Written by: Blackie Skulless
The French black/thrashers Hexecutor have been around for a little while now, with over a decade of experience and several releases that include three full-lengths roughly every five years. It would take the third album hitting early this year before they’d catch my attention from the logo alone (a fitting one for a French outfit). Titled …Where Spirit Withers In Its Flesh Constraint, we’re treated to a somewhat jagged brand of the genre, dealing heavily in longer tracks. With an album title like that, I guess I could have anticipated this. So it should be no surprise that embellishment of a more chaotic approach is the name of the game. Strangely, the guitars tend to take a backseat to a unique and sporadic shrieking vocal style, equally overshadowed by loud and explosive drums, with the exception of when there’s a solo. Much of the rhythm sections are absolutely drowned in tremolo picking, all tied together with constant shifts in tone and tempo, ultimately trying to toe the progressive line. I wouldn’t say it really fits in that camp per se, however an obvious attempt at breaking some of the rules is present. At minimum, the dramatic shifts in what pops out the most gives the record some character.
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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 short reviews at a greater frequency, thereby shining our very small spotlight on more cool shit. Without further ado:
Written by: The Administrator
I was lazily enjoying a seasonally appropriate cold snap here at the Sleeping Village. I was avoiding the icy trek out to the promo pit, electing instead to staying inside my warm hovel, listening to classic albums and reveling in nostalgia. I was comfortable in the knowledge that with every hour of inactivity, our humble music review site experiences the slow burn of algorithmic death. But! The self-imposed slumber would not last. Black/death metal (now) trio Ashenheart have dropped a new single. Rise and shine! "Empire of the Necromancers" serves as the first track of Ashenheart's forthcoming EP, Tales from Eternal Dusk, which releases April 18th on cassette via Fiadh Productions. This track feels like a genuine level up, and I say this as a big fan and champion of that which hath come before. While raw and sharp, the songwriting on Faded Gold often felt unhurried, content to let you live in the morose atmosphere. I liked that aesthetic quite a bit, but this new direction is notably menacing and powerful. A little more forthright and pointed. Amanda Kauffman's guitar is immediate, aggressive, and significantly heavier--her riffcraft here bestows this track, and presumably the EP at large, with a sinister weight and an intimidating presence that leans further into death(end) metal territory. The main riff is wicked, simultaneously jagged and blunt, like a medieval mace wrapped in barbed wire for good measure. Alex Loach's vocals are as mean as ever. I mean, positively caustic stuff. Alex has swiftly become one of my favorite vocalists in the throat-ripping-and-rending department, and from that first explosive shriek--"BRING THEM BACK TO LIFE"--it is clear he's only getting more confident. I do enjoy the additional vocal dimension here, with Steve Wiener adding deathy growls underneath, which act as a grounded foil to Alex's harsh delivery. And, speaking of Steve, his contributions--keys and synths, said backing vocals, acoustic guitar, and solo guitar--add a lot to the overall shape of the track. The keys in particular offset the sheer aggression of the guitar very nicely, and add an element of playfulness that keeps the ear on constant high alert. In sum, "Empire of the Necromancers" is a stellar track from a band that is only getting better. It indicates an exciting sonic direction, and I am interested to hear how the combined force of additional punch and additional backing elements will translate across the EP as a whole. Until the full thing drops, I highly recommend streaming "Empire of the Necromancers" and hitting that pre-order here! 
Written by: The Administrator
A premiere for Spectrum, the debut album from Am I In Trouble? Hosted at Sleeping Village Reviews?! No need, dear reader, to feign shock; this was always inevitable. Less a question of "if," and rather a question of "when?" I'm pleased to announce that the wait is over. The time is now. If the name Am I in Trouble? doesn't ring a bell, I recommend checking out our fairly extensive catalog of coverage. During the extensive buildup to the Jan. 3rd drop, we've covered three tracks available pre-release: check out writeups for Red, White, and Black. A common theme of said reviews is the clarity of Am I in Trouble's varied and vibrant songwriting in the pursuit of an aesthetic homage to 90's Scandinavian avant-garde black metal oddity. While the aforementioned songs are quite distinct from a sonic perspective, they share a common tendency to resist stagnation. The Am I in Trouble? playbook emphasizes constant motion and evolution, which allows for the dynamic juxtaposition of some remarkable extremes. Going from gentle to aggressive and back again is hardly a new trick in the world of metal, but multi-instrumentalist mastermind Steve Wiener wields a uniquely honed sense of unpredictability. This results in some incredibly flexible songcraft. With that said, a distinct and uncanny cohesion pervades. We get more in-depth below, but lest we lose sight of the plot, we slumbering scribes are excited to premiere (in full!) the excellent Spectrum a few days prior to release. Give it a well-deserved listen! We'll meet you, as always, on the other side. 
