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JOINTHUGGER - Reaper Season (Review)

6/19/2021

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Written by: The Administrator

​
I'm admittedly a little late to the draw on this one. That said, our endorsements of good music shouldn't be constrained, as we slumbering scribes are attempting to actualize, by the constant churn of the promo pit. In any case, let's not delay any longer.

Coming off the success of their stunning I Am No One--an album I liked so much I blatantly pressed the title track into service for our Caravan of Doom compilation--Norway's own Jointhugger dropped a single track EP on April 2nd of this year. It's an absolute stunner; the best thing they have done to date, and that's saying something. This 18 minute epic takes a slightly more progressive angle, illustrating the band's ability to build a complete and varied story across multiple acts. The musicianship across the board is as impressive as ever, and the hugely impactful songwriting places Reaper Season in the highest echelon of this year's doomier offerings. 


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FRESH MEAT FRIDAY: April 30th, 2021, Feat. GOREGÄNG,  Greyhound, Becerus, Bevar Sea, Order of the Wolf / Pessimista, and Alpha Boötis

4/30/2021

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Every Friday, 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! 

We slumbering scribes were slightly more productive this week than normal, so enjoy an additional two mini-reviews!
​
​On the docket for today, April 30th, 2021:
GOREGÄNG, Greyhound, Becerus, 
Bevar Sea, Order of the Wolf / Pessimista, and Alpha Boötis

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GOREGÄNG - Long Live The Grime
(Blood Blast / Listenable Insanity Records)

Now this...this is how you do a damn EP. This highly palatable appetizer from GOREGÄNG features four new tracks, four live tracks, and, as if that weren't enough, a White Zombie cover. For those unfamiliar, this particular GOREGÄNG presents an unholy combination of crust-infused Swedeath with the blatant brutality and swagger of their Floridian environ. In other words, they revel in filth, be it by benefit of the gross guitar tone or, well, the grosser vocal tone. This duo excels at the kind of high-energy pit-worthy performance that inevitably results in sweat and blood--a quality, of course, shines brightly on the live tracks contained within.

​In terms of New Stuff, the fantastically dynamic "
Farm The Mother" is possibly my favorite, but realistically, nothing here is worth skipping. If this unique brand of crust-punky death is your speed, I highly recommend you check this one out (as well as their excellent Neon Grave, which came out back in 2019.)

​Find it on bandcamp here!

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Greyhound - Dennis Exists
(Independently Released)

Wow. This is an album that I checked out due to a well-timed reminder email, and I'm really glad I did. This Aussie doom/ gothic rock/post-rock crew excels at constructing an atmosphere to a glorious crescendo--in their words, music "shimmering until it explodes into apocalyptic heaviness." Dennis Exists ​is primarily instrumental, which allows ample space for exploration and slow-burning evolution. It's a celebration of the landscape, and, as such, feels tangible and grounded in a way that music under the "post" umbrella typically is not. While the instrumentation that makes up the majority of Dennis Exists​ is quite intriguing, the spoken word narrative on "Riverbend" serves as the album's centerpiece. It's an excellent piece on it's own, and fits into the framework of the album surprisingly well. All told, this is a lush and gorgeous album that rewards attentive listening. I highly recommend throwing on a pair of earphones and letting the music take over for the duration.

​Find it on bandcamp here!


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20 WATT TOMBSTONE - Year of the Jackalope (Review)

1/10/2021

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Written by: The Administrator

If you run in the death blues circle, (an admittedly select group,) you are undoubtedly familiar with 20 Watt Tombstone. Hell, if you like blues rock or stoner doom in general, there's a good chance you've heard the name. These guys play a down 'n' dirty amalgamation of ZZ Top-esque groovy southern blues rock with a grimy Clutchian desert-rock edge. In other words, these are hard rockin' tunes from the backwoods. There's nothing flashy in their formula: just heavy riffs, gritty vocals, and the spirit of Americana.

20 Watt Tombstone's next release is a brief-yet-tantalizing affair: a 2-track EP featuring two bangin' cover songs. Side A is a rollicking cover of the (oft-underappreciated) "Just Got Paid" by the aforementioned ZZ Top. Side B, a rendition of "Midnight Train to Memphis” by Chris Stapleton, offers a slightly more somber--although no less hefty--side of 20 Watt Tombstone. Though small in stature, this release packs a damn fine one-two punch.


