Angry Metal Guy’s Top 10(ish) of 2020

Twenty-twenty was a fucking shitass year for everyone, but it was a particularly shitty year for me. Without getting into all the details as to how closely I careened to the edge throughout most of the year, the combination of the pandemic with a set of circumstances that should have been avoidable and likely could have been mitigated through my actions or the actions of responsible institutions, resulted in what was easily the most personally difficult year of my life. Not everything has always been well for me, of course, but this situation was quite possibly the very worst imaginable circumstances assuming that I did not actually catch COVID and die from it. Fortunately, the blog continued on through everything. As of yet, everyone associated with the blog has been relatively unscathed by COVID and there have been some positives. For example, regular Zoom chats have been a fun way to connect with a disparate writer corps from across the world and to find out that, indeed, I do not like the people who write for me here at AMGdotcom.

I considered various ways of writing this introduction that didn’t expose too much personal detail, therefore, and I decided that the best way to do this was to simply issue a bunch of apologies. First and foremost, I want to apologize to the people who run this website in my absence, Steel Druhm, Madam X, the good Drs. Wvrm and Grier and Sentynel who keeps this whole thing running. I’m sorry for everything. Thanks for being such kind and gentle enablers. Second, I want to apologize to the writers who don’t have me around and who occasionally get hit by my seemingly random decisions about what they’re supposed to be doing or not doing. I understand that I kill morale and I’m sorry for that. I want to apologize to the readers for being unwilling to do things like give up the Record(s) o’ the Month because I don’t want to give up what little space I have on the blog. And mostly, I want to apologize for going through all of this year only writing two reviews, because obviously you are consuming inferior opinions from inferior people. While the writers are all clearly better than you—that’s why the write here—I’m still sorry that you have to read Cherd‘s opinions about anything, really, or that you’ve had to suffer through Holdeneye‘s score incontinence to the point where he’s become a joke in the comment section.

The only group of people from whom I withhold my apology are regular users of the Angry Metal Guy Discord and Ripper Owens. You don’t deserve an apology.

May 2021 be a better year for us all.

#(ish): Plague // Portraits of Mind — Two days ago, Steel Druhm said that Plague’s Portraits of Mind is the best death metal record of 2020. I agree with this sentiment heartily, but I have not had enough time with it to establish it for certain. I listened to it about five times once I pressed play and, frankly, I died inside with each repetition that I hadn’t been listening to it since February. I normally try to avoid “heat of the moment” additions to my lists, but this is about the best possible recommendation I can give an album even if it is impossible for it to dislodge something from the numerical spots. Portraits of Mind is clearly one of the most engaging and accomplished old schoolish death metal records I’ve heard in years. The riffs are fat, the songs are dynamic and fun, and the production sports that perfect death metal atmosphere—heavy on the bass, acoustic sounding drums, and enough reverb to sound old but not enough to kill the album’s edge. Add to it the awesome artwork and a 37-minute runtime and Portraits of Mind is masterful.

#(ish): Pain of Salvation // Panther — I’m not quite sure what happened this year regarding the collective response to Pain of Salvation’s Panther. I struggled to open the promo knowing that it really couldn’t ever live up to its predecessor, but while correct, I still enjoyed it a lot. As far as I can tell, the unfortunately named Panther is a conceptual attempt to write a record from the perspective of a neurodivergent person.1 The album is littered with interesting songs that are done a disservice by a muddy production job, but which I don’t think is meaningfully worse than In the Passing Light of Day. Furthermore, Gildenlöw’s sad side speaks in Angry Metal Feelz and damnit if I don’t feel the hell out of them. Tracks like “Icon,” “Wait” and “Keen to a Fault” all evoke that ache in my Angry Metal Heart.2 With a bit less Mike Patton-rap and an album promoted without all the titles in Cruise Control for Cool,3 this record could easily have been higher up the list. Is it possible that PoS has simply been around long enough to have developed one of those fan-bases that will never be pleased with anything again? Follow @TheOneTrueMatt on Twitter for daily confirmation of this theory.

