Written by: The Administrator
Here at ye olde Sleeping Village, we like to talk about Negative Bliss. Of the four tracks contained within the cathartic confines of their forthcoming debut EP, I've publicly discussed three: "The Good Life" was premiered, "Sun Stain"reviewed, and "The Lighthouse" got a little micro-review over on Twitter. If it's not apparent that I thoroughly enjoy what these genre-blending dads are doing, hopefully this writeup serve as yet another nail in the coffin that represents my desire to have Negative Bliss heard by as many people as possible. For the unfamiliar, Negative Bliss sit somewhere at the moody dynamic intersection of post-metal, hardcore, doom, and sludge. The sonic spectrum is quite expansive, and thus it is almost more useful to talk about the band in terms of their sheer emotional weight. This is profoundly emotive stuff, basking in gloomy somber grief, hazy melancholy, coiled frustration, and the eventual calm that dwells at the heart of acceptance. Everything Hurts and I'm Dying is thematically centered around the assorted coping mechanisms one develops to deal with life's inevitable traumas, be it grief, loss, entropy, or disillusionment. Hell, the title alone should serve as clear indication that we're openly dealing with some real-life shit here. Negative Bliss have carved themselves a corner that feels profoundly relatable. There's a certain comfort that comes from witnessing others dealing with the same old bullshit. Hearing these guys find a creative outlet through which to process trauma provides me with a vicarious sense of fulfillment. We slumbering scribes are honored to premiere Everything Hurts and I'm Dying here today, a couple of days prior to the Nov. 1st release date! But before I scare you away with ceaseless blathering, please check out the Ampwall embed below. We'll meet you on the other side!
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Written by: Blackie Skulless
God do I ever love a good grower; take that as a double meaning if you must. Germany’s Victims Of Classwar drew me in not only because of the intriguing band name, but also the album artwork. Never mind the fact that black/thrash with a crust/hardcore edge tends to boast some of the nastiest music you’ll get ahold of, but it leaves even more room for interpretation than your regular black/thrash formula (one that I love dearly). This influence is definitely the lesser focus, but considering the band has been active for nearly fifteen years prior to their debut, you can be pretty certain that Invitation To A Funeral is full of long-time rage. Victims Of Classwar runs with a rather unorthodox presentation that admittedly took more than a listen to grow on me, however getting through that initial phase lets in one of the most interesting and meanest records I’ve heard this year. This isn’t necessarily to say that there aren’t plenty of bands that take this path, but the frontwoman’s vocal approach absolutely pummels you with discomfort and proverbial assault, being the most standout feat. A variation of fairly straightforward blackened shrieks to pain-stricken croaks and degraded howls offer a variety of unsettling feelings that reflect the very perturbing album art. Obviously, the rough production helps this feeling remain, but musically you can definitely tell that there’s a history of dabbling in the hardcore/crust realm. 
Written by: Blackie Skulless
Chicago’s Black Sites are a heavy metal act I’ve been eyeing closely since their second album Exile blew me away in 2019. From their inception, they’ve always been a band that leaned towards the progressive metal side of the spectrum, without diving full-force into that realm. Their sound was always a treat that I compared to Queensryche meeting Iced Earth under a unique flair. Considering Untrue felt like a simple continuation of that sound, I was pretty excited to see what the latest The Promised Land? had to offer. Jumping in, that “progressive element” that described an otherwise traditional metal backbone sneaks in just a notch more often. Though the band may not be a stranger to longer, intricate songs, that’s exercised to a jarring degree this time around from time to time. More emphasis is put on the start/stop riff structure that jumps around the fretboard, coating different layers with different techniques ahead of sophisticated drum patterns. Vocally, things still feel right at home, boasting Mark Sugar’s consistent melody paired with clear emotion being ever present. And of course, I must mention that this record sees the band’s first attempt at crossing the ten minute mark in its title track, indicating that things may have more of a single narrative across the board leading to a climax. 
