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FRESH MEAT FRIDAY:  July 9th, 2021 Feat. Lunar Cult, Green Hog Band, Dialith, & White Crone

7/9/2021

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On (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

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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!

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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!


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FRESH MEAT FRIDAY - March 19th, 2021, Feat.  Clouds Taste Satanic, Seraph In Travail, Egor Lappo, and The Noctambulant

3/19/2021

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On (increasingly frequent!) Fridays, a wagon arrives at the Sleeping Village’s crumbling gates, stuffed to the brim with our sustenance. 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 listening to today at the Village HQ. We hope you join us in doing so! 

​On the docket for today, March 19th, 2021:
Clouds Taste Satanic, Seraph In Travail, Egor Lappo, and The Noctambulant

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Clouds Taste Satanic - Cloud Covered
​(​Independently Released)


The world's singlemost prolific (and consistently good!) instrumental post-doomsters are back in business after a remarkably short break--if ye recall, their singles series dropped, like, um, a month ago. On Cloud Covered, Clouds Taste Satanic deliver ten potent covers of tracks that have had a distinct influence on their craft. This, notably, does not disqualify bands and songs outside of the arena of doom and gloom. As such, tracks by unexpected acts such as Elton John, Bachman Turner Overdrive, Flaming Lips, and Cheap Trick make appearances. By virtue of their intrinsic riff-centric sound, these covers are significantly heftier than the originals, but even with a lack of vocals their spirit shines through across the board. A masterclass in how to deliver a cover album that simultaneously pays homage and feel like a fresh endeavor. If you like these guys--or stoner/doom in general--don't pass this one up.

​Find it on bandcamp here!

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Seraph In Travail -​ A Black Death Incense
​(​Independently Released)

​If we're being honest, symphonic blackened death metal is not typically a genre into which we slumbering scribes venture. However, in the midst of extremity, one occasionally craves a lil' melodic effervescence. If you're looking to sample, "Dead Scream Kill" serves as a prime example of what this outfit can do when they are firing on all cylinders. There's a blackened bite, a gothic atmosphere, some death-laden aggression, and, above it all,  a fun-loving sense of melodicism.

Plagued by less than vibrant production, however, the symphonic elements on this album lack the spit and polish (and hence the epic quality) that one might expect. Bottom line? Seraph In Travail could use a little  refinement, but if you're in the mood for some death with a bit o' flair, A Black Death Incense is a solid choice.

​Find it on bandcamp here!



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THE LIGHTBRINGER - From The Void To Existence (Review)

7/31/2020

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Written by: Lord Hsrah

​
You ever seen Spike or Tom from Tom and Jerry? Seen how they react when their ever-so-cunning and sharp eyes spot a thick chunk of steak, and how their tongues just hang out as their mouth waters at the thought of devouring it? Yeah, that's always me when someone mentions atmospheric black metal! I'm a big fan of the emotions this particular sub-genre invokes, the scenes it creates in my head, the visions it shows me thereafter, and just the overall things I feel when listening to an ABM album - it's one of my favorite things, especially in the rainy season, which is right now where I live. If you ask me, The Lightbringer​s' From The Void To Existence was a good one to spend some time with as I watched the waters trickle down the window panes of my room. Let's discuss.


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ALESTORM - Curse of the Crystal Coconut (Review)

7/20/2020

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Written by: Loveloth

Avast ye dirty landlubbers and hear me tale! Name's Tentaclebeard, cap'n Tentaclebeard, and allow me to blow yer breeches away with this mighty tale of adventure, loot, friendship, and grog--many barrels of it. During me long, scurvy-ridden life I met plenty of folk but naught compare to this group of swashbucklers. Three moons ago, me crew and aye careened near a wee island rumoured to have treasure. 'Twas a hot, dry day, like most in these cursed lands but aye'll never forget the moment we weighed anchor. On the beach, five odd-lookin' lads scurried along after burying something shiny in the sands. Didn't take long before the buggers were caught for me crew is an experienced lot but so were these lads it be turnin' out. Calm as that Tortugan one-eyed drunkard these scurvy dogs were. Even me trusty parrot squawked in anger but even with ol' Bertha yellin' the fivetet remain'd cool, cool as the northern winds up in... arrrr ye get the point. Where was aye?

​Aye, 'twas a...blimey, get me some grog laddie, have ye no respect for old sea dogs like yarr's truly? What kind of wenches owns this bilge-sucking tavern anyway, bunch of  landlubbers, don't even get me drinks...arrrgh, back to me tale.