Written by: The Administrator
If this all looks very familiar, it's because it is. About a month ago, we slumbering scribes premiered the title track and lead single to Hellscape, the forthcoming third and (presumably?) final Through Mists album of 2024. Today, we're back with the whole damn thing. In said premiere, I said the track "wouldn't go amiss as a soundtrack looping through the busted speakers of a funhouse deep in the bowels of Tartarus," and closed by stating that "I can only imagine that demons frolic to music like this." As it turns out, this description also applies to the album at large. This is an abrasive yet exciting ride, chock full o' weird noises and oddities. Hellscape is hellishly fun, but is also a supremely weird and disconcerting listen. Which, in a sense, makes it even more fun. If you are aware of the Through Mists playbook, you have an inkling of what to expect. If this is your first exposure, prepare thyself accordingly. In that spirit: Hellscape will be released on Dec. 6th, but you can listen to in full a day early. Get a head start on that release day listening marathon below! As always, we'll catch you on the other side. 
Written by: The Administrator
If you are a purveyor of music review sites, you've undoubtedly learned to skip over the fluff that constitutes AOTY intros. The pointlessness of writing this isn't lost on me, let alone the fact that this is a list for, erm, the wrong year. In the music industry churn, an album released last year might as well be a million years old. Obsolete. Irrelevant. Forgotten. So: why 2023? Why not 2024, like unto a proper music review website? What's the rationale behind publishing this list a whole damn year late? There are two reasons. The first is that I think demonstrable longevity is an important aspect of music appreciation, and the ability of an album to outlast a narrow moment in time is a testament to its particular excellence. The second (and real) reason is that I am a profoundly lazy and frequently overwhelmed person, and compiling this list last December was a very large task that seemed, frankly, insurmountable. So here we are. These are 23 albums from 2023 that are, in significant hindsight, still very much my favorite albums of 2023. In terms of format, this list is alphabetical and purely unranked. The generally arbitrary structure of counting down to #1 simply doesn't demonstrate the way I enjoy music, nor is it an effective or accurate way to make recommendations. I'm also completely unconcerned about genre, as I listen to a lot of different stuff. If I'm writing a list, it should probably reflect the reality of listening habits instead of projecting a false image of metal exclusivity. Be prepared for eclecticism. I hope there's something lurking herein that catches your ear. A massive thank you to every artist who contributed to the releases below. And, dear reader, thank you for your readership and support of artists! You're the best. Yes, you. 
Written by: The Administrator
I joke about the ineffectiveness of publishing a standalone review for every track on an album. However, at this point I will have reviewed--on an individual basis--every track from the forthcoming Am I in Trouble? debut album. We covered "Red" here this spring, and more recently premiered "White" alongside the album announcement for Spectrum. Needless to say, I am A. a big fan of this project, and B. invested in doing whatever I can to hype up what will inevitably be one of the best albums released in January 2025. In that spirit, we're excited to premiere the third single, "Black," a few days ahead of release! "Black" features Alex Loach (of Ashenheart) on vocals, continuing the established Am I in Trouble? trend of incorporating a variety of guests. As you may recall, "White" features Ember Belladonna on flute, which helped give the song as a whole a lighter vibe. In stark contrast, Alex's guest spot lends a pointed viciousness that otherwise has yet to rear its head at this point in the album's runtime. This is a track that works so well because it embraces high-contrast juxtapositions, and ends up pushing and pulling the listener through a surprising array of tonal shifts. Before I get too far ahead of myself, I encourage you to give "Black" a listen below! When it comes to discussion, fear not: we slumbering scribes shall be waiting on the other side. As, y'know, we so often do. 
