is a huge nostalgia factor. But, the rise of a new trad metal scene is producing some good stuff too and I have sometimes even been known to veer off into power metal territory!
Now it gets a bit more difficult.
6. The Infinite
I am going with The Infinite next. I always enjoyed prog rock because you weren't always sure where it was going and prog metal is similar. I don't like the Dream Theater-like wanky stuff, but the progressive death and black metal stuff is often fantastic.
7. The Sphere
I enjoy the industrial aesthetic, although I have merely scratched the surface with The Sphere, but I suspect there are quite a few decent albums in there somewhere.
8. The Revolution
I am going to, probably unexpectedly, not put The Revolution last. I used to loathe the likes of Lamb of God and Killswitch Engage, but over recent times I have found several releases I have enjoyed within its ranks and am hopeful of discovering more.
9. The Gateway
There is a couple of faves here - Toxicity and Battle of Los Angeles, but it is also home to some of the blandest metal in existence. Controversially, I also find some Gateway darlings such as Faith No More or Alice In Chains massively overrated.
I have just found one of my old reviews that was normal font size for the first paragraph and then went to small size for the rest of the review. I tried to update it by highlighting the whole text and hitting the "Remove Font Style" button, but it didn't do anything. However, when I only highlighted the text that was displayed in small font size and hit the button it worked and the review is now all the correct font size. The only problem was that it also removed the paragraph breaks, so I had to reformat the paragraphs.
Are you sure you tried editing the review, highlighting all the text, and then selecting the Remove Font Style button before saving it? I'm not doubting your sincerity, but I've done this hundreds of times on posts and reviews and it's never not worked.
I think it happens when reviews are copied and pasted from other sources. I could be wrong, but I don't think it happens when I type something directly into the site and save it. Can you confirm whether you generally copy and paste? It would be good to get it sorted at some point.
Whenever this happens to me it is when I have copied and pasted. I haven't encountered it when typing directly onto the site.
My suggestion for July, Andi:
Manticora - "Echoes of a Silent Scream" (from "To Kill to Live to Kill", 2018)
Black Sabbath, with Ozzy as frontman, birthed and popularised metal for so many of us old metalheads and Dio helped to resurrect the tottering giants from the terminal decline into which their drug-ravaged delusions had pitched them, delivering a couple of indisputable all-time metal classics in the process. So, come on people, revisionism can only go so far and to consider the Tony Martin era with anything like the same degree of respect as the Ozzy and Dio eras is disingenuous at best. But, that said, it is what it is and these albums still have the world's finest riff master plying his trade and no amount of awful 80s-style over-production can disguise that fact. On the odd occasion when I do listen to albums from this Sabbath era, I do my best to strip away the production in my mind, so I'm not hearing something akin to awful AOR shite like Journey or Foreigner, but getting down to the pure heart of the record and that is Iommi's impeccable ability to write riffs. To be fair, none of this is Tony Martin's fault and I have nothing against the guy per se and, in truth, he is a gifted singer who doesn't sound all that different to Dio as a quick listen to "The Law Maker" will attest - shut your eyes and it could be the diminutive one himself throwing horns left and right!
But, I will never believe that layered keyboards and harmonised backing vocals have any place on a Sabbath record and on a track like Jerusalem they are a bridge too far, especially when coupled with one of the weakest riffs Iommi has ever written, then it is a big ask for me to get too heavily behind it. The best tracks here are the ones that are recognisably continuations from previous band iterations, "The Sabbath Stones", "Anno Mundi" and "Valhalla" would all have sat comfortably on Heaven and Hell or Mob Rules, if not for the production equivalent of 1980's big hair and shoulder pads.
So, in summation, for me this is an album with a fistful of decent tracks, alongside a couple of duffers, dragged down by a production sound that, whilst beefing up the guitar tone, throws the drums way too much to the fore in a way that has become decidedly dated. Overuse of layered keyboards and harmonised backing vocals irritate me at the best of times, but on a Black Sabbath album this is totally indefensible to me. I can't hate this, because underneath it all the riffs reign supreme, but I will never love it either.
3/5
Vol.3 is actually my favourite Slipknot album and for me both parts of Vermillion are the best things they ever did by quite some distance.