Written by: The Administrator
When I crave some fuzzy riffage that embodies the laborious act of clambering through a swamp in pea-soup fog, I turn to Green Hog Band. These fellas have been putting in the work for a few years now, routinely dropping fresh batches of fuzzy 'n' scuzzy motorcycle-revving stoner doom. This latest, Fuzz Realm, was released back in June of this year and subsequently sat in the ol' promo pile for far too long. But better late than never, says I. Let's dive straight into this tarpit. Even before hitting play, I already felt exceptionally familiar with the contents of Fuzz Realm. That's a strong indication that Green Hog Band have built themselves a cohesive identity. This is dirty stuff. Every thick riff is coated in a greasy patina of motor oil and cigar ash. Meanwhile, the clean-yet-demonic vocals--delivered in both Russian and English--have been chained to a Harley and dragged across gravel for, I dunno, a lifetime and a half? In terms of elements that feel a little fresh in the Green Hog Band playbook, a distinct occult influence peers through the cracks in terms of samples and general spooky ambience. Put it all together, and the formula speaks for itself. The Fuzz Realm aesthetic is dark, menacing, and, in case I have not been clear, heavy as ever-living hell. While everything here feels like it would fit comfortably on any stoner metal playlist of your choosing, closer "Phantom" is perhaps my favorite track, as it balances softer passages with throat-crushing guitar dropping in to remind the audience who is boss. I also love "Nightmare Creatures" for that simple and endlessly earwormy riff. The aforementioned vocals add a little unique flair and flavor, but at the end of the day, these eight tracks--along with the Green Hog Band catalog in general--are built upon and sustained by that sweet, sweet heft and fuzz. The riffs and songs don't necessarily stick in my head after the album is done, but they really don't need to. They make their impact in the moment, and that, I would argue, is significantly more important. Green Hog Band - Fuzz Realm was released June 20th, 2024 via The Swamp Records. Find it here! 
Written by: Blackie Skulless
Ever since its inception, Norway’s Dødskvad have held my interest due to their rough and primal doses of death metal that has yet to surpass the EP format. Every other year tends to see another release now, and their latest, Krønike III, rages forward with the naming structure of simply “Krønike” followed by which “chronicle” number it is. Once more going through Caligari Records, this delivers a very familiar approach. Cavernous howls, a degraded overcast, and pummeling rhythms that have a sharp edge are once more the name of the game. And if I’m being honest, the first two tracks “Dodens Sverd” and “Lenket Til Bunnen” work in exactly the same way as what we’ve seen before. Neither track distinguishes itself very far from the powerhouse that was the first two EPs, and while they’re both executed with a murky gradient that’s fun to submerge in, I struggle to conclude that the songwriting on either is as good at capturing me as before. Both do work in their dungeon-like tricks and unsettling bottom, however, which fit nicely with the massive closer “Ved Manas Bredd.” Opting for a long closer like in the first EP, this ten minute rumbler sneaks in higher lead guitar wails to contrast the harsh and unforgiving ground. Extra bounciness with such a raw reflection bounces off of the percussion, and it’s this track that makes the third EP worth visiting. In my humblest of opinions, I think it’s time Dødskvad reaches for an album. They’ve got a healthy blend of doom and death metal that very much has a unique identity, and I think that Krønike III would have worked better with a few more songs turned into a full-length. Everything the band has done thus far has been great in terms of conjuring up striking ideas, but I think we’re ready for a full ride. Basking in and cleaning up the general direction of the third track should set some masterful groundwork. Dødskvad - Krønike III was released July 26th via Caligari Records. Find it here! 
Written by: The Administrator
As a someone who enjoys new music, there are fewer joys greater than "discovering" a band that has 0 monthly listeners on Spotify. And yes, that feeling isn't diminished even when the act of "discovery" actually refers to clicking a link that a band has emailed directly to me. In any case, we slumbering scribes are happy to get in on the ground floor--albeit a whole year after said email was received--and I hope that this review leads to a double-digit listener count for today's band in question. The band? Bighead, a solo act reveling in the kind of overt noisy goregrind grotesquery that makes me wish, for the reader's sake, that I could hide this review behind a tasteful blur. If you are preemptively imaging track titles and samples detailing medical procedures gone terribly wrong, that's exactly what Backwoods Medical Anomalies has in store. And for that reason, I highly recommend NOT clicking "read more" if gore and the assorted words and sounds that come with it don't sit well with your stomach. Otherwise, see you on the other side! 
