Written by: The Administrator
Welcome, dear readers, to a new edition of AMPWALL Roundup! For any Ampwall Discordians not in the know, this is our (unfortunately and embarrassingly infrequent) column dedicated to shining a little light on the music we sleepy villagers find whilst trawling through the explore page. It's been quite some time since we last dropped a roundup--don't bother checking the Volume III publication date, please--but we're back in the saddle and ready to talk about some cool music. In the many months since Volume III, Ampwall has added a bunch of features, including an app. Very handy for when an intrepid user wants to listen whilst, y'know, on the go. If you don't know what this whole Ampwall thing is all about, please take a quick gander at Volume I, where we get a little more in-depth regarding the platform/marketplace/community. In sum: we here at ye olde Sleeping Village are big advocates for the integration of additional resources into the independent artist's promo toolkit. To that end, having more music-purchasing people become aware of Ampwall's existence will only help it grow as a viable option moving forward. Let's get to the music, shall we? Below are 6 bands I recommend checking out. And, if you're looking for more recommendations, give Volumes I, II, and III a read!
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Written by: The Administrator
Eons ago, back in the primordial days (2019), my friend and collaborator Ancient Hand started a generally uncategorizable ambient/noise/experimental project called Empty Joy. I premiered "Drowned," the band's mighty and uncomfortable debut single, and, as a recent trawl through the ol' archives revealed, I evidently interviewed them as well. Said interview ends on a predictive note: Ancient Hand states that "the debut Empty Joy album, It has occurred to me that I am suffering, will be out late summer, 2020." A mere six years later, I'm excited to premiere "I don't sleep well anymore," Empty Joy's second single for the very same project, now revised into a shorter five-track EP. Time is weird. Life happens. So it goes. Which is, in a meta sense, entirely the point. Indeed, the release schedule is quite fitting. As I conceptualize it, the project is, both literally and musically, about the process of growing up and easing into the routine of adulthood. A loss of youthful innocence, perhaps. Thematically, it is fitting that its creation and eventual release span a sizable chunk of the member's respective early adulthood. The forthcoming release of It has occurred to me that I am suffering feels significantly more poignant than if the band dropped it in late summer 2020 as intended. Anyways! Let's get to the music, shall we? Give "I don't sleep well anymore" and the subsequent "Drowned" a listen below! As always, we'll meet you on the other side. 
Written by: The Administrator
On January 1st, 2025, whilst writing a premiere for Am I in Trouble's excellent debut album Spectrum--after previously premiering two singles and reviewing a third, no less--I knew in my heart of hearts that I was not done writing about Am I in Trouble's excellent debut album Spectrum. After all, it still qualifies (spoilers!) for and merits an appearance on my (forthcoming) Favorite Album Art of 2025 and Favorite Albums of 2025 list, neither of which have been published for a variety of very real reasons. But, despite assuming that my past and future wordsmithery regarding Am I In Trouble's excellent debut album Spectrum was thoroughly mapped, I was wrong, for another Spectrum was made. In a manner of speaking. Enter Facets, a remarkably cohesive 15 track remix and/or re-imagining that presents "the seven songs of Spectrum explored, stretched, condensed, lightened, darkened, ripped apart, and stitched back together." Facets notably features a massive roster and an updated color palette for modern times. It serves, as it must, as a celebration of the original album's successes. A victory lap of sorts. But it also represents a broader sense of collaboration germinated both by the lesser-known annals of avantgarde metal and the fertile soils of the Ampwall community. Am I in Trouble's solo visionary Steve Wiener has used this project as a platform to "come together to find different shades and hues within the spectrum." Very cool idea; very cool execution. By overtly embracing remix culture, Facets demonstrates an exploratory drive, a creative mindset, and an openness to community that far more metal bands, in my humble opinion, should actively strive towards. I'm very pleased to present here today, in its lengthy entirety, Am I in Trouble's Facets several days before official release. Look for it on June 5th from SHIFT+CTRL Music. In the meantime, check it out below! I'll be waiting with ample wordcount, as always, on the other side.
How best, I have asked myself many times whilst preparing this premiere, to write about a 15 track album representing the reimagining of as many artists? The inevitable conclusion was: write about it all, obviously. At extreme risk of penning a review that takes longer to read than the album's mighty 1hr 25min runtime, I shall limit myself to one (1) sentence per track. Let's get into it, shall we?
