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<![CDATA[Sleeping Village Reviews - OLDE REVIEWS]]>Tue, 24 Mar 2026 03:03:37 -0700Weebly<![CDATA[AFTERBIRTH - Four Dimensional Flesh (Review)]]>Tue, 07 Jun 2022 07:00:00 GMThttps://www.sleepingvillagereviews.com/olde-reviews/afterbirth-four-dimensional-flesh-review

To be frank, I approached Four Dimensional Flesh with immense trepidation. Brutal death metal and/or slam aren’t exactly locales I find myself frequenting with any kind of regularity--if I pass through, it’s usually a lone track in the midst of an otherwise innocuous playlist. While the dedication to slammin’ riffs and woodpecker-on-a-hot-tin-roof percussive fills are certainly attractive bedfellows, the trademark drainpipe gutturals and resonance chamber bree-brees really ain’t this scribes cup o’ vox.

And yet here we are, plumbing the gurgling pipes with a grim sense of glee. Why? Because Afterbirth, much like Wormhole, strives to make slam interesting. And it is this quality that remains Four Dimensional Flesh’s greatest strength amongst strengths.

In short, this is the kind of multi-layered album that continually draws you back in not by exclusive benefit of Good Riffs, but rather a dedication to complexity and intrigue. But! Let’s not dive down that particular rabbithole yet. Too often, a so-called focus on progressive axemanship becomes an excuse to not write chonky riffs, and, when you fall on the heftier side of the death metal spectrum, you can’t really get by without the headbang factor. That’s all to say: these riffs do indeed bang with the kind of ferocious pugilism of a fighter on the cusp of a satisfyingly righteous revenge plot. There’s a taste of Cryptopsy, Unfathomable Ruination, and some healthy Vomitory aggression thrown about, and while Afterbirth do feel wholly unique, it’s worth mentioning that the brutality stands on a foundation of genuinely hard-hitting guitarwork.

But. The true soul of Four Dimensional Flesh is, without a doubt, the expansive prog-inflected approach to composition. Much like Cynic or Artificial Brain set a standard in the creation of their respective approaches and soundscapes, Afterbirth feel remarkably fresh. This, I can’t reiterate enough. Take any track at random--say the blastbeat-ridden “Spiritually Transmitted Disease,” or the deliciously energetic “Never Ending Teeth,” or the languid “Girl in Landscape,”--and I guarantee that your initial expectations were, in the process of listening, somehow subverted. This album takes the stale approach of brutal death metal’s gory aesthetic and lifts it into the star-strewn cosmos, shedding the dry traits of genre convention with the kind of confidence that implies a complete disregard for the rules. As such, this isn’t a chaotic Dead Space brand of sci-fi--this is retrofuturism at its most polished. At risk of sparking a worldwide metalhead conflict, Afterbirth have constructed the Apollo II to Hidden History of the Human Race’s Sputnik.

Let me take a break to state the obvious, if it’s not already apparent: I really, really like this album.

Part of it is the off-kilter weirdness, which thrives on oddly seamless juxtapositions. There exists a definite commitment to pulling off a very tricky confluence of sounds, technical components, and genre manipulation. Take, as a single example, the stellar “Everything In Its Path,” which delivers, simultaneously, a sweeping melancholic edge and an all-consuming gallop, both writhing alongside some disgustingly top-tier fills. Part of that is the relatively unexplored aesthetic, which feeds the parts of my brain that love A. death metal and B. Ray Bradbury...at the same damn time. Part of it is the shimmering production and the attention to mimicking the soaring atmosphere across all aspects of the mix.

Perhaps most important to Afterbirth’s success is the sheer joy one experiences listening to an album that leads you through a process of grandiose exploration, rather than dumping you in the midst of familiar trappings. Just take the conclusive one-two punch of “Black Hole Kaleidoscope” and the following title track. After experiencing the album as a whole, this cinematic climax evokes astral scenery in a delightful fashion. Never before have I felt so entranced listening to brutal death metal. Never has metal of the slam-adjacent variety been so relaxing. So...compelling.

This damn thing, like unto the black hole it employs in narrative form, wields an irresistible draw. In the past few days, I’ve listened to these same 35 minutes over, and over, and over again. While Afterbirth have never been slouches, Four Dimensional Flesh is a masterful accomplishment--impressive on it’s own merits, sure, but when compared to their prior expeditions, it is exceedingly clear that Afterbirth have made one giant leap. I am genuinely giddy when imagining the potential they possess, should they attempt to shoot even further into the stars. If this is the future of death metal, consider this scribe inordinately pleased.

Afterbirth - Four Dimensional Flesh was released March 13th from Unique Leader Records

Afterbirth can be found:
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]]><![CDATA[LUCIFER'S HAMMER - The Trip]]>Wed, 01 Sep 2021 02:28:32 GMThttps://www.sleepingvillagereviews.com/olde-reviews/lucifers-hammer-the-trip

Written by: Blackie Skulless

I actually discovered the Chilean heavy metallers Lucifer’s Hammer a few years ago when Time Is Death was the latest release, and when first looking back, I remembered not caring for it and forgetting about it. What a fool I was! This year when The Trip dropped, not only did I find it to be wonderful, but something seemed oddly familiar. I quickly remembered, dug up the old albums, and found that not only was I extremely wrong prior, but they’d still evolved since then. Of the three full-lengths, this is the album where I believe Lucifer’s Hammer truly realized their potential.

