Written by: The Administrator
This summer was hot as hell, and when it's hot, I habitually turn to the most frigid of genres. As such, this multifaceted debut album from Syracusan wampyric black metallers Fallen Moon Servant was on heavy rotation 'round these particular parts across the worst of the swelter-season. I spent much time appreciating it. Now, finding a sliver of time on my hands, I would like very much to write about it. From song to song, ...With a Stone in my Maw actively avoids sameness, and thus never falls into mundanity. There's some fantastic variety displayed on the seven tracks here, ranging from chaotic raw blackened freneticism, to punky bash, to rich gothic melodicism, to somber meloblack angst, to borderline doomy groove. With that said, there's also an admirable fluidity baked into the tracklist. Sometimes albums take on a compilation-esque feel, with each track feeling particularly representative of a specific genre. Not so here, with the exception of the prerequisite Synth Track™, which does lead very nicely into the closer. Overall, ...With a Stone in my Maw demonstrates a flow and cohesion that makes for a surprisingly smooth listening experience. The album naturally speeds up and slows down without ever engaging in whiplash.
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Written by: The Administrator
Given the allusions to Big Things Coming Soon from the peregrinator camp over the past few weeks, I've been primed and ready for the inevitable reveal. On Sept 29th, said reveal came in the form of Extant's debut single "Half-Extant." I've listened to this thing pretty extensively over the past feel days, partially in preparation for a review, but mostly because I really like listening to it. Generally, y'know, a good quality for a song to have. Extant is nominally grindcore and certainly has a grinding edge, particularly on the front end of the track. The song also makes prominent use of several audio samples, which create a structural framework between halves. That said, there's definitely some genre-blending at play here--I'm not sure what else the project has been cooking up, but this track, at least, feels pretty death-oriented. Which is exactly the way I like it. The first half is particularly churning and aggressive; the back half leans heavily into a plodding buzzing gravitas that is really enjoyable. The kind of riffs that scratch an itch. There's a serrated quality to the guitar that feels positively dangerous. Vanessa Funke's vocals are fantastic as always--here, she balances decipherability with a snarling menace that matches the intensity and sharpness of the riffage. Really excellent stuff. I also quite like how Baltech's bass feels here--it has a intimidating presence that I would describe more as "growling" than merely "heavy." In sum? "Half-Extant" rips. "Half-Extant" rages. "Half-Extant" is a harbinger of good things to come. As a debut single, this is a promising first outing. I'm curious and excited to see what else Extant has in store! Give "Half-Extant" a listen below, and/or check it out on bandcamp here!
Extant can be found on Bandcamp
Lyrics, logo, and cover layout by abigail silversmith irfan Album art taken from public domain collage of paintings of plum flowers by Martin Gerlach (1897)  Written by: Blackie Skulless
No kidding, the guys in their 60s can’t match the fervor they exuded in their 20s?! That’s never the correct question to be asking. Rather, we should be asking if something actually feels original and inspired, rather than a bunch of old dudes writing music for the sake of writing music and cashing a paycheck. And if they do manage to capture that energy conjured up so many decades ago, that’s simply a bonus (see Bruce Dickinson’s latest full-length). New York legends Anthrax may not have pulled off Bruce’s stunt, but does their latest full-length, Cursum Perficio, at least check the “at least it has a soul” box? Absolutely. Rather than just making another thrash metal album that churns out fast and aggressive but forgettable numbers, with a nice clean production and tired schticks, Anthrax have been moving forward with inspiration save for maybe one hiccup in We’ve Come For You All since their start. But as the saying goes, I’d rather take a step forward and eat shit, than not step forward at all (sorry, that’s my therapy sessions coming through in my reviews). With a full decade between this record and their previous output, it’s no surprise that obvious emphasis is put on unique songwriting in place of pure speed and fury. It’s also no secret that the groovier aspects of the John Bush era have made a more prevalent appearance since the man’s departure than anything since, but I think it mixes well,and avoids distraction. The end product sees a similar general feel to For All Kings and Worship Music in terms of warmer production and catchy chops, but prioritizes attitude over mosh-friendly earworms.