Things start off on a lovely and tranquil note with the Ed Herbers helmed "Seafoam," which feels to me like the smooth sea-worn seaglass a beachcomber might find decades after the bright shard of "Green" was cast into the surf. This sense of calm is swiftly interrupted by the chiptun'd (and intensely sick) "Cobalt," which ramps up the speed and aggression to the exact levels of chaotic freneticism you almost certainly expect from Gonemage. Negative Agent keeps the genre whiplash rolling with a chanting and industrialized version of "Red," injecting the track with an extra dose of misanthropic violence and vitriol that the title "Scarlet" simply can't avoid implying. Next up, Imrryr (who previously impressed on Gray EP's "Obsidian") presents "Pearl," which leans into the airy angelic grandness of "White" without becoming untethered from the blackened aspects of the original. The following feel-good bop embodied by Adventsong's "Xanthous" continues embellishing the lighter side of AIiT?, taking cues from the intrinsic radiance of "Yellow" while amping up the percussion and apricus sun-drenched energy. Onward! "Rouge," an AIiT? solo effort, brings a blushing bombast to the proceedings, acting as a impassioned companion piece to the original material and a smart switch into more aggressive territory. And, speaking of aggression, Voidscan's dynamic and hostile "Onyx" is up next, utilizing Alex Loach's acidic blackened tone to great effect and very possibly clearing the high bar set by Gray EP's "Opal." Exit Chamber slows things down with the mighty droning atmosphere of "Crimson"--not the direction I was originally anticipating for a "Red" reimaging, but this track serves a notably monolithic role in the tracklist. Next up is Sylfvr's more vivacious "Viridian," which provides a little whimsy via some exceptionally charming fantasy synth. MEGAFAUNA's genre-mashing electro-frenzy cyber-infused "Fuchsia," much like the original "Pink," seems to find substantial joy in walking the delicate line between the cheerfulness and the abject horror represented by its subject matter. Moving along, "Snow," Chipped Topaz's take on "White," builds drum-forward growling menace around that delightful pure-driven melody before fading into bliss. Jude Kerr's "Canary" turns up the brightness and birdsong and sense of frolic present in "Yellow," nearly quadrupling the runtime without ever dragging the whimsy beyond a breaking point. The end approaches! In a true feat of well-executed excess, Witchtᴉde's "Fuchsia" somehow exemplifies every element of the original, delivering both clapping production and winding guitars alongside a significant cast of vocal stylings. The penultimate track "Fern" maintains the circus-like jubilance of "Green," but builds the ditty into a bit of a lush rocker--I was previously unfamiliar with Raccoon Fink, but will be checking 'em out post-haste on the basis of this exellent track. Finally, the closer "Yellow + Blue = Green," an appropriately entitled amalgamation brought to life by Petridisch, is a dreamy and otherworldly long-form 10+ minute affair that reflects the lushness of its inspiration's component parts--a fitting outro to a project that respects source material without ever being afraid to strip it down and stretch it out. Facets is truly is a curatorial masterclass. As should be apparent, this project is exceedingly diverse from a musical perspective, representing a wide range of sounds and aesthetics that somehow always compliment and never clash with the the original vision. On paper the deliberately eclectic genre conglomerate shouldn't work, or at the very least shouldn't mesh. But it does, and the resulting listening experience is quite the aesthetic journey. Listening to multiple iterations and reinventions of each track allows the Spectrum audience to recontextualize their relationship with the familiar while simultaneously exploring new artists and genres. Beyond what the album sounds like, however, Facets also represents a creative ethos that I have a profound admiration for. Steve has found a way to extend his album's lifespan without the re-imagining ever feeling like a marketing gimmick or a promo hack. It is a project, not a product. The longevity never feels forced. The collaboration at the heart of Facets allows the album to fulfill its own purpose, independent of the typical "practical" reasons that one might release a remix album. And yet! Here I am, many, many months after the initial release of Spectrum, experiencing Am I in Trouble? with a vested and perhaps even revitalized interest. Ignoring the pull of the promo pit for days and weeks. Writing about "Red" (or variations thereof) with the same enthusiasm as I was literally 653 days ago. That alone is worth applause! Am I in Trouble? - Facets will be released June 5th, 2026 via SHIFT+CTRL Music 
Written by: The Administrator
Going into Slow Draw's latest release, there were several indications that Living in a Land of Scarecrows was going to be a little intense. The first was the cover art, which is, as you can see, unsettling in a way that reads as extremely deliberate. There's a universal unsettling eeriness at play here. This creepy clown child feels aligned with the dark and often depressive aura of dark shadows in happy places, rather than the colorful and relaxing ambience of Yellow & Gold, Quiet Joy, or numerous other examples from Slow Draw's catalog. Given my familiarity and expectations, opening this promo email and seeing the cover art was a little jarring, which is by no means a bad thing. The second indicator was the tracklist, which consists of a single song running for 23:12 minutes. Regardless of tone, a track spanning that amount of time indicates a certain intensity, especially when the long form isn't exactly a common practice for the artist in question. 
