HOT RAM. If you know 'em, you undoubtedly love 'em...'cuz frankly, what's not to love? This crew from Atlanta exists in an arena where big riffs, big fuzz, big groove, and a hard rocking attitude are pretty much par for the course. Back in 2019 we reviewed their killer album Where Light Goes To Die--an album that (prophetically) remains in constant rotation to this day, due to a strong tendency to provide intriguing songwriting in a genre that is regrettably bogged down by repetition. Indeed, as I stated back then: "As much as I love the genre, we all know the truth of the matter: in the hazy confines of stoner rock, sophistication and brevity aren't always the qualities most sought. HOT RAM throw that stereotype in the woodchipper, delivering six massive (yet varied) bangers."
Needless to say, this particular slumbering scribe is very pleased to present the first single from HOT RAM's forthcoming follow-up. The album in question, Electric Medicine, will undoubtedly receive a little more attention around these parts upon its release on May 21st, but for the meantime, we highly recommend checking out the excellent "Grave of Arch Stanton" below! As always, we'll see you on the other side!
As a haggard ink-splattered scribe here at ye olde Sleeping Village, it is an expectation, of sorts, that I possess the vocabulary to describe the music I am discussing. Punchy adjectives can go a long way in describing the aural form in written form, and, as such, I always try to deliver in that department. However, in the case of today's subject, more specific descriptors aren't the first to spring to mind. I'm left with monolithic terms instead--words, for example, like "big" and "sad" and "dark." That, in and of itself, should provide some indication as to the character of the track in question. The music speaks for itself.
But! Before we get too far ahead of ourselves, check out below "Thread of Hope" by New York-based one-man band Drift Into Black. As always, we'll meet ye on the other side!
Always desperate for some entertainment of the visual persuasion, we here at the Sleeping Village constructed ourselves, a few years back, a venue of sorts--a public performance space designed to house the raunchiest productions around. As with most venues, our humble playhouse has seen very little traffic as of late, and so when our friends at the venerable Metal Assault Records offered the opportunity to feature something new and entertaining, our slumbering populace practically leapt at the chance.
Push aside the cobwebs and vines, dear reader. Kick away the decaying ravens and piles of loam; the show is about to begin. Today, for your viewing pleasure, the Sleeping Village is pleased to present the (deeply avant-garde) music video for "Narci," the title track from (deep breath) anonymous international synth doom collective Circle of Sigh's forthcoming second full-length album. It is a weird and wonderful track, and an impressive video to boot. However, before we get too far ahead of ourselves, I wholeheartedly recommend you watch for yourself. As always, we'll meet ye on the other side!
Here's a rare occurrence 'round these parts: a music video premiere. And a 22 minute video at that! We don't just clean the cobwebs out of our decrepit theatre for anyone, however, so rest assured knowing that the spectacle before ye is well worth your while.
The track and video in question forms the entirety of Side B of Live Improvisations Vol. 1, the forthcoming, well, improvisational release from French anonymous genre-bending and convention-eschewing collective Non Serviam, out May 1st on the (always stellar) Trepanation Recordings. If you're already familiar with Non Serviam's prior work, "Improvisation 2. Take 1. Ce Qui Dure" doesn't stray too far from what you may be expecting. The whole affair is wrapped up in a distantly baroque swaddle, but the telltale hints of post-metal by way of doom by way of industrial by way of avant-garde are as present and impactful as always. The video itself features a series of seemingly disassociated locations and events--not a narrative per se, so much as juxtapositions that mirror the overall spirit and emotion of the particular moment.
But! Before I scare you away with my ramblings, we slumbering scribes highly recommend that you fire up "Improvisation 2. Take 1. Ce Qui Dure" post-haste. As always, we'll meet you on the other side.
In the experience of this dutifully somber scribe, somberness alone does not quality death doom make. While the genre in question clearly relies on emotional heft, staying power is all too oft nonexistent when the sheer weight of sadness is all a track has going for it. But in the case of Rise to the Sky, one-man atmospheric death doom outfit from Santiago, Chile, emotionally one-dimensional songwriting and a lack of lasting impact are most certainly not of concern.
Case in point: "Liebestod." This lead single from the (excellent) forthcoming Let Me Drown With You delivers the depressed and downtrodden air one might expect alongside a funereal aura...but also carries itself with a subtly triumphant air. It's a killer track, and before I scare you away with more talk, please do yourself a favor and check it out below. As always, we'll see you on the other side.