Written by: The Administrator
Welcome to Sleeping Village Micro-Reviews! In an attempt to cover more music at the website proper, the following is a collection of very short--micro, even--reviews written in reaction to various music released between Jan. 1st, 2026 and...whatever today's date end up being, I guess. This isn't a best-of list or an attempt to represent the 2026 music listening experience. Rather, it is just a random collection of releases that I have enjoyed, and while a bunch of stuff here will inevitably end up on future favorites lists, it is far from all-inclusive. This is Vol. 1 of what will become a series published throughout the remainder of the year. There are a great many albums I would like to discuss, and not nearly enough time to review them all in full. Hence: this. Several of these mini-reviews are freshly concocted for the sake of this column, but most have been scraped, salvaged, and otherwise amalgamated from previous commentary I've posted over on Bluesky and/or Bandcamp. A lot of random stuff ended up here; genre tags (or approximations thereof) have been provided for sake of clarity. Everything obviously comes highly recommended. I hope you find something lurking herein that tickles your fancy! Without further ado: 
Fossilization - Advent of Wounds (death/doom - February 13th via Everlasting Spew)
A quick lil' search indicates that I misremembered the scope of my review written upon release of this excellent album. In my mind, I dedicated multiple sentences, but the historical record will show that I simply said "Fossilization is nasty and also gnarly." Which, y'know, kinda sums it up? After revisitation, I can indeed confirm that Advent of Wounds is nasty and also gnarly. One might argue that few other albums in 2026 hit the mark so acutely when it comes to the very specific intersection of nasty and also gnarly. Check it out if you like that kind of stuff.
Hype-O - Forever Longing (industrial metal, bedroom pop, EBM - January 2nd via Fiadh)
Forever Longing is such a wonderfully eclectic and choppy conglomerate of sights and sounds. It represents a profoundly odd listen, which I mean in the most complimentary sense. Jarring transitions are a defining aesthetic choice. Given the release date, this was one of the very first releases I listened to in 2026, and I feel like it set a standard for unpredictability. Everything here feels remarkably fresh and exciting, and I'm a particular fan of the integration of the hookier pop-leaning elements into the overt chaos. Check out a track like (the excellent!) "Surveilling the Decay" and try to tell me you've ever heard something that sounds remotely like this. I dare you.
Ian Wellman - Particularly Dangerous Situation (field recordings, sound art, ambient - January 23rd)
There's a hard-to-place emotion that comes from witnessing the part musical, part journalistic Particularly Dangerous Situation from a place of safety. It feels uncomfortably unintuitive and even voyeuristic to find a meditative serenity in an album about California's catastrophic wildfires of 2025. The ambient passages are deeply immersive, but the heavily integrated field recordings firmly establish a time, place, and temperature. The air quality itself feels intensely tangible, as cinders crackle through whistling wind. The (very!) well-constructed melding of elements makes for a listening experience that is frankly quite difficult to compare to anything else. This is a well executed piece, and, as with several other albums on this list, is turuly unlike anything I've heard before.
Tierra Whack - Whack's Museum (hip hop, boom-bap - June 19th via Interscope Records)
This Tierra Whack mixtape predictably has bars for days. She is so so so good at riding the line between complexity, fun, and an extremely efficient word economy. Clever bars abound. The punchlines are downright pugilistic. Her use of inflection-as-instrument has always been extremely impressive, but her she fully embraces the power of an unexpected syllabic emphasis. Her beat selection is getting increasingly abstract, but everything on this project is still super smooth and listenable. Upon first listen I was impressed; upon subsequent listens it has increasingly solidified itself as one of my very favorite hip hop projects of the year.
Alicia Cordisco - My Restless Temple (symphonic power metal - March 27th)
Whether I'm having a good day or bad, there's an excellent chance it can (and will) be improved by listening to absolute PEAK symphonic/gothic power metal, courtesy of the illustrious Alicia Cordisco (plus accompanying cast of vocalists.) This album feels specifically crafted towards my specific heavy metal interests. It is relentlessly hooky, filled to the brim with exciting moments and the kind of triumphant choruses that beg for a singalong. Many tracks here ride a fine line between somber and joyously grandiose--no easy feat. I absolutely love the curation of vocalists, as everyone truly shines in the context of the individual tracks. The album feels so collaborative and fresh as a result. Pretty sure everyone reading this already knows the score, but if you missed this one I HIGHLY recommend checking it out.