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RAVENLIGHT - Project Genesis (Review)

6/22/2020

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Written by: Lord Hsrah

​
2020 has most definitely proven to be an immensely dreadful year--and that's saying the least in every way. It is in these times of turmoil and unrest that we often turn to the arts for comfort and solace and peace, to find an escape from all the chaos around us. And of all the arts and recreations, the one singular thing that lights our lives up is music, and, thankfully, for the power metal geek that I am, this year hasn't been short of providing power metal in decent abundance. Today I'm feeling like some driving symphonies, some operatic vocals, some ballads...and guess what! I have just the thing on hand that I'm looking for. Let's take a look at Northern Irish symphonic power metallers Ravenlight's first full-length album, Project Genesis.


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UNREQVITED - Empathica (Review)

5/22/2020

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Written by: Ancient Hand

​
“Blackgaze” is a term that immediately disgusts and turns off purists of straight forward, Satan-worshipping, formulaic black metal. The image of modern hipsters wearing skinny jeans while writing black metal in basements is stomach-churning to some who would rather imagine 90’s hipsters wearing skinny jeans while writing black metal in basements. “Blackgaze” is a term openly embraced by Canada’s Unreqvited. Tagged on the project’s new album, Empathica, is the controversial term itself. Additionally, the album is self-described to contain “shimmering blackgaze melodies and grandiose orchestral segments.”

The second part of this description, though, is where the innovation lies. We’ve all heard an album make use of beautiful guitar melodies paired with tremolo picking and relentless drumming, but Unreqvited’s ability to roll symphonic and orchestral elements into the music is quite groundbreaking when experienced on this new LP. ​


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TwofoldTreatise: ENDOLITH - Chicxulub - The Fossil Record

1/29/2019

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Written by: Loveloth and the Soliloquist

Chicxulub - The Fossil Record is the second full-length album by Norwegian progressive extreme metal band Endolith. In contrast to their debut album that dealt with rather cold, esoteric themes, Chicxulub is a concept album on, as the band calls it, more “tangible” themes: dinosaurs, fossils, and the Chicxulub crater buried under the Yucatán Peninsula in Mexico where an asteroid or comet hit and set off the extinction of the dinosaurs. Whether you want to call these topics “tangible” or not - they are definitely interesting and pretty unique. More on that later. Musically speaking, Chicxulub is a brutal and progressive death metal album with lots of interesting stylistic elements that result in a very unique sound. Featuring the strings of the Arctic Philharmonic Chamber Orchestra, and guest musicians on timpani and solo viola including world famous violinist Henning Kraggerud, the album has a very grand and epic dimension to it, which contrasts and complements the ferocious death metal basis of its sound.

When we at the Sleeping Village got the promo for this album, two of our writers were very interested in reviewing it - Loveloth and the Soliloquist. And since we could not decide who should write it, we had an idea: Why not write a review together? So, here it is: The first edition of TwofoldTreatise - two critics, one album.


Soliloquist: Okay, let’s start this review by talking about the dinosaur in the room. This is an album about the extinction of the dinosaurs. Pretty metal, if you ask me. I find it rather interesting that I have never heard a metal album about dinosaurs before, actually.
 
Loveloth: Ever since I was a wee lad, dinosaurs fascinated me. So much in fact, I wanted to be a palaeontologist but life panned out differently. In any case this should be right up my alley. Prog hybrid record about dinosaurs? Yes please, I’ll have one of those to get my mezosoic fix before The Ocean release Phanerozoic II.
 
Soliloquist: Dude, this sounds exactly like my biography. I also wanted to be a paleontologist and my childhood was reigned by dinosaurs. I still know most of their names and have a rather great amount of completely useless knowledge about them. Dinosaurs are freaking cool, man. So, what were some of your initial impressions when listening to this album?
 
Loveloth: Same here my dude, Walking with… series were a constant companion back in my youth so now I understand why both of us were so interested in this. Glad you asked, I liked the record and I am ready to discuss. Before we start that, a question. What bands do Endolith remind you of?
 
Soliloquist: That’s a very good question. I got strong Devin Townsend vibes throughout the album. The wall-of-sound approach to songwriting the band uses frequently on this record is very akin of Devin’s approach in my opinion. Some of the proggier death metal sections made me think of Rivers of Nihil’s latest album and lots of the rest, e. g. the clean vocal choruses, as well as some of the riffs, reminded me of Extol, another Norwegian prog-death band. How about you?
 
