Written by: The Administrator
Alright folks. I'm going to politely ask you all to buckle the fuck up--our favorite hard rockin' beast is in the building. Today's premiere is the first in a while, and given the special occasion, we might as well make it a double. If you're A. an existing fan of Titanosaur and/or B. a fan of big riffs, get excited. We've got a full album premiere of the forthcoming Echoes alongside a premiere of the music video for standout track "The Ghosts Are Calling." That's two--count 'em--premieres for the low price of nothing at all. That, my friends, is what we call a damn good bargain. Enough chit-chat! Today is all about Titanosaur, so let's get to the good stuff. Fire up that album stream conveniently located below, and, as always, we'll meet ye on the other side.
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Written by: The Administrator
Welcome to Sleeping Village Micro-Reviews: Volume I! The following is a collection of very short reviews written in reaction to individual tracks submitted by a delightfully eclectic assortment of artists. The only thing the musicians featured herein all have in common? They responded to our following twitter prompt: "If you reply to this tweet within the next uhhhh 60 minutes with a link to one of your songs, I'll check it out and write a lil' micro review." And so here we are. Thank you to everyone who submitted tunes, I had a lot of fun doing this and will certainly be sending out a similar prompt again in the future. To everyone reading, I hope you find something lurking below that appeals to your tastes. Please note: we had a few submissions come in after the deadline--they will not appear here, but I will collect them all in a forthcoming Volume of Sleeping Village Micro-Reviews. If you are responsible for one of those submissions, fear not and stay tuned! Enough of my blathering. Without further ado: 
In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here, we discuss a redux of a very fine track from a very fine band.
Written by: The Administrator Gosh. I love when a band issues a remixed and revitalized redux of an older track, and I particularly love when this very same scenario occurs with a track that I love from a band that, indeed, I love. Mothman and The Thunderbirds is a project that this particular scribe has enjoyed greatly from inception, and I'm firmly of the mind that everything under the Mothman moniker is exceptionally well done. 2021's debut Into The Hollow embraced a willingness to explore, and everything since--the (objectively perfect) cover of "96 Quite Bitter Beings," the dynamic split with World Eaters, the trippier "Gazer" EP*--continue the trend of good music that doesn't feel particularly confined by anything other than the quality of that which came before. So, then. Into this equation enters a redux of, arguably, one of my favorite tracks from Into The Hollow, featuring the remixing and remastering chops of Egor Lappo. "The Simpsons = Real Hollow" is an anomaly in the midst of the original tracklist, as guest vocals are provided by Kirby, wife of project leader Alex Parkinson. Promo material calls said vocal performance "soaring" and "sardonic," both apt descriptors. I would add "youthful"--not unrefined or adolescent, but rather filled to the brim with the kind of jubilant enthusiasm that feels almost impossible to contain. The original featured excellent vocals, and the redux'd version truly allows Kirby's voice to shine, contrasting wonderfully with Alex's bellowed backing interjections while sitting nicely in the mix. The chorus is catchy as fuck. Otherwise, the new version feels crisp and clean across the board. Alex's new bassline pummels with significantly more oomph. The track's rockin' central riff carries itself with the same familiar momentum--an urgency that doesn't quite let up, lending the whole track an energetic edge. This is the mix/master that the track deserves, and another testament to the quality of Lappo's work. As mentioned in our review of "96 Quite Bitter Beings," this outsourced production adds a notable level of polish. It sounds great. 'Nuff said. Mothman and The Thunderbirds - "The Simpsons = Real Footage (2023 Redux) was released Sept. 22nd, 2023, and can be found here. You can also listen below! How convenient is that?
