{"id":341344,"date":"2025-12-29T17:44:15","date_gmt":"2025-12-29T17:44:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/341344\/"},"modified":"2025-12-29T17:44:15","modified_gmt":"2025-12-29T17:44:15","slug":"sentynels-and-twelves-top-tenish-of-2025","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/341344\/","title":{"rendered":"Sentynel’s and Twelve’s Top Ten(ish) of 2025"},"content":{"rendered":"

Sentynel<\/p>\n

\"\"It\u2019s been a couple of years since I had to start my AotY thoughts with \u201coof, what a year,\u201d but oof, what a year. One thing after another piled up for months on end. I had some early success, actually writing reviews, but that left me almost no time to consume any other new music. A slowly escalating personal crisis then led to my neither writing nor consuming any new music for months. I began to fear that I genuinely wouldn\u2019t be able to listen to enough to assemble a list\u2014or that the server would implode at an inopportune time and I\u2019d struggle to fix it. Fortunately, I was able to stay on top of server wobbles, despite the best efforts of endless AI scraper bots. A couple of months ago, I started managing new music again, and thus, a list emerged. I am moderately optimistic for 2026, at least on a personal level. (I offer no such optimism for the general state of the world.)<\/p>\n

While this hasn\u2019t been a particularly strong year for me, it\u2019s hard to tell if that\u2019s the year\u2019s fault or just mine. My most common gripe has been unevenness: there have been a lot of records\u2014including some I\u2019ve ultimately loved\u2014that have annoyed me through failing to sustain their heights throughout. Nonetheless, everything on my list belongs there. This year\u2019s primary theme appears to be Angry Cello Guy, with a suspicious five entries on my list prominently featuring cellos or other bowed string instruments. Guitars are so 2024. There are multiple records here that are genre-hopping, experimental, and hard to classify. Otherwise, this is a pretty typical year for me, with post-metal heavily represented, several prog-adjacent pieces, and no surprisingly brvtal contenders, despite trying a few. Ah, well, next year.<\/p>\n

My year has also kept me from getting to know this year\u2019s intake of new writers as well as I\u2019d like, but I\u2019m sure they\u2019re all lovely people with only somewhat questionable taste. To the brave crew of editors and promo jockeys, you have my thanks for your endless work; to the retiring veterans, please enjoy your sabbaticals without incident; and to the readers, long may you continue resisting the urge to let AI summarise our writing.<\/p>\n

\"\"#ish. Scardust \/\/ Souls \u2013 Souls took a lot longer to grow on me than Strangers<\/a>, and it\u2019s more uneven than its predecessor. But the highs are fabulous. Noa Gruman is still preternaturally good on vocals. If the whole record were as good as the \u201cTouch of Life\u201d suite with her and Ross Jennings, this would be, no exaggeration, #1. Alas, while there are a couple of other bangers (\u201cUnreachable\u201d), much of the rest of Souls just doesn\u2019t impress me, in that awkward sort of way you get when it\u2019s really good and it feels unfair to moan about it too much, but you know they can do so much better.<\/p>\n

\"\"#10. Jo Quail \/\/ Notan \u2013 Quail remains one of the most mesmerising live acts<\/a> I\u2019ve ever seen. Between the strength of her modern classical compositions and the frankly magical way she weaves them together live, armed with only a cello and a loop pedal, her shows are a must-see event. Fittingly, I saw Notan performed live before I heard the recording, but it\u2019s worth it in recorded form too. The nature of loop pedal based composition lends itself to the sort of slow build that makes for really good post-rock\/metal. Each piece goes in a pleasingly different direction and experiments with different additions to her sound palette. That she can do them live solo as well is merely the icing on the cake.<\/p>\n

\"\"#9. Mares of Thrace \/\/ The Loss \u2013 I wrote most of a review for this album at release, but never quite got it over the line. I found it so raw it was hard to listen to. As my difficult period got worse, I just gave up on being able to listen to it at all, and with it any hope of finishing even a woefully late review. Where The Exile<\/a> was immediately catchy and driving, The Loss\u2019s immediacy is its anguish, and that was all I could hear. Mares of Thrace are already hard to genre pigeonhole, and The Loss is all over the place, spanning sludge, noise, prog, and doom, with trad inflections. I\u2019m actually glad I didn\u2019t manage to get the review done at the time. Coming back to it for list season, I appreciate it a lot more easily than I did at the time. The catchiness and driving energy are still there, but the additional stylistic variety makes it more interesting. The anguish adds weight and impact. The catharsis of the final track is well earned. It\u2019s still a hard listen, but it\u2019s a rewarding one. Who knows, maybe I\u2019ll even get a TYMHM out!<\/p>\n

