<![CDATA[Sleeping Village Reviews

<![CDATA[Sleeping Village Reviews - OLDE FEATURES]]>Wed, 11 Mar 2026 11:16:27 -0700Weebly<![CDATA[Sleeping Village Submission Guidelines: What to Send and Where to Send It]]>Sun, 01 Jan 2023 08:00:00 GMThttps://www.sleepingvillagereviews.com/olde-features/sleeping-village-submission-guidelines-what-to-send-and-where-to-send-itWelcome! If you want your music reviewed at Ye Olde Sleeping Village, you're in the right place. The following is a brief breakdown of what you need to send and where you need to send it.

1. The music.
You need to give us the music. Submissions without music will be fed to the Bottomless Maw. Here’s what works best for us: downloadable MP3s with accurate metadata, or Bandcamp yum codes. For the love of all that is holy, do not send Spotify or Youtube links.

2. Images.
The album cover. We don't usually include band photos in reviews, but if you want us to see how fuckin' cool you look, feel free to send them.

3. Info about your band.
This is admittedly the most subjective of the elements required. In short, briefly introduce your band, influences, and anything else you feel is essential to your band’s identity. It is also incredibly helpful for you to list location, band members, and their respective instrument(s). For more info about writing an effective bio, look here.

4. Various release info.
Label name and pre-order info, if applicable. Release date is always applicable, so make sure to include that. The Bottomless Maw gleefully consumes submissions without release info.

5. Social media.
Links to social media accounts. We will tag your band profusely.

Once you've compiled this info, send it in an email to sleepingvillagereviews@gmail.com with a subject line that includes your band name. Do not send via Instagram, Twitter, Facebook, etc. Your submission will be immediately thrown into the promo pit's Bottomless Maw and never seen again.
If you're looking to maximize the impact of a review, all this will be sent out a month ahead of your release. That said, we often review stuff that's been out for a while, so please feel to send regardless.

Lastly, if you are uncertain about anything in regards to the submission process, please ask! We're always happy to help.

*you’d be shocked how many people ask for reviews without sending the music. Shocked, I tell you!

]]><![CDATA[RAMONES: 45 Years Later]]>Tue, 13 Jul 2021 00:18:20 GMThttps://www.sleepingvillagereviews.com/olde-features/ramones-45-years-later

Written by: Blackie Skulless

Earlier this year, the debut self-titled Ramones album celebrated its forty-fifth birthday, and for many this was a monumental turn in the punk rock movement. Prior to Johnny and co., you had bands such as New York Dolls, The Stooges, and Death (Michigan) laying down the prototypes for this movement. Some will see them as the actual pioneers, and many will see Ramones dropping in 1976 as the actual start. This is a heavily discussed topic that is obviously important, but today, rather than argue about that, I’d like to take a retrospective look at this infamous debut on its own.

The biggest selling point that the Ramones seemed to have was their ability to use the utmost simplest of riffs and song structure, yet manage to get a clear message across to bring listeners back for repeat visits. This is clearly evident on the debut, and considering that the album opener “Blitzkrieg Bop” is still heavily referenced today, I’d say this idea holds up. (Side note; anybody remember this song being in the Jimmy Neutron movie?). This structure basically paints itself on the entire twenty-nine minute runtime of the album, allowing it to work as the perfect format for many a punk and hardcore band to come.

So it goes without saying that everything is going to be short, sweet, and follow the same attitude. “Loudmouth” is so similar to the opener that it's almost the exact same riff with maybe one chord change? You’ve also got one of my favorites, “Beat On The Brat” that slows things down a bit, using one verse and a chorus to carry the entire thing. “Now I Wanna Sniff Some Glue” is simply one stanza stretched across a fast and repetitive riff. And of course, they even show their tamer side with the prettier “I Wanna Be Your Boyfriend,” a tune that I also return to fairly frequently. They also manage to get pretty dark with the lyrics in “53rd & 3rd” and “I Don’t Wanna Go Down To The Basement.” So for having a little to work with, there is more going on than you’d think.