Throwing back to the heavy/power types of the early ‘80s, this is a very refreshing dish of old news brought to its best new heights. The secret probably lies a bit in the brevity of seven tracks barely crossing the half-hour mark, which means that they’re all rid of any extra topping and unnecessary embellishment. No, this is built primarily on memorable and clean riffs that don’t feel any need for aggression, with the sharpest moments lying within the higher falsettos. Oddly enough, outside of those, the vocals are actually pretty tame, coming in cleanly but swiftly at an octave that compares well with the warmer guitar tones.

Of course, masterful execution like that from an old style is something that happens quite often, and can’t be the only thing used to make traditional metal great. The Trip has wonderful writing tactics as well, with clean transition and driving passages that engrain themselves quickly. “Land Of Fire” had me sold the first time around; its blitzing drum splats under more somber vocals and wonderfully melodic leads made for such a great track. The emotion in the delivery alone is very flattering, which can be said about a lot of this.

What’s also incredible is how much the guitars take the forefront without taking away from the vocals, allowing for so much to be done in such little time. A handful of the songs here ride out on leads, which is a tactic that I don’t think gets utilized enough in heavy metal as a whole. Picking other standouts here is difficult because almost every song nails everything I’m explaining. If “Land Of Fire” isn’t the tightest track, it could be “Illusion” for starting on the intense note before transitioning into a steady speed-chugger and a soothingly smooth chorus. Man, even that repetition-riff in the bridge is flawless! Closer “A Believer In You” is another emotional piece that brings the bass and drums together to their heights which back the flawless chorus wonderfully. Lots of rock ‘n roll vibes here as well.

But you really can’t go wrong with any of this. I kick myself regularly for failing to understand this band a few years ago, wondering how a concept so easy to grasp didn’t sit with me the first time. All of their albums are worth visiting, but this is an exceptional priority. Think early Satan (NWOBHM) but with less grit and tighter straps, or perhaps Freeways with more metal orientation.

Lucifer's Hammer - The Trip was released June 5th, 2021

Lucifer's Hammer can be found:
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]]><![CDATA[EPOCH OF CHIRALITY - Nucleosynthesis (Review)]]>Thu, 22 Jul 2021 00:14:25 GMThttps://www.sleepingvillagereviews.com/olde-reviews/epoch-of-chirality-nucleosynthesis-review

Written by: Lord Hsrah

We've all been hearing of people going to space these past few days, with Jeff Bezos being the latest to do so. And while some of us may start to wonder whether or not space is the final frontier here, Epoch of Chirality prepares for launch with their debut album Nucleosynthesis, where space is just the beginning and what lies ahead is a mystery best known to the unknown. 5, 4, 3, 2, 1, lift off!

Epoch of Chirality is a one man sci-fi metal project started by England-based musician Richard How, and Nucleosynthesis is their first full-length album that follows their 2020 EP Dawn of Chirality. The album, dubbed as "sci-fi metal," has 9 instrumental songs in total, all of which, quite obviously, draw heavily from sci-fi soundscapes. Nucleosynthesis starts off pretty slow, and in general, the build up to the actual beefy material of every song takes quite a while too. There's plenty usage of synth and other electronic instruments to help create those soundscapes like they were straight out of the 80's. A lot of it is shared by modern synthwave acts, and what they do. Quite frankly speaking, at times it does feel like a nice space-synth album, albeit heavier in all tones and textures.

Style-wise, the album explores a bunch of different aspects, including a clear Mediterranean flavor on the song "Caravan to the Midnight Mountain," which kinda projects a mental image of what Sleep's Dopesmoker album cover looks like, but in the night of space. There's some cool synth and electronic sections that sound a lot like certain RPG soundtracks which also help to construct that spacey, sci-fi-ey image. Richard doesn't shy from incorporating certain unorthodox sounds, like a pure strings section, some xylophones and some brass too. The guitars hold up pretty well and there's some really smooth solo sections which add that nice power metal-ish touch which, in my opinion, elevates the entire sci-fi theme. However, the guitar work, otherwise, is almost fully dominated by progressive elements with not much of those tasty riffs one gets to hear in power or heavy metal. The guitars, thick in tone as they are, are mostly chugged and just add more to the heaviness. All this coupled with drums tighter and heavier than a standard synthwave album add the 'metal' to the "sci-fi metal" label of this album.

I think the songs are constructed pretty well and have an appropriate balance of metal works, as well as synth works. Most of the songs have dark overtones and "sinister, mysterious" passages like most synthwave stuff from, say, Perturbator or Dynatron do--and so does metal too--but Richard manages to shift and mix it up by adding one of those unorthodox instrument passages or changing the key here and there, which adds some element of dynamicity to the record. The synth and 80's sci-fi influence which stems from the various sections that seem like they were taken out of older sci-fi media are pretty obvious, and adding guitar work to synth isn't uncommon either since even Dynatron does that. If you're like me and you love your synth just as much as your metal, then you might even argue that this is just a heavier, progressive synth album, but in my view, that is where the album stands out from your standard synth albums. It's the instrumentation, the metal guitar sections, and the grandeur of it when it all comes together. Unlike synth albums which tend to stick to a particular tone/style theme, this one explores various "frontiers," so to speak. The keys/synth/electronica carry most of the melody and add the effects, while the guitars and drums help to give it the depth and heaviness that's prominent in metal, which isn't necessarily the case in synth, where the guitar work is sparse and only rarely added for extra effect; here the guitars give the album its identity and without it, it'd probably be just another synth album.

