Written by: The Administrator
Thrash-infused sludge with a bombastic pep in its step? Dragged-through-the-muck production and tasty gang vocals to boot? We're dealing with an admittedly oddly specific category here, but you can count me all the way in. Please. Please count me all the way in. I need this. Earthblood are a new-ish quartet out of Finland, and the inflammatory Witchburner is their second EP. I was impressed by their debut outing released last September, but this sophomore effort feels like a significant step up both in terms of songwriting chops and production value. With only 3 tracks filling the 17+ minute runtime, the songs are quite girthy, incorporating both a slow-burning sludgy stomp and a thrashy drive to be the most cathartic band in the playlist. Earthblood are confrontational and dirty, seeming to take a certain glee in forcibly forging their own path by way of rowdy riffage and gravel-gargling roars. In a word, Witchburner is energetic to a near-jubilant degree. There's a vigorous bounce and groove at play--check out the hellishly fun "Sons of Heavy Pain" or the exciting chorus on the title track as prime examples. When things do slow down--take the mighty closer "Swamp Hammer," for example--the lumbering pace serves to build anticipation for the burly violence that inevitably returns. If I do have any minor criticism of this EP, it is that said closer does run a tad long. But that doesn't negatively impact the overall takeaway: music like this makes me want to light my beard on fire and smash a bunch of shit with sledgehammer. Y'know, for fun.
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Written by: The Administrator
The cover art of Cavern Womb's stellar debut EP, Stages of Infinity, feels like the pure essence of death metal captured in visual form. Garish and gross and eldritch, yet alluring all the same, this imagery sits in that uncomfy and uncanny zone betwixt body and cosmic horror. It manages to represent the utterly incomprehensible. Luckily for all you death metalheads, Cavern Womb's music itself--while fascinatingly off-kilter--still hovers within the realm of comprehensible. Across four sizable tracks, Stages of Infinity serpentines through an arena of twisted riffs, gnarly oddity, and proggy polycephalous song structures. There's an uncanniness woven among the atmosphere and the pronounced groove. Just when you think you have a track's approach and character nailed down, it warps and morphs into something unexpected. Something...alien. Were you expected a cowbell in the midst of cosmic death riffage? I wasn't, I can tell you that much. 
Written by: The Administrator
I'm unsure what role a "Wind Doula" plays in the grand scheme of meteorological phenomenon, but as a track title, the term undeniably oozes a certain Fuzznautian vibe. This latest single from our favorite one-man instrumental soundscapist is, like all of Emilio Rizzo's work, a breath of fresh air. If you're a devout reader of the Sleeping Village--and/or currently living within the walls of our drafty scriptorium--you likely recognize the name. But for the unfamiliar, Fuzznaut writes comforting and immersive music that should feel minimalistic but is often unexpectedly engrossing. Bridging the (often inscrutable) gap between fuzzy doom, shoegaze, atmospheric post-rock, and drone, Emilio's work is always a welcome additional to my listening rotation. The past few weeks, this latest track accompanies me pretty much every morning as I am waking up, preparing body and mind for the day. Much like "Spacerock" made an impact back in May of this year, "Wind Doula" has become an almost ritualistic addition to my day. "Wind Doula" is immediately identifiable as a product of Fuzznaut. The common components are all there, and while this track does feel a tad fuzzier and incorporates a lil' reverb-laden percussive stomp at the beginning, nothing really breaks the formula. This track feels like the soundtrack that plays whilst trudging alone across a desolate windswept plain, dust devils dancing lazily in the hazy distance. It is lonely and elegant and organic, and breathes in a weathered way. The track oozes a languid sense of meandering--it documents a journey with distinct forward motion, but the destination feels irrelevant. It's a relaxing listen, and "Wind Doula" honestly feels a little short at 4:20. Indeed, if this thing were an hour long, I'd gladly partake. Fuzznaut - Wind Doula was released Sept. 6th, 2024. Find it here!  Cover artwork for "White"
Written by: The Administrator
This year, I made the acquaintance of one Steve Wiener. An enthusiastic metal twitter hypeman and a fantastic musician to boot, Steve has a real knack for making music that matches my specific interests to a frankly uncanny degree. I've previously reviewed tracks from his doom/post-metal/etc. band Negative Bliss here and here, and more recently spent some quality time with Steve's new solo outfit. This project--the alluringly monikered Am I in Trouble?--is the subject of today's conversation. In my writeup of the notably excellent "Red," I said that Am I in Trouble? "reeked of potential." We are on the brink of witnessing that potential realized. On that note, I am tickled pink to officially announce the forthcoming debut album from Am I in Trouble? Entitled Spectrum, this colorful 31 minute 7 track project is a love letter to "the eclecticism and experimentation displayed in the early-to-mid 2000s avantgarde black metal explosion." Intentionally utilizing a broad sonic palette and boasting a bevy of guest collaborators, Spectrum will release Jan. 3rd of 2025. In describing the project, Steve explicitly highlights the artists that serve as inspiration: "Spectrum is deeply influenced by the works of bands such Borknagar, Solefald, Code, Vintersorg, Arcturus, Dødheimsgard, and Thy Catafalque." That said, an encyclopedic knowledge of this particular era and sound is not required--I, for one, am certainly no expert. Am I in Trouble? has created a sonic playground that allows for a wide range of expression, and from what I have heard of the album, this flexibility is a great strength. If any of this sounds interesting, a pre-order opens today exclusively over on the freshly launched Ampwall, a very cool platform that we slumbering scribes shall be discussing in greater depth in good time. This is a prime opportunity to both check out a spiffy new platform and nab a pre-order for an album that will inevitably set a high bar very early next year. But that's not all! Along with this announcement comes--as with all quality announcements--an absolutely bangin' single. "White," presented below, is an incredible track that marries progressive tendencies with a sun-bathed warmth. Give it a listen! As always, we'll be waiting on the other side. 