Except here’s where I step in and ruin everything; I actually don’t think Ramones is the masterpiece people will say it is, and I think that they drastically improved this style in the years following. Everything on this album certainly made for some great groundwork, and I do love returning to it from time to time, but I think "Leave Home," "Rocket To Russia," and "Road To Ruin" in particular capitalized greatly on all of the good things about this record. Everything from the raging energy on “Judy Is A Punk” to the fun cover of “Let’s Dance” feel great in the moment but almost always leave me wanting more. The aforementioned “Loudmouth” is one of the emptiest shells of a song I’ve ever heard. “Havana Affair” has some of the dumbest lyrics I’ve ever heard (yes I know it isn’t literal, that doesn’t make it good!) Even my personal favorite track “Listen To My Heart,” while having a great chorus and fun energy, leaves me wanting more at the end. This album, while doing so much for punk as a whole, feels like nothing more than a beginning, because that’s all it really is.

I can’t pretend that the debut Ramones record wasn't wildly influential, because it was, and still has an impact today. But I think this is nothing more than the skeleton of what not only they would become, but what many other punk bands would use. It’s a solid 7/10 listen, and what is here is for the most part, pretty solid. But the key phrase is “what is here.” This was a very untraditional format for rock ‘n roll at the time, and that’s why it got its own genre. I’m super glad that it grew significantly, even as early as on "Leave Home."

Ramones - Ramones was released 1976 via Sire Records

]]><![CDATA[REFUSING TO LET GO: A Review of Avril Lavigne's "Let Go" in 15 Parts (5/15)]]>Mon, 07 Jun 2021 20:08:41 GMThttps://www.sleepingvillagereviews.com/olde-features/refusing-to-let-go-a-review-of-avril-lavignes-let-go-in-15-parts-515We do a lot of ridiculous stuff here at the Sleeping Village--that, I can not deny. However, this mammothian effort on the part of Ancient Hand serves as a response to said frivolity. Nothing--and I mean nothing--is more serious than dissecting, in painstaking detail, the seminal debut of early 2000's pop-punk monarch Avril Lavinge. This, dear readers, is a magnum opus. Also, for the haters: Avril is metal as fuck. There. I said it.

The miniseries before ye is divided into a glorious fifteen parts. After a long hiatus, today marks the fifth installment: "I'm With You." If you missed our introductory statement, check it out here! - Ed.

"I'M WITH YOU"

Written by: Ancient Hand

Balladry is an art form long explored, revered, and judged by humans. The act of composing a ballad is a long-documented and discussed one, with many people seeing William Shakespeare as a popularizer, pushing balladry to the forefront of human entertainment. While he certainly did write entertaining ballads that have withstood the test of time, his reputation has stretched beyond the intent of his work. While there are moments of genius relating to the communicability found in his catalog--most notably Romeo and Juliet--this can give us an interesting insight into responses to the plague during his time. His works were created to simply be entertainment, and this should be kept in mind when we run the risk of pushing an artist that only seeks to entertain us into a spotlight deemed for legends.

You may be asking yourself, “Uh… did this guy just say don’t elevate people too high, but he’s calling Avril Lavigne’s Let Go one of the single most important pieces of art ever created?” And to that, I would say: yes! You are exactly right! Because while we run the risk of idolizing people that are undeserving of being placed on a pedestal so high we can’t see the top, Let Go is being examined, in the context of this long-winded review, as a piece of art to be studied and applied to the world around us, not as a person we should be praising and considering the savior of art and integrity.

Now, balladry has seen countless evolutions over the course of the word’s existence. Whitney Houston’s take on the word including world-famous runs and vocals that are so loud they’re about to breach the line of being painful (though they never cross that line, mind you) became famous in the latter half of the 20th century. Mariah Carey’s groovier and more tender adoption of this method, wherein the love she discusses in her ballads is evident in the sensual nature of her voice. Eventually, though, the art form would see another evolution, popularized by-- you guessed it!-- Avril Lavigne.