Nucleosynthesis is a fairly complicatedly constructed album, and for one man doing it all, I think it's a pretty solid effort. Now, whether the argument of it being 'just a heavier and progressive synth album' sounds like criticism or a compliment depends entirely on you and how you like your sci-fi, synth, and metal. But regardless of what you like, I must say, the track "Boreal" is an absolute banger and everyone reading this needs to check it out--I guess that'd be like giving it a fair chance. Even the band and album names are derived from scientific terms in physics and chemistry--that's pretty "sci" in itself, haha.

Oh, and the album cover is super rad too!

Epoch of Chirality - Nucleosynthesis will be released July 23rd, 2021. Pre-order here!

Epoch of Chirality can be found:
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]]><![CDATA[OVERKILL - Horrorscope (Retrospective Review)]]>Wed, 14 Jul 2021 00:45:23 GMThttps://www.sleepingvillagereviews.com/olde-reviews/overkill-horrorscope-retrospective-review

Written by: Blackie Skulless

Imagine trying to follow up perfection; you really can’t. But you can bring forth something nearly as incredible, especially when it still blows minds thirty years after its release. Overkill had hit their peak complexity in songwriting in 1989 (regardless of how you feel about the songs themselves), and really had to come up with something mind-blowing on Horrorscope. While that may be tough in the eyes of some, they could at least offer something different, and with that I open by saying that the guitar tones alone here are what likely led to what we ended up with on The Killing Kind.

Except the thrash metal angle was still in full control, and the attitude was amped up a step from before. Though the guitars may feel a bit warmer than before, that allows them to cut with a smoother sweep due to how sharp they are. The fact that there’s such a clear space between the notes while still holding the speeds that were present on Feel The Fire is impressive beyond belief. The way they tie it all together with little licks, such as the backing ring in opener “Coma” kicks some serious ass, and this song is also a fantastic example of how they cram so much density into such warm speed-riffing.

Along with the insane and grating riff attack, Sid Falck’s drumming alone is a beast of its own. Many like to attack the cover of “Frankenstein,” but I love it for the drums alone, before the fact that it totally defiles a song that’s so clean with some of the angriest tones 1991 had to offer. The obvious standout in this regard is the fuming “Thanx For Nothing,” a bit of a staple for the fans who go beyond just the surface. “Nice Day… For A Funeral” takes this and boosts it with a gradual course to speed, and drops bombing sequences of start/stop mono-chords. The crawling guitars in the bridge to the solo are some of my favorites, and I think this is the influence of what came prior shining it’s beautiful head.

Given all of this talk of the immaculate instrumentation, I couldn’t even point out the attitude pressed deep into Blitz’s vocals. Even D.D.’s backing shouts match those. This comes back to my biggest point that while I like a few other albums better, I still think this one holds the hottest flame in regards to mean delivery. Horrorscope serves this in several different fashions, which is a key factor to its greatness. “Blood Money” integrates the aforementioned crazy speeds with Bobby’s grittier vocals, tied off with a higher howl in the chorus. On the other hand, “New Machine'' snaps on this same anger with slower, drawn-out vocals over a steadier, galloping riff.

Not enough? Let’s look at the doomier number; the amazing title track. The band really took the success of that idea from before and dumped all of its influence into this lone, furious tune. Though it’s the slowest one save for closer “Soulitude” (which ends things on the most somber, empty note it could), it’s probably the most threatening as well. Between the scorching lyrics, the equally burning-hot rhythms, the stagnant “power-stance” bridge, the suspense leading to the chorus, and finally the actual banger of a chorus itself, you’ve got what’s easily the heaviest, most paralyzing song on here. I think the doomy piano and intro in “Bare Bones” was the perfect song to precede it, so props for more solid placement.

Considering this disc is now in its thirtieth year, I’d say it seriously stood the test of time. To this day, that bass howl and lead guitar that fades in on the title track still gives me goosebumps and gets me excited. Overkill did everything they should have done in regards to changing the formula to avoid stagnation. They did it without alienating their style, and allowed itself to transition into what would come next. As much as I love I Hear Black, I absolutely understand why fans at the time may have been disappointed. Talk about a proverbial bully of a record! Not a single nice note exists on the entire thing.

