Beert’s 2024 Music in Review

By Beert

Greetings fellow Ticklers,

This past year, 2024, definitely contained a lot of great music no matter what your tastes. I’d love to share some standouts from my perspective.

As per usual, there were a few releases that stood out and held my gaze as Album of the Year contenders.

Bellyard gave us their self-titled EP in January. It is a fantastic album that really led the race for Album of the Year. It is hard to pigeonhole this record into a genre. There are elements of blues, country, folk/Americana, “heavy,” and others. It is just a real stand out record that literally had my jaw drop upon first listen. I was so drawn in, that when my partner arrived home later in the day, I had her sit down to listen. She, too, was captured by what she was hearing. I cannot recommend this Sump Pump Records release enough. It is something your collection needs, no matter what style of music you prefer. There will be something that holds your attention, for sure.

https://sumppumprecords.bandcamp.com/album/bellyard

Sprints released Letter to Self in physical format, in January, as well. The year started off with two releases vying for my music-nerd love. It is a solid album from start to finish. It is full of emotion and grit. Plus, it has an infectious energy that made me wonder if much could contend with such a powerful album. I was very happy to see that the world agreed, as Sprints continued to get some well-deserved attention. Don’t sleep on this one, either.

https://sprintsmusic.bandcamp.com/album/letter-to-self

In summer 2023, I went on a trip to Denver with a few friends. Our main purpose was to see Off With Their Heads at The Marquis. The trip was a blast, which included such highlights as Slashers horror-themed bar, Meow Wolf with others on their first experience, a visit to Mile High Comics, TRVE and Crooked Stave breweries, finding an unhealthy curiosity about the various “$—Per Scoop” restaurants, and record shopping of course. As we made it to the Marquis with plenty of time to spare, I was blown away by Denver’s own Tuff Bluff as an opening act. As luck would have it for 2024, Tuff Bluff released their poppy, yet punk, self-titled album in May. The album really gave me pause and even more appreciation for the band. It is another album where there every song will bend your ear. I’m anxiously awaiting to see what else this trio releases, and hopefully convincing them to take a trip north (and slightly east) one of these months.

https://tuffbluff.bandcamp.com/album/tuff-bluff

In June, Dune-inspired doomsayers out of Montreal, Sons of Arrakis released their album Volume II. It is heavy and spacey, which is understandably reverent to Frank Herbert’s tales of politics, spice-trade, and interplanetary mysticism. I was very happy to add a copy of this to my collection. The record is both dark and bright, with a heaviness that isn’t plodding. I really can’t say enough about Sons of Arrakis. If you are into the worlds of Dune and some soaring riffage, look no further.

https://sonsofarrakis.bandcamp.com/album/volume-ii

And my last contender for Album of the Year for 2024, is also my pick. Moon Woman, from Austria, gave us When Things Shine Bright. Their sophomore album is a fantastic follow up to their first release, Open Gates (2020). When Things Shine Bright is really an aural trip for your mind and body. Moon Woman possesses the ability to take the listener to other places. It’s artistic and heavy, but mellow and meandering. Moon Woman carries a weight while not pummeling your senses. A music offers transcendent meditation, without making it silly or unmeaningful. If you only end up selecting a single album from 2024, When Things Shine Bright by Moon Woman would be the one I recommend. And it’s very rare that I can whittle down to only one album from a given year.

https://sonsofarrakis.bandcamp.com/album/volume-ii

If I may, please take in these other, killer releases from 2024, in no particular order:

Year of October, I Took a Walk (ep).

Year of October, Live From Everywhere, Volume I.

Shooting Daggers, Smug (single).

The Shitfits, Collateral Damage.

The Courettes, Shake (ep).

Tite Nauts, Hostile Territory.

Wizzerd, Kronia/Saturnalia (double lp).

Eight Foot Manchild, Doom Brass (lp).

Eight Foot Manchild, Do Spirits Return? (ep).

Hayley and the Crushers, Unsubscribe from the Underground (complete with a cover of Juice Newton!).

Busy Weather, Look Up!

And I would be remiss if I didn’t mention attending a few live shows in 2024, that I really enjoyed.

In May, The Pentagram String Band played at a park shelter in Old Storybook Island Park in Rapid City, South Dakota. Spent a great night with a wonderful group of touring musicians.