I am simply shocked at how incredible the first leg of this record is. We discussed the angelic “Losing Grip,” the laid-back “Complicated,” the relatable “Sk8er Boi,” and now the chilling “I’m With You.” The quality here is absolutely unparalleled, and it’s especially surprising given that this song is a ballad. It’s not another hard-rock anthem for the ages. It’s a soft, tear-jerking ballad that makes use of emo motifs (lyrically and sonically) and even features moments totally outside of any ballad wheelhouse. Before I spoil just how revolutionary this song is while speaking on it generally, we should examine the components of this song that make it the towering hero of balladry that it is.

We start off with acoustic guitars, strings, and dissonant drone-y sounds from an electric guitar that add to this auditory environment of a rainy night in an empty city. Lavigne’s lyrics cut straight to the point: “I’m standing on the bridge./ I’m waiting in the dark./I thought that you’d be here by now,” which immediately establish her state as alone amongst the architecture of this “damn cold night” the chorus informs us of. The main point of this song is reiterated in every iteration of the chorus. This tale, one of an individual stranded amongst a populated city, is emblematic of society in the Twenty-First Century: Isolated, but Together.

Lavgine’s declarations of feeling alone but having someone she’s there with perfectly mirror the strange digital reality we find ourselves in at this very moment (in the Year of Our Lavigne, 2020): alone, but with just the touch of a button, connected to every corner of the world. This unparalleled ease is difficult to comprehend, and it has existed solely through online mediums. Rather than say “I’m taking to a friend I made halfway across the world,” we’re simply “chatting on Instagram.” Now, is this subject matter prophetic? Sure, but what was Lavigne’s true FIRST intent? I believe it was discussing loneliness. This is evident from the title alone; rather than “In the Digital Age: Discussing the Fractures in Society that are Simultaneously Caused and Healed by Online Messaging,” the song is simply titled, “I’m With You.” And this message is Lavigne’s true intent. She’s alone…with you.

The musical stylings of this track are our first true foray into Lavigne’s balladry. Her storytelling prowess carries over from the previous track and offers even MORE room for interpretation. This story follows both you and her, and it is in your heart and ears that you can have the story playout as you so choose. Lavigne single handedly took the next step in balladry: prophesying the future of communication and allowing audience input and interpretation to a degree never before seen. A pinnacle in modern song, an obelisk in modern storytelling, and one giant step for humankind in balladry, “I’m With You” completes the end of the first leg of this album that so many are familiar with.

Stay tuned for our forthcoming discussion of "Mobile."

]]><![CDATA[A (Free!) Band Bio Template]]>Mon, 10 May 2021 20:25:17 GMThttps://www.sleepingvillagereviews.com/olde-features/a-free-band-bio-templateHere's a common (and very legitimate) question: “what goes in my press kit band bio?” We here at the Sleeping Village enjoy receiving a solid bio, but, beyond that, we enjoy when bands handling their own PR maximize their potential. As such, here's a template and some advice on how to construct a band bio that does its job. A .doc and PDF download are available at the bottom!

In short, the band bio serves two major purposes:

A. introducing your band in a succinct but curiosity-inducing fashion, and

B. providing useful and necessary info to the reviewer/label/distributor/PR firm/etc.

BAND NAME
[Insert Album Title]

[Distributor/Label, if applicable]
[Release Date]
[Genre]
[Format]

This first paragraph is your hook. Boil your identity down to its essence. A mission, a coalescence of your sound, a key factor that binds you together. Because you will be listing member's names later in the EPK, don't talk about your extensive lineup changes; no one cares. After you drop info about your band name and where you're from, describe what makes you any different than the many other bands in your target audience's inbox. Do you bring in elements from various genres? Do you have a specific thematic angle? This is the spot for your unique identity to shine. Indeed, if a reviewer opens your press kit and is able to get a feel for your band within reading the first paragraph before even listening to the music, you are doing something right. That said, if you want to throw in bands you sound like/are influenced by, go right ahead--this is very helpful for a discerning audience trying to decide if this is a worthy investment. In fact, I highly recommend being clear about genre categorization and FFO's.