\"\"#8. Black Narcissus \/\/ There Lingers One Who\u2019s Long Forgotten<\/a> \u2013 This is just gorgeous. The best post-rock does an awful lot with very little, and Black Narcissus\u2019 unhurried drums and bass do an absolutely astonishing amount. There\u2019s no way something so minimalist and so languid should be able to sustain an hour of music. I cannot emphasise enough how absolutely beautiful There Lingers One Who\u2019s Long Forgotten is, and its hour-long runtime just floats by. This is the epitome of \u201cdo one thing and do it well\u201d as a philosophy.<\/p>\n

\"\"#7. Fallujah \/\/ Xenotaph<\/a> \u2013 Fallujah are a long time big name I had begun to appreciate more in the last couple of years, after seeing them live. They still hadn\u2019t really clicked for me recorded, but Xenotaph changed that. Tech death\u2019s curse is sterility, and the warmth of this record lifts Fallujah out of that trap. It\u2019s, paradoxically, at once dreamy and bluntly impactful. The writing is as strong on melody as it is on technicality. It seems slightly redundant to say this about a record that\u2019s on my year-end list, but I really enjoy the immediate experience of listening to Xenotaph. There\u2019s something intensely satisfying about the smoothness: who says heavy music has to be abrasive? The production is still a sticking point, though.<\/p>\n

\"\"#6. Concrete Age \/\/ Awaken the Gods \u2013 Awaken the Gods is just a lot of fun. There\u2019s not enough metal drawing on the instruments and composition of folk music from the Caucasus and the steppes. It reminds me a lot of Mongol, but with better and more varied folk instrumentation. There\u2019s a couple of songs that are a bit more straight thrash with folk instruments, which are less exciting, but it doesn\u2019t detract from the rest of the record. It also delivers further proof of my theory that folk metal covers of terrible pop songs are the pinnacle of music. My go-to for when I wanted something to uncomplicatedly bang my head to.<\/p>\n

\"\"#5. Calva Louise \/\/ Edge of the Abyss<\/a> \u2013 Calva Louise are what happens when somebody spots an \u201call of the above\u201d button under \u201cgenre\u201d on the band creation screen and their curiosity gets the better of them. They are what you get if you take the Diablo Swing Orchestra and remove their classical instruments and sense of restraint. Something this absurd could only ever have been terrific or terrible. Obviously, this is terrific. AMG called it wild, unpredictable, and addictive, and it certainly is. They sound like nothing else I\u2019ve ever listened to, and manage to be dangerously catchy on top of it. This hit in the middle of my difficult period, and it was nearly the only thing I listened to for a month. A teeny sense of easing off the gas on the last few songs is the only weakness. Spectacular.<\/p>\n

\"\"#4. V\u00f6lur & Cares \/\/ Breathless Spirit<\/a> \u2013 Odd, unsettling, pretty, experimental, captivating\u2014Breathless Spirit is a weird album. Violin and viola occupy the sonic space where you\u2019d typically find lead and rhythm guitars. The composition wanders through modern classical, atmoblack, noise, jazz, folk, doom, and more. Actually, the main textural comparison I would draw here is to Hierophant Violent<\/a>, though Breathless Spirit is far less single-minded in direction. Many of the more ambient sections, and some of the clean vocals, remind me of the build-up stretches of that album, and likewise, there\u2019s some similarity in the crushing crescendos. Just in case you thought you knew where this was going, the other comparisons I\u2019m going to draw are to fellow Canadians The Night Watch<\/a> and Thrawsunblat<\/a>. Of everything on the list, this is the one at highest risk of me feeling like I placed it too low in a year\u2019s time\u2014I found it late and it could grow on me further. A truly fascinating record.<\/p>\n