Loveloth: Interesting, I’m a huge Devy fanboy and didn’t hear a lot of his influence here, apart from the production like you mentioned. For me though, Endolith remind me of an angrier, shriekier The Ocean mixed with Meshuggah (some of those riffs man), Extol (good call btw) and Dimmu Borgir and Septicflesh due to The Arctic Philharmonic Chamber Orchestra lending a hand, or thirty eight to be more exact. Judging by our descriptions (and please do judge, we’re totally in the right), this is a weird band, so what stood out for you the most?
 
Soliloquist: First of all, I agree 100% on the Meshuggah part. Totally forgot to mention them, they came to my mind, as well. Yes, weird is a good word to describe them. I can’t even pinpoint one particular thing that stood out to me. The lyrics, the atmosphere, the combination of orchestral elements, death metal and those melodic sections - there’s so much interesting stuff going on in this album. I think the first thing that really struck me when I listened to it for the first time was how prominent the orchestral elements are in the band’s sound and how well they fit in with the djenty extreme metal riffs. The clean vocals were another element that really pleasantly surprised me.
Picture
​Loveloth: It’s quite a dense package, that’s for sure but Endolith make it work, not only that but constantly throw curveballs at the listener for good measure. The addition of the orchestra was an excellent call as it adds another layer of atmosphere and since we’re dealing with that pesky asteroid which wiped out the dinosaurs, that grand scope which the strings, brass, percussion and woodwinds provide comes in really handy. I’ll be honest and state how I wasn’t particularly impressed with Chicxulub after my first listen but it grew on me as I started wrapping my head around all the mayhem that is present here. Take “Nest Scrape Display” for example, and how its thrashy beat clashes with a very Shuggah riff but as soon as you get used to it, we get a soaring chorus that greatly reminds me of their fellow countrymen In Vain. Endolith are unhinged, ambitious and I like that but I feel the band is yet to achieve their peak. Some things just feel off. Do we share this sentiment?
 
Soliloquist: Absolutely. My listening experience with this album was interestingly the other way around. Listening to it for the first time was super impressive, but after multiple listens I began to notice some flaws and things I didn’t like all that much. I think this is a great album by a band with lots of potential to become even better in the future. Endolith have a rather unique sound already and I think they’ll be refining it on future releases. I’ll definitely keep an eye on them. Do you have a favourite song on the record or one that stands out to you in any way?
 
Loveloth: I do actually and guess what, it’s the proggiest and longest track, I am of course referring to the title track. It contained the only “oh shit” moments on the record. That breakdown around the three minute mark is nasty but what completely caught me off guard is the return of the record’s main theme that appears in the beginning of “Bloodfiends”. It’s a good and effective trick that works wonders with prog bois such as me. After it, the track morphs into a lengthy and epic outro and this is where Endolith shines the most as they have the time to successfully pull-off every idea they have for the song. And while no song is bad, some are a bit underwhelming like “Mount Evidence” or the final, bluesy track “When The Earth Died Screaming”. The idea is extremely cool but the execution lacks something I can’t quite put my finger on. What’s your favourite?
​Soliloquist: I’m not quite sure. The title track is great and I really like “Nest Scrape Display” and “Ichthys” a lot, but I think I have to go with “Diseasons”. I love how ominous and atmospheric it begins and how ridiculously heavy it gets towards the end. The harmonies and melodies on this track are some of the best on the album and it generally feels the most “complete” and thought out to me. 
​Loveloth: “Diseasons” almost ended up as my favourite for reasons you mentioned and I totally agree on it feeling the most “complete”. Regardless of this positives we went through, I still think I should like this more than I do. It has everything I like: paleontology, prog, djent, unconventional songwriting, dynamic vocals, experimentation, an orchestra and fat riffs but I still feel something is stopping the band from creating a true gem and I am yet to pinpoint what and maybe that’s the problem! It’s so hard to define this record and I think that hinders it despite helping it. I know that sounds contradictory but hear me out. Endolith needs to find that is completely theirs to solidify their character and that comes with time, time the band has because despite this flaw, Chicxulub is an enjoyable, quirky and fun journey that I see myself revisiting from time to time.
 
