Written by: The Administrator

In the vested interest of promoting Cool Shit that Fucks™, it is high time, methinks, to bring back a Sleeping Village feature that has been unfairly relegated to the ash heap of history. That's right, dear reader. It's time to reignite On The Horizon. Not a review per se, and not an album announcement, but a third secret thing that lurks awkwardly betwixt the two.

The forthcoming project in question? Earthbong's third album, the appropriately entitled Church of Bong, which drops August 25th on some fun formats via Black Farm Records and Evil Noise Recordings--see below for release details. If the name sounds familiar, you may this trio's 2020 album Bong Rites, which we reviewed within these humble halls.

In a continuing attempt to cover more music that would all-too-oft slip through the very large cracks, we slumbering scribes are making an effort to publish the little one-off reviews that were previously (and arbitrarily) deemed too short for publication. Here's a mini-review of an aggressive and crushing and seething EP.

Written by: The Administrator

There are several trigger phrases existing in the world of music promo that activate a deep and primal need to drop everything and listen immediately. One such heretofore unknown phrase is the dangerous "FFO Napalm Death/Godflesh," which Noosed unsuspectingly dropped in a brief message in regards to their new EP. Consider this particular agent activated on an immediate basis. I don't even have time to allow the headphones to connect; you already know I'm playing this shit through the phone speaker. Let's fuckin' go.

Noosed play an abrasive and intrinsically violent conglomerate of noise, grind, crust, and sludge. There's a massive presence to the low end that feels oppressive on the basis of mere proximity. The riffage grinds with the sheer heft of damp cement. The percussion stomps forward with a grim intensity, like unto cast-iron industrial revolution machinery gone rogue.  The vocals are raw and belligerent, yet tinged with a nihilistic sense of despair that lends an overall nuance to the project. The use of vocal samples is also a huge strong suit when it comes to driving home the thematic overtones. Although brief and fairly blistering, OMEN bludgeons with a sense of somber nuance. It's not industrial and it's not sludge, but it does a damn good job at sitting uncomfortably somewhere betwixt the two.

Of course, OMEN is far from polished. That's arguably the crux of the project's inherent charm. There's a tangible rawness and strain seeping from these four-tracks-plus-an-intro, and that undiluted emotive weight certainly strikes a chord. Not an easy listen per se, but one worth immersing yourself in.

Noosed - OMEN was released may 5th, 2023. Find it here!

​Noosed can be found:
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Written by: Blackie Skulless
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Charonyx are an Indianapolis-based thrash metal band that have been around for nearly a decade. Being one of the many projects of frontman Max Barber, their releases are rather sparse, but often worth the wait. Their 2019 debut full-length The Ultimate Judas was a serviceable enough dose of thrash metal, but it’s this year's EP Persistent Soul that actually hooked me. In a world of constant thrash by the numbers, hearing something a little more unique is refreshing.

Naturally, its strengths lie in the combination of advanced song construction with several faces meeting a very precise mixing and transitional style. Cleaner vocal approaches meeting growls work as the main ingredient over bubbly bass hooks paired with tech-thrashy chops. You’d be hard pressed to say it moves into death metal territory, but these harsher sections mold into the cracks of the melody-drenched areas better than you’d expect. Packing all of this into a rather short release is if nothing else, impressive.

Written by: Blackie Skulless

A four year gap between Enforcer releases, especially considering the controversy that followed their previous disc, really had me eager to hear what the Swedes would come up with for their sixth time around. Would it be a continuation of the cool and mature energy of the last one? Would the title Nostalgia indicate that it’s back to business as usual? The answer is a little confusing, since for the first time in the band’s history, the direction seems a little unclear. A lot is going on in this effort, so unpacking it bit by bit is the way to go.

For one, stripped away is the clearer Europower tint that covered much of the previous record, letting through some rougher touches that we felt in the earlier albums. The drums specifically stand out in this realm, coating the otherwise buttery guitar noodles with a tougher backbone. Another real consistency lies in the fact that all thirteen tracks avoid the intricate, epic builds or advanced layering that made its way onto several prior releases, making for a disc that’s meant to make a bunch of quick points before moving onto the next.

Written by: The Administrator

When ye olde Sleeping Village is pillaged and plundered in typical fashion--a frequent occurrence, if we're being honest--the inevitable spoils of the marauders feels fairly obvious: livestock, gold, artifacts, leather-bound tomes containing alchemical secrets. However, we were recently targeted by a new kind of thievery as an HM-2 afflicted crew graced us with their boisterous presence, demanding not the usual fare, but rather the bile from our rotten guts. After a messy and putrid passing of the collection plate, Vomitheist left us, erm, vomit-less. Lacking a certain subtlety, it was a little too noisy to be considered a heist per se, but rather than stew in the unfairness of it all, we slumbering scribes simply decided to give their tunes a spin.

​As it turns out, Vomitheist's debut album is a remarkable first outing, an absolute beast of a release. Straddling both a classic buzzsaw Swedish death metal muscularity and a putridity that distinctly reeks of a butchered Autopsy, NekroFvneral nails that delicious cadaver-licking foul factor while remaining a highly listenable--dare I say infectious--affair. This is a dominating debut performance, and Vomitheist have declared themselves a name to watch in very short order indeed.