Ne Obliviscaris - Portal of I (2012)
Just been giving this beauty another spin and it still holds up very well to my original assessment:
There are huge swathes of progressive metal that just leave me cold. The Dream Theaters of this world trying to impress everyone with excessive flashiness, bloated songwriting or technical frigidity inspire nothing in me other than a shrug of indifference. This is why I admired Opeth so much - they were technically superb but never forgot that the song was king and everything they did worked to that end. On the evidence of Portal of I, Ne Obliviscaris seem to be a band with the same philosophy and with this album have ticked many of the boxes that appeal to me. I'm especially on board with the marriage between prog and black metal, in a similar way that Oranssi Pazuzu's fusion between black metal and psychedelic rock is so successful, Ne Obliviscaris seem to understand exactly how to alloy black metal with progressive metal in way that makes the whole more than the separate elements (something Opeth also achieved with death metal). While the entire album is exceedingly good Forget Not, for me, is a song on a whole different level and is well up my list of greatest tracks of all-time.
4.5/5
Acid Bath - When the Kite String Pops (1994)
Acid Bath have a massive reputation in the development of sludge metal, despite having released only two albums in their relatively short lifespan. This is due to their willingness to incorporate a breadth of genres within their sound, whilst not compromising on the abrasiveness that is an essential element of the NOLA variant of sludge. Stoner metal, Nirvana-like grunginess, alternative metal, death metal and psych-doom all infiltrate the tracklisting, giving the album's 70 minute runtime a nice sense of variation. It is still the uneasy feeling that all is not right that permeates "When the Kite String Pops", though, like a travelogue through the seedy underbelly of a drug-ravaged city area populated by all manner of human wretchedness, with a psychotic paranoid as your guide.
I must confess that, in common with quite a few sludge acts, I initially found Acid bath a tough listen, but over the years I have found myself enjoying them more and more and I now hold "When the Kite String Pops" in very high regard indeed and would now hold it up as one of the more impressively ambitious examples of the genre.
4.5/5
Incredible work, Ben. Your dedication and endeavour is mightily impressive. Thanks for providing us all with this marvellous resource.
Frustratingly, it now appears that only side A of the album is available on YouTube. I have tried Bandcamp and some other platforms but have been unable to locate it. Let me know if anyone else has any joy.
It appears that these guys must be especially trve, because the album is only available as a 12" along with a 7" vinyl in its complete form, so it is going to be very hard to hear a full version, at least for now anyway.
I have almost completed an initial listen-through and I've got to say, I am loving this so far. It hits the sweet spot between heaviness and lighter melancholic wistfulness exceedingly well. It also weaves in some nice melodies that hook themselves into you and linger in the mind. I will definitely be returning this for a full review at some point during the month. Great pick, Vinny.
Suggestions for the July playlist for the North need to be in by the 15th June, please guys.
30 minutes are allotted for each clan member (Vinny, Karl and myself) and I am willing to take one suggestion each from any non-clan member, although this may obviously be limited in the unlikely event that there are loads!
June 2025
1. Deicide - "Trifixion" (from "Legion", 1992) [Submitted by Karl]
2. Suffocation - "Seraphim Enslavement" (from "Hymns From the Apochrypha", 2023) [Submitted by Vinny]
3. Dismember - "9th Circle" (from "Indecent and Obscene", 1993) [Submitted by Karl]
4. Nile - "I Whisper in the Ear of the Dead" (from "In Their Darkened Shrines", 2002) [Submitted by Vinny]
5. Caustic Wound - "Blood Battery" (from "Grinding Mechanism of Torment", 2025) [Submitted by Vinny]
6. Death Toll 80K - "Taught To Consume" (from "Harsh Realities", 2011) [submitted by Sonny]
7. Arch Enemy - "Dream Stealer" (from "Blood Dynasty", 2025) [submitted by Andi]
8. Acephalix - "Mnemonic Death" (from "Decreation", 2017) [submitted by Sonny]
9. Shub Niggurath - "Abominations of Ancient Gods" (from "The Kinglike Celebration: Final Aeon on Earth", 1997) [Submitted by Karl]
10. In Vain - "At the Going Down of the Sun" (from "Solemn", 2024) [submitted by Saxy]
11. Obscureviolence - "Refuting the Flesh" (from "Refuting the Flesh", 2025) [Submitted by Vinny]
12. Deeds of Flesh - "Execute the Anthropophagi" (from "Path of the Weakening", 1999) [Submitted by Karl]
13. Putridity - "Conceived Through Vermination" (from "Ignominious Atonement", 2015) [submitted by Sonny]
14. Devourment - "Autoerotic Asphyxiation" (from "Butcher the Weak", 2006)
15. Atheist - "Unquestionable Presence" (from "Unquestionable Presence", 1991) [submitted by Sonny]