Overkill - Horrorscope was released September 3, 1991 via Atlantic & Megaforce Records

]]><![CDATA[FRESH MEAT FRIDAY: July 9th, 2021 Feat. Lunar Cult, Green Hog Band, Dialith, & White Crone]]>Fri, 09 Jul 2021 12:19:47 GMThttps://www.sleepingvillagereviews.com/olde-reviews/fresh-meat-friday-july-9th-2021-feat-lunar-cult-green-hog-band-dialith-white-croneOn (regrettably infrequent!) Fridays, a wagon arrives at the Sleeping Village’s crumbling gates, stuffed to the brim with our sustenance for the following week. Today is the day we must offload all this week's new and noteworthy music, and so, in the process, we thought it would be worthwhile to share some of our choice picks from this veritable mass of fresh meat. This is what we have been listening to this week at the Village HQ. We hope you join us in doing so!

On the docket for today, July 9th, 2021:
Lunar Cult, Green Hog Band, Dialith, & White Crone

Lunar Cult - Into Unknow Darkness
(Independently Released)

Over the past year, the UK's Lunar Cult has been delivering a highly respectable catalog of electronic tunage that sits pretty firmly in one of two camps: dungeon synth or chiptune. The former was prominent in February's excellent Death Cannot Contain You, an album that I loved as much now as I did then. In this latest effort, the two styles are married pretty damn seamlessly, resulting in what can only be described as an evolution that feels inevitable, albeit wholly unique. The bright sun and gothic chambers of the synth remains an undercurrent, while even brighter bleeps and beeps serve to add even more layers of melodic interest and intrigue. The atmosphere and sheer sense of drama throughout is beyond palpable.

Frankly? I'm not sure how Lunar Cult hasn't yet been drowned in commissions to create video game soundtracks. It's all here, video game producer people!

Find it on bandcamp here!

Green Hog Band - Devil's Luck
(The Swamp Records)

Speaking of notable prolificism: Green Hog Band has been puttin' in the work since their inception a year ago, dropping a healthy spree of EPs, splits, and albums proper in that time. I borrowed a track for our Caravan of Doom, and since, their brand of fuzzy 'n' scuzzy motorcycle-revving stoner doom has only grown in appeal and proficiency. The vocals (in Russian!) carry themselves with a gravelly gravitas, and the sheer thicc-ness of the fuzz is something to marvel out. Devil's luck features both a killer groove and a flair for a smoke-laden psychedelia that sits comfortably within the swampy ambiance--see "Luck of The Devil" for a prime example of the classic Green Hog Band package. While not breaking genre boundaries or reinventing their own particular formula, these boys have dropped another solid slab that will inevitably be receiving some additional airtime here at the Village during those many moments when we require a little doom and gloom.

Find it on bandcamp here!

Dialith - Atrophy
(Independently Released)

Firstly, a PSA: if ye missed Dialith's utterly fantastic debut album, 2019's Extinction Six, I highly recommend giving it a listen. On Atrophy, a 4-track EP, these symphonic power metallers illustrate clearly why they are increasingly a force to be reckoned with. In a space that is littered with saccharine sappiness and more cheese than one can safely consume, Dialith manage to ground the high-flying vocals in appropriately meaty riffage and the kind of songwriting that consistently employs a sense of forward momentum. Most notably, a striking characteristic is the ability to avoid an unfortunate trope: power metal that is essentially constructed on a pop framework. While the choruses are undeniably catchy, they aren't the singular element that holds the Dialith approach together.

Despite the EP's title, absolutely nothing here is languid, and Dialith hath experienced no wilting nor decay. Despite an intrinsic vibrancy, nothing sits and basks in its own lush presence. If you're in the mood for something symphonic on this fine Friday, give Atrophy a moment of yer time.

Find it on bandcamp here!

White Crone - Stargazer (Rainbow cover)
(Independently Released)

I'm not sure if there's an existing maxim regarding the considerable talent one must possess in order to emulate the one and only Ronnie James Dio...but there probably should be. In any case, White Crone's Lisa Mann has the chops. This fairly faithful (albeit slightly lengthier) cover of Rainbow's iconic "Stargazer" carries itself with confidence and absolutely nails it in the execution department. If yer rockin' it with that combo, you can't exactly go wrong. Mann's voice is powerful as ever, recalling that crisp-yet-dramatic Dio quality. The vocals are simply stellar, doing a mighty track the justice it deserves. Vinny Appice sits at the kit, lending a little more credence that, if we're being honest, is hardly required.

I'm strongly of the mind that while his later work was undeniably a little more polished, Dio's Rainbow era represents some of his most energetic and exciting delivery. Few acts could provide a cover that captures the spirit of the OG, but White Crone delivers in spades. Recommended for anyone craving a revitalization of that timeless old-skool vibe.

Find it on spotify here!

]]><![CDATA[LÁSTIMA - Maldición De Sangre (Review)]]>Thu, 08 Jul 2021 07:00:00 GMThttps://www.sleepingvillagereviews.com/olde-reviews/lastima-maldicion-de-sangre-review

Written by: The Administrator

There's nothing quite like an unexpected surprise plucked from the depths of our promo pit. Retrieving a random press kit from the heap and subsequently finding something weird and wonderful will never grow old, and indeed remains one of my personal primary motivations for writing here at ye olde Sleeping Village. Philadelphia's own Lástima recently dropped their forthcoming two-track EP in the ol' inbox, and, needless to say, it made for an exciting encounter.