\"\"#3. Messa \/\/ The Spin<\/a> \u2013 While I\u2019ve been a fan of Messa since their first record and through all their stylistic exploration, The Spin really blew me away. Sara Bianchin sounds fantastic, and there\u2019s a wonderful allure to the tone of the rest of the band. Others have commented on The Spin feeling a bit like a collection of songs rather than a cohesive record, which is probably true and probably kept this from the top spot\u2026 but the songs are so damn good it\u2019s hard to care that much. I came back to this a few times, even during the worst few months of the year, and had half of it stuck in my head half the time. At one point, I spent several days unable to get the opening riff of the opening track out of my head, and it doesn\u2019t get any less addictive from there. In the last couple of months, I\u2019ve had to actively resist putting it on at times to make sure I give other, less immediate records enough listening time.<\/p>\n

\"\"#2. Psychonaut \/\/ World Maker<\/a> \u2013 Yeah, so I\u2019m a sucker for the kind of atmospheric post\/prog metal played by bands like The Ocean or Dvne. Here is this year\u2019s winner in that space. I\u2019ve wanted to like Psychonaut in the past more than I actually have, but World Maker finally clicked for me in a big way. It\u2019s intricate, catchy, in places techy, in others psychedelic. The songs unfold in interesting ways, and listening to it feels like exploring. From the buildup of the opening track, I knew this would be exactly what I wanted in this sort of music. And as Ken wrote in his review, the more personal dimension to World Maker\u2019s themes elevates it (with some similarities to Pelagial\u2019s place as the best Ocean album). A record that rewards time and attention.<\/p>\n

#1. Shepherds of Cassini \/\/ In Thrall to Heresy<\/a> \u2013 In Thrall to Heresy\u2019s victory here was not exactly inevitable when I reviewed it back in February, but it was certainly likely. The glorious return of a niche band I loved and thought lost? It would have taken something spectacular to upset it. I listened to this all year, through the difficult period, and kept on loving it. For all that retro prog is a bit of an oxymoron, 00s-early 10s prog is one of my favorite eras of music. (There was a lot of rabbling in the comments about me not having explicitly compared them to Riverside and Tool, so to be explicit, if you liked Riverside through to SoNGS<\/a>, you\u2019ll like this. They\u2019re far less pretentious than Tool.) In Thrall is a fresh enough take to feel like progression, not a throwback. Its violin leads add variety (as well as claiming the Angry Cello Guy crown for the year). Shepherds\u2019 songwriting has matured in the last decade. Their instruments sound pleasingly chunky. A post-y twist presses additional musical buttons for me. One could only make this more laser-targeted at my specific musical niche by somehow adding industrial bluegrass. Don\u2019t make me wait 10 years for the next record, please.<\/p>\n

\"\"<\/p>\n

Honorable Mentions:<\/p>\n

1914 \/\/ Viribus Unitis<\/a> \u2013 Brutal and moving, this is some really good blackened death\/doom. It\u2019s not as good as Die Urkatastrophe<\/a>, though\u2014sorry, 1914 fans.
\nAephanemer \/\/ Utopie<\/a> \u2013 The spectre of AMG\u2019s law of diminishing recordings begins to haunt Aephanemer, for what is Utopie if not Aephanemer sounding like Aephanemer? It\u2019s damn good, though.
\nEllereve \/\/ Umbra<\/a> \u2013 Sad-girl post-metal? Yes please.
\nHowling Giant \/\/ Crucible & Ruin<\/a> \u2013 Just some really good stoner\/psych.
\nNet-Ruiner \/\/ Prototype<\/a> \u2013 The synthwave\/metal cross ends up being a little too much of a gimmick to land a proper list spot, but nonetheless an absolute blast.
\nRaphael Weinroth-Browne \/\/ Lifeblood<\/a> \u2013 I know I made an Angry Cello Guy joke up there, but it turns out you can, in fact, have too much cello. Weinroth-Browne\u2019s multi-layered modern classical composition (in both senses) of cellos is always impressive and regularly emotive. Had Lifeblood been edited down to keep, say, the best 40 minutes of its current 60, this would have been up there in my list somewhere. Alas.
\nVarious Artists \/\/ KPop Demon Hunters<\/a> \u2013 Relegated to HMs because this isn\u2019t an album I like so much as it\u2019s an album containing six songs I absolutely adore, and six others, but fuck me, the main cast songs (less \u201cSoda Pop\u201d) are bangers.<\/p>\n