The second paragraph? This bad boy should describe how people have reacted to your music. Prior press, if you have it. If not, you gotta get creative. For example, choice Bandcamp or YouTube comments can be employed. If you are totally new on the scene and don't have previous press or reactions, use this space to talk about your objective. What are you trying to do or accomplish? If you have any affiliations with (ACTUALLY) well-known bands, or if you opened for someone big, that info can go here. That said, it is only worth including if said band(s) are relevant to your genre and/or someone the target audience will recognize.

And then, in the third paragraph, describe what you are submitting. Is this your first effort? Is this a new direction? An affirmation of your established core sound? Most importantly: what will listening to this release do for the reviewer and their audience? Throughout this entire process, remember to maintain consistent branding. If your brand isn't displayed across the breadth of your bio, it's not doing its job. This bio is your opportunity to catch eyes, and, more importantly, ears. Ultimately, the hardest part of writing this damn thing is the last sentence, but if you tie it back to your first paragraph by using similar verbiage, you’ll be golden.

Praise for BAND NAME’s prior releases (if applicable):

“Hey, here’s something nice someone said about your band. 8/10” - Link to Source

“Another nice thing someone said about your band! Yet another piece of valuable social proof.” - Link to Source

“Those other comments were nice, but this comment about your band is fuckin’ awesome! If someone unrelated to your band read this comment, they may very well decide to give your album a listen.” - Link to Source

[Insert Album Title] Tracklist:
1. The first track
2. The second track
3. You get the point

Band Name is:
Person #1 (lead guitar/vocals)
Person #2 (second lead guitar)
Person #3 (third lead guitarist, second vocalist)
Person #4 (prince of percussion)

Band Name can be found:
Bandcamp
Twitter
Facebook
Instagram
Youtube
Spotify

Short paragraph bio:
This is effectively the first paragraph of the full bio, perhaps trimmed down to be slightly more succinct, with a sentence at the end discussing your forthcoming release, if applicable. This bio is for use in situations where the big guy doesn’t make sense--if, or example, a site asks for info about the band to go along with an interview or press release, this can be used. This can also be applicable in the case of Spotify bios, Facebook “About” pages, and so on.

Elevator pitch:
This is a super succinct version of your short bio, for use in taglines and social media bios. Twitter, Instagram, Bandcamp, etc. are all good places to use this thing. Keep it consistent across the board.

Here's a word doc!
File Size:	317 kb
File Type:	docx

Download File

Here's a PDF, if you prefer
File Size:	67 kb
File Type:	pdf

Download File

Or, if you want someone else to write this for you instead, hit me up at sleepingvillagewriting@gmail.com

]]><![CDATA[Fistful of DOOM Vol. 100 Giveaway Announcement]]>Wed, 10 Mar 2021 00:43:42 GMThttps://www.sleepingvillagereviews.com/olde-features/fistful-of-doom-vol-100-giveaway-announcementGreetings, passers-by! Check out this announcement from our friend over at Fistful of DOOM. - Ed.

Ladies and Gentlemen (and I use the term loosely) it is with great pleasure that I (Uncle Jameson, host of the Fistful of DOOM show) announce the 100th Volume of Fistful of DOOM. To commemorate this monumental occasion I will be doing a flurry of giveaways through the show’s social media pages in the days leading up to the release of Volume 100. The giveaways will begin on March 11th and will conclude on March 16th.

I am guessing that you’d like to know a little more about the giveaways? Well, there will be oodles and oodles of albums to give away in a handful of formats including vinyl. Bandcamp codes? Yes. Compact discs? Yes. There are also a couple of t-shirt/album bundles. What more could you ask for? How 'bout a list of the bands and labels involved:

Whitecrone, Xtelyon Records, Black Spirit Crown, Jenn Taiga, Saints and Winos, Dungeon Weed, KOOK, Glory or Death Records, Ultra Void, MMD Records, Olde, Haq123, Ripple Music, Problem With Dragons, AntiMozdeBeast, Mandrone Records, The Age of Truth, 20 Watt Tombstone, TDW.