underscores - U (pop, alternative EDM, post-hyperpop - March 20th via Mom + Pop Music)
As much love as U has received this year from various online communities, I feel like it simply has not been given its due in the larger pop sphere. This achieves exactly what a pop album should: namely, I simply can not stop listening. It is addicting. The definition of no skips. Exciting and forward-thinking. U features some sensationally sticky hooks, tantalizingly sick production choices, and, amidst it all, some truly heartfelt lyricism. It takes significant queues from the glee and self-awareness of hyperpop without indulging too heavily in excess. Unless something truly miraculous happens, I can't imagine any other album wearing the pop AOTY crown this year.
Rapsody - God Gotta Afro & Gold Hoops (hip hop - August 21st via Roc Nation & We Each Other)
I'm a massive fan of Rapsody's rapping, but felt like her last album--despite containing some incredible tracks--lacked a sense of cohesion. You can henceforth discard that particular criticism of her execution. Recency bias may be playing a minor role, but I already pretty certain this is Rapsody's best and most cohesive work to date. Here, she has mastered the art of delivering multiple vibes without ever sacrificing the central thematic and aesthetic thread. God Gotta Afro & Gold Hoops is celebratory and powerful and deeply self-confident, with the title track starring as an absolutely unfuckwithable central argument. What a glorious album.
Mossgiver - Renewer (atmospheric/epic black metal - February 6th via Sih MusicArt)
After listening to Mossgiver for the first time, I immediately regretting not doing so earlier. As ye mighty assume from, uhhh, the entire package, this is some melodically verdant stuff. Appropriately mossy, appropriately green. Perhaps listening whilst on a sunny walk through the forest helped color perception, but alongside the organic-ness, there is an unexpected brightness and clarity on display. I love when black metal is this overtly gorgeous and uplifting. Killer vocals too! Every track here is fantastic, but opener "The Cleansing Waters" is particularly special, in my opinion.
Khemmis - Khemmis (doomed heavy metal - June 12th via Nuclear Blast)
As a big fan of the whole doomy heavy metal aesthetic, I very much enjoy Khemmis by Khemmis. The epic flair and sense of lingering joy in the dark is, as always, very well executed, and when the deathier moments hit, they hit hard. This is not a bold album, but it didn't need to be. I did initially think the momentum was a little odd at times, and it felt almost too cohesive. But! After further familiarization, the individual tracks have de-meshed pleasingly. Nothing here shakes the foundations of my personal Khemmis ranking, but this self-titled is a strong showing from a band with an undeniably top-tier discography.
Volcandra - Beyond the Will of Mortals (melodic blackened death - April 26th via Prosthetic Records)
Volcandra gets a lot of love in my very particular corner of the music-enjoying world, but in a more macro sense, they simply don't get the recognition they deserve for consistently releasing some of the finest melodically inclined black/death metal of the 2020's. As a huge fan of the prior The Way of Ancients, I'm inclined to think that Beyond the Will of Mortals represents their best work yet. They nail a well-honed balance of melodicism with a tasteful snarling bite, and are never afraid to lean into a distinct roughness when the circumstance dictates. There's a borderline thrashy drive to a lot of the songs herein, and I love the overall sense of urgency. A relentlessly fun and highly satisfying listen.
Sylvia Rose - Séance (doom, noise, shoegaze, neo-folk - March 6th)
Genre tags or point of comparisons are largely unhelpful in attempting to describe what Sylvia Rose hath wrought here. Séance is harrowing and mournful and delightfully uncanny, but also decidedly grand. There's a distinct gothic flair, but no element exists to merely satisfy a trope. "Haunting" feels like an overused descriptor (which is easy for me to claim, as I am a chronic overuser) but this album is the definition of haunting. It utilizes textured atmosphere to great effect, and the sense of space Sylvia Rose creates feels so uniquely physical. The low end in particular lends a sense of weight and tangibility--when the subwoofer roars, it gives my chest an approximation of that warm hum that only live music can truly provide. Séance is a singularly immersive listen. I can't recommend it enough.