#(ish): Seven Spires // Emerald SeasEmya‘s excellent list tipped me off to Seven Spires’ kind of ridiculous, but mostly awesome, Emerald Seas, which sports both art that reminds me of Vampire Hunter D and was clearly the best symphonic power metal I heard this year. The album is catchy, with sneakily smart composition, a fun sound and a fucking fantastic singer. And, sure, if you don’t like the lyrics about immortal lovers having heartache for centuries, I feel you, but—Jesus fucking Christ!—Adrienne Cowan is amazing and she should be a goddamned star.4 Her vocal control and range are both impressive and, most importantly, she is an incredibly dynamic singer who can do pretty much anything she wants to with her voice. At the peak of “Ghost of a Dream,” she rocks a wail that sounds like Sebastian Bach doing Rob Halford. And at the end of “The Trouble of Eternal Life”—with about 15 seconds left—she completely shifts gears out of nowhere and belts out one of the grittiest naturals ever recorded—it’s pure gravel and it made my heart lurch the first time I heard it—before backing it off again on the back side. While this record has a thing or two about it that I’m not in love with—”No Words Exchanged” is just “I Was Made for Lovin’ You” and no one forewarned me and now I’ve got KISS’ infamous disco track stuck in my head—Emerald Seas is a fantastic Sparkly Vampirecore™ album from an extremely talented group of Berklee Brats.

#10: The Ocean // Phanerozoic II: Mesozoic | Cenozoic — I love half of everything that The Ocean releases. Since I first encountered the band with Heliocentric, I don’t think I’ve ever liked consecutive albums of theirs. So, as should be expected, I was utterly unmoved by Phanerozoic I, I was immediately in love with Phanerozoic II, because it’s beautiful, complex and subtle. Phanerozoic II just delivers what I want from The Ocean, whether its melodies—like the Phrygian vibe on the album opener—the progressive strains and expansive songwriting (“Jurassic | Cretaceous”) or dour, moody moments like Jonas Renkse’s excellent vocal contributions. The music is pensive, progressive and melodic, making the vibe perfect for the autumn of my discontent. Furthermore, Phanerozoic II feels like an accomplishment of very subtle compositional coherency. Like so many of the best albums, there’s a sense of circularity that I find to be appealing. In the final estimation, I love the chill feel with the occasional explosions of tension, the subtle melodies and the fact that Loïc uses the word “habitus” in his lyrics.5 Bonus points for containing the best Katatonia material released in 2020.

#9: Anaal Nathrakh // Endarkenment — During my time as Angry Metal Guy, Anaal Nathrakh has been hit or miss. I reviewed and loved Passion, back in 2011. I made the totally-not-dead Happy Metal Guy review Vanitas in 2014 and he gave everything a 4.0 before H4.0lden was a twinkle in his own eye. But since Passion, I have not felt that kind of strong, controlling emotion such as hate, love or desire for an Anaal Nathrakh record again. Until I got Endarkenment, when my passion was rekindled. What makes Endarkenment special is that it’s not actually endarkening their sound. At their best, Anaal Nathrakh’s trademark sound and feel has been a kind of manic chaos (“Hooolyyyyy FUUUUUUUUCK“), and Endarkening enacts that chaos with the alacrity of seasoned veterans; geniuses of their own particular… idiom. Yet, where Endarkenment shines is in the expansion of Anaal Nathrakh’s melodic side. In a way, this album puts the lie to Deafheaven’s pretense: it’s at times genuinely beautiful, melodic compositions with a blackened skeleton that’s driven by blast beats, sprinkled with brutal screams and played at 11. The master is fatiguing and insanely loud, but it fits their aesthetic and I can’t help but adore Endarkenment.

#8: Mors Principium Est // Seven — Sometimes all a guy wants is a muscly melodic death metal record that does the deed in an uncomplicated fashion. Mors Principium Est is one of those rare melodic bands that carries the Scandy torch high and Seven makes no bones about its Finnish and Swedish influences. But rather than feeling tired or uninteresting, Mors Principium Est just always reminds me that thrash metal riffs on steroids and virtuoso guitar work may be the key to happiness. But don’t imagine that this is just a cookie cutter experience that just any band can accomplish. There’s an addictive vibe to these guys that I don’t think is only attributable to the existence of ample Björriffs. Instead, there are times when Seven wanders into territory previously occupied by the likes of Dimmu Borgir and, more recently Beezlebubs, and these kinds of moments are just missing from the modern metal landscape. Mors Principium Est is well-known but, in my opinion, not well-known enough. Seven once again demonstrates just how talented these guys are and how fun this kind of music can be. In a year where edgier melodic death felt few and far between, Mors wasn’t just the beginning; it was the journey.