Soliloquist: I agree on almost everything you mentioned. I enjoyed Chicxulub enough to listen to it many times and never be bored or annoyed by it, but it also didn’t blow me away or become an album I’d call an absolute masterpiece. I see it primarily as an album by a band still figuring out their definitive style and within that framework it’s a very good album. It has its flaws and some edges that would have needed some smoothening, but it’s definitely a lot of fun to listen to and I don’t regret a minute I spent with it.
 
Loveloth: Absolutely, well, think we went through everything, surprised how much we agree on things, must be the palaeontology fixation, in any case, if you are in some need of odd, eccentric and progressive death metal, Chicxulub (unlike the poor dinos) is here and available on every music platform, you know how it goes. Any last words Mr. Soliloquist?
 
Soliloquist: Life uh.... finds a way.
 
Loveloth: Thus spake the Soliloquist and Loveloth, the two lords of palaentology-laden metal.

Endolith - Chicxulub - The Fossil Record was released Jan. 18th from Rob Mules Records

Endolith can be found:
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TwofoldTreatise: ENDOLITH - Chicxulub - The Fossil Record

1/10/2019

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Written by: Loveloth and Lichtmensch
Picture
Chicxulub - The Fossil Record is the second full-length album by Norwegian progressive extreme metal band Endolith. In contrast to their debut album that dealt with rather cold, esoteric themes, Chicxulub is a concept album on, as the band calls it, more “tangible” themes: dinosaurs, fossils and the Chicxulub crater buried under the Yucatán Peninsula in Mexico where an asteroid or comet hit and set off the extinction of the dinosaurs. Whether you want to call these topics “tangible” or not - they are definitely interesting and pretty unique. More on that later. Musically speaking, Chicxulub is a brutal and progressive death metal album with lots of interesting stylistic elements that result in a very unique sound. Featuring the strings of the Arctic Philharmonic Chamber Orchestra, and guest musicians on timpani and solo viola including world famous violinist Henning Kraggerud, the album has a very grand and epic dimension to it, which contrasts and complements the ferocious death metal basis of its sound.

When we at the Sleeping Village got the promo for this album, two of our writers were very interested in reviewing it--Loveloth and Lichtmensch. And since we could not decide who should write it, we had an idea: Why not write a review together? So, here it is: The first edition of TwofoldTreatise--two critics, one album.