Scoured - Still (blackened doom, the sonic embodiment of anxiety, April 17th)
I woke up this morning and rather than starting the day with something light, I dove directly into the self-described " 30-minute single-song blackened doom panic attack." Excellent choice on my part, and I'm not being sarcastic. Despite all of the negative descriptors I'll be utilizing in short order, this is an utterly incredible piece of music. Still rejects any sense of stillness, constantly playing with intensity and motion. It is dissonant and harsh and and droning and claustrophobic and distressing and uncomfortable and abrasive, and yet wholly engrossing. This re-recording is a refinement of the (already stellar) demo in every way. If you haven't already done so, I highly recommend immersing yourself in the refined uncomfortability of Still.
Thank you for reading! Stay tuned for (the largely pre-written) Vol. 2, hopefully sooner rather than later!
Written by: The Administrator
Even casual readers amongst ye (hello!) will likely recognize that this is far from the first MEGAFAUNA premiere hosted within the Sleeping Village's humble halls. The premise of a MEGAFAUNA premiere is not new nor novel. However, no matter how often I sit down to pen some thoughts about the artist in question, the writing process never becomes formulaic or trite. Every MEGAFAUNA release carries with it a distinct sonic and aesthetic identity, and for that reason, the project perpetually remains a bit of an experiential mystery bag. Before listening, one can never be entirely certain what lies in store, beyond a general promise of oddity. Indeed, the true connective tissue between releases is a profound weirdness. MEGAFAUNA always manages to tickle my brain in a way that is both alarming and satisfying. What more can you ask for in an artist? This particular release, MEGAFAUNA's third album proper, feels more akin in many ways to 2025's heavily redacted cnʁʁԍuϝ λԍɑʁ ɑʁმnwԍuϝ EP than the debut and sophomore album--Venator was an overt horror movie soundtrack, a companion to childhood fears and nightmares, while I Owe This Land a Body took a more intimate and less outwardly jarring approach. cnʁʁԍuϝ λԍɑʁ ɑʁმnwԍuϝ was an intense departure, bringing a restless live energy that felt quite danceable at times. While the first two albums often held a mirror to bad thoughts and fears, this EP invited the listener to engage in some genuinely sweaty catharsis. It practically demanded movement. This self-titled album intentionally collides these seemingly disparate worlds in a surprisingly un-chaotic fusion. As the album description states: "this album brings together the two aspects of MEGAFAUNA as an artist, bringing the discomfort and experimentation of the previous albums, as well as the energy of their live performances." MEGFAUNA is an album that A. goes beyond the scope of its predecessors, and B. makes for a very engaging listening experience. If you're anything like me, engagement is enjoyment, which intrinsically means that the album provides a very enjoyable listening experience. MEGAFAUNA releases this Friday, Sept. 25th, and I'm please to premiere the album in its entirety below! 
Written by: Blackie Skulless
Having been around for a decent run of time, the German outfit The Night Eternal seem to cook up the type of melancholic metal vibes that reel me right in. It took their third full-length to touch my radar, being the one that got them picked up by Metal Blade. Titled Cold Velvet, their entire aura matches the music almost to a tee. Not quite spooky, a little more than sad, it’s fitting that the fall season is when I’ve come across it. So it should be no surprise that The Night Eternal works in strides of sugary melodies, leads that contrast a clean template with metal oriented rhythms, and vocals that have emotions deeper than the holler. The squeaky clean production and backing synths assist the harmonies that make their way in, painting on a rainy canvas that doesn’t feel dreadful, but simply reflective. It’s also neat that they take a more elaborate path, crafting songs that don’t simply rely on catchiness. The end result is longer numbers that stick around for the sake of making a statement. 