#7: Havukruunu // Uinuos syömein sota — I love that we’re getting a trickle of black metal that scratches the itch that dragged me into the genre to begin with. In a year busy with … well, life, I didn’t give a lot of albums half as much time as they deserved,6 so Uinuos syömein sota ended up further down the list than it probably deserves. But Havukruunu has officially made the list of bands I am going to pilfer from unsuspecting writers in the future. And they’ve done this by writing an album—which I’m assured by a trve fan is the band’s worst and that we’re all just a bunch of bandwagon hoppers—that hits all the right notes, recalling the very best of the post-Bathory Scandinavian scene while feeling undeniably fresh. Uinuos syömein sota is chalk full of ripping guitar work, Viking choirs, synchronized guitar swing-able grooves, and a healthy helping of other traits that evoke comparisons to the legendary Windir or early Moonsorrow. Add to it a pace and feel that fits perfectly on an record, and Havukruunu leaves the listener wanting more. Always leave the listener wanting more.

#6: Almanac // Rush of Death — Earlier this year, I wrote a so-called “discographic review” where I dug into the post-Rage output of Victor Smolski’s Almanac. What I came to was that Rush of Death was my second favorite of the three Almanac albums that they’ve released, but that Victor Smolski speaks my musical language. While Rush of Death surely lacks some of the conceptual depth of previous albums, it excels in being a motherfucking ripper. The album is both beautifully written and arranged and impressively performed. Smolski’s idiosyncratic—and anachronistic—compositional voice oozes through every crack of the album and I wish I could just shoot the uplifting and fun feeling these songs give me into my veins. Rush of Death has a true metal swagger, a throwback speed metal vibe, a hard rock heart and a musical sophistication that I think is deeply underrated. Even in the era of metal we’re in, where mind-blowing technical skill almost feels cheap, I can’t help but feel like Smolski’s oeuvre is special. It was his voice that made later Rage special for me, and it’s his voice that makes Rush of Death such a fun record, even as it careens at 137-miles an hour along Cheese Canyon. If you can’t love songs like “Can’t Hold Me Back,” “Like a Machine” or “Bought and Sold,” do you even like being alive?

#5: Countless Skies // Glow — As readers of this blog know, I have a bit of a problem with sadboi melodeath. Not a problem in the addictive sense, but rather, in the sense that my ADD (Inattentive) acts up because the records often lack of tension. While most everyone I know fell head over heels for Be’lakor, for example, I find their sound pleasant but frustrating. Furthermore, aside from New World Shadows, Omnium Gatherum frustrates me for the same reason. So, after hearing everyone raving up a storm about Countless SkiesGlow, I grabbed it, pressed play and thought: “Oh, it sounds like OG and Be’lakor.” And then the clean vocals kicked in and I thought: “Motherfucker, feed those right into the melodrama center of my brain.” Since then, I’ve been listening to Glow non-stop and I can safely count myself as on this particular bandwagon. Not only does Glow meet all the classic standards for good sadboi melodeath, but it differentiates itself with a blackened aesthetic here (especially on “Summit”) that adds that edge that I need to really enjoy an album. The songs are dramatic and powerful, the aesthetic is beautiful, sad and yet ominous. Glow is brilliant and I’m happy that I now have Countless Skies in my life.

#4: Kvaen // The Funeral Pyre Kvaen isn’t just from Sweden. Kvaen is from Kalix which, while not Pajala, pretty much counts as the frozen-motherfucking-north. As a result, I assume, the riffs on The Funeral Pyre are about as icy cold as you can imagine. The guitars have that amazing Metalzone MT-2 kazoo tone that we all crave and the fact that it’s all made by a single guy from a sleepy village with a Fishing Museum just adds to the appeal. And there’s a lot of appeal here. The album feels like it’s just one addictive riff after another, each one taking me back to the tones of Windir, Månegarm and Thyrfing and an earlier black metal aesthetic that is just heavier and more engaging than what I hear so frequently in recent years. But don’t chalk this up to some kind of misguided nostalgia, The Funeral Pyre is loaded from front to back with excellent songs that draw on the clearly significant writing talents of Björnfot. Other bands may be more technically gifted, but this is a man who knows how to write a hooky black metal song. I knew immediately that this record was going to be special when I first was chatting with the owner of Black Lion in November of 2019. One year later, my taste and judgement have once again been proven superior. Look it up and we’ll see when the last time a one-man black metal project made my Top 5. I believe the answer is fucking never. I hope this pyre isn’t the last we hear from Kvaen.