Written by: The Administrator
In the spirit of today's band in question, let's keep this intro short, shall we? Officers Down is a lean and mean two-track release from Revered and Reviled Above All Others, a historically lung-crushing doomviolence band. Over the past few years, I have personally found their intense and unique combination of suffocating brevity and overt fuck-the-police messaging to be quite alluring. If you're unfamiliar with (the henceforth abbreviated) RRAAO, the title of this double single should tell you all you need to know. If, however, you're approaching this review with a degree of familiarity, please note that their latest is a little less crushing and a little more incendiary than prior releases. Of course, that's all quite subjective--this is still an exceptionally sludgy experience. Both tracks feature a muscular tone that can only be compared to the sensation of snorkeling in concrete. The percussion is a little more industrially militant, giving "Buried Evidence" in particular an invigorating presence. One could most certainly throw down to this song. One could, perhaps, sling a variety of blunt and/or flammable objects, if one were so inclined. The vocals represent another evolution in the direction of immediacy. On "Bones of Anthropocene" in particular, they are more outwardly shouty and less like the all-consuming swallowed howls you could find dominating SWINEVOID or Toppling the Rotten Pillar. As a result, the lyrics are a tad easier to decipher. Somehow the fury is more palpable. Of the two tracks here, I do prefer the aforementioned "Buried Evidence" for its more urgent motion. "Bones of Anthropocene" is a little more plodding and lacks a true climactic moment--the track ends fairly unexpectedly. It does act as a nice foil to the kinetic approach of Side A. All told, Officers Down is a very fine addition to the RRAAO body of work, and serves as a compelling teaser for whatever comes next. Check it out here! Revered and Reviled Above All Others - Officers Down was released June 22nd, 2024
Revered and Reviled Above All Others can be found:
Bandcamp 
Written by: Blackie Skulless
Cruel Force has touched my radar a few times over the past couple of years. The German black/thrashers dropped two albums nearly fifteen years ago before splitting up, and while they made a serviceable enough take on the genre, it really never stuck to me. Fast-forward to over a decade later, and they came back with a vengeance, dropping Dawn Of The Axe, changing my mind about everything I just said. What was a nice soil that grew few worthwhile fruits now harvests an entire garden. Stylistically, they wouldn’t veer too far away from this initial idea, but any sharp edges get deburred and the thrashy attitude feels refined into something reminiscent of an ‘80 speed metal foundation. Similarly, vocals with a deeper snarl but a far more concise delivery are tacked on, almost feeling similar to Zetro from Exodus. Echoed production helps everything, giving a reverberated tone to the drum kicks pairing wonderfully with the vocals. Meanwhile, the bass licks are rather bouncy, providing extra kick beside the sharp riffing. Oftentimes, overdoing this can ruin a solid record, but that’s not the case here. The end product is a far more mature outing that almost lifts the “blackened” element away as well, leaving only remnants, but still holding onto their aggressive oomph. 
