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.
Y'know what I find so endlessly endearing and intriguing about Connecticut's own Turkey Vulture? Despite a lack of released tunes in the grand scheme--indeed, the tracks herein account for, like, half of their discography--this duo consistently brings startlingly fresh ideas. Every track to their name is a new take, an exciting conglomerate of seemingly non-adjacent influences.
In other words: if invention is a product, Turkey Vulture produce it with an admirable fervor. Mixing olde-timey Americana with aggressively studded punk, morose grunge, and sludgey hard rock shouldn't, frankly, work as well as they make it. We’ve reviewed both their debut EP and a followup single, so if three reviews ain’t good enough reason to check ‘em out, I’m not sure how to help ye out of your particular predicament.
Intro aside: let's get to tunes, shall we? We're honored to present here today--in full!--a premiere of Time To Pay, Turkey Vulture's latest (and greatest) EP. That's right. Four banging tracks, fresh off the press. Eat ‘em up while they’re still hot. It's damn good, but don't just take my word for it!
What, dear reader, makes a song--or an album, or an artist for that matter--quintessentially metal? That's obviously a question so broad as to be belligerently provocative, so let me just assert my two cents and get on with it: (italicized) metal is epitomized by chunky riffs, hefty atmosphere, a certain adherence to heartfelt aggression, and a devil-may-care attitude. Sure, the vast majority of music falling under the assorted subgenres will divert from this basic formula, but the existence of those factors can mean only one thing: metal is present. Time to break out the headbang.
New York's very own DemonScar are quintessentially metal, and their latest single--"MDCXCII," which we are honored to premiere here today--is a perfect exemplar of their Motorhead-by-way-of-Sabbath-by-way-of-Corrosion of Conformity aesthetic. In regards to the track in question, DemonScar state: “our new song has got a lot of those classic doom, stoner, and witchy vibes. Groove along with DemonScar as we journey back to Salem, 1692.” It's a tempting invitation, and I hope you take 'em up on the offer. Have yerselves a listen below:
Moonlow presents “apocalyptic noise poetry," and if that particular combination of descriptors wasn't what you were expecting to encounter today, join the club. This one-person artist in question writes music for fans of Current 93, Laurie Anderson, Crowhurst, A Forest of Stars, and Brian Eno--which, frankly, is an odd enough roster that an actual template isn't exactly apparent. The instrumentation is equal parts harsh and tranquil--a peaceful mediation routinely and unexpectedly beset by paralysis demons. The lyrics are spoken, whispered, and guttural fried with alternately tranquil and chaotic abandon. It's ritualistic, and enchanting, and....kind of scary. In a word: this is delightfully weird stuff.
Moonlow is the veritable poster-child of musical invention. Who Are You? is a strange and grand album, and "Day 3 (You Diminish Me)" is a prime representation of what lurks within. As such, the track before ye--and Who Are You? as a whole--is a wholly indescribable experience. Without further ado, then: listen for yourself!
While we Villagefolk are all-too-oft content to snooze whilst wrapped in the suffocating embrace of music's more extreme edges, a little diversification in the genre department can go a long way. I, for one, am a big fan of the murky and ill-defined worlds of dark ambient and experimental electronic--particularly when the artist in question plays with expectations in a, well, unexpected fashion.
Enter Emerson Sinclair--classically trained, but since described as "quietly metal as fuck,"--who combines seemingly incompatible elements of dark synth, rock, baroque, electronic, and traditional liturgical. Just the level of experimentation we needed to wake us from slumber. Needless to say, this combination of sounds and influences is a melding that is better witnessed than clumsily described. As such, we're happy and honored to premiere here today the music video for Emerson Sinclair "Singularity." This arresting track is the second single from the forthcoming Never Without The Pentagram, a split collaboration between the genre-melding artist featured here today, and cello-based black metal ensemble Hvile I Kaos.
Without further ado: check out the video below! We'll meet you 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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