16. Masacre - "Imperio del Terror" (from "Barbarie y Sangre en Memoria de Cristo", 1993) [Submitted by Karl]
17. Adramelech - "Heroes in Godly Blaze" (from "Psychostasia", 1996) [Submitted by Karl]
18. Flourishing - "Summary" (from "The Sum of All Fossils", 2011)
19. Wombbath - "Malevolent" (from "Beyond the Abyss", 2025) [Submitted by Vinny]
20. Vacuous - "Stress Positions" (from "In His Blood", 2025) [Submitted by Vinny]
21. Massacra - "Eternal Hate" (from "Final Holocaust", 1990) [Submitted by Karl]
22. Asinhell- "Inner Sancticide" (from "Impii Hora", 2023) [Submitted by Vinny]
23. Agoraphobic Nosebleed - "Her Despair Reeks of Alcohol" (from "Honky Reduction", 1998) [submitted by Sonny]
24. Misery Index - "Fed to the Wolves" (from "Heirs to Thievery", 2010) [submitted by Sonny]
25. Unleashed - "Land of Ice" (from "Shadows in the Deep", 1992) [Submitted by Karl]
26. Dark Throne - "Sempiternal Sepulchrality" (from "Soulside Journey", 1991) [Submitted by Karl]
27. Cancer - "Enter the Gates" (from "Inverted World", 2025) [Submitted by Vinny]
28. Oni -"Seppuku Blade" (from "Incantation Superstition", 2023)
29. Intestine Baalism - "A Place Their Gods Left Behind" (from "An Anatomy of the Beast", 1997)
I am so pleased for you that things are working out much better now, Daniel. I think the internet has now made it a little too easy for people to get sucked in and spend more time and energy on it than is perhaps good for them and those around them, so I think you have done the right thing in addressing this and taking positive action. Sometimes less is more!! Here's to your continued good health.
As for me, just grinding out the end of the school year. A bit "stuck" until I get down to Florida, but the cool thing about that is that Crowbar and Eyehategod are kicking off a summer tour starting down there, so I plan to be there for that.
I did another reorganizing of my spotify catalogue, so if anybody cares to see that, search up the same username and image I use here, and then you can make fun of how many important bands I'm missing and my classification system lol.
Far as here, I plan to polish off another challenge list soon, and then I'll have done 6 and try to reapply for a 4th clan tag.
I dunno man. Disassociating a lot these days.
God Luck and Good Speed Ya'll.
I always hate that period when you are working out notice on a job. It just seems so pointless turning up everyday when you know it is just about over and especially if you have been treated shabbily. Still, that Florida sun and Crowbar alongside Eyehategod definitely sounds like something to look forward to!
I really hope things start looking up for you soon, Zach.
Thanks to you all for your good wishes. It has just left her feeling a bit frail, but I am sure she will be OK again soon as she is made of stern stuff.
Put this on today during a rain break in between jobs, thinking I would get it out of the way, but it turns out that it is actually very good and is interesting enough to deserve a proper hearing, so it seems like I will have to spend a bit more time with it. I am only halfway through as I type this, but it already has my attention. I hope to eventually get round to a full review, but nice choice Andi, I am enjoying it very much. I also didn't even realise it was christian metal until I had a quick peek at your review.
Sorry I haven't been very active over the past few weeks, guys, but unfortunately my wife had a very nasty fall and broke a couple of ribs a few weeks ago. As she is in her early seventies it set her back quite a bit and a lot of my tme has been taken up doing chores and looking after her as she was in a very bad way for a while, so music reviewing / listening has been on the back burner a bit. Luckily she seems to be on the mend now, although she still can't do all she could before yet, so I am confident that I will be back spouting my bullshit on these pages again very soon!
I really loved Cryptosis debut, Bionic Swarm, it being one of my top albums of 2021. Since then, however, they seem to have dropped off my radar and I am behind on both 2023's The Silent Call EP and this, their full-length follow-up to Bionic Swarm. First impressions are that this is a much less fevered and more progressive album. The debut, despite the science fiction premise, turned in some pretty brutal riffs and blistering tempos for the most part, where this feels to be a more sophisticated affair in the main. Don't get me wrong, this still delivers some great riffing and has some breakneck pacing too, which is obvious as early as the first track proper, "Faceless Matter", but the increasing emphasis on atmospherics such as synths and jangling tremolo embellishments lends it a more expansive aura, rather than the tight, jet-fuelled blowtorch attack of the debut. With vocalist Laurens Houvast favouring a more black metal style of delivery this time around, alongside the atmospherics, it leads me to ponder whether the band were aiming for a kind of thrash metal Emperor sound, a question worthy of consideration I think.