Massive thank you to each and every one of these bands and labels for contributing to this giveaway. I am humbled by your generosity and eternally grateful.

Finally, let me extend my deep appreciation to anyone and everyone that has taken the time to listen, like and share the show over the past five years. Your support is greatly appreciated.

Fistful of DOOM can be found:
Twitter
Facebook
Instagram

]]><![CDATA[ON THE HORIZON: Domkraft - Seeds]]>Sun, 21 Feb 2021 15:06:14 GMThttps://www.sleepingvillagereviews.com/olde-features/on-the-horizon-domkraft-seedsWelcome to ON THE HORIZON, our relentlessly infrequent feature wherein we discuss upcoming albums that have caught our sleep-encrusted eyes. Us Villagers are always on the lookout for the next best thing to wake us from slumber. On the docket today: the forthcoming full-length from Sleeping Village favorites Domkraft.

Written by: The Administrator

Look how easily we cast aside the tired present and gaze longingly into the future! I, for one, am getting mighty excited about the music that awaits just beyond the horizon, and Domkraft's forthcoming third effort is certainly the cause of some of said excitement.

Ah, Domkraft. Revel in their name. Back in the primordial days of this here blog, their stellar Flood found high ground on our 2018 Albums of the Year list, landing at a respectable #4 for that year. Presenting a remarkably well-executed blend of fuzz-worshiping doom and psychedelic wanderings, Flood remains one of my favorite doom records of the last five years. Their follow-up, Slow Fidelity, somehow missed our rudimentary radar and thus missed year-end shenanigans, but it provides a similarly strong showing, leaning a little further than its predecessor into the ethereal realms. Needless to say, we were quite pleased to see evidence of a forthcoming third effort land heftily in the midst of our promo pit. Seeds will be released at the end of April, and the first single, "Dawn of Man," is available now for yer listening pleasure.

Both the trippy cover art and "Dawn of Man" itself indicate a continuation of the trend of hypnotic instrumentation. The riffs are hooky and cyclical, falling into themselves with mammothian heft. Like unto the best of the modern doom world, there's a distinct physicality to the track--it pushes and pulls the listener, leaving no avenue for escape. The howl-from-the-void vocal delivery only adds to a sense of vastness. In other words: it sounds damn good. If this sounds like your kind of music, you should probably check it out.

Says vocalist/bassist Martin Wegeland: "The first single, 'Dawn of Man' from our forthcoming new album represents the sound of the physical rebuilding of human civilization. We need new places of worship, cleansed of fear, hate, and everything else that corrodes a society. The idea is a kind of modern pyramids, utopian 'audiodomes', and this song represents the construction phase of these. We went for a mechanical yet earthy feel, based on this rolling, neck-breaking drum beat that just keeps moving. It should feel like being in the middle of a crowd full of clenched fists wielding sledgehammers, unable to stand still. Seeds was written specifically to be performed live, with all songs to not only be heard, but also felt. Since that is not really an option right now, we wanted to capture the multi-sensory experience of a live show in the most efficient way. With increased restrictions here in Sweden, we decided to record a practice space performance and then trip it out to channel the sensory overload that an ideal live experience provides. With this video, we wanted to fill the void somehow, but we can hardly wait until we're able to play in front of actual people again."

TRACKLIST:

1. Seeds
2. Perpetuator
3. Into Orbit
4. Dawn of Man
5. Tremors
6. Krank Blekhet
7. Audiodome

Domkraft - Seeds will be released April 30th from the illustrious Magnetic Eye Records. Check out the pre-sale here!

Domkraft can be found:
Bandcamp
Facebook

]]><![CDATA[NEW PLAYLIST: Metal Inspired by STAR WARS]]>Tue, 16 Feb 2021 17:18:35 GMThttps://www.sleepingvillagereviews.com/olde-features/new-playlist-metal-inspired-by-star-wars

Chuba, h'chu apenkee! If you're a fan of:

A. STAR WARS, and
B. various metal genres under the twin suns,

his is undoubtedly the playlist you are looking for. Sonically disjointed, but thematically solid. No one asked for this, but we're giving it to you anyways.

