Written by: Brooklyn Artemis
British summertime is the perfect time for sludge metal. The air is breezeless and humid, pressing downwards, cooking us in our homes and office cubicles. Flying ants mass at our windows, horde-like, a many-legged Great Heathen Army swarming over dying grass and melting bitumen. Government officials at every level are acting like proper bastards, though this is a less seasonal thing than one would hope for. It is in these oppressive climes that I revisited a growing back catalogue of modern UK sludge. The likes of Mastiff (a contributor to the Cyberpunk OST) and Swamp Coffin, both with excellent full length releases last year, have been fixtures of my listening recently. But another band I saw live a few years ago above a record shop in Sheffield also caught my attention during my heat-addled odyssey--Stockport’s Under. Appropriately for a band whose own Instagram describes them as a ‘tentacle K-hole nightmare’, there’s some interesting stuff going on in Under’s discography. The trio, formed in 2015, have released a series of EPs, splits, and full lengths that have honed a unique brand of progressive and at times psychedelic sludge. Musically, Under often swing between extremes, switching from slower and heavier riffs to quicker sections that display sludge’s hardcore influence, while incorporating a mix of almost soft cleans, high screams, and shouted vocals. Training Resource #5 (the band’s fifth release) was released in November 2020, just before the beginning of the second COVID lockdown in the UK, and I can remember that you could almost taste the resignation to what was to come on the air. The art of the EP, which is up there with the most unique metal album covers around, actually reminds me of that time, of that bizarre online academic and corporate culture that emerged during the pandemic, and never really went away.
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Written by: Jacob
Horns. Dissonance. A chant. This is the greeting from Tooth and Nail, the latest outing from Dormant Ordeal. It can feel almost insignificant in the moment, as so many throwaway "intro" tracks in metal albums can. But as soon as things roll into "Halo of Bones", intentionality appears. This is not an album where moments are thrown out lightly, even 46 second intro tracks. From the first proper track, "Halo of Bones," you'll be getting, well, the "bones" of the entire album. Atmosphere. Intense groove. A touch of black metal. Blasting death metal. These are the foundation upon which Dormant Ordeal builds their masterwork. All present, all introduced at exactly the right time, and none overstaying their welcome. The seamless weaving of all these elements immediately give Tooth and Nail a sense of magnitude and heft. It becomes evident over time, though, that these tools were used to create something lasting and emotionally charged. Anger, pain, panic, defeat, and resurgence are all felt not just in individual tracks, but in their placement and flow.  Written by: The Administrator It's a holiday (probably on account of Dope Skum dropping a new single) and I'm up bright and early, getting a little writing done before the day gets too busy. The excellent "Hollow Point" has been running on repeat in the ol' headphones, sinking deeper and deeper into the grooves of my still-foggy brain with every rotation. Great way to spend the morning. 5 stars. Highly recommend. For those unfamiliar with Dope Skum: they are a skuzzy, fuzzy, and otherwise grungy heavy/stoner rock/metal band out of Chattanooga with a notable folky gruffness and a punky DIY flair. I've been a fan since their debut EP Tanasi, and was impressed with the followup Gutter South, with the hefty and swampy single "Folk Magic" getting it's own review here. In short, Dope Skum are pretty damn cool, and over the years they have been refining their craft and aesthetic while simultaneously exploring various sounds and styles. Which brings us to "Hollow Point," the lead single and harbinger of their forthcoming third EP Hollerwood, which drops September 5th. This is a very strong track, and manages to roll Dope Skum's many demonstrated strengths into a single package. After a plucky intro that adds just enough Americana context to establish a sense of place, the grit and fuzz rolls in. This track does embrace a little more urgency, comparatively speaking--it finds a more overtly rockin' pace, and doesn't lose energy until the outro, which mirrors the aforementioned intro nicely. The vocals also feel more comfortable, somewhat shedding the punkier edge for a more relaxed vibe. While operating in the influence of genres that trend towards repetition, Dope Skum are very efficient and keep things from stagnating--indeed, "Hollow Point" ends far more quickly than I want it to. Always a good sign in my book. In sum? The hook is set, and I'm excited to hear more of this ilk. Great stuff! Dope Skum - "Hollow Point" was released July 4th, 2025 
Written by: Blackie Skulless
Seldom will you find me crossing paths with something tagged “melodic death metal” and have so many nice things to say, save for a few very specific bands, but the year of our lord 2023 managed to break this trend. Majesties are a U.S. band based in Minnesota that seemingly came out of nowhere, with no demos, singles, or anything to precede their first and only full-length. Yet, they managed to catch the attention of 20 Buck Spin, which is always a good sign. The lone record’s title is Vast Reaches Unclaimed, and it certainly did reach far to claim some atypical greatness. Wasting no time, Majesties jumps right to the punches, swiftly delivering its ten tracks in less than forty minutes with no unnecessary bells and whistles. The “melodic” descriptor often refers to a guitar tone and not actual melody, but I would argue that such a mold is broken here. Under harsh, borderline blackened shrieks lies a healthy blend of soothing leads and evident emotion, paired with harsh rhythms that don’t come off corny. Much of that is likely due to the noisy gradient, preventing any generic metalcore-isms, with constant trade-offs between tougher leads. 