Lástima play blackgaze through an overtly emo lens--a sub-subgenre that reflects the nature of the band's moniker with a delightful accuracy. Referring to a sense of pity or hurt, or "to be said in order to show compassion for someone in pain," lástima seemingly describes a range and intensity of emotion that feels both potent and familiar. The music itself reflects this multifaceted term quite stirringly, and that, in and of itself, is a victory in the realm of overtly emotionally driven music. Without further ado: let's dive in!

Maldición De Sangre, as aforementioned, is comprised of two tracks. Opener "Our Wounds" doesn't beat around the bush, choosing immediacy over a drawn-out display. Coming out of the gate with a roar, a swell, and the fury of pounding drums, this track grabs the listener by the throat with an delightful intensity. The instrumentation pulses at a frenetic rate, lending the whole affair an energetic and anxious gestalt. However, after a climatic midpoint that almost seems to invent a particularly emo evolution of hardcore, things slow down significantly and take a welcome dip into the overtly symphonic. Piano and strings weave a brief and gentle backdrop...and then it's off to the races once more. Of particular note is this track's ability to lunge forward, abruptly slow to a languid pace, speed up again with unhinged intensity, and then do it all again without a lick of predictability. From blackened fury, to symphonics, to a near-droning conclusion, "Our Wounds" is...kinda all over the place. But fear not. It's a dynamic approach, and one that serves Lástima quite well.

Not to be outdone, the following title track is a little more ruminative in scope, with the band's foundation of emotional complexity on full display. The strings, paired with blackened vocals, feel particularly evocative. As before, the instrumental break offers respite, but doesn't seem overwrought or melodramatic. Like "Our Wounds," this second track balances the more aggressive edge with a more somber aesthetic, but doesn't feel quite as seamless in its construction. At the end of the day, however, it is still a great song, and a worthy Side B.

No doubt about it: Maldición De Sangre is a very promising debut. The only disappointment, as cliche as it may sound, is that there aren't more tracks in which to bask. I'm quite excited to see what Lástima cook up next, as this little appetizer certainly indicates the ability to deliver a hefty platter. Show 'em some support by snagging this excellent EP over at bandcamp!

Lástima - Maldición De Sangre was released July 9th, 2021.

Lástima can be found:
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]]><![CDATA[DREAM TRÖLL - Realm of the Tormentor (Review)]]>Wed, 07 Jul 2021 23:15:28 GMThttps://www.sleepingvillagereviews.com/olde-reviews/dream-troll-realm-of-the-tormentor-review

Written by: The Administrator

At risk of showing all my cards before the review even begins: Dream Tröll are one of my very favorite bands, and have been for a couple o' years now. Time, methinks, to gush accordingly.

I first heard Realm of the Tormentor a few weeks ago, and for the entire stretch of time between then and now, every single track contained within has been firmly lodged in my skull. This level of sheer likeability and competence inevitably raises the question: is Dream Tröll capable of putting out a less-than stellar release? Thusfar, I pleased to offer a resounding "no." Despite a rotating cast of vocalists that nearly recalls the drummer woes of umlauted brethren Spın̈al Tap, the consistency in quality they have demonstrated since 2018's The Witch's Curse is simply incredible--and 2017's The Knight of Rebellion, while less refined, is no snoozer either. Literally every single track they have released is a certified banger, a non-skipper, a prime exemplar of traditional metal prowess in the modern era. These guys claim to keep the spirit of old-school metal alive by "making the OLD sound NEW again"...and y'know what? Not a single lie hath been detected.

But this isn't a review of their bulletproof back catalog. Their latest effort--which straddles the line between album and EP with a grim tenacity--may not yet be my all-time favorite Dream Tröllrelease per se, but it certainly contains their most concisely earwormy tracks. To any newcomers, I highly recommend starting here and working backwards, cuz damn, Realm of the Tormentor has some godly chops.

Marrying the most prestigious elements of hard rock, glam metal, arena rock, NWOBHM, prog, thrash, and capital-H Heavy Metal, Dream Tröll consistently demonstrate an ability to trim the fat and deliver triumphant tunes that truly feel like the best conceivable version of the respective component genres. The foot-stomping and air-guitar inducing riffcraft is absolutely out of control, while the many solos hit the very fine balance between "refreshing" and "blistering." The bass is deliciously present, and frankly pretty ridiculous when it comes to laying down a groove without adding too much weight. The drums are precise and punchy, refusing to fade into the backdrop like so many peers in trad metal revivalism. The synth is tastefully engaged, lending a little overt 80's flair when called for. And the vocals, courtesy of one Ash Elliot, fill the seemingly unfillable shoes of alum Paul Walsh with a remarkable confidence and grace. His delivery is meaty and downright powerful, yet his willingness to lean into the high-flying drama serves to maintain the beautiful give-and-take relationship between the vocals and leads that was firmly established in earlier efforts. I dunno where Dream Tröll finds their vocalists, but they seem to have cornered the market on top-tier talent.

The band across the board operates on a very high technical level, and while the riffs are outstanding, the basswork is sublime, and so on, one of their greatest strengths as a crew is a willingness to proudly give everyone's skills the space to shine. While I'm of course not privy to the inner workings of the band, to say that everyone seems to pull their respective weight is an understatement.