This playlist will be ever-evolving as we discover new Star Wars affiliated tunes, so throw us a follow!

If you have a song to suggest, let us know in the comments and we shall add in short order.

]]><![CDATA[FRESH MEAT FRIDAY - Bandcamp Day Feb. 4th, 2021 Feat. Aisteach, Space Caravan, Everson Poe, & Non Serviam]]>Fri, 05 Feb 2021 08:00:00 GMThttps://www.sleepingvillagereviews.com/olde-features/fresh-meat-friday-bandcamp-day-feb-4th-2021-feat-aisteach-space-caravan-everson-poe-non-serviamOn (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’ll be--and have been--listening to this week at the Village HQ. We hope you join us in doing so!

As today is Bandcamp Friday, that sweet 15% cut will be directed back to artists. In other words: today is the day to support 'em!

On the docket for today, Feb. 4th, 2020:
Aisteach, Space Caravan, Everson Poe, & Non Serviam

Aisteach - Polytron-ed
(Independently Released)

Let's fire things off with a weird one, shall we? Taking its moniker from the Irish terminology for "peculiar, queer, strange, unusual,"
Aisteach presents
industrial noise at its most disturbing. To quote my comment over of Ye Olde Bandcamp: "Polytron-ed is a capital-E Experience. This abrasive industrial / grind / noise monstrosity feels simultaneously organic and mechanical, pulsing and pounding with energy." This is an EP that is difficult to listen to by benefit of its overtly creepy vocal samples and its generally oppressive atmosphere, but the sheer inaccessibility is all part of the intrigue. Polytron-ed is inventive in a way that we Villagers seldom encounter, and, as such, I'm super excited to hear whatever comes next.

Find it on bandcamp here!

Space Caravan - Space Caravan
(Independently Released)

It simply wouldn't be a Friday here at the Sleeping Village
without a lil' stoner rock. Space Caravan, a crew of riff-worshipers straight outta Phoenixville PA, don't deliver the most innovative goods, but the goods themselves are...well, quite good! There's a definite Orange Goblin-by-way-of-Cathedral aesthetic, topped off with a delicious cosmic + biker vibe. The grooves and riffs contained herein are potent as ye might expect, and the vocals, while perhaps a little gruff and unpolished for everyone's liking, suit the rough 'n' tumble feel of the tunes quite well. If you're looking to sample, I recommend the riff-tastic "Black Kraken" as a general overview of what these hard rockin' fellas have to offer.

Find it on bandcamp here!

Note: the following have pre-orders available today, but will be released in full at a future date.

Everson Poe - Grief
(Trepanation Recordings)

Besides being remarkably prolific, (check out her stunning split with The Sun Came Up Upon The Left, released earlier this year,) Everson Poe never ceases to evolve and expand beyond the sound established on prior releases. This is an artist who has eliminated the status quo when it comes to maintaining a predictable formula, and that in and of itself is very exciting to witness. The forthcoming Grief, which is available today for pre-order via Trepanation Recordings, is easily the heaviest Everson Poe effort thusfar. It leans heavily into a series of spoken word samples taken from assorted interviews and sermons--a tactic that would seem cliche in lesser hands, but ends up creating a genuinely captivating narrative and conceptual arc. My first two listens have proven incredibly enjoyable--I'm pumped to dive in and continue to absorb all that this album has to offer. This may just be Everson Poe's best work yet.

Grief is currently up for pre-order here.

In the meantime, "Bargaining" is available for yer listening pleasure. Check it out, I implore!

Non Serviam - Work
(Trepanation Recordings)

This release day roundup is host, it would seem, to a lot of intrinsically weird music, and frankly, we wouldn't have it any other way. As luck would have it, Non Serviam, an anonymous metal collective born to break and reshape the molds of genre convention, fits right in.