Written by: The Administrator
Welcome back to AMPWALL Roundup, our (unfortunately infrequent) column dedicated to shining a little light on the music we slumbering scribes find whilst trawling through the explore page over on Ampwall. It's been a little while since we checked in, but rest assured: Ampwall is still cool. They have also updated the embed display since the last Roundup, which is exciting and much appreciated. As far as introductory fluff goes, I've written myself into a bit of a corner here at this stage in the game, so let me quote the intro from Volume II: "If you don't know what this whole Ampwall thing is all about, please take a quick gander at Volume I, where we get a little more in-depth regarding the many virtues of the new platform/marketplace/community. We here at ye olde Sleeping Village are big advocates for the integration of additional resources into the independent artist's promo toolkit. To that end, having more music-purchasing people become aware of Ampwall's existence will only help it grow as a viable option moving forward." Let's get to the music, shall we? Below are 6 (more!) bands I recommend checking out! 
Written by: The Administrator
As documented here and anywhere else I spill my unsolicited opinions about music: I love a split. I love the complexity of interaction, I love shared environments, I love the spirit of collaboration, I love how they represent mutual beneficiality in such clear and concise form. I love the interplay and inherent differences between styles and personalities that become apparent when viewed not in isolation, but rather in community. Splits are special and all-too-oft underappreciated, and no one shall convince me otherwise. And while nothing in the world of underground black metal feels particularly inevitable, a split project between Kentucky's Wolven Daughter and Scotland's Order of the Wolf feels like a natural meeting of minds. Both lupine monikered solo acts can be identified by a shared outspoken leftism and antifascism, but sonically, this split is an exercise in aesthetic contrast. As a result, both shine brightly in their own lanes--neither steps on what the other is accomplishing, and the three tracks from each band give good insight into their respective sounds. The overall listening experience feels textured and full. 
Written by: Blackie Skulless
The Norwegian extreme metal act Nithe took formation a few years ago, but never saw themselves with label representation until their third outing appearing on Caligari Records, my favorite tape slingers. Their catalog already consists of a demo and an EP, making Funeral Death their third outing. The truth is, I think all three of them could have been labeled either or. The band is rather tough to label other than somewhere within the black and death realm, perhaps with a thrashy attitude. Much of this is due to the fact that the coarse and mean production with such attitude in presentation somewhat dances all over the place, but those very things help keep it together. Consisting of four songs, we start on a blistering note with “Chains Of The Abyss,” loaded with blast beats and harsh shrieks before breaking into a punkier stomp. “Primordial Ooze (Mother Of Woe)” follows up with a thrash driven approach, not only sneaking some clear leads into the main riffage, but even allowing some gang chants in the chorus. It’s rather unorthodox amidst the ugly and unforgiving atmosphere, especially with the tremolos worked in, but I can’t complain (especially with that slow bass bridge connecting everything). 
Written by: Blackie Skulless
Some bands have a long history of EPs and demos that bring them to a full-length, others seem to hit the ground running immediately. Finnish doom metallers Bell Of Mimir fall in the latter category, with nothing on record before the year of our lord 2025, and only singles to lead up to the thunderous Nocturne. Brought to me by a most trusted doom metal source, they work within the traditional realm, avoiding any tacky fuzz or over the top stonerisms, sticking close to roots that err on the hinges of being epic. However, it may just be easier to say it’s a little louder in execution and a little sadder in vibe. Despite having such a huge sound, Bell Of Mimir manages to keep things rather compact, staying within the framework of only six tracks on the longer side, but only one (barely) crossing the seven minute mark. The cloudy delivery works as a gradient of gloom, built on crawling riffs that rumble on slower melodies, absent of any sharp edges helped by the ever present bass. This can come off as overwhelming at times, but the howling cleanliness of the vocals that exude layers of hopelessness manage to sound as if it’s being welcomed, or even conjured. Yes, it’s admittedly one-sided across the board, but the brief runtime I’ve mentioned makes that digestible. 
Written by: Blackie Skulless
It’s been a heavy year for death metal so far, with no shortage in strong contenders for a favorite. We may only be just touching the halfway point of 2025, but Canada’s Grave Infestation is looking like they could take that torch pretty early on. The British Columbian outfit has been around since 2018, crafting a horrendous and loose brand of death metal under a loud atmosphere. The latest release, Carnage Gathers, is no exception, being the one that truly gathered my attention. Redundant as it seems to describe death metal as “loud,” I say this because every role in the makeup has such a mighty presence, rumbling its otherwise tight structures into loosening its fasteners. Rough and rocky rhythms that echo off one another backed by ferocious drum blasts create a cavernous strike that rarely uses it in the doom/death sense, but prefers to stick to breakneck-speeds. If that isn’t enough, the vocals erupt in a howling-meets-growling way that cakes on another layer of atmosphere, rendering a feeling of suffocating in a coal mine. The only time this really lets up is when a screeching guitar lead takes the forefront, feeling like a proverbial cry for help under a relentless avalanche that one can’t escape, due to the wall of sound the thick riffs create with the drumming. 
Written by: Blackie Skulless
We love when I can stumble on something that crosses off two interests in one, that being extreme metal and China. Though I’ve been through my share of heavy metal that’s been cooked up in the Sinosphere, Shenyang’s Acherozu strikes a chord like none I’ve yet encountered. Having been around for over a decade, they have few releases to their name, but the latest, 2019’s 萬劫之海 / Vendetta Ocean is what sold me on them. Mythology under a black/thrash scope is the name of the game, and I’m here to play. For starters, it’s almost uncanny how clean things come off despite the nasty style and the intimidating artwork. Typically I shy away from that, but thankfully it’s not overdone, and it instead helps the best parts stand out. Acherozu has a keen ear for melody at just the right spots in an otherwise dark and desolate setting, typically with lead guitars working in a side lick that rides parallel with the vocals. Similarly, those come through comprehensively because of the mix, coating a throaty snarl of ancient Chinese poetics beside mean but steady riffage. |
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