Written by: The Administrator
If MEGAFAUNA doesn't represent the perfect antithesis of easy listening, I shudder to think what else could have possibly earned that designation. Indeed, in my review of MEGAFAUNA's unsettling and engrossing Venator, released back in April of 2024, I wrote that the project is "not a light nor carefree listen." I also called it "unabashedly weird and intense" and referenced both an "uncomfortable urgency" and a tendency to nail a sense of "terrible disassociation that paradoxically makes you hyperaware of your physicality." In short, I liked Venator very much, and found MEGAFAUNA's articulation of anxiety, fear, paranoia, and depression to be quite poignant. I Owe This Land a Body similarly presents an intense soundscape, leaning into a lonely and foreboding eeriness. This is, after all, an album explicitly exploring the notion that "how dying is the last decent thing we can do." A sense of profound despair implicitly and intentionally seeps forth from the Megafauna corpus, and this latest isn't exactly a cheery listen. With that said, I Owe This Land a Body is less immediately jarring than Venator, and even manages to undercut its own sense of unease with some unexpected bright spots. 
Written by: The Administrator
I'm unsure what role a "Wind Doula" plays in the grand scheme of meteorological phenomenon, but as a track title, the term undeniably oozes a certain Fuzznautian vibe. This latest single from our favorite one-man instrumental soundscapist is, like all of Emilio Rizzo's work, a breath of fresh air. If you're a devout reader of the Sleeping Village--and/or currently living within the walls of our drafty scriptorium--you likely recognize the name. But for the unfamiliar, Fuzznaut writes comforting and immersive music that should feel minimalistic but is often unexpectedly engrossing. Bridging the (often inscrutable) gap between fuzzy doom, shoegaze, atmospheric post-rock, and drone, Emilio's work is always a welcome additional to my listening rotation. The past few weeks, this latest track accompanies me pretty much every morning as I am waking up, preparing body and mind for the day. Much like "Spacerock" made an impact back in May of this year, "Wind Doula" has become an almost ritualistic addition to my day. "Wind Doula" is immediately identifiable as a product of Fuzznaut. The common components are all there, and while this track does feel a tad fuzzier and incorporates a lil' reverb-laden percussive stomp at the beginning, nothing really breaks the formula. This track feels like the soundtrack that plays whilst trudging alone across a desolate windswept plain, dust devils dancing lazily in the hazy distance. It is lonely and elegant and organic, and breathes in a weathered way. The track oozes a languid sense of meandering--it documents a journey with distinct forward motion, but the destination feels irrelevant. It's a relaxing listen, and "Wind Doula" honestly feels a little short at 4:20. Indeed, if this thing were an hour long, I'd gladly partake. Fuzznaut - Wind Doula was released Sept. 6th, 2024. Find it here! 
Written by: The Administrator
We slumbering scribes are honored to premiere here today a sonically eclectic charity compilation benefiting a Gazan family. In the words of Basil Elzeenaty: "amidst the chaos, we yearn for a helping hand to provide sustenance, essential medical aid, and the means to secure shelter." Purchasing Love Songs is a direct way to provide assistance. This 11 track compilation was compiled and curated by Ben Serna-Grey of Mother Anxiety, and is currently available for pre-order on bandcamp for an exceptionally fair $1. It will be released in full tomorrow, July 26th, but if the meantime you can listen to it in full below! We'll talk more about the music itself shortly, but first, let's talk about the cause itself. Whereas many charity projects I've encountered are vague when it comes to where exactly the money goes, 100% of the funds raised go towards supporting Dr. Basil's campaign through Operation Olive Branch to help safely evacuate his family (parents, 4 sisters, and 2 brothers) from Gaza. More info about the campaign can be found via Gofundme--I encourage you to read Basil's story in full. At the time of writing, €36,603 has been raised of €55,000 goal, and if this compilation can narrow that gap by any amount, it has been a worthwhile endeavor. In the midst of genocide it is far too easy to lose sense of the victims on an individual basis, and understanding the impact of the charity on a personal level reinforces the importance of fundraising. Supporting directly and/or purchasing the compilation is a very concrete and tangible way to assist Gazans in dire need of security and basic human amenities. Additionally, Ben will generously send a free Mother Anxiety patch and some stickers (while supplies last) to anyone who donates at least $5 to any Operation Olive Branch campaign and shows proof. Without further ado: listen to Love Songs below! As always, we'll meet ye on the other side. 