June brought HIRS Collective to town. I was blown away! This duo was touring for over two months, and it was fury mixed with intensity, smooshed between two slices of anger and vitriol, and served with a dancing smile. I really couldn’t believe I got to witness their set and want nothing more than to see them return.

In July, Off With Their Heads came back to Rapid City. This band has always been fun, yet meaningful. If you’re already a fan, you know the emotions that they can pull out of you. Their live show is goofy, silly, and fun. Of course, if the band resonates with you, you know there will probably be some tears as well. Local greats, Dead Marthas and Born to Suffer opened the show, making it sonically appealing to everyone’s ears.

August had Destiny Bond (Colorado), Mormon Mincers (California), Grave Solace (South Dakota), and locals Defect and Continuum on tap. It was a really fun night of music and friendship, with an all-around good feeling at a show that mixed genres.

And finally, in September, I booked my only show of the year. I was stoked to bring Mars Red Sky (France) to town, along with their North American tour mates Howling Giant (Tennessee). Wizzerd came down from Kalispell, Montana, and Continuum opened the show. The show was just a full on good time with heavy music in its varying forms. The crowd was great and everyone was in the right frame of mind to make this show a success, in an entertainment-way. Plus, my childhood friend and his partner were in attendance, traveling all the way from Huntsville, Alabama. Getting the chance to book such a big show was a thrill (and, of course, it frayed my nerves as I waited to see if people would come out, which of course they did to see these amazing touring bands).

Now, I’m sure there are a billion things I am forgetting to mention for the year 2024 in music. But I did start a list for this past year, so I wouldn’t forget so much. I’ll continue to do that through 2025. And maybe, just maybe, I can actually find some time to get some actual reviews written and submitted in 2025. Only time will tell.

Jimmy "Explosive Diarrhea" B's 2024 Musical Obsessions

New Model Army, Unbroken (2024). 

I know this album is going to appear on other lists. To prevent redundancy, I will refrain from saying very much about it. NMA is an amazing band and every album is fucking great.

The Doors. 

It is weird to me that prior to 2024 I didn’t have a single studio release from The Doors in my collection. This year I purchased every album both with and without Jim Morrison. There were surprises. I expected the two albums the band made after Morrison’s death to be shit. They are weak compared to the Morrison output, but all in all they are passable records. I was also surprised by how bad the LA Woman record is. And finally, I was surprised by how great the deep tracks are on most of the records.

Voltozash.  

I heard this band while messing around on Bandcamp late one night. I was so blown away by them that I ordered a copy of every album where the band had a physical copy. They call themselves a jazz-metal band. I can’t improve on that.

Karaba, Pheremon Crumble Wax (2020). 

Karaba plays psychedelic jazz with a heavy groove. If that is your jam, then Karaba might be what you need.

Deceased, Children of the Morgue (2024). 

1980s influenced thrash metal is the stuff of my youth, and I seek it out. I had never heard of Deceased, and they started putting out music in the late 1980s or early '90s. How did I miss this wonderful band? This is the metal release of 2024 for me.

Black Tusk, The Way Forward (2024). 

I am sometimes a finicky fucker. There are bands whereI want a style change to keep me interested; other times I get pissed off when a band changes their style (fuck you Pallbearer!). Black Tusk is one of the latter bands. I can’t imagine them doing anything else, and I would be disappointed if they tried. The Way Forward is typical Black Tusk – fast, brash, and dirty, and I love it.

Rotting Christ, Pro Xriston (2024). 

It has been decades since Rotting Christ released an album I didn’t think was great. Pro Xriston continues the trend of great albums, and it is my favorite since 2016’s Rituals.

Trilok Gurtu, One Thought Away (2022). 

Trilok Gurtu is a talented percussionist who has played with a lot of jazz musicians over the decades. I was surprised to see that he had also played with the art-rock band Swans. I really enjoy Gurtu’s version of jazz, which I would call Indian jazz. Most people would call it world music. Of the Gurtu’s albums that I have heard, One Thought Away is my favorite.

Aziola Cry, The Ironic Divide (2021). 

My first listening session of The Ironic Divide left me with the impression that I was listening to a progressive-metal album. I have subsequently changed my mind. There are a lot of different styles presented in this instrumental metal album, and there are progressive elements. It’s plain metal and it is very good.

Angel Witch, Angel Witch (2018). 

I bought this record out of curiosity. I read a couple of books about the New Wave of British Heavy Metal, and a lot of pages were devoted to Angel Witch. I expected the album to have cheeseball elements like some of the other NWOBHM bands that didn’t make it to the big league. I can definitely see why the mid-1980s Los Angeles-metal scene was heavily influenced by Angel Witch. The album holds up.

