Written by: The Administrator
In lieu of the typical rambling introduction, I'll spare you all and jump straight to my conclusions regarding Nostophobia, the debut full length from Portland's Sea Sleeper. In sum, then: this is a wonderfully chaotic album filled to the brim with the kind of untethered energy that practically demands listener engagement. However, it is also a confusingly chaotic album that would benefit significantly from some spit and polish. Sea Sleeper bill themselves as a bit of a genre-jumping anomaly, frequently folding in elements of post-metal, deathcore, sludge, avant-garde, metallic hardcore, and even a lil' angsty grunge into their bubbling cauldron o' progressive death. Needless to say, this is a complex conglomerate of sights 'n' sounds, and makes for an experience that is borderline confounding across the breadth. As a fan of boundary-pushing and rule-breaking in music as a general rule, that quality is a clarion call of sorts--provided the intrinsic weirdness sticks the landing.
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Written by: The Administrator
On the odd occasion, when we're feeling frisky, we slumbering scribes will give a single the same consideration as an album proper--a full review, in other words. Lots of sites don't, and we certainly can't blame 'em; it takes time and energy to write and revise a review, and one typically gets more bang for one's buck when that time and energy is spent on something more substantial. But sometimes a track deserved a little time in the limelight, and so we find ourselves here today, a new track from Blessed Black grasped tight in ink-splattered hands. If a band names a track after La Brea, they had better have the goods. One does not simply evoke mastodon-swallowing tar pits without offering up something with a comparably monolithic je ne sais quoi. As such, Blessed Black play a dangerous game with their latest single--but worry not. "La Brea" pulls through.
Written by: The Administrator
When we're not locked in our drafty scriptorium, daily existence here at the Sleeping Village is inevitably beset by the type of backbreaking labor inherent to a (pseudo) medieval township. The grind is real, and, as such, an occasional dose of the weird and wonderful is a bit of a necessity. Hence, the promise of self-declared "space disco synth metal," courtesy of Alpha Boötis, seemed like a likely candidate for injecting a lil' excitement into mid-afternoon drudgery. And boy, is it ever. I seldom write reviews immediately after consuming the music in question, but after jamming this two-track-plus-a-cover EP about eight times over the span of the past few hours, I feel somewhat moved to say my piece post-haste. Let's get to it.
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.
Written by: The Administrator
Back in the olden days of this here blog, we briefly reviewed, in conjunction, a couple of serpent-themed bands. One of ‘em—the appropriately monikered Serpent Worship—impressed me with serpentine riffage, undulating psychedelic backdrop, and a generally pythonian tone. Snake-like sonic qualities aside, however, my favorite aspect of this one-man outfit was the remarkable ability to compose simple yet engaging tracks without the aid of vocals. Indeed, to lift my own words: “perhaps the most noteworthy aspect of Serpent Worship is the sheer intrigue layered into the composition; it genuinely wasn’t until the third listen that I realized there are no vocals.” On his latest 2-track outing, Blood & Venom, our serpent worshiping friend taps once more into this reservoir, but arguably delivers an even more enjoyable treatise on the effectiveness of no-nonsense fuzz.
Written by: The Administrator
In my inflated opinion--and I'm almost certain the Village's overworked cook would agree--stoner doom represents equivalent of comfort food on the metal culinary spectrum. There's something so essential and heartwarming about the basic blend of roux-thick riffs, omnipresent fuzz, and a plodding forward march that indicates a certain willingness to take one's time. Fulanno, an Argentinian doom trio, are a perfect exemplar of the type of band I turn to when searching for said aural comfort food. Notably, their latest, Nadie Está a Salvo Del Mal, is their best effort yet--indeed, any album that lands at #15 on the month's illustrious Doom Charts is, generally speaking, worth yer while. With that said, this album is hampered by some minor wrinkles, but should Fulanno iron 'em out in the future, I think it's safe to say we'll have a top-tier outfit on our hands.
Here's a republication of an old guest post. Enjoy! - Ed.