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GREEN HOG BAND - Green Hog EP (Review)

10/17/2020

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If ye haven't heard, we slumbering scribes put out a compilation album on Oct. 2nd! Green Hog Band contributed a killer track to the affair--hence the republication of this review. 

Sleeping Village Caravan Of Doom (Vol. 1) is an exhibition of like-minded tracks that balance sludgy heft with an earthy stoner atmosphere. These are songs that would feel at home in the midst of a bog or mire, and we’ve brought them together, drenched in murk and algae, for your gloomy enjoyment. Purchase here for the measly price of...name your own price! That, dear reader, is a bargain. 

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Written by: Volt Thrower

Hailing from Brooklyn, with a bluesy sludge sound straight out of NOLA, all topped off with gurgling Russian vocals, Green Hog Band smash any preconceived notion of a stoner doom band. The typical tropes do still apply: see the motorcycle samples, as any good hog-affiliated music makers would utilize, fuzzy riffs, and lyrics about swamp monsters. But the way this 3-piece manage to package it up into a unique beast on this EP is what keeps me coming back for more.

The opening one-two punch of "Eclipse" and "Machine" is so damn good they could’ve made up their own 7” EP. Green Hog Band displays an absolutely suffocating low end throughout, contrasted nicely by bluesy leads seemingly trying to escape from the murky swamp. A spine chilling cattle shriek about 3 and a half minutes into the opener sets the unsettling scene well. The music alone is memorable, but the Russian lyrics sound and feel absolutely poetic. The vocal inflections capping off each line are a story themselves, without even translating. Following along with the English lyric sheet is a completely unique listening experience. We are treated to a haunting tale of a swamp beast in "Eclipse" --beautifully written, but it just wouldn’t have the same rhythmic flow if it were sung in English. Same goes for "Machine," an eloquent takedown of the system grinding us down (if you’re reading in English,) or simply a kickass desert bike riding song if you’re just jamming along with the vibes. 


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DESERTS OF MARS - Return From The Void (Review)

9/14/2020

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Written by: The Administrator 

​While we Villagers pride ourselves in having a solid familiarity with the content we critique, I'll be the first to admit that my level of familiarity with the 5 tracks contained within today's EP in question surpasses an acceptable level of sanity. Typically, in preparation for an in-depth review, I listen to the material around 10 times. Return From The Void, in drastic comparison, has entered these wretch'd earholes...well, significantly more frequently. All told, stating that I've listened to this damn thing upwards of 50 times doesn't sound terribly off base. 

Why, ye may ask? In the year or so since I first encountered the hard rockin'
Deserts of Mars, I've become oddly dependent on their (regrettably slim!)  output. 
Return From The Void is what I turn to when I'm not sure what to listen to, when I'm feeling a little down, or when I just need a quick kick of stoner rock into an otherwise hard-hitting playlist. As a result, I've entered a strange scenario wherein a review feels somewhat impossible to write. Can I truly view this thing from a passingly neutral standpoint, or does my history color any interpretation with rose-colored glasses? Given the potential limitations, I'll do my best to be fair to you, dear reader. 


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HAMMADA - ATMOS (Review)

6/28/2020

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Written by: Volt Thrower

Context and expectations are important when listening to an album. Similar to going to a cheap ticket Tuesday movie, (remember those?) and being blown away and thoroughly entertained. A self released debut desert psych rock LP doesn't exactly tip the scales of excitement for one such as myself, but I was looking for a nice palate cleanser after listening to theBible Basher EP on repeat for two hours, and...spoiler alert! German psychonauts Hammada immediately caught my ear, and didn't let go for the entirety of the record.

Right from the get-go on "Occasus," they have a captivating balance, finely teetering between the spacey elements of psych and the heavy push of desert rock, almost doom at times. A huge plus for the band is the standout vocal performance, particularly on "Nox"--which, when combined with an organ laced riff, makes for a terrific single.

Airy, whispery vocals can sometimes lose themselves amongst the music, not a concern here where the leads are absolutely commanding for the most part, while being able to pull back when best suited. There's an impressive symmetry at play as well, which should've been a little bit more obvious perhaps, judging by the artwork. The way the record is broken into four 15 minute sections across the 7 tracks is satisfying, but the way they connect each section with a synthy zip-tie builds a cohesive story from start to finish.


