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
Global catastrophe and original sin
The purpose of myth, secular Protestantism, and the deification of tools
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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