The stellar Work is one of two (!) Non Serviam releases set to come out via Trepanation Recordings on May 1st--the second being Live Improvisations – Vol. 1. If you can believe it, these both come out after Non Serviam's Le Cœur Bat, due out in April. If that work ethic isn't something to gawk at, I dunno what is. And, given the thematic underpinning of the effort in question, I'm fully aware of the irony in that statement. In any case, Work is a dizzying display of sights and sounds, taking significant influence from industrial, electronic, and trip hop. If you're familiar with Non Serviam's prior work, this is quite different fare, but no less enjoyable, immersive, and tantalizingly thought-provoking.

Pre-order it on bandcamp here!

]]><![CDATA[FRESH MEAT FRIDAY: Oct. 9th, 2020 Feat. Coastlands, Yatra, Legendarium, Slow Draw, & Dangerous Times for the Dead]]>Sat, 03 Oct 2020 18:58:55 GMThttps://www.sleepingvillagereviews.com/olde-features/fresh-meat-friday-oct-9th-2020-feat-coastlands-yatra-legendarium-slow-draw-dangerous-times-for-the-deadOn (most) 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 new 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’ll be--and have been--listening to today here at the Village HQ. We hope you join us in doing so!

On the docket for today, Oct. 9th, 2020:
Coastlands, Yatra, Legendarium, Slow Draw & Dangerous Times for the Dead

Coastlands - Death
(Translation Loss Records)

The common concern with instrumental music is that an album will inevitably run out of things to say, and thus become... boring. That certainly isn't the case with the latest from Coastlands, an impressive post-metal/post-hardcore outfit from Portland OR. Death is a welcoming yet harrowing ride--similar, in ways, to Insect Ark's album from early this year, albeit a little more varied in the atmosphere department. In that sense, the constant shifting approach of Russian Circles might be a more apt comparison.. This is music designed to envelope the audience and carry them away on the emotive and sonic current, and it does so with apparent ease. If you're looking for an immersive album, this week's offering doesn't get better than Death.

Find it on bandcamp here!

Yatra - All Is Lost
(Grimoire Records)

Yatra is, dear readers, as Yatra
does. For those of you not in the know, Yatra does good doom at a rate that is becoming a tad alarming--indeed, this is their second full-length of the year. This crew is characterized by an utterly sasquatchian tone and a penchant for throat-mangling vocal delivery, and All Is Lost is another feather in their increasingly flamboyant cap. That said, I do take minor issue with the monotony--by the back half, I found myself wishing for a little additional intrigue to shake things up. The established formula works well, but sometimes formulas become traps, and I'm excited to see Yatra branch outward and upward with their next release (which should be out in a couple months, assuming they keep up at the same impressive rate.)

Find it on bandcamp here!

Legendarium - Reign in Repose
(Independently Released)

Legendarium plays good ol' heavy metal with a healthy tinge of jubilant punky bounce--i.e. exactly what the doctor ordered after a long week. Reign in Repose is a highly melodic affair, with an emphasis on fun riffage, triumphant solos, and narrative cohesion. Check out album opener "Breaking the Seal" for a prime example of what these guys can do.
While this is definitely their strongest showing yet, Legendarium is still a lil' rough around the edges. As an aestheitc on it's own, the rawness works. However, the reedy vocals likely won't be for everyone--they don't always meld with the instrumentation, which contributes both to the punky vibe and a general sense of weightlessness. However, Reign in Repose is a massive step forward.

Find it on bandcamp here!

Slow Draw - Quiet Joy
(Independently Released)

The (virtual) liner notes for Quiet Joy indicate that this latest EP from one-man ambient drone project Slow Draw is "for those looking for some head-space to help clear your mind." I'll be damned if that's a far better (and more succinct!) description than I could ever give. As I've written before, Slow Draw nails that perfect balance of spareness and subtle intrigue--and perhaps here moreso than ever before. There is a simply delightful simplicity at play. And yet, while there is ample time and space for the mind to wander across the expanse of these four tracks, there is also inevitably some small detail or effect that serves to ground each respective song. If you're looking to de-clutter your thoughts, I can frankly think of no better soundtrack.

Find it on bandcamp here!

BONUS TRACK RELEASE!