Written by: The Administrator
Look. This one came out a while ago and I am extremely and unfashionably late. There's no time nor reason for a meandering introduction: we're dealing with a bayou blastbeats recommendation featuring some sick as fuck cover art. Which is, frankly, already a winning combination in my book. Let's get into it, shall we? On the five-track Black Starless Sky, Lafayette, Louisiana's own Pale Misery play a unique brand of second wave black metal that revels in doomy dourness. Sonically speaking, this release does feel quite dismal and dreary compared to their 2019 EP Black Candles and Gutter Scum, which was generally more crusty, more explosive, more outwardly incendiary. In contrast, the tracks lurking herein center an overwhelming ominous gloom that melds with the harsher elements, lending the entire package a notably dark and caliginous aura. I wouldn't consider this "atmospheric" per se, but they have certainly done well to establish an atmosphere. This is depressing stuff, as morose as plumbing a decrepit well and finding nothing but the reflection of the titular black starless sky. 
Written by: Blackie Skulless
If you know my taste at least relatively well, you’ll know that the later Necrophobic output is something I’ve come to love. Mark Of The Necrogram may be my favorite album since the debut, and the latest, Dawn Of The Damned, marched through with a flame nearly as hot. That takes us to In The Twilight Grey, being the Swedes’ tenth album overall, following the release patterns we’ve gotten their whole career. Going in, I was certainly curious to see which direction it would go, since the last two took the “don’t fix what ain't broke” route. Stylistically, there isn’t a whole lot of breaking away from the black/death style that the outfit has perfected several times. Much of Necrophobic’s career has been pretty consistent, with mild changes for the better or worse, and maybe a few experiments (ok, I guess I just contradicted myself a little). Thus, we find ourselves with another release full of sharply produced guitars built on tremolos and steep chugging. Backing this tactic up with explosive and impressive, albeit one-sided drum kicks meets the same deep and raspy but comprehensible vocal style, somewhat opting for a third iteration of what worked wonderfully before. 
Written by: Blackie Skulless
Bütcher are a Belgian act that has been around for decades, despite the first full-length record not hitting until 2017. They may not have sold me right away, but their second album titled 666 Goats Carry My Chariot absolutely blew me away (I mean really, how can a title like that not?) Considering their borderline parody-meets-evil speed metal with a blackened hue, I figured there was enough room for strong continuity. Enter the latest release, On Fowl Of Tyrant Wing, which does exactly that. From a foundational standpoint, Bütcher retained the exact same attitude that cemented their identity before this time around. Obvious odes to classic metal bands with tongue-in-cheek themes that you can still take a little seriously are very present. The frontman’s notable shriek-singing is still here, kicking out harsh passages that have a burning atmosphere without getting too raspy, and an emphasis on strong leads still takes precedence. Interestingly, what’s different now is that the band lays off the blackened tropes a bit. 
Written by: The Administrator
In the course of reviewing music, I've increasingly tried to exercise a degree of thoughtfulness when comparing an artist to another artist. Namedropping for the sake of it is practice that often feels a little presumptuous, especially when specific influences are an unknown. Besides, if I'm resorting to comparing artists because there is nothing else to say, the review is probably... a little empty. As such, I try to keep direct comparisons A. positive, and B. firmly within the context of my own listening experience. If a guitar tone or an approach to songwriting fondly reminds me of something, and if that association benefits the overall review, it might merit mention. Of course, this whole philosophy opens up a bit when an artist specifically mentions influences. Am I in Trouble?, a new project from friend of the Sleeping Village and Negative Bliss guitarist/vocalist Steve Wiener, makes these inspirations public. In fact, here's a convenient playlist. If you are a nerd like myself, and interested in digesting music in the overt context of the creative elements that led to its creation, said playlist makes for a pretty damn enjoyable listening experience. Anyways! "On to "Red," today's track in question. |
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