Songs o\u2019 the Year:<\/p>\n

Calva Louise \u2013 \u201cImpeccable\u201d
\nConcrete Age \u2013 \u201cBoro Boro\u201d
\nHowling Giant \u2013 \u201cScepter and Scythe\u201d
\nHUNTR\/X \u2013 \u201cGolden\u201d
\nHUNTR\/X \u2013 \u201cTakedown\u201d
\nHUNTR\/X \u2013 \u201cWhat It Sounds Like\u201d
\nMessa \u2013 \u201cFire on the Roof\u201d
\nSaja Boys \u2013 \u201cYour Idol\u201d
\nScardust \u2013 \u201cTouch of Life\u201d suite
\nShepherds of Cassini \u2013 \u201cAbyss\u201d
\nTiktaalika \u2013 \u201cFault Lines:<\/p>\n

Twelve<\/p>\n

\"\"I am so behind on writing this. Behind on writing in general, really, but I\u2019m writing this introduction very late by Angry Metal Standards\u00ae. Over the year, my writing for this blog waned notably, but I\u2019m still very proud of my output this year, and discovered some delightful gems thanks to this blog and my privileged position to write for it. As is traditional, I want to extend my sincere thanks to my co-writers for their fantastic camaraderie and to the editors who allow me to keep writing here, probably against their better judgment. Everything changes all the time, but feeling right at home here stays the same.<\/p>\n

Last year I claimed that, by any measure, 2024 was the worst year of my life, and I\u2019m happy to say that remains true this year. Interestingly, however, I listened to much less music, and, more to the point, liked less music. In the past few months, I\u2019ve been asking my co-writers here to recommend the music they think will top their own lists, and I just\u2026 kept not liking them. For some reason, almost nothing has been sticking musically. That\u2019s not a comment on my colleagues\u2019 tastes, of course\u2014the writers here have an astounding talent for finding some of the best music there is. But I\u2019ve been struggling to keep up.<\/p>\n

So this year, I\u2019m keeping things simple and writing about the twelve albums I liked best in 2025. Occasionally, when we talk about our end-of-year listings, there\u2019s an idea that some albums need to be of a certain quality to be \u201cworthy\u201d of a top-ten (or top-top) spot, but if I start thinking that way, this list is never going to materialize. So I\u2019ve gone with my gut and am now going to talk your ear off about the music I personally liked the most.<\/p>\n

All of which is to say, I think my list is weird this year. I did my best! And I\u2019m happy with it. But it\u2019s weird.<\/p>\n

Thanks for reading my nonsense in 2025\u2014it really does mean a lot. Let\u2019s all do it again next year!<\/p>\n

\"\"#ish. Dawnwalker \/\/ The Between<\/a> \u2013 A single-song album is such an ambitious undertaking, and I really can\u2019t express enough how impressive it is that \u201cThe Between\u201d feels like an actual half-hour song. Dawnwalker is so impressive on The Between, and the composition is truly a work of art. It\u2019s grown on me since I reviewed it in October, and I just have to highlight the amazing songwriting from Mark Norgate and Dawnwalker before I dive into my list proper.<\/p>\n

\"\"#10. Calva Louise \/\/ Edge of the Abyss<\/a> \u2013 Let the weird begin! Edge of the Abyss is not something I thought for a second would make this list when Angry Metal Guy wrote about it, but it\u2019s wormed its way into my head and heart. Deceptively catchy, a lot cleverer than it first appears, and filled to the brim with energy, Edge of the Abyss is a fun, memorable, and surprisingly relatable slice of\u2026 some kind of metal. I really don\u2019t know how to categorize it, and I\u2019m not sure how to get it out of my head either. Great album.<\/p>\n

\"\"#9. Nechochwen \/\/ Spelewithiipi<\/a> \u2013 Continuing with what may be another unusual pick, Nechochwen\u2019s Spelewithiipi is not something I considered for this list straightaway. I have to admit, though, it has been a comforting listen that I\u2019ve returned to often over the course of the year. It is well-composed, deceptively complex, and easy to spin again and again. On days I\u2019ve felt low, there\u2019s been a magic in Spelewithiipi that does wonders in keeping me well.<\/p>\n

\"\"<\/p>\n

# 8. V\u00f6lur & Cares \/\/Breathless Spirit<\/a> \u2013 Breathless Spirit is such an impressive album. For one thing, you\u2019d never, ever guess there isn\u2019t a lead guitar, despite the fact that Bates\u2019s violin is a significant part of V\u00f6lur\u2019s unique character and spirit. As doom metal, Breathless Spirit dominates; it is powerful, mournful, wry, and cathartic. It\u2019s a truly fascinating display of music, one that reveals new character every time you listen.<\/p>\n