And lastly, if you're in the mood on this fine Friday for some capital-M Metal, Dangerous Times For The Dead have ye covered with their boisterous and fun-lovin' self-titled single. Exuding a spirit reminiscent of, well, basically any of your favorite 80's personalities, it's not a particularly inventive track, but clearly isn't aiming for lofty heights so much as providing a rollickin' good time. I mean, look at that glorious cover art. Dangerous Times For The Dead is a potent metal brew with a hooky-ass chorus, some delicious axemanship, and a full-throttle Danzig-esque momentum that just won't quite. In other words: absolutely worth your while as you careen into the weekend.

Check it out here!

]]><![CDATA[FRESH MEAT FRIDAY: Oct. 2nd, 2020 Feat. Canyon, Adzes, Everson Poe, and Silence Equals Death]]>Fri, 02 Oct 2020 12:41:41 GMThttps://www.sleepingvillagereviews.com/olde-features/fresh-meat-friday-oct-2nd-2020-feat-canyon-adzes-everson-poe-and-silence-equals-deathOn (increasingly 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 new 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’ll be--and have been--listening to today here at the Village HQ. We hope you join us in doing so! As today is Bandcamp Friday, that sweet 15% cut will be directed back to artists. In other words: today is the day to support 'em!

On the docket for today, Oct. 2nd, 2020:
Canyon, Adzes, Everson Poe, and Silence Equals Death

Canyon - Insane
(Independently Released)

Promo material describes this single from Melbourne's Canyon as "chompy and replayable," and, loathe as I am to steal adjectives, I'm not sure I can describe Insane more accurately. There's a fun lil' alt-metal bounce at play, with just enough teeth-gritting aggression, foot-stomping momentum, and grungy angst to set it apart.

In an odd way, Insane feels caught in the amber of 90's headbang fodder...but yet brings a maturity to the table that I wasn't expecting given the initial force of riffage. Definitely check this track out if you're in the mood for some forthright grit.

Find it on bandcamp here!

Adzes - Microclimates
(Independently Released)

If you're no stranger to the Sleeping Village, you're (hopefully!) no stranger to Adzes, who absolutely crushed it with No One Wants To Speak About It earlier this year. Microclimates, in comparison, occupies a whole 'nother musical environ. Featuring two covers--Gillian Welch's "Revelator" and Tom Petty's "Wildflowers"--this 2-track adds a few musicians and takes the sludgy tone down a notch. Both covers are, simply put, stellar. Ana Wright's killer vocals are a real star--they carry themselves with an understated emotive edge that fits so damn well with the tracks in question. In short? I'm practically clamoring for more stuff like this. Highly recommended!

Find it on bandcamp here!

Everson Poe - Mirror
(Trepanation Recordings)

I'm always excited to encounter a new track from Chicago-based multi-instrumentalist Everson Poe. Why? Besides being, y'know, uniformly
enjoyable, there's inevitably a strong element of surprise involved. They dance through genres with an intrigue and ease that perpetually keeps the audience guessing--from industrial, to goth, to doom, to ambient soundscapes, and beyond. New single "Mirror" is a particularly strong example of this ability to merge and meld sounds to create something that feels sonically fresh and enticing. The beat is catchy as hell, and that refrain looms with a delightful menace. The verdict? If you're unfamiliar, it's high time to familiarize yerself.

Find it on bandcamp here!

Silence Equals Death - Switch
(Upstate Records)

Sometimes--and, often, if we're talking about Friday afternoon after a week of being glued to the news cycle--a little catharsis is appreciated. Nay, required. Thankfully for us slumbering villagers, NJ's Silence Equals
Death are here to (briefly) unleash some tasty fury. "Switch" is a barn-burner of a track, pulling out all the stops when it comes to relentless aggression and feel-good pugilism. There's not a whole lot of innovation at play, but frankly, no one asked for it anyways. If you, like us, are in the mood to throw back, let loose, and inevitably cause a little property destruction (shhh!) this track (and the forthcoming EP to which it is attached) is gonna be right up your alley.

Find it on youtube here!

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