Written by: Blackie Skulless
As I’ve noted when discussing the band’s previous output, New York’s Undeath are an outfit that have been with me since their earliest demo in 2019. Over time, they would grow into quite a significant spectacle in the scene, dropping another demo and two full-length records since. The quintet has always emphasized the brutal and unforgiving sides of the death metal genre, made extra filthy early on, and cleaned up the surface slightly with each subsequent release. The latest outing More Insane continues this trend, making the most significant jump between albums in that regard. Since Lesions Of A Different Kind, Undeath have made it known that they also prefer a slightly more intricate variation under those grueling and marshy riffswamps. This has always helped the band stand out, and with a newer production style, we get a higher emphasis on unorthodox leads. In fact, I would say that More Insane now lets the band reach “technical” death metal territory, as even the rhythms focus heavier on this approach. From time to time, the burning hot riffage will pair with, and even trade-off with the bass guitar, allowing both to take the forefront, which is highlighted nicely on the title track. Frontman Alexander Jones also tampers with vastly different vocal approaches. We still get a healthy serving of the deeper gutturals that the band are known for, but this time around an experiment with higher shrieks and throatier lows is extremely present. I would even argue that they take precedence over what we’re familiar with, fitting the vibe of the technical songwriting and cleaner atmosphere. 
Written by: The Administrator
When you hear that emphatic "Conductor! We have a problem!" tag followed immediately by Boldy James' calmly nonchalant tone, you know you're inevitably in for a good time. This full project team-up with Kansas City's own Conductor Williams felt almost destined--like the universe demanded a partnership. They are both masters of their respective craft, and arguably operate in a similarly pensive aesthetic lane. The fruits of their collaboration was inevitably going to be worthwhile. My first interaction with Across the Tracks was the lowkey "Off-White Lumberjack," which then prompted me to check out lead single, the emphatic "Terms and Conditions." After that point, waiting for the midnight release was a bit of a chore, but fear not. I made it, folks...and then waited like 4 months to write a review. That's how it's done 'round these parts. Long-term slow-burn musical digestion, or laziness? You decide.  Written by: The Administrator I've been very excited to witness the next iteration of Chicago rapper D2X. 2021's The Color Blue was a remarkably polished project for a newcomer, and I really enjoyed the increased confidence and storytelling he exhibited on 2023's heartfelt Hotel 1105. Since that particular project, it has felt like D2X is on the precipice of leveling up, both in terms of artistry and recognition. Enter "FIRE," the first track unveiled from his forthcoming EP, accurately and alluringly entitled The Hunger Era. This single feels like the next rung of the ladder. An evolution into a more forthright and aggressive chapter in D2X's career. Make no mistake: "FIRE" is a clear statement of intent. True to the title, D2X is fired the fuck up, rapping with a burning passion and purpose and intensity. It's a stylistic change that was admittedly unexpected at first blush, but perfectly fits his ambitious go-getter persona. On "FIRE," the delivery is gasping and urgent, and with the heavy breathing in the anticipatory intro, it truly sounds like he sprinted into the booth. He sounds poised and self-assured. One does not rap "in a room full of mirrors I'm surrounded by winners" with this kind of self-assured gravitas unless they really truly feel it. Lest it be forgot, the stellar production is handled by one Ro Moore. This beat absolutely knocks, integrating a rocking groove and edge that feels classic without feeling outdated, cool and assertive without overpowering the bars. The drums are snappy, the cymbals are crisp. I certainly wouldn't be disappointed to hear more beats like this on the EP. D2X is hungry as hell, and that has never been more evident than on this track. In his own words he wants it all, and while the desire for success is almost a near-universal, his drive is uniquely tangible and palpable. The Hunger Era is real. I'm excited to hear what he cooks up next, and sincerely hope his forthcoming project garners this talented man the attention and success he deserves. 
Written by: Blackie Skulless
Over the last couple of years, the North American heavy metal outfit Traveler has made a pretty strong impression in my endless hunger for traditional metal. While their debut was a solid start, it was the second record Termination Shock that fully sold me on the band. Naturally, I was really excited to see that a new one dropped earlier this year. Prequel To Madness admittedly took me a second to grasp onto, but as I’ve revisited over the months, it has grown on me significantly. The easiest explanation would be that prior to this, Traveler simply used a straightforward but hooky formula that was given more of an identity the second time around. For round three, I would argue that they’ve landed entirely on power metal territory, with flavors of the gritter U.S. style and the melodic, clean European style showing at times. This isn’t the first time that emphasis was placed on a heavier push, but man, do they ever unload the proverbial artillery here. Breakneck speeds, pummeling drums, and layers upon layers of guitar and bass combos leave no room for lightweight attacks. Even vocally, while higher falsettos and sharp shrieks aren’t foreign to the band, they move through this with more purpose than before. |
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