Given the signature elements at play, Dream Tröll's work feels like it should be predictable after a couple of tracks. Somehow, it is anything but. Dream Tröll is proof of the maxim that the sum is greater than its component parts--no discredit to said component parts intended. The songcraft here is truly something else, with every damn track feeling like a contender for, well, best track. Each is exactly as long as it needs to be, each delivers an irresistible catchiness, each showcases a range of talent...and each simultaneously feels wholly unique. Side A, comprised of the monolithic title track, the gruff and glammy "She Got the Devil Inside," and the catchy-as-all-hell "Winner Takes Nothing," feels like ample 80's radio single fodder. These three songs prominently feature jubilantly crunchy riffage and the kind of earwormy choruses that practically demand the listener to sing along whilst throwing horns. While still intensely immersive and energetic, Side B takes an ever-so-slightly contemplative and proggy path. This variety provided allows for the potent sense of freshness and excitability to continue across the breadth. Final track "As Death Rains From The Sky," with its intensely chantable chorus, is the longest and the most slow-burning, but don't let the tempered approach fool you: this track succeeds quite well at providing an engaging exodus from the triumphant air of that which came before. While Dream Tröll do play with delivery, tempo, atmosphere, and so on, everything herein is invigorating and upbeat, yet never slides too far down the slope into overt cheesiness.

Look, if you let me go on all day and night, I'll do just that. Suffice to say: if you like high-energy heavy metal, Realm of the Tormentor will inevitably appeal. As stated in these humble halls previously, Dream Tröll are the entire package: beyond delivering hooks on hooks for days, their bubbly kineticism glistens with glam and sweat. Their commitment to revitalizing the days of yore is commendable, but more than that, they are ultimately successful to a degree that is equally frightening and inspiring. If you haven't embraced the Dream Tröll, there is no better time than the present. This beast of a release comes highly fuckin' recommended.

Dream Tröll - Realm of the Tormentor was released July 2nd, 2021.Find it here!

Dream Tröll can be found:
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]]><![CDATA[CRYPTA - Echoes Of The Soul (Review)]]>Sat, 03 Jul 2021 23:41:28 GMThttps://www.sleepingvillagereviews.com/olde-reviews/crypta-echoes-of-the-soul-review

Written by: MetalFederation (Alex)

For an album review writer moving up in the world from Instagram captions, what could be better than the debut LP from a newly formed band? I, Alex (@metalfederation on Instagram), and death metal crew Crypta are here for a mutual debut! The four-piece international group from Brazil and the Netherlands delivered Echoes of the Soul on June 11th via Napalm Records. Boasting a supergroup lineup of big names, Crypta aim to make a strong first impression with a tracklist of pummeling death metal that clocks in at just 42 minutes. Will they silence any irrelevant debates about what the perfect run time for an album is? I’m as excited as you are to find out.

(But if you’re wondering, 42 minutes is pretty close to perfect and I apologize to the consequently offended prog nerds.)

Especially with Nervosa’s release earlier this year, this debut has been long-awaited in the metal community. Crypta raises expectations even more with album opener “Awakening” being an eerily empty interlude. This horror movie-like experience begins with the slow opening of a creaky door and metallic scraping. While a track with little replay value, it certainly builds even more anticipation for Crypta’s first riff. Instead, we are introduced to Crypta’s sound with ferocious drumming by Luana Dametto and a dark howl from vocalist/bassist Fernanda Lira (both ex-Nervosa) during the opening seconds of “Starvation.” A drum-heavy mix is an instant callback to the early and unrelenting death metal sound. The combination of groovy tremolo guitar riffs from Sonia Anubis (ex-Burning Witches) and Taina Bergomaschi (ex-Hagbard) attempt to clash with Dametto and her merciless drumming. An impressive sweeping guitar solo serves as a moment of relaxation compared to the uniquely-pitched and savage growls from Lira.

Follow-up “Possessed” is an instant eyebrow-raiser that quickly departs from what Crypta have shown so far. A double bass opener allows the dark yet melodic guitar sweeps to shine. Although the drums are admittedly abrasive at times, it's difficult to remember those feelings when the band is capable of constructing guitar-laden passages like the one about halfway through “Possessed." Rhythmic dynamics enter the fray on “Death Arcana'' which is rampant with slow chugs, blast beats, and thrashy mid-tempo riffs. Even the vocalist, who has maintained the higher register, begins to throw in some low growls. There maintains a surprisingly technical level of guitar acrobatics in the forms of both leads and traditional solos. The absolute drum lesson that is “Under the Black Wings” is full of perfectly placed rolls and transitions that compliment the other members. Especially the vocals, which have at times felt a bit independent from the instrumentals, are much more in sync here. A continuously standout characteristic of the riffs is that at no point do the guitarists rely too heavily on either tremolo or on cookie-cutter grooves. Take “Kali" as an example: a song that primarily consists of tremolo riffs but never feels repetitive, especially in the context of the record.