Subsequent listens, when the atmospherics had had time to sit with me and so not stand out so much, it was more than evident that the tightly focussed core of the band's sound is still present and correct, delivering supercharged riffs and blistering drumming that drives the tracks forward at a hyperkinetic tempo. This time round, though, Cryptosis are unafraid to slow down and allow the listener time to catch up, take stock and appreciate exactly what is going on around them. Static Horizon, for example, kicks off at a fair old lick, with absolutely loads going on: a melodic and memorable main riff, a prominent bassline doing all sorts of interesting things and jangling leads, keyboards and choral effects providing a thick atmosphere. Then for the last minute the pacing slows and the keys provide a serene calm eye in which the listener can process the previous four minutes.
Assuredly this is still a technical / progressive thrash metal release, but the vocals and jangling tremolo leads give it a decidedly frosty atmosphere that more than dips its toes into black metal waters. I am undecided at the moment whether this difference in atmospherics makes this a better album than Bionic Swarm or not. Or it could be that they are equally great, just... different. Everything I loved about the debut is still here, but it has been refined by an increase in atmospherics and a slight shift in songwriting aspirations. I haven't yet decided if that has blunted its effect or enhanced it, so for now I must sit on the fence with this one, although it is still pretty good, no matter what - I'm just not sure how good.
4/5
I have always loved the early works of Carcass, with Symphonies of Sickness being my favourite, sitting as it does in a sweet spot between the grind of the debut and the more conventional death metal approach of Necroticism. However, I have never been much of a fan of Heartwork. In truth I have only heard it a couple of times and not in a while, so I am going to go into it once more with a clean slate.
Well, initial (new) impressions are that Heartwork is more brutal than I remember it being. Sure, Carcass introduced more melody into their death metal, but whereas previously that had overshadowed the album for me, it is now abundantly clear that the melodic aspect is relative and Carcass being Carcass this still has the ability to give you a damn good beating round the head, albeit in a more refined and elegant manner!
One big change on Heartwork is that vocal duties are solely performed by Jeff Walker. Although this gives the album a greater consistency of sound, I actually miss the three vocalists approach, it providing some interesting contrasts. I guess that as the songs themselves varied more here than previously the band felt the use of several different vocal styles may become a bit too much. The songwriting has obviously become a bit more refined, but guitarists Steer and Amott can still summon powerful riffs, even without the blastbeats and searing tempos of yesteryear. The soloing is one of the areas where Heartwork really grabs my attention with both guitarists absolutely nailing it and shredding the hell out of it, sounding more like Tipton and Downing or Smith and Murray than King and Hanneman. Ken Owen is on fine form behind the kit and without having to provide a constant stream of blastbeats he is allowed to exhibit a more creative approach to his timekeeping duties. That Heartwork sounds so tightly performed whilst being more open and expansive than previous Carcass releases is testament to the development of the band and their technical expertise.
In summary, I have got to admit to having been wrong about Heartwork all these years. OK, so Symphonies of Sickness still tops my list of Carcass releases, but this is an accomplished piece of work indeed and is heading towards becoming one of my favourite melodic death metal releases. That an album can still sound so damn heavy and brutal whilst also being melodic and refined is a brilliant musical trick and a fantastic indictment of all four members' musical abilities. I have rarely been happier to say "I was wrong".
4/5 (up from 3/5)
I appreciate the respect, Vinny, but I also understand that my view of this probably isn't going to be typical. It has special meaning for me, as does anyone's truly special records, because of a specific time and set of circumstances that give it an emotional resonance that nobody else would attach to it. So if that means your honest opinion is to give it a slating then I wouldn't be even remotely offended or upset.
I may be wrong and this may be the fading fancy of an aging metalhead who looks nostalgically upon the comradeship of bygone days, but I suspect that sort of emotional attachment has been almost eradicated by streaming and online interaction. The general quick turnover of music and the fragmentation of music as a social glue between groups of friends doesn't really allow for it. Attachment to particular records is probably more to do with whether the music especially resonates with the listener on a personal level rather than from the human relationships it brings into focus.I
Playing a tape of something like Give 'Em Hell on a welsh hillside with a close group of mates, drinking, smoking and generally having a brilliant, stress-free time after a week of working shitty jobs, gave said music a resonance I have never really felt replicated in the internet era where the sheer quantity of music consumed is staggering. If this is still happening out there, with whatever music and in whatever way, then I for one am glad, but fear it is not the typical experience for most music fans anymore and that is much sadder.
Sorry I seem to have gone off on one a bit there...