Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. Today's pick: another one of The Voiceless Apparition's all-time favorites. As I noted before, the man, as you may have noticed, is on a goddamn roll with these retrospectives. Once you're done with this retrospective, check out some of these look-backs on underrated classics! ![]() Written by: The Voiceless Apparition ...And just like that, we are back. Hello everyone. Today we're gonna take a small detour from the black metal-leanings of the last few reviews and go for where my heart lies: death metal. I'm happy to say that today's review is the debut album from Austrian death metal gods Pungent Stench, and their album entitled For God Your Soul... For Me Your Flesh, released on April 9th, 1990, via Nuclear Blast Records. This is a monumental album in the growth of the European death metal scene, and while it may be still underappreciated compared to it's peers, this is a bonafide classic to the ones who adore it. The album begins with really eerie intro before being led into "Extreme Deformity." This is the perfect way to start the album. Tasty and filthy grooves combine with pummeling death metal and grindcore brutality, but without sacrificing hooks and catchiness. A major facet of this album that I like quite a lot is the prominent use of bass on this album, courtesy of Jacek Perkowski. He gets time to shine with 2 glorious bass solos that mix well with everything on this song, but that's just a small aspect of this album as he is heard really well in the mix throughout the whole album. Track two, "Hypnos," is a bruiser. The groove sections on this song are glorious, they are simple and catchy but they still keep that energy and rawness to the song. Another fantastic tune on this fantastic album.
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Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. Today's pick: another one of The Voiceless Apparition's all-time favorites. The man, as you may have noticed, is on a goddamn roll with these retrospectives!
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Written by: The Voiceless Apparition
Germany is quite known for their metal scene, whether it's the thrash of Sodom, the metalcore of Heaven Shall Burn, the death metal brutality of Morgoth...but then there's Bethlehem. Bethlehem is quite an enigma in the German metal scene. They're pioneers (hell, they basically created dark metal) but also remain underlooked and underappreciated. So for my next review I decided to take on their legendary and underrated debut album known as Dark Metal, released in August of 1994 (exact date unknown) on Adipocere Records. Let's dive in to one of metal's more obscure albums. "The Eleventh Commandment" begins the album on a catchy and eerily groovy note. The opening riff is superb: filled with melody, dread, and atmosphere. While this song is a great way to begin the album, it DOES NOT represent the album as whole, in my opinion. To drive that point home, track two, "Apocalyptic Dance," is where the album really kicks off. This song is the definition of dynamic. Melding in between spaced out sections and crushing doom, this song is a journey. My favorite part of the song is the last few minutes, because the song fades out, only to re-emerge into a down-trodden and depressive section with piano and a really memorable bass-line to keep you engaged, courtesy of founder Jurgen Bartsch. Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. Today's pick: another one of The Voiceless Apparition's all-time favorites. Read on! ![]() Written by: The Voiceless Apparition Part III of my retrospective review series! Today's review is brought to you by the highly underrated Italian black metal band Opera IX and their second studio album entitled Sacro Culto, released on April 18th, 1998, on Shiver Records. This album marked an evolution in the band's sound compared to their first album, bringing in more elements of doom metal, gothic metal, classical, and small hints of folk, while still retaining their black metal roots. Does this extension of the bands sound work in their favor? Let's dive in. Right off the bat, opening track "The Oak" swings out the gate and beats you over the head with a barrage of brutal and heavy riffs, but there's also a strong emphasis on the keyboards being a major part of the band, as they are implemented throughout Sacro Culto as a whole. This song is pretty pummeling the whole way through and serves as a teaser to what's to come, but without showing too much. Followup "Fronds of the Ancient Walnut" is a beast of a track. While still being brutal, there is a lot more atmospheric compared to the previous song. The stars of this song are the riffs, and the keyboards/piano. They really complement each other so well, the guitar riffs/tone are so heavy and the keys are so pretty and spacious and gothic--all told, it really mixes well together. This is a definite highlight on the album. Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. Today's pick: another one of The Voiceless Apparition's all-time favorites. Read on! ![]() Written by: The Voiceless Apparition Hello everyone. Here is part II of my retrospective review series. Today I'm going to be reviewing the second studio album from Chicago dark metal pioneers Novembers Doom. Entitled Of Sculpted Ivy and Stone Flowers, this album was released on May 25th, 1999. This album marks a huge shift in the band's sound compared to their debut album, as they almost completely shed their death/doom bruteness (not entirely) and went instead for a more melancholy and melodic gothic metal sound. The album begins on a melancholic note, as "With Rue and Fire" is a hauntingly painful song. Drowning in despair and regret, this song pulls at your heartstrings. With such heartbreaking lyrics like: "In some sick way, I enjoy my pain/It always seems to indulge me," you can't help but feel for vocalist Paul Kuhr as he belts out growls with such agony and conviction. "The Jealous Sun" picks up the pace a little bit, albeit with dynamic and mood shifts. I really liked the choice of layering the growls and clean vocals together in the first verse, it gives it more of an epic feeling to it. Major praise needs to be given to guitarist Eric Burnley as his choice of chords and melodies is fantastic. Towards the 4:00 mark we segue into a beautiful section of gorgeous clean guitars and the amazing vocals of Cathy Jo Hejna. Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. Today's pick: one of The Voiceless Apparition's favorites--an album with which this slumbering administrator was sadly unfamiliar. Until now. Read on! ![]() Written by: The Voiceless Apparition I've decided to do a small retrospective series during this quarantine and review some of my favorite classic and underrated metal bands. Today's review is the sole studio album from Cabal entitled Midian. This album features legendary Necrophagia singer Killjoy on vokills. "Images in Blood" begins on a mighty note. Strong frantic riffs, groove, and hooks. Killjoy's vocals are absolutely unhinged on this album, ranging from maniacal throaty screams and evil growls. "Midian" starts out with this really airy and sinister riff before exploding into a thrashing fury. There's one particular section in the song I want to talk about and it's around the 2:47 mark: this riff is beastly and I love the way they open with the tom hits and keep building up until we go into the most insanely catchy groovy section ever. "Dark Desires" is once again another highlight. While still having fast parts, this song is far more groovy in my opinion. The riffs are infectious. So memorable and catchy, I guess that could be said about all of the riffs on the album. A fantastic way to close out the first half of this album.
Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. Today's pick: one of 2018's most blatantly fun albums. Read on!
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We Villagers are hardly the first to recognize that metal fans, despite corpsepaint’d convention, sometimes like having a little bit o’ fun. Representing one side of this attitude are deliberately goofy groups such as Gloryhammer and Nekrogoblikon...and on the other are bands like The Crown whose sheer joy in making music injects a palpable sense of fun, albeit minus the silliness. This is all to say that Cobra Speed Venom, despite small flaws, remains one of the most deliberately fun and exciting releases I had the pleasure of hearing during the year in question.
Since those primordial days of Ye Olde Sleeping Village, I've found myself returning to this album somewhat regularly. It's a form of comfortable escapism, if you will.
Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. As ye may have noted, we're trawling through many of our 2018 Album of the Year picks--many of which, I'm pleased to state, still hold up today. On the docket for today: my personal #3 album of '18. Read on!
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Like dissecting a joke, the process of over-analysis often kills the magic...but sometimes, it serves to enhance. The latter holds true here, & I can say with great satisfaction that over multiple attempts to pen this review, Paara’s Riitti has only tightened its delightful stranglehold. This is a masterfully crafted & richly emotive album, expressing folkish and blackened influences with a vibrancy eschewing mere imitation. Comparable to the glory days of Insomnium, or perhaps Moonsorrow if their songwriting wasn’t so, well, bland, each of these four tracks drives forward at natural gait without ever feeling overdone. This is particularly so in the case of intro track "Viimeinen virta"--the longest of the bunch, no less. A brave move with spectacular payoff.
Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. On the today's docket is an album that landed pretty high on my AOTY list of 2018, and remains in near-constant rotation to this day. Hence:
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I sing the praises of this album quite frequently, but, as today is its second birthday, I feel that a little more chit-chat on the matter is justified. Why? Judicator is my favorite power metal band. Full stop.
Taking the glorious bombast of the Blind Guardian (et. al.) Germanic power metal scene and combining it with subtle thrash sensibilities, Judicator perfectly balances monolithic vocal melodies with righteously aggressive riffs 'n' drums. 2018's The Last Emperor ended up at #6 on my year end list, and has continued to steal the spotlight since. Their entire discography is worthy of similar attention. Hooky yet complex tracks are the name of the game, and frankly, if you're mad at power metal because it epitomizes this formula, we can't really help ye out. Here at the Sleeping Village, we keep our most revered albums in....a very special place. Their time may have gone, but they are certainly not forgotten. On the today's docket is an album that, despite not receiving a whole lot of love from critics, ended up smacking 2018's Albums of the Year list in the face, coming in at a respectable #8. ![]() And, if I had to do it all again, I suspect it would land in a very similar place. Hindsight is always 20/20, and in this case, I regret nothing. TerrorVision is a damn fun album--one that I still listen to frequently to this day. There are a lot of brutal death metal bands that bring visceral bombast to the operating table, but Aborted ply their trade with an indistinguishable and unmatched glee. It's absolutely disgusting. Across the breadth, individual tracks begin to lose distinct character, but rather form a series of brutal procedures, grinding and lacerating with bloody intent. Unlike many of their counterparts in the realm of goregrind and brutal death, who may wield scalpels like blunt force instruments, Aborted are relentlessly calculating in their technicality. That said, they never let flashiness take president over that which matters most--pummeling riffs, cranium-splitting drums, belligerent vocals, and straightforward songwriting. TerrorVison is fast, hefty, and, despite boasting a modern hone, is smeared with the accumulated viscera of a remarkably consistent career. Here at the Village, we keep our most revered albums in a very special place. As you may recall, a few months ago, one fearless Villager took you on a wild ride through the Village Crypt, along with a special guest. This time around, Loveloth is back in the Crypt with--you guessed it--another Devin feature. ![]() After Addicted, there was a year and a half of silence until one faithful day, the Devin Townsend Project unleashed not one but two records, Ghost and Deconstruction. Each represents an extreme. Today we delve into the convoluted, absurd and insane Deconstruction, which is actually the record that started my reviewing journey. Three years ago, I wanted to do a review of it for Metal Archives, but the admins deemed it as too long and detailed and I completely understand why. However, the Village bears no mind to length *insert dick joke here* as long as it's good, and I definitely improved over these past few years, so prepare for a wild ride because this record deserves it. But before we get into the nitty gritty, a few facts about Deconstruction. It's