Aeternam - Al Qassam#3: Æternam // Al QassamÆternam and I have gone on a strange journey this year. In a way, I’d say that Al Qassam has been my most personally underrated album since I first got nearly a year ago. This isn’t to say I haven’t loved the album. But I didn’t really realize how much I loved the album until I made it to the end of the year and I realized that it was one of my top 3 most-listened to albums of 2020. Furthermore, as I’ve been working on the end of year lists and graphics, I just have kept popping it on and learning to love the writing again. So what happened? I think the problem was that Al Qassam didn’t meet my initial expectations as a significant development upon Ruins of Empire’s sound. And yet, slowly but surely, I have repeatedly returned to Al Qassam and I always love it. The feel is epic, the songs are beautiful, the death metal is melodic, and Kobi Farhi sounds great. 2020 should have been Æternam’s year, but instead they got stymied by Covid—being forced to cancel a tour with Wilderun at the beginning of the pandemic. But make no mistake: Æternam is one of the metal’s best independent bands and I can only imagine that they will continue to get better. These guys have a hunger to make the music they love and I have a hunger to hear it. Al Qassam is the complete package and oddly enough, it’s my high expectations which made me take so long to realize it.

#2: Haken // VIrusHaken has been on the receiving end of me flogging the hell out of VIrus since March of 2020.7 Despite an utter lack of acknowledgement from Haken or their label, I have been flogging their heavily-delayed album since quite literally three months prior to release, during which time I’ve lauded this album as the best thing they’ve done since The Mountain and predicted it to be my Record o’ the Year by declaring “Yellow is the new manbun!” And I wasn’t wrong to do so, I have been riding the VIrus for this entire year for a reason. As it turns out, VIrus is extremely fucking good. These guys hit all the notes I long for in their writing, from the delicate (“The Strain”) to the mind-blowing (“The Sect”) to the heavy (“Invasion”), the only thing that would add a layer would be if they were to start including tech death breakdowns (actually, though, “A Glutton for Punishment” is pretty much tech death in feel, if not in execution). And what makes Haken the standout favorite for my favorite modern prog metal band is that they rock the Rush ratio in ways that other bands simply don’t. Haken never lets its technical tendencies distract from writing good, memorable and engaging songs. VIrus exhibits time and again the sweet balance between technical and progressive considerations and the benefits of just writing a catchy song. And when you can balance both, you can write “Messiah Complex,” which pretty much means that you have ascended.

#1: Lör // Edge of Eternity — Who does Lör—Rulers of Omicron-Persei 8—sound like? I’ve thought about this question a lot as I’ve tried to piece together this blurb and that’s when it clicked. Edge of Eternity, the band’s second release, had a few strikes against it getting to this point. First, Eldritch Elitist actually made an error in calling Edge of Eternity an EP, which meant that many of us—including myself—just kind of gave it a skip. In my case, this means it wasn’t until late that I realized that Lör, Rulers of Omicron-Persei 8, actually released a list-viable release. Second, Lör, Rulers of Omicron-Persei 8, are not just a unique band, they’re an idiosyncratic band. The more I try to come up with comps, the harder I struggle. And that is the brilliance of Edge of Eternity.

From the opening strains of “Upon a Withered Heart” to the picture perfect end of “Edge of Eternity,” Edge of Eternity is 31 minutes of pure Lör. And Lör is a combination of speed, thrash, power metal, with splashes of techy and melodic death and a can-do attitude. There’s something charming and peppy, almost naïve, in the face of what has been the shittiest fucking year in my—and many other people’s—lives. The writing is energetic, the voice is unique, but worthy of comparisons to bands like Turisas or Wilderun, while they feel like they’re channeling early Blind Guardian at times (“Relic”). But, surprisingly, behind the OK production and the unusually commonplace tone of the singer, Edge of Eternity just keeps giving. The band excels at writing and arranging songs, creatively utilizing transitions and harmonies in ways that evoke the great orchestral bands. Rather than falling into the traps of boilerplate power metal, though, Lör, just does their own thing—be it medieval campfire songs or gang chanted power metal choruses. And while clearly a short album, I think it shows unusually good judgement for the band to just release what they know works and is good. On Edge of Eternity Lör is reiterating for us the lesson of 10(ish) years of AMG. Sometimes, just doing exactly what you want to do is exactly what you need to be doing. Finally, those who understand and appreciate you will come out of the woodwork.