​One of the highlights on the album is "Heliokratia," a song that actually comes from their 2017 EP Sfaira, albeit with a little modern polish. Low and slow to start, flourishes of synth buoy an intoxicating bass tone that I would swim in if I could. Some of the softer vocals on the record to start, but they work well to aid the buildup before the full band kicks into gear into a roaring wall of fuzz. They mention desert vibes and atmospheric riffs in their bio, and they are delivered in spades throughout middle tracks "Ether" and "Helios." They bring it back down to earth for the transition into ‘Azimut’. Another solid track, with an organ laced furious finish that would’ve worked well to wrap up the LP in a nice 45 minute bow. Instead, ATMOS gives way to one last final 15 minute epic in "Domizil," a mostly grooving instrumental, until some final transcending chants bring things to a close.

I generally prefer an LP in the 40-45 minute range, but Hammada have no issues providing a captivating listen for a full hour. The initial listen as a palate cleanser did exactly as it should, but the subsequent listens have solidified this as a must listen if you’re a fan of anything psych rock related. A solid debut has them firmly on the radar for future releases. Check it out!


Hammada ​- ATMOS was independently released June 26th, 2020

Hammada ​can be found:
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SHOGUN - Addendum (Review)

6/11/2020

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​Written by: Shane Thirteen

​
I am  child of the 70's, born into the world during the height of Martial Arts media mayhem. I was born into a world of ninjas, samurai, and shoguns. By the time the 1980's rolled around, I could reenact battle scenes from the popular mini series Shogun with my friends in the back yard. Chuck Norris and Sonny Chiba were my idols. Every spin kick and sword plunged into the bellies of foes kept me enthralled with all things Japan.

As such, when I heard the name of this band, the grin on my face gleamed like a katana being drawn from its scabbard on an ancient battlefield on a bright sunny day. I was not disappointed.



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RED MESA (feat. Wino and Dave Sherman) - The Path To The Deathless (Review)

5/27/2020

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Written by: Volt Thrower

If you want to cook up some hype and expectations for a stoner/desert rock album, Albuquerque desert doom purveyors Red Mesa could do far worse than starting off with features from scene legends Wino and Dave Sherman, of essential acts The Obsessed and Spirit Caravan. Throw in recording and production by Matthew Tobias at Empty House Studio, who has handled massive recording projects like OM/Al Cisneros solo projects. Sprinkle in some mastering by John McBain, original guitarist of Monster Magnet, and baby, you've got a stew going. A stew absolutely bubbling over the brim with sky high expectations. Let's hope it can provide some meaty heartiness, not just a weak broth. ​


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HEAVY HANDS - Through The Night (Review)

5/7/2020

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Written by: Volt Thrower

As a kid the countless hours spent driving under starlit prairie highways in the 90’s, on the way to various campgrounds and theme parks, laid the foundation for desert rock being able to bring a wash of fuzz driven comfort later in life. There’s something incredibly soothing about being able to lose yourself in a locked in groove, essentially time traveling through the hundreds of km’s of nothingness. Heavy rockers Heavy Hands from Boston, take a stab at a classic style with some modern flair with their latest self-released offering “Through the Night.”


A rolling drum groove, with some fuzz drenched bass open things up on “Devil Nets”, sure to make Brant Bjork blush. Kicking things off with a nostalgic blast is a great hook, but they build upon that opening, with a really unique sound that the band feels out across the dozen fleeting minutes. The soulful delivery of the vocals on “Villain”  really compliment the underlying bass and drum groove, but the guitar is the real scene setter for most of the album. Ranging from bluesy psychedelic washes, to straightforward riffage, to a near black metal tremolo picking style, giving it another layer with a sense of urgency and despair.  Lyrical themes starting with, of course a desert highway cruise with your girl, to a poetic exploration of the plight of the never good-enough, ending in a mental “Breakdown.” Clean production wraps it all up into a nice, tight little package.


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KAVORKA - Internal Rituals (Review)

3/30/2020

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The rubric that plays a major role in determining whether I will consider an album “good” is, as with everything around these parts, a little flexible and open to interpretation. That said, some criteria are fairly stalwart and unmoving. A good metal album must, in my eyes, have proficient instrumentation. It must display cohesion. The vocals need to be enjoyable--or, at the very least, they must spark some synapses other than those indicating that the vocalist in question can’t sing. It needs to elicit some sort of emotion response. Lastly, if it’s steeped in a genre that lives and dies by the axe, its gotta have riffs. Full stop. In the case of today’s artist in question, I’m happy to report that all of the criteria are present and accounted for...no, wait. We’re missing one. But y’know what? Let’s just roll with it. 



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