Written by: Blackie Skulless

​This year hasn’t really seen a whole lot in the realm of standout death metal, probably a personal take of mine due to the massive influx of it in recent times. This would change with the U.S. death metal act Kommand dropping their second full-length (not to be confused with the black/thrash act Kömmand). Entitled Death Age, this sees a continuation of their first album a couple years ago. Terrorscape was already pretty tight, but here is where we gain an even higher jump in quality.

Despite being such a short release of only six tracks (also like the previous album), this passes before us rather quickly, but they pack a lot into a small container. Chunky, marshy riffs that carry loads of weight are pulled by compelling leads, some with a bit of a catchier ring to them. This is aided by production that gives it an echo-effect without overdoing anything, as well as a cleanliness level that brings everything forward without sanitizing what’s supposed to be filthy. Pacing is executed well for all of this release, letting the slower grooves swing into eruptive blasts with ease. “Chimera Soldiers” has a particularly strong ear for this, with opening leads that lay down strong dual-guitar layers.

Written by: The Administrator

Those of you with frighteningly impeccable memory may remember another mini-review from a while back discussing Cartoon Head's first foray into self-described "doom ska." I really enjoyed "Wrong!" in all of its oddity, and have anxiously awaited another Cartoon Head release in a similar vein. What we got wasn't a duplicate of those gloriously strange sights and sounds, but the result is wholly intriguing and chaotic nonetheless. In the band's own words: "It's a cover of a Ghost song and we fucked it right up for you."

"Square Hammer" is a classic unto itself, and a straight cover simply wouldn't work. Enter Cartoon Head's off-kilter approach. There's a poppy yet carnivalesque sense of panic and glee that drapes over the whole (very brief) affair. That instantly recognizable riff has been given the fun house treatment, drenched in a glitzy sleaze. The verses are sped up to a borderline comical degree, the vocals are just a little maniacal, and the noise-afflicted chorus feels like it has been dragged through the sewer. The track also just ends midway with the kind of abruptness that makes you wonder if you accidentally hit pause. There is no leadout, no reflection. It's a genuinely funny choice, and one that fits Cartoon Head pattern of operating outside expectation.
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The whole track feels less like an homage to Ghost and more like a medieval satire, a jester clowning with a crude effigy of a king. And if all this sounds like a negative, please know that I absolutely adore the Cartoon Head approach to absurdity. This track is an exciting exercise in pulling the rug out from under the listener, and that is a rare trait indeed. Given the implicit good humor and self-awareness that Ghost have utilized over their run, this feels like a very appropriate way to cover their music. If you want a faithful rendition of "Square Hammer," this ain't it. If you like weird music, check it out below.

Cartoon Head - Square Hammer was released May 5th, 2023 via Hvng Man Records. Find it here!

Cartoon Head can be found:
Bandcamp
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Written by: The Administrator

It's been quite some time since today's project in question was released, but god-tier stoner riffs are always gonna get the time of day 'round these parts. Moreover, when they are this damn enjoyable, you can bet your ass they'll be stuck in rotation for a good long while.

When it comes to god-tier stoner riffs, the subtly monikered ROBOT DEATH MONKEY have decidedly got the goods, delivering a cheekily flippant EP with rough 'n' tumble component parts aplenty. Intergalactic Party Powder is chock full o' groove, a crude sense of humor, an apparent love for the swagger of Orange Goblin's catalog, and a healthy dose of Neil Fallon's phlegm nasty sneer. The riffs are big. The attitude is off the charts. Let's party.

Written by: The Administrator

I undoubtably speak for everyone here: sometimes we all just need our craniums caved in with a boulder the size of a small boulder. When you require such necessary service, I highly recommend looking no further than Denver's Cronos Compulsion. Just take a gander at the appropriately burly and bloody album artwork for this (very good) five track EP and let me know what Malicious Regression sounds like. Your suspicions are undoubtably correct.

Cronos Compulsion wield a truly neolithic approach to the model of simple but bluntly effective riffcraft, alongside a rumbling doomy density. The vocals are as bestial and cavernous as ye might expect. At times, ambient harsh noise serves to break up and/or intensify the abyssal soundscape. Bludgeoning atmosphere is the general rule, and when the riffs encounter peak sludge, a notable sense of despair prevails. Personally, I find these slower and gloomier moments to be some of the strongest. While there are certainly no weak songs, the lumbering "Consumed By Malignant Spirit" is an absolute crushing track, and, by extension, one absolute hell of a closer.

Written by: The Administrator

In lieu of a lengthy intro, let me just state that Toronto's own Tumble have absolutely knocked it out of the park with this debut two track EP. Bringing proto-metal groove and a vivacious energy to the retro hard rock aesthetic, this three piece makes a strong opening statement with Lady Cadaver.

Side A is catchy and frenetic in a fashion that is instantly gripping. The central riff is an absolute doozy. The vocals fit the mood and vintage vibe like a glove, dusty yet not without a subtle bite. There's a delightful sense of momentum. With all that said, the track's arguable strongest suit is the unexpected drum solo that slots neatly into the back half, providing an exciting and dramatic moment in the midst of a song that, for all intents and purposes, was already quite exciting and dramatic. When the riff comes back, reinvigorated, one can't help but smile.