Honorable Mentions:

  • The Black Dahlia Murder // Verminous — Honestly, I think I was among the people a bit disappointed with The Black Dahlia Murder’s newest Verminous. It’s not that it’s a bad album, but it just wasn’t as good as these guys can do. I wasn’t mad, I was disappointed. But you know, over time, it’s started really growing on me. It’s a good batch of songs that, if it fell flat for you, you should maybe head back and give another spin. You may be surprised. In particular, the tracks “Removal of the Oaken Stake” and “Dawn of Rats” have kept me coming back around.
  • Draconian // Under a Godless Veil — I want to thank Emya for her excellent list, which I listened to and where I discovered that Draconian finally released an album that I like as well I always assume I should like Draconian releases. At an hour long, Under a Godless Veil definitely pushes a bit past what I want from it, but it’s genuinely excellent gothic doom and I miss the cliched “beauty and the beast” sound that I adored so much in early Theater of Tragedy and have never really quite heard done as well again. Yet, Under a Godless Veil does precisely that and man does it do it well. This could easily have been on the list if I had heard it sooner. I’m adoring it.
  • Falconer // From a Dying Ember — Honestly, one of the most unjust things that I did in 2020 was to not give Falconer the viking burial they deserved. From a Dying Ember, the album that is Falconer’s last, is a work that does a great job of representing everything that is so utterly unique and laudable about these Swedes. Falconer has really produced some of the most unique and interesting power metal since they came onto the scene. There are certain things in their style that hint at a past in other forms of extreme metal, and while Mathias Blad is such a choir boy for a singer, I love that they leaned into his style for this whole period. From a Dying Ember may be the best English-language material the band ever produced and it was a good note on which to exit. I’ve listened to it a lot this year and they deserved a better send off.
  • Finntroll // Vredesvävd — When Vredesvävd landed in the box extremely close to the release date, I was unfortunately unable to take the review myself. Thus began the saga of starting to get into Vredesvävd. Thing is, Finntroll is totally at its best when they are a bit more experimental. But what makes Vredesvävd so good is that it feeds you track after track of music that’s just fun to listen to. And it doesn’t have to be more complicated than that. The real problem with Vredesvävd is that after so many years, it almost feels like Finntroll is teasing us. I hope they get back in the swing of things, or Vredesvävd is going to feel like a trolling job.
  • Green Carnation // Leaves of YesteryearUnlike Dr. A.N. Grier, I have not been involved in this band since the very beginning. I haven’t followed every twist and turn. Instead, I came into Leaves of Yesteryear with a fairly neutral position and found myself convinced by the songwriting throughout. There’s an emotional poignancy to this album that is hard to ignore. Yet, ultimately, it didn’t quite make the cut this time around.

Disappointment of the Year:

  • Katatonia // City Burials — It wasn’t good, guys. I’m sorry, but it just wasn’t. This is from one of the best bands of their generation and who released The Fall of Hearts in 2016, which could have been my Record o’ the Year from that year. I have it on the grapevine that Jonas is totally checked out of metal and that he was responsible for almost everything on City Burials. And while there’s some really interesting stuff on here, it definitely doesn’t live up to its predecessor and I just don’t like it really at all.
  • Demons & Wizards // III — What the actual fuck was this? Demons & Wizards have always been a bit of a disappointment, but this album deserved to be on the cutting room floor almost in its entirety.

Top 10(ish) Songs o’ the Year

#(ish): Katatonia – “Lacquer” — When this song was released, I had hope that this album would be different and that I would love it. This song is really cool and I could have loved a whole album with this kind of vibe. I don’t know if it would’ve been a Katatonia record exactly, but at some point, who even cares? Follow your bliss, or… whatever the opposite of that is for guys who make depressing af music for a living. The point is, I love this song.

#(ish): Green Carnation – “Leaves of Yesteryear” — I came to see why Dr. A.N. Grier was openly crying in the break room about how beautiful and terrible everything was and encountered what was probably one of the most insidiously addictive choruses in all of 2020. I loved this track and it is such a good opener.