Beak, >>>> (2024). 

A friend who rides motorcycles with me recommended this record while we were sitting around in a motel room after a day of hard and dusty riding. Beak is not an easy band to define, so I will try a comparison instead: I sometimes like to call the post-Barrett Pink Floyd albums background music. Beak does not sound like Pink Floyd, but the same principal applies. If you drop your book, or pull up your pants and listen closely to the music you can get caught up in it. Or you can play it in the background as a soundtrack to whatever else you are doing.

High Tide, The Complete Liberty Recordings (2023). 

Here is a bit of trivia for you Hawkwind fans, what band did Hawkwind violinist Simon House play in before joining Dave Brock and  Hawkwind? Clearly the answer is High Tide. I read in a Hawkwind biography that the record company (or was it their management?) believed that their break out band was going to be High Tide rather than Hawkwind. This didn’t happen. High Tide released two albums and were gone. They are two great albums. Sometimes when a band doesn’t make it big, it makes sense – they were the wrong band at the wrong time, or they just weren’t good enough. High Tide should have been much bigger than they were. The two albums in this box set are fucking great. The guitar playing will be interesting to any guitar players who read my rambling description. This band disbanded in 1970, and Tony Hill somehow managed to play with a style and tone that were 15 years too early. The intermingling of lead guitar and lead violin make High Tide unique and very intriguing.

Musical Obsessions of 2024

By Null

Here I am, the day after x-mas, trying to get my Musical Obsessions of 2024 list together. As I stated in previous years, I feel that my consumption of music has slowed dramatically. I still bought a few records though, well, more than a few. The biggest event this year was that I bought some Space Saving Sleeves, as my CD collection was bursting at the seams. I had no other choice but to get rid of some of my jewel cases and transfer about half of my CDs to Space Saving Sleeves. Originally, this caused me great anxiety, but I feel much better about it now. While doing this, I was reintroduced to many CDs I had not listened to in a long time. Thus, my list here reflects that. A lot of the selections below are from the early 1980s. 

The coolest thing this year was that I finally collected all the Dead Moon and Joy Division records on vinyl. I love to hold them, look at them, and, on occasion, lick them. 

Here’s the damage from 2024:

Manfred Mann’s Earth Band, Somewhere in Afrika (Bronze, 1982).

I picked up The Best of Manfred Mann’s Earth Band this year for the sole reason that their cover of Bruce Springsteen’s “Blinded by the Light” is a masterpiece for the way in which it was mixed, let alone all the other great things about the track. At any rate, I was taken aback by all the different styles and sounds on The Best of. For whatever reason, this led me to pick up their album Somewhere in Afrika. I listened to this record repeatedly. It is quite near a perfect 1980s synth record except that there is great musicianship throughout the work. Great guitar solos, rhythm sections, and oddball covers. The entire record is an anti-apartheid declaration smattered with unusual cover songs and African musicians. Though many people would probably find this record cheesy, it brought me endless smiles this year.

Black Dots, EP2/EP3 (Rabbit Rabbit, 2024).

This is punk rock for the soul from Denver, Colorado. See my review on this website: 

https://tickleyourtaint.blogspot.com/2024/06/black-dots-ep2ep3-lp-rabbit-rabbit.html.

The Cure, Faith (Fiction, 1981).

I’ve been listening to this album for over 35 years. How does it retain its power? Why do the synths and bass lines still sound cooler than anything I’ve ever heard? I listed to Faith a lot this year.

The Cure, Songs of a Lost World (Fiction, 2024).

I suspect that this album will be on my musical obsessions list for next year too. This is because I feel that I still need to spend some more time with the record to internalize it. It is one of The Cure’s best albums. It’s yet another masterpiece. As a meditation on mortality, it hits home for many of us old fucks, but it is not as if it is the first time I, or Robert Smith, has explored these subjects. Muddy and moving.

Phil Collins (in general).

I’m pretty sure Phil Collins has become my “safe space” from a world I barely understand or relate to anymore. His work is endless, from Brand X to Genesis to solo albums. He’s weirder than people think. Also, the free documentary Phil Collins: Drummer First came out in December and is available on YouTube. It’s a detail-oriented drummer nerd fest. I loved it.