\"\"#7. Falling Leaves \/\/ The Silence That Binds Us<\/a> \u2013 Speaking of doom metal, The Silence That Binds Us tells us that sometimes taking a break can be a good thing. It\u2019s been thirteen years since Falling Leaves released their debut, and their sophomore feels like it had been simmering for a while. Expert compositions, passionate performances, and a huge atmosphere contribute to what I thought was \u201cthe\u201d doom metal release of the year. There is so much care and attention in The Silence That Binds Us, so much feeling from every player, so much love in the production and master\u2014even the cover art is gorgeous.<\/p>\n

\"\"#6. Raphael Weinroth-Browne \/\/ Lifeblood<\/a> \u2013 I didn\u2019t expect Lifeblood to creep its way up here the way it has, but I\u2019ve been listening to it more and more lately and realized I actually like it a lot more than a lot of other stuff. Raphael Weinroth-Browne\u2019s compositions are stunning, and the more you listen to them, the better they get. For an instrumental, non-metal project, Lifeblood conveys so much meaning, so much emotion, and feels heavy for what it is. It\u2019s a powerful work and a lovely one too\u2014exactly what we\u2019ve come to expect from as talented a cellist and composer as Weinroth-Browne.<\/p>\n

\"\"#5. Aephanemer \/\/ Utopie<\/a> \u2013 The direction Aephanemer\u2019s music has taken since they first appeared on this blog with Prokopton<\/a> is fascinating. Each release since has been a touch less aggressive and notably broader in terms of its composition and ambition. Utopie, I feel, balances these nuances the best\u2014it\u2019s an epic, sprawling album that reaches high and grasps onto something exciting. There is a level of care and attention to detail to Utopie that rewards repeat listens, and I still feel like I\u2019m getting more and more into it as I listen. Who knows, maybe I\u2019ll regret this \u201clow\u201d placement before long; this one\u2019s a grower.<\/p>\n

\"\"#4. Amorphis \/\/ Borderlands<\/a> \u2013 Amorphis don\u2019t need much introduction at this point, but lately I haven\u2019t been very invested in their releases. It can be tough, I imagine, being such an iconic band with such a recognizable sound. But Borderlands feels fresh to me; an old formula done right, modernized reasonably enough to stand out, and with the gusto of a much newer band. Incidentally, this was also the first CD I\u2019ve purchased in years\u2014an impromptu grab at a record store I\u2019d forgotten existed\u2014and the bonus tracks therein are amazing additions (\u201cRowan and the Cloud\u201d is a delightful closer, more so, I would argue, than \u201cDespair\u201d). It\u2019s nice to be enamored by Amorphis again. They seem to still know what they\u2019re doing.<\/p>\n

\"\"#3. Saor \/\/ Amidst the Ruins<\/a> \u2013 I\u2019ve slept on Saor in the past, but Amidst the Ruins is an amazing album. Rarely is black metal\u2014atmospheric black metal, no less\u2014so impassioned, but I\u2019ve never wanted to visit Scotland so much as the first time I heard \u201cRebirth\u201d at the end of my first listen. It\u2019s hard to quantify what makes Amidst the Ruins such a special record, really. The blend of black metal and folk metal isn\u2019t new, nor is the style in which Marshall writes so well. But listening to Saor, you can\u2019t help but feel his pride and awe for a homeland you may never have seen yourself. Amidst the Ruins crept its way into my rotations again and again throughout the year, and it\u2019s been the most pleasant musical surprise of 2025 for me by far.<\/p>\n

\"\"#2. Apocalypse Orchestra \/\/ A Plague Upon Thee<\/a> \u2013 I really thought I\u2019d give Apocalypse Orchestra my top spot, but admittedly, I thought that before I\u2019d even heard it. The way these guys blend medieval themes with folk, doom, and metal is genuinely fascinating and incredibly well done. Add to the list that they perform thorough research and the music is educational on top of it all\u2014what\u2019s not to love? A Plague Upon Thee was my most-anticipated album of the year, and Apocalypse Orchestra really delivered, with sweeping epics telling takes of historic darkness and endearing humanity. Everything from the bagpipes to the choirs sounds amazing, and while I did have a couple of reservations initially, the simple truth is that this music is so well up my alley\u2014and is performed so well too\u2014that I was always bound to love it enough for this list. I can only hope to uncover more music as wonderfully niche as this again.<\/p>\n