#10: Seven Spires – “Ghost of a Dream” — Basically, this song is Seven Spires’ “the first hit is free” from the new album and everything about it is fun. The pirate vibe that isn’t marred by anyone doing a silly Scottish accent is great and Adrienne’s performance is great. The thing that dropped this onto my list is Adrienne’s metal wail at around the 3 minute mark. In case you were wondering if she has any power or anything…

#9: Havukruunu – “Kunnes varjot saa” — Viking choirs that transport me away from here? Check. Triplet-feel drums that make me want to pick up my sword and go adventuring? Check. Melodies that I cannot get out of my head? Check. This is the song where it all clicked for me and I’ve listened to it non-stop since.

#8: Pain of Salvation – “Wait” — That chorus hits me in the FEEEEEEEELZ! THE FEEEEEEELZ!!! *sob*

#7: Caligula’s Horse – “The Tempest” — If I’m honest, this album was a disappointment, but this song does exactly what I had hoped the whole album would do. These guys write some of my favorite riffs and “The Tempest” nails that mix of tech and groove that makes their sound so vital when they’re firing on all cylinders.

#6: Almanac – “Like a Machine” — I am told that this song is about rock climbing. Yes, the lyrics are awkward as hell, but I love this song. I love the riff that kicks in at 0:50, I love the clearly isolated kick drum under it that works with it, and I love the growl of the vocals over it. These are the riffs that make metal vital for me and Smoski’s playing on here is magnificent. With a great—though awkward—chorus, this song has been constantly playing since I started listening to Rush of Death. I can laugh at the lyrics, but the music is no laughing matter. Bonus points for the amazing pair of off-kilter guitar solos that start at the 3:30 mark.

#5: Lör – “Edge of Eternity” — The title track from their self-titled MLP, Lör, Rulers of the Planet Omicron-Persei 8, nailed all the drama and majesty on this closer. Points for the Pennsylvanian Man Choir singing the chorus like they’re in a very melodic Agnostic Front and for the picture perfect sunset of an emotional ending. These guys are all about ebbs and flows and this song demonstrates that throughout.

#4: Protest the Hero – “Soliloquy” — This fucking song is ridiculous and it’s the thing that convinced me that the new Protest the Hero is an album that I need to really get invested in and which I missed hard. Not only is the playing here intensely good, but the lyrics are kind of amazing and the singer has serious chops for a guy who sounds a little too much like a teenage boy for comfort. Also, Kronos, you’re wrong. This is clearly the best song on the album because it is on this list. It’s a simple truism, my boy. You’re fired.

#3: Æternam – “Hanan Pacha” — This song makes me rejoice in the drama and the diversity of possible sounds and ideas in extreme metal. I don’t even feel like I should need to explain to you everything amazing going on here: the writing and arrangements are incredible, they’re vital and they manage this entire symphonic soundscape with alacrity. Honestly, this song is a career-worthy accomplishment. It’s impossible for me to understand how these guys aren’t signed.

#2: Nightwish – “Pan” — Could you imagine if Nightwish had written a bunch of music like this for the new album instead of trying to steal Civilization IV’s soundtrack and using it throughout?

#1: Haken – “Messiah Complex I-V” — As I wrote in the original review: The real jewel that pushes it from being a very good album to being a great one, though, is the 17-minute “Messiah Complex” quintet that makes up the album’s back half (mostly). It is here that VIrus crests into something brilliant, combining the riffy (“V: Ectobius Rex”), technical (“IV: The Sect”), and soulfully melancholy (“I: Ivory Tower”), with the band’s brilliant melodic sensibilities into something that is addictive, fun and even a little self-referential (see: “The Sect”).

Show 7 footnotes

  1. By the way, is this Gildenlöw essentially coming out as being on the autism spectrum? Some nerd probably knows this. Since he is clearly using himself as the model for the cover.
  2. In case you weren’t aware, excessive anger is a common sign of depression in men. What if that’s been what’s going on this whole time?
  3. Though, I guess that actually feels thematically appropriate…
  4. And if we’re going to have a heart-to-heart about metal lyrics, this is hardly worse than most anything else.
  5. Pierre Bourdieu, The Logic of Practice (Cambridge: Polity Press, 1990), 66-67.
  6. And I liked less than half of them half as well as they deserved…
  7. Hi Haken, I love you guys and have been flogging your record for nearly a year for the remuneration of 192 kb/s mp3s that I received in March. Your music is great! Otherwise I wouldn’t bother. Maybe share a review, an Instagram story or something now and again? Did I insult your mums or something? You kind of seem to dislike me or this website.
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