Lichtmensch: Okay, let’s start this review by talking about the dinosaur in the room. This is an album about the extinction of the dinosaurs. Pretty metal, if you ask me. I find it rather interesting that I have never heard a metal album about dinosaurs before, actually.
Loveloth: Ever since I was a wee lad, dinosaurs fascinated me. So much in fact, I wanted to be a palaeontologist but life panned out differently. In any case this should be right up my alley. Prog hybrid record about dinosaurs? Yes please, I’ll have one of those to get my mezosoic fix before The Ocean release Phanerozoic II.
Lichtmensch: Dude, this sounds exactly like my biography. I also wanted to be a paleontologist and my childhood was reigned by dinosaurs. I still know most of their names and have a rather great amount of completely useless knowledge about them. Dinosaurs are freaking cool, man. So, what were some of your initial impressions when listening to this album?
Picture
Loveloth: Same here my dude, Walking with… series were a constant companion back in my youth so now I understand why both of us were so interested in this. Glad you asked, I liked the record and I am ready to discuss. Before we start that, a question. What bands do Endolith remind you of?
Lichtmensch: That’s a very good question. I got strong Devin Townsend vibes throughout the album. The wall-of-sound approach to songwriting the band uses frequently on this record is very akin of Devin’s approach in my opinion. Some of the proggier death metal sections made me think of Rivers of Nihil’s latest album and lots of the rest, e. g. the clean vocal choruses, as well as some of the riffs, reminded me of Extol, another Norwegian prog-death band. How about you?
Lichtmensch: Interesting, I’m a huge Devy fanboy and didn’t hear a lot of his influence here, apart from the production like you mentioned. For me though, Endolith remind me of an angrier, shriekier The Ocean mixed with Meshuggah (some of those riffs man), Extol (good call btw) and Dimmu Borgir and Septicflesh due to The Arctic Philharmonic Chamber Orchestra lending a hand, or thirty eight to be more exact. Judging by our descriptions (and please do judge, we’re totally in the right), this is a weird band, so what stood out for you the most?
Lichtmensch: First of all, I agree 100% on the Meshuggah part. Totally forgot to mention them, they came to my mind, as well. Yes, weird is a good word to describe them. I can’t even pinpoint one particular thing that stood out to me. The lyrics, the atmosphere, the combination of orchestral elements, death metal and those melodic sections - there’s so much interesting stuff going on in this album. I think the first thing that really struck me when I listened to it for the first time was how prominent the orchestral elements are in the band’s sound and how well they fit in with the djenty extreme metal riffs. The clean vocals were another element that really pleasantly surprised me.
Loveloth: It’s quite a dense package, that’s for sure but Endolith make it work, not only that but constantly throw curveballs at the listener for good measure. The addition of the orchestra was an excellent call as it adds another layer of atmosphere and since we’re dealing with that pesky asteroid which wiped out the dinosaurs, that grand scope which the strings, brass, percussion and woodwinds provide comes in really handy. I’ll be honest and state how I wasn’t particularly impressed with Chicxulub after my first listen but it grew on me as I started wrapping my head around all the mayhem that is present here. Take “Nest Scrape Display” for example, and how its thrashy beat clashes with a very Shuggah riff but as soon as you get used to it, we get a soaring chorus that greatly reminds me of their fellow countrymen In Vain. Endolith are unhinged, ambitious and I like that but I feel the band is yet to achieve their peak. Some things just feel off. Do we share this sentiment?
Lichtmensch: Absolutely. My listening experience with this album was interestingly the other way around. Listening to it for the first time was super impressive, but after multiple listens I began to notice some flaws and things I didn’t like all that much. I think this is a great album by a band with lots of potential to become even better in the future. Endolith have a rather unique sound already and I think they’ll be refining it on future releases. I’ll definitely keep an eye on them. Do you have a favourite song on the record or one that stands out to you in any way?
Loveloth: I do actually and guess what, it’s the proggiest and longest track, I am of course referring to the title track. It contained the only “oh shit” moments on the record. That breakdown around the three minute mark is nasty but what completely caught me off guard is the return of the record’s main theme that appears in the beginning of “Bloodfiends”. It’s a good and effective trick that works wonders with prog bois such as me. After it, the track morphs into a lengthy and epic outro and this is where Endolith shines the most as they have the time to successfully pull-off every idea they have for the song. And while no song is bad, some are a bit underwhelming like “Mount Evidence” or the final, bluesy track “When The Earth Died Screaming”. The idea is extremely cool but the execution lacks something I can’t quite put my finger on. What’s your favourite?
Lichtmensch: I’m not quite sure. The title track is great and I really like “Nest Scrape Display” and “Ichthys” a lot, but I think I have to go with “Diseasons”. I love how ominous and atmospheric it begins and how ridiculously heavy it gets towards the end. The harmonies and melodies on this track are some of the best on the album and it generally feels the most “complete” and thought out to me.
Loveloth: “Diseasons” almost ended up as my favourite for reasons you mentioned and I totally agree on it feeling the most “complete”. Regardless of this positives we went through, I still think I should like this more than I do. It has everything I like: paleontology, prog, djent, unconventional songwriting, dynamic vocals, experimentation, an orchestra and fat riffs but I still feel something is stopping the band from creating a true gem and I am yet to pinpoint what and maybe that’s the problem! It’s so hard to define this record and I think that hinders it despite helping it. I know that sounds contradictory but hear me out. Endolith needs to find that is completely theirs to solidify their character and that comes with time, time the band has because despite this flaw, Chicxulub is an enjoyable, quirky and fun journey that I see myself revisiting from time to time. ​
Lichtmensch: I agree on almost everything you mentioned. I enjoyed Chicxulub enough to listen to it many times and never be bored or annoyed by it, but it also didn’t blow me away or become an album I’d call an absolute masterpiece. I see it primarily as an album by a band still figuring out their definitive style and within that framework it’s a very good album. It has its flaws and some edges that would have needed some smoothening, but it’s definitely a lot of fun to listen to and I don’t regret a minute I spent with it.
Loveloth: Absolutely, well, think we went through everything, surprised how much we agree on things, must be the palaeontology fixation, in any case, if you are in some need of odd, eccentric and progressive death metal, Chicxulub (unlike the poor dinos) is here and available on every music platform, you know how it goes. Any last words Mr. Soliloquist?
Lichtmensch: Life uh.... finds a way.
Loveloth: Thus spake the Soliloquist and Loveloth, the two lords of palaentology-laden metal.

Chicxulub - The Fossil Record was released on January 18th via Rob Mules Records.

​Follow Endolith: Facebook | Instagram
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