As a young scribliong, my very first exposure to music that could be deemed "heavy" was my father's Black Sabbath collection. Indeed, the opening cough on "Sweet Leaf," and subsequent sweet-ass riffage, was the clarion call of my youth. This appreciation for the low, slow, and psychedelic as a child has only grown to this day, and, more often than not, I'm quite comfortable strolling the pastures of stoner rock, doom, heavy psych, and affiliated genres.
As such, premiering a track from Burning Sister's forthcoming self-titled EP was a bit of a no-brainer. This self-declared "mile high downer rock" trio from Denver plays in an admittedly crowded field, but possess a unique ability to balance a simultaneously mellow and energetic quality. I'll blather on further soon enough, but before you're scared away, check out the excellent "Lord of Nothing" below!
In the grand scheme of riff-worship, a cover doesn't get much more salient than Sabbath's 1971 classic "Lord of This World"--a highlight track on an album crammed full of 'em. It's a track that Magnetic Eye Record's upcoming Best of Black Sabbath tribute compilation would, frankly, be incomplete without.
But, perhaps most importantly, it's a track deserving of a band worthy to shoulder the monstrous mantle. Howling Giant is without a doubt such a band, and we slumbering scribes are honored to premiere here today their stellar take on "Lord of This World." Give it a listen below! We'll meet you on the other side.
While we Villagers have, alas, never had the good fortune of encountering a Tyrannosaurus Rex (or similar 'saurus) in the imposing flesh, today's offering provides the closest sonic equivalent the musical 'verse could possibly spawn. Enter Titanosaur, a one-man band from Hudson, NY. Over the course of a couple of albums, this guy practically exudes destructive coolness in a fashion only befitting the titular 30,000lb behemoth. Titanosaur, in other words, possesses some notable swagger and a fearsome bite.
Titanosaur plays a self-reported "dash of Monster Magnet, pinch of Red Fang, large dose of Motorhead, and some Ramones for good taste, all poured over a bed of Black Sabbath." While such a wide bibliography of legendary acts all-to-oft feels like wishful thinking, I'm happy to report that all of these influences have made a clear mark on today's artist (and track!) From the whiskey-n-cigarette vocals, to the thundering drums, to the simple-yet-monolithic riffage, there's a clear stoner/desert rock grit on display, swaddled in a punky 'tude and doomy heft.
But! Lest I give it all away here, I wholeheartedly recommended checking out "Deceiver" below. As always, we'll meet ya on the other side!
Disillusioned as I am, this particular scribe simply won't consider a day complete unless it involves a good ol' depressive existential spiral. This routine harrowing glimpse into the bleakness of my future and the future of my future children requires, of course, an apt soundtrack, and I'm quite certain a sizable contingent of our readership would consider death doom a poor choice. In any case: the yard-long stare is engaged and the tears are primed to flow, so let's tuck in, shall we?
Today, we are pleased to premiere a bangin' single from The Encompassing Nothing, the debut EP of Arizona's foreboding one-man Thorn. Comprised solely of the guitarist from sci-fi grindcore oufit Xeno Ooze (a band we love 'round these parts) and GLITTERBOMB (a harsh noise project with which we were shamefully unfamiliar,) a little extremity is to be expected, albeit in a significantly more cavernous end of the musical spectrum. Thorn plays a hearty conglomerate of bituminous doom and paleolithic death--not the most original take, sure, but certainly a high-quality paragon of the style. It's low, slow, somber, menacing, and coated in a dank grotto patina--or, in lieu of adjectives, just imagine the sonic representation of the album artwork before ye.
Without further ado, check out "Fields Of Blight" below!
We slumbering peasantry tend to grumble and complain about the back-breaking labor involved in this review-writin' trade, but this profession isn't marked solely by a surplus of sweat and tears. When encountering hordes of new music and bands on a daily basis, there are many moments of pure and unbridled excitement--and nothing is more invigorating than a brand new band that positively reeks of potential. Such is the case with today's (one man!) crew in question: Philadelphia's Mothman and the Thunderbirds. The sheer fact alone that this single track has garnered a bevy of reviews from our neighboring blogs and publications should be indication of the promise, and we haven't even got to the damn music yet.
To review such a track is exciting, but to premiere one is a genuine honor. Before we get too far ahead of ourselves, give "Nomad" a listen below! We'll meet ye on the other side.
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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