#1. 1914 \/\/ Viribus Unitis <\/a>\u2013 I have not listened to every item of music released in 2025, but I still think I can say that none could be more powerful than 1914\u2019s Viribus Unitis. I listened to nothing heavier, nothing more memorable, and nothing so relevant as 1914\u2019s story of a Ukrainian soldier caught up in the mania of the First World War. From battle-frenzied bloodlust to heartbreaking captivity, his story follows 1914\u2019s relentless message of the horrors of war. In the past, I\u2019ve praised 1914 for the honesty in their bleak outlook on their namesake war, and Viribus Unitis could not have done a better job in following that idea. The songs range from brutal to cathartic; every guest musician elevates their song, and the choir is a brilliant way to balance trademark heaviness with emotional impact. Viribus Unitis is the most impactful album I\u2019ve listened to in a long, long time, and I admire every musician involved for their part in that. Viribus Unitis was my top album for 2025 the moment I finished the first spin.<\/p>\n

\"\"<\/p>\n

Honorable Mention<\/p>\n

Marko Hietala \/\/ Roses from the Deep<\/a> \u2013 I\u2019ve looked back at my review of Roses from the Deep a couple of times since writing and wondered if my personal admiration for Hietala\u2019s career made me over-excited to review it. Is it possible I rated it highly simply because it\u2019s such a fascinating culmination of the career of a musician I like? Either way, I\u2019m keeping to the course\u2014this was a fun listen in a year where I didn\u2019t find so many upbeat albums to enjoy, and I keep coming back to it in bits and pieces depending on my mood; it\u2019s a diverse exploration, and you can tell everyone had a good fun creating it.<\/p>\n

Song of the Year<\/p>\n

This was a hard one. There are so many powerful, emotional songs littered throughout this list\u2014especially on Viribus Unitis, where the passion is particularly raw. But in keeping with the theme of what I personally found most affecting, I just keep coming back to this little gem on Autumn Tears\u2019s latest. \u201cMartyrdom \u2013 Catharsis (Where Gods Go to Die)\u201d has a strangely compelling quality that kept me coming back again and again since I first reviewed Crown of the Clairvoyant<\/a>. The singing, choirs, organ\u2014really, everything about the composition is mesmerizing. I don\u2019t imagine a lot of people will have this one on their year-end playlists. It\u2019s a niche, quiet little song, but it\u2019s wormed its way into my heart and speaks strongly to how I\u2019ve felt about 2025 in a way I can\u2019t quite describe.<\/p>\n

\ufeffCrown of the Clairvoyant by Autumn Tears<\/a><\/p>\n

\n\tGive in to Your Anger:<\/p>\n","protected":false},"excerpt":{"rendered":"Sentynel It\u2019s been a couple of years since I had to start my AotY thoughts with \u201coof, what…\n","protected":false},"author":2,"featured_media":341345,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[106158,2325,114811,30458,22730,132453,132454,132455,132456,132457,96,132458,38353,132459,132460,7344,132461,132462,132463,128,132464,132465,132466,132467,132468,132469,132470,132471,56,54,55,22743],"class_list":{"0":"post-341344","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-106158","9":"tag-2325","10":"tag-aephanemer","11":"tag-amorphis","12":"tag-apocalypse-orchestra","13":"tag-black-narcissus","14":"tag-calva-louise","15":"tag-concrete-age","16":"tag-dawnwalker","17":"tag-ellereve","18":"tag-entertainment","19":"tag-falling-leaves","20":"tag-fallujah","21":"tag-howling-giant","22":"tag-jo-quail","23":"tag-lists","24":"tag-mares-of-thrace","25":"tag-marko-hietala","26":"tag-messa","27":"tag-music","28":"tag-nechochwen","29":"tag-net-ruiner","30":"tag-psychonaut","31":"tag-raphael-weinroth-browne","32":"tag-saor","33":"tag-scardust","34":"tag-sentynels-and-twelves-top-tenish-of-2025","35":"tag-shepherds-of-cassini","36":"tag-uk","37":"tag-united-kingdom","38":"tag-unitedkingdom","39":"tag-volur-cares"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/341344","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/comments?post=341344"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/posts\/341344\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media\/341345"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/media?parent=341344"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/categories?post=341344"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/uk\/wp-json\/wp\/v2\/tags?post=341344"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}