In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of a crocodilian EP
Written by: The Administrator
Despite a respectable roster of dangerous critters dwelling 'round these parts, this particular scribe is fortunate to live in a place where crocodiles, um, don't. In my understanding--which is to say, quite probably in reality--these beasts frequently pluck unsuspecting adult human victims and drag them into the murky depths to drown in a scaly embrace. They represent the worst way to die, and only rank slightly below moose and hippos in the hierarchy of animals that I never want to encounter in the wild. Anyways. Listening to Edinburgh's own Cult Of Sobek is like unto the aftermath of a wrestling match with a killer croc: there's nothing left to do but succumb. Driven by a hypnotic trancelike churn and the threatening presence of bestial howls, the three tracks Cult Of Sobek deliver on debut EP Petsuchos represent the kind of damply organic and borderline psychedelic sound that I crave when it comes to crushing doom. Their sound is dredged from the mire, just the way I like it. There's a vicious aggression cleverly hidden underneath the trippier elements, and the constant sense of something lurking elevates each track in a way that I wasn't expecting. As a result, I've returned to this EP many, many times over the summer whenever the playlist requires some subtle menace. Despite feeling appropriately heavy and suffocating and bituminous, there's a sharpness that punctuates the tracks, both in terms of the cymbals throughout and sidewinding leads. In regards to the latter, look to both the title track and the tail end of "Maneater" where high-pitched leads squeal, providing excellent contrast. From a thematic perspective, the crocodilian elements shine through across the breadth of the EP. From a musical perspective, it is a very rewarding experience. Give a well-deserved listen to the mighty title track below, and check out the full EP here. Cult of Sobek - Petsuchos was released July 22nd, 2023 via Trepanation Recordings In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of a top-notch hip-hop album.  Written by: The Administrator Today, we slumbering scribes reject the "metal review site" tag by publishing a mini-review for a rap album. You can't stop us. One of my favorite hip hop albums of the year thusfar, Champagne For Breakfast positions the magnetic Meyhem Lauren as a paragon of New York rap. Equally luxurious and menacing, Lauren's flow is sublimely confident. It feels like he's been strutting across beats like these for decades. Boisterous aggression isn't necessary, and as a result the self-assured nature of his raps feel relaxed and refined. He's working hard but everything appears casually effortless. His delivery is calculatingly laissez-faire, yet never lacks punch or gravitas. That's a perfect combo, as far as I'm concerned. Madlib and DJ Muggs handling production in dual fashion is a real treat as well. The entire album is delightfully cohesive without eventually feeling stale or overplayed, which frankly feel decently rare in the world of Griselda-adjacent psychedelic boom-bap. Champagne for Breakfast is a smooth album that feels both understated and simultaneously larger than life. Lauren operates at a very high level, and despite absolutely bodying a braggadocious air, his showmanship and persona is never alienating. While there's not a bad track herein, if you're looking to sample, "Fresh Out The Water," "Big Money," "Dom VS Cris," "One of Them Ones," and "Szechuan Capital"--the latter complete with an excellent Action Bronson feature--are all fantastic places to start. In sum: highly recommended! Meyhem Lauren x Madlib x DJ Muggs - Champagne For Breakfast was released April 7th, 2023 via Soul Assassins
In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of a delightfully slimy death metal EP.
Written by: The Administrator
The roster of underground death metal bands that deserve more attention is nigh-infinite, and while underappreciation is inevitable, everyone needs to stop sleeping on Cork's own Bodydrinkers. In an attempt to remedy this scenario, we slumbering scribes try our hand at rousing the masses. Wake up! Plug this into your earholes! A mere three tracks, Swamp Hammer is nonetheless a beast. The titular track kicks things off with glorious belligerence, a churning muscular barrage accompanied by an engaging range of vocal delivery. The riffage roils with pythonian strength, and while delivering an effective bludgeoning, the track does not overstay its welcome. My personal favorite track, the follow-up "Byzantine Blinding," opts for a slower yet no less pugilistic angle. The vocals here are truly monstrous, and play inordinately well off the massive surge of instrumentation. Closer "Bio Terroristic Occult Sermon" threads the needle between the two extremes, delivering a slightly more grindy and unhinged take on Bodydrinkers' apparent trademark aggression. The variety presented herein is quite enjoyable, and the short runtime simply isn't enough. I crave more. Given the EP title and slimy descriptor, I was admittedly expecting a little more sludgy lumbering and dripping riffage, but as a fan of the mire, that's on me. What we get instead is top-notch stuff, no bones about it. Swamp Hammer is delightfully aggressive and takes no prisoners in the sonic bombardment department. I highly recommend checking this one out! Listen here and snag a tape from (the illustrative) Fiadh Productionshere. Bodydrinkers - Swamp Hammer was released January 20th, 2023 (Digital) and June 2nd, 2023 (Cassette) via Fiadh Productions In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of a rockin' and rollin' track.  