Written by: The Administrator
How best to describe Wormhole? If you're familiar with 'em, you know what I'm talking about. If you aren't, here's my best attempt: The Weakest Among Us is like unto a janitors' big ol' ring of keys, wherein every jangly item represents a markedly distinct genre. Which is to say, there is a lot going on here. Wormhole don't have a denying characteristic of their own, except for the ability to chameleon their way through both slam and tech-death landscapes--which, frankly, don't have a whole lot in common. Whilst one is an intricately designed garden, the other is a pile of craggy boulders. Do they mesh? After listening to this thing like 10 times, I'm still not entirely convinced...but Wormhole certainly put in the work.
Written by: The Administrator
Over the past few years of reviewing death metal, I have perhaps come down a tad harshly on the stuff that seeks to venerate the old school rather than cast it away in pursuit of intentional evolution. Sheer worship, while often enjoyable, is seldom enough to keep this haggard scribe's interest outside of the immediate moment. But this year, the more progressive efforts--the stuff that seeks to kick down doors and replace the rustic-yet-utilitarian furnishings with avant-garde decor--just aren't hitting the spot. This has resulted in an odd craving for no-nonsense belligerence. In other words: pass the Lesions Of A Different Kind. Let's get bloody.
This review was originally published in January of this year. Moribund Kingdom's forthcoming physical release via Trepanation Recordings, however, is an occasion worthy of republication. Since the time of writing, my appreciation of this album has only grown, and it remains a frequent companion in the many, many times throughout the day where more extreme music simply won't do. Pre-order here! - Ed.
Written by: The Administrator
If you, much like the ravens lurking outside our drafty scriptorium, are on the hunt for something new and shiny, I'm happy to present an alternative from our standard fare. Today on the docket: a healthy platter of horror-tinged gothic dungeon synth, conjured from the mind behind the (equally stellar) Order of the Wolf. In this newfound context outside the underground black metal sphere, he goes by Spectral Child. Moribund Kingdom is the first haunted creation of this alter ego. I like to think of Spectral Child's Moribund Kingdom as an alternate soundtrack to the horror-themed action games that (only partially, I swear) defined my adolescence. While it certainly isn't a sonic match to, say, the grossly high-octane riffage of the equally high-octane Painkiller series, the mood is similar. Consistently menacing, in a word. Frightening in a sincere sense--like if the more intense moments of the soundtrack to Amnesia were distilled and reproduced in synth-based form. That comparison, again, is a bit of a stretch, but the fact remains: there is something about Spectral Child that feels intrinsically attached to the world of video games wherein a lone protagonist braves a world designed exclusively to confound and cause harm.
Written by: The Administrator
And now for something completely different! Today's album (and band) in question covers a unique blend of genres that don't get a whole lot of coverage 'round these parts--or any parts, for that matter, that we slumbering scribes tend to frequent. With that disclaimer in mind: let's dive in. On their latest effort, Shocking Stories! (And Those Who Dare to Tell Them,) The Northway play a difficult-to-place conglomerate of pop punk, prog, math rock, and perhaps some alt metal, with a few other assorted elements weaving their respective ways into the chaotic fold. There's an alternative rock/metal angst on display, as well as a ska-esque sense of hype. Most notable, however, is the prominent role of the utterly unexpected. Take, for example, early album highlight "Trampolinehead," which blends a straightforward punk riff with a delightful Gentle Giant-by-way-of-Primus level of prog weirdness. There's a jazz lounge solo, a de la Rocha rap-rock moment, and a whole lotta assorted oddities besides. And if you think this is wacky, the excellent "City Trial" takes similarly disparate elements and cranks 'em up to 11. This thing is like the unholy alt-metal lovechild of Haken 's proggy tendencies and, I dunno, the early-aughts swagger of Priestess. And even that only covers a fraction of this track's identity. The entire album exists in a similarly fluid state, and, as a result, it's incredibly fun to experience. |
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We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!
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