Written by: Blackie Skulless
It’s been a long time since I’ve been so conflicted on how I feel about an album, but after like five listens, I think I’ve got it down, so strap yourselves in. Unto Others are a band I’ve loved since they first broke ground in 2019 under the name “Idle Hands”. Mana was like a one-in-a-million shot of combining traditional metal with goth rock, and it worked well. Strength hinted at a heavier direction for a few songs, being a little awkward at times but overall a great release. And then we get to the latest, Never, Neverland, making me think it’s going to expand on the heavier sound. It kinda does, but it also doesn’t. But also, it tries punk, upbeat vibes, and…. black metal? It’s as weird as it sounds, and as much as I hate to break an album down by track, there’s absolutely no consistency to this outside of the fact that it runs with the melancholic vibes coated with the deep, sonorous vocals. Otherwise, this is a game of take what you like and leave the rest. Right in the opening, “Butterfly” lays a convincing ground of running towards the softer, gothic direction with the occasional heavier lick worked in nicely; I actually very much enjoy this one. Then “Momma Likes The Door Closed” shifts entirely and works like a metal oriented punk rocker that even includes blast beats. Seriously, it’s as if you’ve started listening to another album, before “Angel Of The Night” brings you right back to where you started, finding strength in a soft chorus. 
Written by: Blackie Skulless
After five years, the band that released my favorite non-classic era death metal album of all time finally came back for a second serving. Portland’s Coffin Rot dropped a demo compilation and a single in the time since 2019, but until now, A Monument To The Dead has been their only full length. Dreams Of The Disturbed came in for an attack somewhat quickly, keeping the structure similar. Seven swift tracks topped off by a more lengthy eighth track remains the name of the game. Stylistically, there’s not much deviation from what we got the first time around. Chunky, death metal rhythms with some of the deepest, crushing vocals surrounding themes of gore, filth, horror, and death still make up the majority of the formula with Hayden and Co. The only real change is that clarity plays a bigger role in this, allowing for some slightly more nuanced solos and transitions to make an appearance. The rare but punishing higher vocal shriek comes through with more conviction, and the general delivery of the songs feels oh-so less dirty. 
Written by: The Administrator
Assuming I'm taking the languid scenic route, the walk from my office to apartment is pretty much an hour long. I got off from work early today, and, with nothing better to do, opted to amble. This of course required an optimal soundtrack, which bring us to Oblivion, a new one-track album from Sweden's Oscillotron. Clocking in at a tidy 60.00.00, this droning wall of sound--the intertwined sonic force of hefty down-tuned guitars and omnipresent Moog synthesizers--represented the perfect runtime. And who doesn't love drone whilst engaging in a little light cardio? For a little insight into what this hour of sound actually sounds like, the cover artwork is a perfect representation. There's an overwhelming intensity at play here, and while the first minute does sound remarkably like the last, the thing about well-done drone is that any change whatsoever feels highly significant. The constant intensity makes you hyperaware of subtle deviation. Take, for example, the new tone that perks up on the left channel around the 32 minute mark. At other points, the guitar falters ever so slightly in its circular breathing, adding a little more fuel to the droning idle. The difference in sound is momentous and almost jarring, like a klaxon blaring in the middle of a lullaby. Not a lot happens by design, but the longer you spend with Oblivion, the more it draws you in. To this end, the lengthy runtime was a smart move. While listening, this track becomes all-consuming, and setting a sizable chunk of time aside for that experience is worthwhile. Oblivion carries itself with an interesting presence: an album so minimalistic in form seldom feels so psychically powerful. Is it invigorating? Action-packed, perhaps? Certainly not, but I would classify this hour of sound as both stirring and oddly engaging. Comforting, even, once you get acclimated. If Oscillotron's wall of sound is indeed the soundtrack to oblivion, I have to admit that the prospect of oblivion feels a little less alienating than I would initially assume. And yes, I shall henceforth be referring to a day as "24 rotations of Oblivion." If you're a fan of drone, or at least tolerant, I recommend checking it out below. Oscillotron - Oblivion was released Sept. 20th, 2024. Find it on bandcamp here!
Oscillotron can be found:
Official Website 
Written by: The Administrator
In the course of reviewing music, I've increasingly tried to exercise a degree of thoughtfulness when comparing an artist to another artist. Namedropping for the sake of it is practice that often feels a little presumptuous, especially when specific influences are an unknown. Besides, if I'm resorting to comparing artists because there is nothing else to say, the review is probably... a little empty. As such, I try to keep direct comparisons A. positive, and B. firmly within the context of my own listening experience. If a guitar tone or an approach to songwriting fondly reminds me of something, and if that association benefits the overall review, it might merit mention. Of course, this whole philosophy opens up a bit when an artist specifically mentions influences. Am I in Trouble?, a new project from friend of the Sleeping Village and Negative Bliss guitarist/vocalist Steve Wiener, makes these inspirations public. In fact, here's a convenient playlist. If you are a nerd like myself, and interested in digesting music in the overt context of the creative elements that led to its creation, said playlist makes for a pretty damn enjoyable listening experience. Anyways! "On to "Red," today's track in question. |
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