a concept album but it's an absurd and hilarious one, just like the previously eternalized Ziltoid. The story revolves around a man obsessed with finding the true nature of reality, and we watch him travel to Hell itself where he meets the Devil who grants him his wish. There is a twist to the story and it comes in a shape of a cheeseburger. The cheeseburger contains the secrets of the universe but our protagonist is a "vegemetarian" so his whole struggle was pointless. There is a positive message cleverly hidden here, and it's basically overcoming your fears and moving on, and the chaotic nature of the record reflects it. With Devin at the helm and Ryan Van Poederooyen and Dirk Verbeuren (who I shall continue to refer as "The Dirk") as the two main drummers, this would be enough for most musicians, but not for Devin who decided to go all out. What we ended up with here is the single best line-up of guest musicians of all time (sorry Ayreon). People such as Fredrik Thorendal of that underground band Meshuggah, Mikael Åkerfeldt, Ihsahn, Joe Duplantier, Tommy Giles, Greg Puciato, Floor Jansen and Prague's very own Philharmonic Orchestra are just some of the names that will pop up on this insane record, and all of their contributions elevate Deconstruction to glorious and flatulent heights. ![]() With that large set of information out of the way, we can finally jump in the rabbithole and see why I hold Decon in such high regard. Things start off innocently enough with the soft, electronic tinges of "Praise The Lowered". That innocence slowly fades as the track subtly adds new elements and reaches a breaking point midway through, but the chaos slowly subsides and morphs into "Stand" which, similarly to the previous track, plays with build-ups and dynamics. But this time we have Åkerfeldt and chugging in the mix and here our protagonist reaches the fiery depths of Hell but the sound palette that surrounds this voyage is oddly grandiose. What follows is "Juular" and here is where we plummit into complete chaos. With insane, unrelenting Dirk blasts that mimic a steam locomotive on speed, "Juular" barrels through and leaves nothing in its wake. It's quirky, frantic and the closest thing we got to SYL in a long time. I would even say how it surpasses SYL. The addition of Ihsahn in the chorus certainly doesn't take away from the experience either. Now what follows is the pinnacle of Deconstruction. It starts with "Planet Of The Apes", the first of three insane epics and it contains one of the funniest, most unexpected and relevant lines in modern metal: "While we all have lots of bands who influence still...we all rip off Meshuggah!" I vividly remember laughing out loud when hearing this for the first time, and you would be surprised how many times this occurred during the entirety of this absurd record. ![]() However, absurdity and humor isn't the only thing carrying "Planet Of The Apes" and the rest of the record, it's everything. Even the extremely layered production works but I do wish there was more breathing room, especially for the choir which strengthens each vocal line by each guest. Things like chanting Jesus, Jihad, Jesus in the background of "Planet Of Apes" only add to my resolve. With the frenetic "Sumeria" passing the middle mark of the record, the colossal "The Mighty Masturbater" appears, and is the culmination of everything we heard and more. Mind-boggling arpeggios and sweep picks, electronic breakdowns, swingy carnival-like bursts, and a huge buildup near the middle point of the track where Devin holds a speech. We get one of the best builds up of all time and while it lasts a bit too long, it never ceases to bring down chills down my spine. The crowd yells and Greg Puciato chants morph from "We praise God! He lives inside of our hearts!" to "We praise ourselves! We live inside of our minds" to finally "We praise Satan! He lives inside of our hearts!" and each time we reach a new level, his screams become more vitriolic and intense. This undoubtedly represents the decadence mankind is going through, and our infinite greed and selfishlesness. It's overwhelming, unrestrained, and brilliant, and the fact I spent writing one paragraph about one song speaks enough about how deep this record is and how much I love it. ![]() Deconstruction is easily Devin's most technical, complex, and insane record he's ever made, and I seriously doubt he will ever top it. From the fourth-wall breaking parodies of sweep picking and arpeggios while doing exactly that, to fart jokes and choirs screaming "cheeseburger" while he melts the universe on his comically large Flying V, one could easily say this is too much and I agree, it will be for the majority. Ear fatigue was real, even for me, but something always called me back to it. It's the insane amount of details that resides in this ludicrous work of art, and it only becomes more apparent after your brain processes what's actually happening. Deconstruction was a challenge to Devin and it is to the listener, and that's the most exciting part. Despite it being too much, I still consider this to be a ground-breaking, unbelievably complex, and fun record that has a lot going for it, perhaps too much. So if this chaotic review piqued your interest, feel free to enter what I feel is the most alluringly insane record of all time and more than worthy pick to enter the Village Crypt where it will reside peacefully for the first time in its lifetime. |
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