Songs From Under the Floorboard, Vol. 1: A Compilation Benefiting Planned Parenthood (Accident Prone Records, 2018).

This is simply one of the greatest compilations I have ever heard. See my review from earlier this year: https://tickleyourtaint.blogspot.com/2024/07/great-soundtrackscompilations-vol-2.html.

Billy Bragg, The Roaring Forty (1983–2023) (Cooking Vinyl, 2023).

This box set contained 14 CDs that covered the last 40 years of Billy Bragg’s brilliant output. Though I already own the vast majority of what is contained here, it has been a sheer pleasure to revisit his work. His politics are solid, and his storytelling is often nuanced and heartbreaking. I adore Billy. Meeting him in person is still one of my favorite moments. Viva la Revolution!

Majestic Crush, Butterflies Don’t Go Away (Numero Group, 2024).

This is a beautiful 2 LP release from the Detroit “shoegazing” group which recorded from 1991–1995. Here you get an album, singles, rarities, etc. They had a cool and unique sound. I dug this record a lot.

Ozean (Numero Group, 2023).

Like Majestic Crush above, this is another “shoegazing” group from the Midwest, which recorded only 3 demos. They appear on this release. I find the bulk of “shoegazing” groups fairly boring, but these 3 demos, originally recorded in 1993, are simply beautiful. It’s 15 minutes of dreamy bliss. The bass player took a few hints from Peter Hook. Apparently, they are recording new music to be release in the coming year.

Shostakovich: The String Quartets (‎Deutsche Grammophon, 2023).

Performed by The Emerson String Quartet between 1994-1999, this box set was originally released some 20 years ago. I have two copies of it from back then, as it is one of my favorite sets of recordings I own. I saw this new repackaged box set this year and jumped on it. Finally, they got rid of the horrific multi-disc jewel case and replaced the packaging with singular paper sleeves in a carboard clam shell box. This is one of the greatest pieces of music I own.

Motorhead, Under Cover (WEA, 2017).

Once I heard Motorhead’s cover of Bowie’s “Heros,” I had to get this record. Though some of these tracks I have on other Motorhead albums, I really enjoyed this covers album because it has all the weirdness in one place. I never really thought their cover of The Stones’ “Sympathy for the Devil” was very good, yet when I hear it in combination with these other covers, it seemed to sound better. A Motorhead covers record...a fun novelty in its own right. I dig this record just because it’s a weird one. Also, their version of “Cat Scratch Fever” is better than Ted Nugent’s. 

Alcest, Les Chants de l'Aurore (Nuclear Blast, 2024).

The music has been called “blackgaze” meaning, a combination of black metal and shoegaze. All I know is that this album is beautiful. Imagine sleeping in a hut on the beach while listening to the power of the ocean all night. That’s what this album sounds like.

Night Ranger, Dawn Patrol (Boardwalk, 1982) and Midnight Madness (RCA, 1983).

I am fully aware that Night Ranger’s first two albums are not chockfull with life-changing poetry; however, they are filled with catchy-ass guitar pop tunes. Though I was never a fan at the time of these releases, somehow, I found intense comfort in listening to these albums in 2024. I always had a deep sentimental love for ‘Sister Christian,” and “Don’t Tell Me You Love Me” is up there with some of the best Rick Springfield/Pat Benatar classics. It may be that I am just in my 50s now and look to escapism through nostalgia. Some people binge on Netflix. I listen to old records.

The Cars, Heartbeat City (Elektra, 1984).

Like the Night Ranger records above, Heartbeat City was in heavy rotation for me this year. Some of the singles used to drive me crazy in the early 1980s, as they were in constant rotation on MTV and the radio. However, enough time has passed that I can see them in a new light. This album is a masterpiece with the desperate loneliness of “Drive” as its centerpiece.

Big Country, The Crossing (Mercury, 1983).

SoDak has been singing the praises of Big Country for years. I have heard several of their albums and have fallen in love with the powerful lyrics and music. I just never felt that I gave them enough time. However, this year I spent a considerable amount of time with their big hit record from 1983, The Crossing. It’s so good. The song “Chance” became one of favorite songs of this year.

Immediate Family Documentary (Mongolia Pictures, 2023).

Immediate Family is a great documentary about a group of studio musicians who played on half of the songs you know. It is highly recommended. I am in love with Leland Sklar.