An occasional lack of vocal creativity throughout makes it more difficult for songs to stand out, and can leave some tracks sounding very similar. The speed demon that is “Bloodstained Heritage” demonstrates where the vocals can detract from the record. On this track, which it seems that Crypta expect to be the blistering death metal anthem through repeated growls of the song title, just isn’t that memorable. If Lira didn’t continue repeating it, little else would have made me remember that this one was “Bloodstained Heritage.” Because it rarely strays from the confines of death metal, many of the songs lack that defining moment that would be instantly recognizable upon shuffling through the record. An exception to this is final opus is “From the Ashes”, perhaps the most air-guitar inducing track on here, which ensures that every listener feels rewarded for making it all the way to the end.

While fully exploring the vast realm of the death metal genre, Crypta never ventures far outside of it. Few attempts are made and none are too successful. The introductory section on “Shadow Within '' could be seen as one of the more expansive sections on the record, but falls flat and feels a bit forced without an effective transition. The band’s relentless death metal approach does begin to tire even on a short record with the kick drum being so clicky. The last 45 seconds or so of “Kali'' is a great example of what I mean by that. The production is intentionally raw which tends to benefit Crypta but does fall short for me in this regard.

The band is clearly at their best when operating within various tempos in the same song, whose transitions are enabled by fantastic drumming. Songs like “Death Arcana'' and “Dark Night of the Soul'' can chug your brain in, only to rescue you with an intense acceleration that ends in mesmerizing solos. A lack of variety can make individual songs difficult to pick out on an initial listen. The drums and vocals make the listener pay a price for turning up the volume in order to better hear the glorious melodies that are riddled throughout Echoes of the Soul. However, this is absolutely a price I am willing to pay. I can say with confidence that Echoes of the Soul is a consistently impressive record that procures ridiculously high standards for a sophomore release. With all that being said, I can only hope that I have delivered a debut anywhere close to the one that Crypta has.

Crypta - Echoes of the Soul was released June 11th, 2021 via Napalm Records

Crypta can be found:
Bandcamp
Official Site

]]><![CDATA[10,000 Years - II (Review)]]>Wed, 30 Jun 2021 22:41:48 GMThttps://www.sleepingvillagereviews.com/olde-reviews/10000-years-ii-review

Written by: Shane Thirteen

I started this review like so many others: Scorched Green in a glass piece. As per usual I have spent a few days listening to the work I am to dive into. The very first time I gave this album a spin I knew I was going to dig it. II by 10,000 Years is spacey, sludgy, and fuzzy. Just how I like it.

You see, I don't do the technical approach to reviewing. Some do, and that is great. Breaking down the album song by song and giving opinion on the technical nature of the band. I give two shits about that. I approach all reviews as if I were a fresh faced young music fan who was just handed an album by a buddy to check out. I want to explore new music with the same gusto I had when I got into records back when I was about 14. The absolute emotion of the things is what turned me on. Albeit, my tastes have changed. But I still approach music as if I have only just begun.

I'm from Kansas. I don't know jack about Sweden, other than there are bands that I like that are from there. There is a town in Kansas called Lindsborg, or Little Sweden as it's known. Little wooden horses and old people in wooden shoes. Some kind of weird coffee filtered with an egg. I have no idea what that is about. It's the closest I've ever been to Sweden. If the real Sweden is anything like Lindsborg Kansas, then it is NOT an apocalyptic space rock fantasy ride. But 10,000 Years is just that.

I myself have been known to get lost in galactic deep space many many times. A few times I almost didn't make it back. Thank the cosmos I had 10,000 Years as a soundtrack on this voyage. Full of doom sludge groovy thickness. These songs are crafted heavy sonic trips through distant nebula. The tracks glide smoothly. Bringing the weary space traveler through wormholes while darting around quasars. If you have ever imagined yourself as a lone pilot screaming through space at hyper light speed? Blasting through the desolate blackness of space in a rocket made for one? Then crashing on a desolate alien planet, only to realize you are completely at the mercy of an alien environment on a planet no one has ever heard of!?! Chances are you would love to be transported to the fantasy galaxy of 10,000 Years.

What I love about sci fi is what I found I love about 10,000 Years. I have been transported out of my troubles, stresses and worries and the daily humdrum droll and I have been taken into a Universe in which none of that matters. Because the moment you engage with the narrative you can drift away and the only thing that matters is taking the ship in for the safest crash landing your skills can muster. You are now engulfed in a world of alien worlds and creatures so terrifying there isn't enough laser blasters in the galaxy to save the day from. But your heart is racing. Your senses are on fire and you exist only as a space commando piloting a ship on a doomed voyage into the blackness of space. I live for this. The escape. The fantasy of galactic doom. I need it. I need 10,000 Years in space.

The sounds and tones of 10,000 Years feel like a warm embrace. Thick warm tones deep in rich expansive cosmic psychedelia. I have listened to this album twice with our friend the fun fungus. To embrace this world while totally engulfed in its majesty is epic. I was able to completely submerge myself in their songs. Taking me back to that time in my life where music engulfed my entire thought process.

So, there I was...living in a space fantasy I had no creation in, but felt as if I was aboard the ship itself ripping through the galaxy. Each track crashes through like starlight. On tracks like "Gargantuan Forrest" and "Dark Side of the Earth," they literally lifted me out of myself and I could feel the intent of imagination that must have been present in the room while it was being forged. Brilliant song constructions. I love it when an album flows into and within itself. When artists take their time actually constructing songs it shows, and 10,000 Years have shown me a new galaxy in an incredible piece of work. Full of soulful riffs, deep warm fuzzy tones, thick rhythm, and groove, II is fantastic. An instant heavy psych doom sludge piece of space art.

