2022
2022: there were beats and there were yelling (full list)
Review: Organisms from an Ancient Cosmos by S. Craig Zahler (guest entry)
Metal is (good) conservative art
2022: there were beats and there were yelling: 40 of the best – part 4 of 4
2022: there were beats and there were yelling. 40 of the best – part 3 of 4
2022: there were beats and there were yelling. 40 of the best – part 2 of 4
2022: there were beats and there were yelling. 40 of the best – part 1 of 4
On Biosphere’s broadcasts to the periphery (the further listening series)
Criticism as an act of creation
Formative Septic Flesh: lessons from the apotheosis of Hellenic metal
Review – Extreme Metal: Music and Culture on the Edge
On Tangerine Dream’s transmissions from Sol (the further listening series)
Gorgorth’s opening triptych – a triumph of art as administration
Nocturnus and the death of amateurism
On Killing Joke’s screams from the machine (the further listening series)
Dungeon synth might in fact be good
On Dead Can Dance’s message to the within (the further listening series)
On King Crimson’s despatches from the rabbit hole (the further listening series)
Making Burzum a contested space
Beyond the North Waves: shifting the narrative of 90s black metal
Review – USBM: A Revolution of Identity in American Black Metal
2021
Review: The Green Sea, 2021 (guest entry)
Death metal for the general listener
I have liked the beats and I have liked the yelling: 2021 top 40
On Spotify Part II: nails, coffins, and art on the battlefield
Proscriptor McGovern’s Apsû and metal appreciation societies
Metal’s Retromania Part VI: until the light takes us
El Negro Metal Interview Polemicist
Metal’s Retromania Part V: whither is fled the visionary gleam?
Metal that is progressive and a night of emperial wrath
Metal is deterministic (guest entry)
Metal’s Retromania Part IV: the Icarus factor
Metal’s Retromania Part III: the eternal return
The oxymoron of English black, and the lessons of USBM
El Negro Metal Interview Mefitis (Pendath and Vatha)
Metal’s Retromania Part II: the great explosion
2020
I have liked the beats and I have liked the yelling: end of year roundup
Immolation: metal’s Faustian bargain with consumerism
An inconclusive reckoning: 2010 in Albums
The Metalhead Box and reaping what you sow
Ressentiment and the battle for hearts and minds
Why is mainstream music writing so bad?
Darkness guides us…until the light took it: another show gets cancelled
2019
I liked the beats and I liked the yelling: my decade in music
Why do people like black metal?
Self-awareness: where cultures go to die
New releases: first impressions: Ultra Silvam, Tides of Sulfur, Suhnopfer
New releases: first impressions: Sadistic Drive, Sepsis
Some new music: first impressions: Nattsvargr, Hexagon, Nocturnal Abyss
I like the beats and I like the yelling volume III: What’s doing in British metal
Some new music: Condemnor, Zlurad
Covers: the good, the bad, and the absolute specimens
New releases from La Caverna Records: Condor, Siete Lagunas, Crucifixion, Thrombus
I like the beats and I like the yelling volume II: what’s doing in British metal today
I like the beats and I like the yelling: What’s doing in British and Irish metal today
Reclaiming extreme metal as a social pursuit
2018
The Story of Anvil: The endearing comedy of art that tries too hard
Enslaved, and everything that’s wrong with modern metal
Entropy of the family tree: has metal’s genre addiction reached breaking point?
10 Albums that be so do (guest entry)
Ildjarn – The black sheep of black metal
2017
Developing yourself is largely a waste of time
Two independent organisms, one suppurating deformity
The insistent ignobility of fun finds nobility through the lends of black metal
Hate Meditations 
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