Written by: The Administrator Back in the throes of lockdown, we slumbering scribes ran an interview with Holy Death Trio, a (then) new act with only several singles to their name. A few years later, I come to the realization that in the slew of new music I completely missed the promo cycle of their debut LP, 2021's appropriately monikered Introducing..., which featured those early singles, and, in sum, turned out pretty damn well. In any case, I was excited to see a new track from the Holy Death Trio camp hit the ol' inbox, as a little vintage rock 'n' roll can go a long way in the heat of the summer. "Death Rider" is a short lil' tune but it does not disappoint. Riding in with the dusty air of a tune destined to land on a well-used cassette, "Death Rider" moves at foot-tapping trot. It feels delightfully vintage--the channels are just wonky enough, and the vocals carry a raw and rough undertone. There's little complexity in the composition, but the guitar truly shines, with an extensive and borderline jubilant solo carrying the majority of the back half. Perhaps most importantly, the track doesn't feel overworked nor overbaked. Sitting at a tight 2:28 runtime, there's no fat to be trimmed. It's a wonderfully unpolished affair, and feels nostalgic without falling too far down the emulation road. Most importantly, it's a damn fun listen. I'm excited to see Holy Death Trio continue down this road. If you're a fall of the old school rock 'n' roll sound and ethos, this one is definitely worth a listen. Check it out below! Holy Death Trio - "Death Rider" was released August 8th, 2023. 
While I feel like a significant portion of death metal misses the mark when it comes to an elevator pitch, Blight House hit the nail on the head with their straightforward "gross death metal" tag. This stuff is, indeed, very gross. Throwing on their latest offering, the appropriately entitled Blight The Way, is like unto watching a series of straight-to-vhs horror movies whilst lounging uncomfortably in a medical waste dumpster. Y'know, the good times and healthy activities we all dream of.
Blight House knows how to effectively apply campy aesthetics in pursuit of a rousingly good time. As such, a necessary degree of self-aware good humor pervades in the lyrics and numerous chopped samples, as well as the song titles themselves. Punny examples such as "Grassquatch" and "Dismembers Only" aside, "Florida Man Hails Satan" is an absolute banger. I hasten to add that humor isn't used as a crutch here so much as an essential component of a greater picture. Without grunting and grinding music that goes, as they say, hard as absolute fuck, this project would fall apart pretty damn quick. But fear not: Blight House deliver the goods in the engaging music department. The chugs, while far from complex, chug with an engaging foot-stomping vigor, and, most notably, the omnipresent bass bounces throughout at a loose lope. The bass indeed dominates--for a prime example, look to the sasquatchian "Grassquatch" as it moves with earthshaking heft. The vocals are quite flexible, running the gamut between gross-out sewer gurgles and mucus-coated raspy roars. 
Written by: Big Adz
Back in Autumn of 2017, I had a bad day: I was working in a crappy, soul-crushingly dull role that I desperately wanted to get out of for the sake of my own mental well-being, and had just finished up yet another day of this drudgery. Sullen and verging on despondent, I walked out of the building that housed me during said soul crushing, onto the street and hit play on the commute home playlist I had put together during my lunch time reprieve. The first track was a recommendation from a friend, a song called "Kiss of Death" by a band called Mutoid Man. Within a minute of that fateful finger twitch upon my phone, the weight of the capitalistic fuckery I had just endured lifted from my shoulders like an ascendant non-denominational messiah and my face lit up in the way that one’s does when they’ve just heard the first bit of music from their soon-to-be new favourite band.  Written by: Sabrina TVBand
Today The Runaways, the first all-female rock band, are highly respected. Widely acknowledged as the progenitors of the riot grrrl movement, and known for being Joan Jett and Lita Ford’s first band, The Runaways stand tall in the annals of music history. But in the 70's they were, at best, a cult favorite. The second Runaways album, 1977’s Queens of Noise, is their strongest release. In its time it only reached #172 on the Billboard 200, but it’s plain to see that contemporary audiences didn’t recognize greatness when it was right in front of them. Every Runaways album has at least two or three solid cuts, but I don’t think it’s possible to make a compelling argument that Queens of Noise isn’t the best one, even if it doesn’t have "Cherry Bomb." This is by far their most consistent and enjoyable collection of songs. |
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