I love it. I will be listening to this for years to come.

10,000 Years - II was released June 25th, 2021 via Interstellar Smoke Records

10,000 Years can be found:
Bandcamp
Facebook

]]><![CDATA[GORE DIMENSION - Ethereal Realm (Review)]]>Tue, 29 Jun 2021 22:46:36 GMThttps://www.sleepingvillagereviews.com/olde-reviews/gore-dimension-ethereal-realm-review

Written by: Tom

Swimming in the depths of the underworld, there lives a band named Gore Dimension. These Turkish lads only come up for air in order to dispense their brutal death metal upon the legions of fans, fans that will only accept the heaviest, goriest, and nastiest musical offerings set in front of them. With this April's release of Ethereal Realm, those fans got just what they were asking for.

Gore Dimension has a great name, bringing to mind a dimension where the grotesque is normal, as its inhabitants live in a Purge-like state of homicide, where blood and gore are the only rules and everybody loses. Besides the unholy brutality on Ethereal Realm, we will also find samples from one of the most recognizable films, the cult classic, Heavy Metal! This was one of my favorite films, and having those Loc-Nar samples in here really added to my enjoyment of this album. But let's dig in a bit, shall we?

The first full track is called "Summoning for the Endless Obliteration," and opens with one of those samples I mentioned. As soon as the sample stops, so does the heaviness begin, and despite some tempo changes, that heaviness never wavers. There's a technical aspect to some of these riffs, not on the same lines as Allegaeon, but more in line with Cannibal Corpse. The guitars pulverize the listener with rabid intensity, while the lyrics spell out the doom, death, and destruction of man.

"Deception indicated, countless lies buried
A enigmatic behavior; it has rule the deprecated
A voices from absentia are heard
Prelude to the awakening, deadly depths await
Stench of poisons, covered by death
Punishing with unmitigated hellish rage
Echoes of rabid is raising from the casket"

I believe, and I'm fairly confident here, that this track is about crushing the religions that offer their praise to God, or Jesus, or what have you. This verse pretty much spells it out in plain english:

"Scourged in oblivion
Despair is all around
Our hope is chaotic salvation
cursed mass for the death of your false god"

The band ends this track with a perfect sample:

"You have had your first lesson, young one. My evil corrupts the most innocent. I have chosen you because you possess powers you do not yet understand. Look again. Look deep into me. In some worlds, I’m worshiped as God."

"I Savor Like the Entrails of Mad Children" wins the award for the most twisted song title of April. I knew, based only upon the title, that this was going to be one heavy beast of a track; I was not wrong. One of the elements that impressed me was the way the vocals are performed, as there seems to be a jagged, abrasive diction to them. It definitely adds a level to it that I currently don't have a word for, just know this, it's awesome, and you need to hear it. On the musical end of things, this really reminds me of Cannibal Corpse, Corpsegrinder-era C.C., with its buzzsaw guitars, and arrangement. The use of pinch harmonics helps add a razor edge to this amazing track.

"Dimension of gore awaits for fallen breed
I ate their truth and they lost their worthless hope"

"Agateaophobia" is towards the end of this album, but don't let its placement fool you, it's easily one of the best songs presented on Ethereal Realm. I'd have to say my favorite section is the slower part, as the music in it has a lot of room to breathe; I'm not entirely sure why, but for some reason it brings Morbid Angel to my mind. The lyrics for this section are brutal in their execution, and go like this:

"Do not have exterminating on holocaust in its mind
Let them suffer in pleasurable nightmare"

The rest of this one sounds, again, as if Cannibal Corpse was one of many inspirational acts to raise their demonic heads on this album. I'm sure others will hear different bands first, but being a huge C.C. fan, that's what sticks out most to me. "Agateaophobia" is an excellent track, albeit a short one when compared to the others around it.

The last full song is called "Devouring the Gods", and, once again, uses a perfect sample of the Loc-Nar:

"My stories are almost over. I have chosen you because you are the future who could destroy me. With your death, I break the chain for all time. Look into me, one final time."

What I love most about "Devouring the Gods" is the slower, heavily palm-muted riffs that are used for extra flavor. These parts just exude heaviness, and are stylistically more in line with hard-core, than with death metal. The arrangement is also top-tier in my opinion, the way they mesh the quicker parts with the slower sections is musical mayhem of the best variety.

Gore Dimension has put out an album that, in my personal opinion, is one that should be getting a lot more attention then it has been. I only just heard of the band today, and that is a shame; I've also not seen anyone talking about it on social media, which, again, is a shame. With that, I shall leave you to check out this one on their Bandcamp profile. I feel that fans of any extreme music genre will get into the pure power of Gore Dimension. Enjoy!

Note: all lyrics were pulled from the Encyclopaedia Metallum site.

Gore Dimension - Ethereal Realm was released April 10th, 2021

Gore Dimension can be found:
Bandcamp
Facebook
Instagram

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