 Written by: Blackie Skulless
Being now the third band I’ve come across named Ossuary (having covered a different one here in The Village before), the Pennsylvania death metal outfit has a unique story. Being but a blip on the radar in the ‘90s, it seems they recorded a full-length during their short run that didn’t see an actual release until last year. Titled Clean-Up, you’d be able to tell the time and, perhaps get near the place, considering the New York hardcore-laced chops that make their way into this. Since that scene was huge at the time, it makes perfect sense. And the entire experience does this beautifully. All over Clean-Up we find a fantastic balance without ever stepping into early deathcore territory. Deep, nasty distortions on the death metal riffs blend with beatdown stomps, matching the bouncy basslines and pummeling speeds of the drums. Often, dramatic shifts in tempo precede the heaviest parts on the record to create tension in the atmosphere. All of this culminates with an aggressive attitude in the vocals, sweeping by with higher-pitched screams that carry most of the weight while dropping the occasional guttural to keep us on our toes.
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Written by: Blackie Skulless
Sweden’s Eternal Evil is an outfit that has been on my radar for a while, but never really did much for me. Their 2019 debut demo Rise Of Death hinted at potential for a rough and gruff style of black/thrash that needed work, but wound up coming to fruition in a cleaner veneer than one would expect. While worthwhile, their first two records simply felt more competent and capitalized on potential without a lot of delivery. However, album number three titled Forever Feared takes that idea and pivots into less awkward execution by just nailing an old school thrash sound that doesn’t feel generic at all. With such clean production and stripping themselves almost entirely of the blackened elements, Eternal Evil very easily could have fallen into unremarkable territory, but instead they keep my attention with catchy songwriting and variety. Hooks one after another are present, carried with leads that feel like they have intent rather than just exist for foundation’s sake, and the several different vocal approaches certainly help. Indeed, the frontman has a solid range, retaining the occasional shriek but mostly working in melodic rasp, and the occasional softer singing. Wrap all of that up into a competent and brief enough shell, and you’ve got a fantastic album! 
Written by: The Administrator
As time goes on, our posting here at ye olde Sleeping Village is increasingly determined and defined by whim. Promo procedure has fallen out of fashion 'round these parts. We operate primarily on meandering vibes and a disinterest--perhaps even a disrespect--for deadlines. However, for today's Very Important Announcement, exceptions must be made, which explains why we went through the trouble of dragging our town crier out of semi-retirement. No one issues a proclamation quite like the town crier. Anyways! Enough blathering. We slumbering scribes are pleased to announce that Wince and Frisson's debut album, entitled Tumult, will be released on Sept. 4th. The pre-order is active now, and, for any denizens of Bandcamp, today would be an excellent day to pick it up. At this stage, it is (hopefully!) clear that I have only the highest level of recommendation for Wince and Frisson. I've had the privilege of (consistently, obsessively) listening to this forthcoming album for several weeks now, and am happy to report that it is as utterly astounding as the singles indicate. Tumult is cacophonous and exceptionally well-executed. There's a real brilliance in the ability to refine, and Wince and Frisson writes songs that are exactly as long as they need to be. Of the seven tracks here, every single one is a genuine standout, not least because they all strive to represent sonic chaos incarnate. The debut album, says the band, is "a virulent cocktail of extreme metal genres. Seven tracks, all blackened and swathed in dissonance. It gets to the point immediately and offers no rest to the listener until its conclusion. All the while, guitarist, bassist, and vocalist Triumvir Kaleido maniacally spews warped interpretations of his experiences with religious and psychological abuse, and struggles with mental health." Completing the duo, Steve Wiener provides drum programming, additional vocals, and the assorted production/mixing/mastering duties. The first two singles, "Kärrhäxan" and "Liftoach Pandemonium," reviewed and premiered here respectively, serve as a fantastic appetizer. And, if for some reason you require additional convincing, we are very pleased to premiere here today a third single, entitled "Hypnagogic Haunt." It serves as Tumult's sixth track, and it is, as you might expect, an absolute bruiser. Check it out below! We'll meet you on the other side. 
Written by: Blackie Skulless
Half a decade ago now, the Florida death metal act Hexorcist came forth with a beefy but predictable release, selling me on their no-frills brand of the style born in their state. Things seemed to stay relatively quiet after that digestible serving, until they decided to cook up a follow-up just this year. Titled, Crucificial Imprecations, the band seems to show no sign of deriving far from their roots, even down to the album art style. Oftentimes, this can be good or bad. And because both their debut and its follow up are brief and straightforward, avoiding generic finishes and overzealous technicality, there’s no issues in terms of stagnation (yet). Indeed, Crucificial Imprecations flies through in a half-hour’s time, keeping the formula rather safe with choppy rhythms and extremely nasty sounding vocals. Actually, I may even go as far as saying that vocally, things almost take an even more gruff stance, treading on that blackened line not dissimilar to Abbath’s style. Speed was never not a feature of their writing, but with the crunched time also seems to come even faster songs, with very few sections slowing down to a simmer even a bit. 
Written by: Blackie Skulless
Since their 2019 album entitled Exile, the Chicago based heavy metal outfit known as Black Sites has been on my radar under close watch. They’ve followed heavily in their prog-adjacent steps ever since, curating two records in a similar vein, and while that held up nicely for a bit, I did find it to run slightly stale by the previous outing. This year, they’ve brought For Eternity, one I was unsure about what to expect. I’m happy to report that they’ve since tweaked the formula a bit, and for the better. Rather than focusing on more intricate rhythms in a Queensryche-meets-Iced Earth type blend, Black Sites has done something that I’ve been implementing in my own life to feel more peace as of late; slowing down. I mean this in a literal and figurative sense, as this record very clearly nods towards more doom metal ingredients than they’ve ever showcased before, in pace and general vibe. However, the noticeable stripping back of progressive elements, while not being completely void of them, shows them clearly no longer taking the focus. This allows for a more cohesive whole, likely being the most focused record since Exile. |
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