Written by: The Administrator
I grew up in a very rural area. Heavily forested and lushly dark, depressive, lonely. As such, I can assert that any creepy tale you've heard about stuff that happens in the woods at night is almost certainly true. There is something in the woods. There is always something in the woods. Indeed, to reiterate: ţ̸̧̨͈̤̞̦̻͛̋̀̀̎̐̃͜h̴̡̬̖̻̽̋̇͊̄͠ẻ̶̲̻̟̣̙̓͆̏͋̇͒͆̚r̴̪͛͆̓͂̀e̷͔͉̹̼̪͖̬̘̳̋̐͊ ̷̘͓̅̓̈̎̓̌̽̓ỉ̶̜̰̻̮͈͐͌̈̅͘̕ś̷̩̘̤̝̭͎̜͕̪̐̂ͅ ̷̟͔̞̊̀̓͜͝͝s̸̺̭̪͊̓͒̈̏̀͒̎ō̴̟̰̳̫̥͊̾̓̀̾͘͜m̷͕͖̜̥͙̮̟̮̥̩̱̐̒͂͠ĕ̵̹̍̎͊̀̍̕͠͝ẗ̶̢͕̠͎̥͕͈̲̝̓͒͜͜h̶͓̦̟̰͈̘̐̄̔͗̆̇̂̈͑͗͝ͅi̴̦͇͎͒̈́̋̿́̆͠ͅn̴̢͇͇̥̫͚̮͗͋͂̉͘̕͝g̷͍͑͗̈̓ ̶̬͚̪̗̺̽͊͂͠i̷̛͚̘͚͑͐̏̈́̑̕͠ņ̸̧̢̹̻̭̘̗̼̳̖̍̆̀̂̃́̿́̎̿̀ ̷̮̐͐̃̅̓̃̕̕͠ṱ̵͓̣͚͈͍̯̮̻̟̠̓̋́̍̀͌̓h̷͔̰̱̤̓̌ẻ̵̛̪͍̅͌̍͑ ̴̼̱̳̞͈̫̟͓̫̗͗͛͑w̶̯͌̈́̽̾͑̔̿̀̊̈̕ǒ̴͎͙̦̮̬̩̝̦͌́͛͋̈̇͊͜o̷͕̳̖͈̙̙̓̏d̶̢͙̹̝͍̜̜̃͒̔̾́s̴̫̘̻͈̹̤̼͕͖̋́͝ British Columbia's Megafauna understands this all too well, whether the woods are literal or figurative or combination of both. Megafauna's bandcamp page self-describes the project as "the soundtrack to your depressive episode." To get a little more specific, Venator was created "in various stages of exhaustion, mental illness, bursts of creativity, fear, anger, sadness, joy, nihilism and limited free time." It may not surprise you to learn, then, that Venator is not a light nor carefree listen. It is immersing and at times quite clever in its use of sound to convey emotion and command atmosphere. It captures some very particular feelings that are often very difficult--practically, emotionally--to illustrate. 
Written by: Continuous Thunder
As a self-proclaimed aficionado of slow metal here in the Village, I find sludge metal to be one of the more intriguing sub-genres. While it’s often described as a combination of doom metal and hardcore punk, the application of those influences can vary widely from artist to artist. Naturally, this leads to a diverse pool of artists that can be described as sludge. How else would you end up with bands like Melvins and Isis under the same umbrella? I’m not usually one to stress over the minutiae of hyper-specific sub-genres and when it comes to sludge, I tend to trust my ears and I know it when I hear it. All that being said, They Grieve bring some heavy sludge. 
Written by: The Administrator
Okay. In order to set the stage, please excuse some heavy self-plagerization. In discussing "Haunting Mantra," Fuzznaut's excellent standalone single from the long-ago year of 2020, I wrote that guitarist and composer Emilio Rizzo's work is "self-contained enough to provide certain boundaries, yet breathable enough to allow for a steadfast sense of relaxation, creating a lush environment without feeling overly complex or indulgent." On this latest project, the 26 minute Apophenia, Rizzo presents similar ideas in format that feels even more meditative, yet tinged with the emotional weight of seemingly omnipresent melancholy. Before we get too far into the fray: this is a strong album, a crystal-clear encapsulation of the trademark Fuzznaut approach and aesthetic. While your mileage will absolutely vary depending on your willingness to sink into the embrace of atmospheric instrumental music, I highly recommend trying Apophenia on for size. |
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