December 2024 Loveland Colorado

By Jack Stephen

 

A vignette:

I’m riding my bike south back home to Loveland on the Front Range Trail. I’m startled by another biker passing me on the left. He has a white mustache and says “that’s a nice old bike you got there” as he flies past. I slow and downshift as I head up the rise with some lost momentum. It levels off, where sometimes you see a llama herd grazing. I see a bald eagle sitting on the ground. He’s maybe surveying the area after missing a prairie dog. He startles and takes flight. Beautiful and graceful, he glides through the air at a slow speed, attentive to everything in the area. I wonder what he sees? He hears a series of high-pitched cries, and recognizes his mate perched on a telephone pole. He lands on the post right next to her, and they look out over the flatland with the mountains behind them. It’s just another day for them, another chance. I drop my head and pedal on into the headwind.

2024 Soundtrack:

Weyes Blood, “It’s Not Just Me, It’s Everybody.”

Maceo Parker and the JB’s, “Cross the Tracks.”

Black Pumas, “Black Moon Rising.” 

Cotton Jones, “I Am the Changer.” 

Kurt Vile, “Another Year for the Roses.” 

Jenny Lewis, “Psychos.”

Jan Hammer, Miami Vice series soundtrack.

Outkast, “SpottieOttieDopaliscious.”

Jacob Fred Jazz Odyssey, “Crazy Fingers.” 

MC 900 ft. Jesus, “Meat Beat Manifesto.” 

Nick Shoulders, “Too Old to Dream.” 

Roy Ayers, “Coffee Is the Color.” 

Beck, “Hollywood Freaks.” 

Mac Miller, “Come Back to Me.”

Rufus Wainwright, “Coffee and Chocolate Cake.” 

2024 Reads (selected):

Peter Matthiessen, Blue Meridian. 

Fiona MacFarland, Highway 13.

Lenny Bruce, How to Talk Dirty and Influence People. 

Sam Tallent, Running the Light.

Herman Hesse, Demian.

Jay Sankey, Zen and the Art of Stand Up Comedy. 

Ann Tyler, Breathing Lessons.

Another trip around, some folks I could have spent more time with, others maybe a bit less. Best of luck next year, love your fate, be creative, be kind, don’t be scared to change your personal narrative, and focus on the positive. Even as the world seems to be imploding slowly but surely; remember, you can always smile. Most important…we are still here. 

“When the world is running down, you make the best of what’s still around”—The Police.  

Kloghole’s Festivus Grievances and Music “List”

By Kloghole

It has been a rather uninteresting musical year for me. One thing that I did recently, out of morbid curiosity, was to watch the Netflix documentary on Nickelback. It was about as uninspiring as Nickelback. They were portrayed as pretty approachable fellows, but the “controversy” over people hating Nickelback was only superficially analyzed despite the trailer anchoring it as the keystone of the documentary.

What struck me about the band members’ pondering of the hate they encountered is their complete obliviousness (and the documentary as well) to the fact that music can be popular and still suck. That is a little strong, but popularity and talent, musicianship, or artistic depth are not synonymous. To salve their wounded egos, they fall back on the records sold, awards, and radio play.

What was intentionally avoided is that popularity and mundane are nearly equivalent whether it be music, retail stores, or food.

Let me put it this way. If someone tried to argue that Dairy Queen soft serve is the best ice cream out there, people would shake their heads in derision. No doubt it sells, and I ate enough of it in my day, however people have no fucking problem arguing their vanilla soft serve music is fucking great.

The banality and formulaic approach is exactly what makes them popular. For the members of Nickelback to not see that amazes me.

Here is the problem I have with Nickelback, Taylor Swift, and their ilk. It is not that they “suck,” so much that their admirers try to argue that they are incredible artists, etc. They are not. At least they are not more talented than others who are less uninspired in their craft. Sure, they are obviously popular, and many folks find these artists meaningful to them, but please stop trying to argue mashed potatoes are better than shiro wat. I love mashed potatoes, but they are not culinarily complex by any means. I would look like a fucking idiot if I tried to go on and on about how fucking complex and deep the art of making mashed potatoes is and how it is the best food ever. I would look like an even bigger fucking idiot if I got all bent out of shape with folks who say mashed potatoes suck, or worse yet, did a documentary defending how fucking great mashed potatoes are.

So, people are fucking clueless who do not get why “popular” artists suck. Wake the fuck up. You like shit music. Get over it. News flash, I like my share of shit music (shallow, enjoyable, competent musicians) too, but I do not try to say that it is the best fucking thing out there. It’s not, but that is okay. 