Written by: Blackie Skulless
Cleaner thrash metal is one of those things that more often lands on the “fine but unremarkable” side of things, but the few times it makes an impression, it’s quite fun. The Czech outfit Exorcizphobia falls into that latter category. They’ve been around since 2006, with a somewhat consistent timeline of output since then, however it was their latest record that caught my attention. Their fifth full-length is titled Neurosis Unbound, hitting two decades after formation. Frankly, it may be the album art that caught my attention, but I think what let it stick was the fact that it sold this style without needing to rely on overly pretentious technicality or bells and whistles. Instead, Exorcizphobia simply works by writing to the point, raging chops with clear and comprehensive vocals that aim for melody and form without sacrificing aggressive function. More than that, there’s a beefy bass presence, further aiding with the memorable songwriting. And perhaps most importantly, things are kept brief and feel no need to overstay their welcome.  Written by: Blackie Skulless
Being now the third band I’ve come across named Ossuary (having covered a different one here in The Village before), the Pennsylvania death metal outfit has a unique story. Being but a blip on the radar in the ‘90s, it seems they recorded a full-length during their short run that didn’t see an actual release until last year. Titled Clean-Up, you’d be able to tell the time and, perhaps get near the place, considering the New York hardcore-laced chops that make their way into this. Since that scene was huge at the time, it makes perfect sense. And the entire experience does this beautifully. All over Clean-Up we find a fantastic balance without ever stepping into early deathcore territory. Deep, nasty distortions on the death metal riffs blend with beatdown stomps, matching the bouncy basslines and pummeling speeds of the drums. Often, dramatic shifts in tempo precede the heaviest parts on the record to create tension in the atmosphere. All of this culminates with an aggressive attitude in the vocals, sweeping by with higher-pitched screams that carry most of the weight while dropping the occasional guttural to keep us on our toes. 
Written by: Blackie Skulless
Sweden’s Eternal Evil is an outfit that has been on my radar for a while, but never really did much for me. Their 2019 debut demo Rise Of Death hinted at potential for a rough and gruff style of black/thrash that needed work, but wound up coming to fruition in a cleaner veneer than one would expect. While worthwhile, their first two records simply felt more competent and capitalized on potential without a lot of delivery. However, album number three titled Forever Feared takes that idea and pivots into less awkward execution by just nailing an old school thrash sound that doesn’t feel generic at all. With such clean production and stripping themselves almost entirely of the blackened elements, Eternal Evil very easily could have fallen into unremarkable territory, but instead they keep my attention with catchy songwriting and variety. Hooks one after another are present, carried with leads that feel like they have intent rather than just exist for foundation’s sake, and the several different vocal approaches certainly help. Indeed, the frontman has a solid range, retaining the occasional shriek but mostly working in melodic rasp, and the occasional softer singing. Wrap all of that up into a competent and brief enough shell, and you’ve got a fantastic album! 
Written by: The Administrator
As time goes on, our posting here at ye olde Sleeping Village is increasingly determined and defined by whim. Promo procedure has fallen out of fashion 'round these parts. We operate primarily on meandering vibes and a disinterest--perhaps even a disrespect--for deadlines. However, for today's Very Important Announcement, exceptions must be made, which explains why we went through the trouble of dragging our town crier out of semi-retirement. No one issues a proclamation quite like the town crier. Anyways! Enough blathering. We slumbering scribes are pleased to announce that Wince and Frisson's debut album, entitled Tumult, will be released on Sept. 4th. The pre-order is active now, and, for any denizens of Bandcamp, today would be an excellent day to pick it up. At this stage, it is (hopefully!) clear that I have only the highest level of recommendation for Wince and Frisson. I've had the privilege of (consistently, obsessively) listening to this forthcoming album for several weeks now, and am happy to report that it is as utterly astounding as the singles indicate. Tumult is cacophonous and exceptionally well-executed. There's a real brilliance in the ability to refine, and Wince and Frisson writes songs that are exactly as long as they need to be. Of the seven tracks here, every single one is a genuine standout, not least because they all strive to represent sonic chaos incarnate. The debut album, says the band, is "a virulent cocktail of extreme metal genres. Seven tracks, all blackened and swathed in dissonance. It gets to the point immediately and offers no rest to the listener until its conclusion. All the while, guitarist, bassist, and vocalist Triumvir Kaleido maniacally spews warped interpretations of his experiences with religious and psychological abuse, and struggles with mental health." Completing the duo, Steve Wiener provides drum programming, additional vocals, and the assorted production/mixing/mastering duties. The first two singles, "Kärrhäxan" and "Liftoach Pandemonium," reviewed and premiered here respectively, serve as a fantastic appetizer. And, if for some reason you require additional convincing, we are very pleased to premiere here today a third single, entitled "Hypnagogic Haunt." It serves as Tumult's sixth track, and it is, as you might expect, an absolute bruiser. Check it out below! We'll meet you on the other side. |
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