On this Sabbath Sunday, we comely inhabitants of the Sleeping Village have been dipping our toes in the dangerous waters of 80’s era Black Sabbath. As one does. In the grand scheme, the general sentiment is that if it ain't Ozzy or Dio, it ain't Sabbath. While I personally tend to agree, we are talking about Iommi, the Rifflord Most High, and as such, there are certainly some diamonds in the rough. Case in point: 1983's Born Again, the blackest of the black sabbathian sheep.
Is it fair to say I'm disappointed that Born Again was Ian Gillian's only foray with the boys? My rational is that this one-off album, despite repeatedly getting the short end of the stick--often deservedly so--actually demonstrates a lot of unactualized promise.
The Sleeping Village owes a substantial debt to Black Sabbath…& not just because we blatantly lifted our moniker from their plunder-worthy supply of deep cuts. According to one contemporary review, Sabbath peddled "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch--just like Cream! But worse.” This critic was, obviously, misinformed. Because we love to give credit where credit is due, we dedicate every Sunday (give or take0 to recounting the history of their own discography, or to highlighting a lesser-known band carrying the mantle of Sabbathian legacy. Today, it's a case of the former, as we discuss one of Sabbath's most monumental albums. Welcome to Sabbath Sunday: A Vol. 4 Retrospective.
Examining the Years 2004 to 2019
Written by: Ancient Hand
Underoath: A group of musicians that stretch the definition of “metalcore” to its limits. Also defined as: “Christian Metalcore”; more accurately defined as: A tidal wave of experimentation in a dry desert of formulaic metalcore in the mid-2000s (with the exception of Converge).
After years of experimenting with black metal sounds and lyrics dealing with topics ranging from sexual assault to failing relationships, all under the lens of Christian faith, Underoath reinvented itself. With a new vocalist, Spencer Chamberlain, front-manning the group, the sound of the band began an evolution that would never cease-- even to this day. This era of Underoath, often dubbed “The Spencer Era,” is all the band considers themselves to be nowadays, even stating that their famous album, They’re Only Chasing Safety, is their “first album.” To many fans, this is a slap in the face to the band’s beginnings, but it is important to note the drastic shift between the band’s first 3 releases (Act of Depression, Cries of the Past, and The Changing of Times) and their world-famous 2004 release, They’re Only Chasing Safety. While I will not spend my time discussing these first few releases, I still do consider them a part of Underoath. What I do want to discuss are the many aspects of the band post-2003. The shift in the Underoath’s sound, musical stylings, lyrics, and approach to making music all culminate in a band that can only be described as important.
We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry.
What are ye