This brings me to the next “grievance” I have. In the past, perhaps I was deluded, but I felt as though there was a clear distinction between people who listen to popular music and those who listen to underground music. Popular music was enjoyed by “popular” people, i.e., conceited, fucking, privileged assholes. I am not sure if it was ever true, but most things that I have ever really liked have been marred with assholes who also like the same thing. Assholes seem to be dropping out of the trees like leaves on a blustery fall day. Not only have people completely fucking forgot how to drive, I was recently treated to an especially annoying trip through Costco where people pushed around their carts like they all had life-threatening brain injuries. Apparently, moving down the aisle to one side or another is too difficult to manage. They were darting around the main aisle like ping pong balls in a tile bathroom.

We live in an era when assholery is celebrated, elevated, and even elected. There are very few arenas where I can avoid fucking stupidity of incomprehensible dimensions. Seriously, this era will be embodied by Anthony Fauci’s facepalm. For all of us who have four firing neurons or more, I am daily stunned by the sheer ignorance. I have two retreats from this onslaught of imbecility, the vegan Tea Shop (which is closing soon) and the record store. My visits to the record store had been very intermittent until recently.

Earlier in the year, I picked up a couple of extended discs. The first was a remastered version of Whitesnake’s Slide It In UK and U.S. release. Since I liked the bluesy early Whitesnake with Mickey Moody and Bernie Mardsen, I wanted to finally get a listen to the earlier version. It was enjoyable, but like pretty much everything else, I think there was a newer remastered version I spotted a few weeks later. The other disc was Geoff Tate’s Frequency Unknown, “FU” to the rest of the band. Queensryche’s Operation Mindcrime and Rage for Order are still among my faves. I could not pull the trigger on the tickets to the Queensryche tour playing the EP and Warning in their entirety - just too expensive for my budget right now. Frequency Unknown’s extra disc was largely unnecessary releases of previous material or reimagined versions of old hits.

After work, my partner stumbled upon a treasure trove of used discs from someone who traded in their Iron Maiden, Bruce Dickinson, and Blue Oyster Cult collections. There were some others in there like Forbidden, Sepultura, and Metal Church. After working my way through this expansive collection, I did add to my Venom and Iron Maiden related catalog. I felt a little melancholy working through someone’s discarded discography. In addition to the Sepultura and Metal Church, there were some burned copies of singles from Iron Maiden and Bruce Dickinson. I grabbed more than I could afford, and then went back when, surprise, the burned discs skipped mercilessly. I left with another stack that was out of my budget. In the pile, I found some Gordon Lightfoot and a number of Blue Rodeo releases. There were some very pricey CDs of Mason Profitt that I left in the store hoping to win the lottery so I could pick them up later.

Overall, this year was generally better than those recently, but I have had little time for music. I tend to lean heavily on James McMurtry and similar artists. I vacillate these with thrash metal. For all my bluster, music is one escape from the lunacy. If you are hurt by people like me shitting on your musical choices, join the club, grow a pair (of your choice), and move on. I still love you, just not your musical choices. I hope you could say the same about me.

Sweet Dreams Motherfuckers.

Satan Revisited

By Jimmy "Explosive Diarrhea" B

This narrative that follows is not a music review; it is a thought I had at some point in the past year.

Some material things that I enjoy are huge trees, wild horses, wild raspberries, large stereo speakers; the sound the wind makes as it blows through a pine forest; the feel and smell of a book in my hands; and the braap of a four-stroke motorcycle picking up speed.

Many of these things are temporary. Eventually motorcycles with combustion engines will no longer be sold, and higher average temperatures and fucked up weather patterns will wipe out native trees in many forests. I suppose the fascists will eventually come for my books. 

The abstractions, the meta-philosophies, appear to be more permanent. The myths of good and evil are stuck to humans like stink on shit. I suspect that as the Earth's temperature continues to rise many more people will turn to their sky wizard to smooth out the pain of material change. I will turn to Satan.

The abstract belief in a creator is among the dumbest things I can fathom. The belief in an abstract figure of evil is nearly as idiotic. Fortunately, the Satan I love is very real; Satan is an English metal band, a great one at that.

Music is interesting; it is somewhere between the abstract and the material. Band members will die; physical copies of music will degrade, but the feeling and memory of the music we love will exist as long as we draw breath. In a dying world, we will be stuck with mythological gods. We will also continue to have the music that brings us joy.