Written by: Blackie Skulless
Worm are an outfit that I find extremely fascinating, for nothing more than the way they took the doom/death style that I often credit to having a one-to-two album shelf-life and breaking that precedent entirely. 2019’s Gloomlord was the album that put them “on the map” (and on my radar), but it wasn’t until Foreverglade that they became a force I felt worth reckoning with, and to this day I get little out of the first two records. When that record dropped, I could only surmise moving forward that maybe the North Americans had one more worthwhile disc in them, which then came in the form of Bluenothing, an EP that could pass for a full-length to some bands. Having established themselves as an oddball black/death/doom hybrid, I really couldn’t imagine what more could come. I say this not only because that’s a lot to swallow as is, but realizing the latest effort Necropalace crossed the hour long mark made me think even more that this would just be more of the same stuff but longer. But good lord man, here we are! I can’t in full honesty claim the “doom” aspect of this sound on album number four has gone away, as it’s packed with stomping crawls of fury, and “space between the space” caveman-isms that tend to define the doom/death world. Yet, I do think we’ve reached a point where that’s now simply a facet and no longer a base ingredient, and the death metal traces are more distant, other than in sheer feel.
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Written by: The Administrator
If you've been reading reviews here at ye olde Sleeping Village for a while now, you may remember (B)Easton Lane, who contributed some fantastic writeups back in our prolific '20-'21 era. He has continued reviewing on Instagram under the moniker LaneListens, and we had for all intents and purposes fallen out of touch...until last October, that is, when a very interesting promo email landed in the inbox. As it turns out, Easton is a guitarist and vocalist as well as a reviewer, and his intriguingly entitled band Trash Compactor has released a self-titled debut EP. While I initially and incorrectly assumed it was slam or brutal death metal band due exclusively to the name, the world of Trash Compactor is a little more extensive. Thematically, the band presents a story wherein we discover a wormhole to a (supposedly) barren wasteland located in another time. This portal serves as a convenient Disposal Pipeline for humanity's waste. I wholeheartedly enjoy the premise of an entire band being based on a singular sci-fi world from the moniker down. From a worldbuilding perspective, Trash Compactor have created an environment rich with narrative potential. And as cool as their unique world is, the music itself is certainly nothing to scoff at. 
Written by: The Administrator
When promo for Death Throes of a Drowning God, the new EP from Austria's GUYOÐ, hit ye olde inbox, I was suitably intrigued. The title aught my attention, the seasick churn of the artwork reinforced my suspicions, and a quick look at their back catalog had me suitably hooked before even pressing play Why, exactly? I'm a sucker for a lot of things, musically speaking, but for things that are overt oceanic--as is GUYOÐ's oeuvre--I'm the biggest sucker of all. When vacationing near the sea, I am liable to spend ever single second in the water. I'm not a great swimmer, but I can tread for days. My wife thinks that someday I won't come out, and I agree that she might be on to something there. The call of the abyss is a genuine siren's call, and I think I'd be fine, actually, living down there with the lobsters and the fishes under a reef, lungs be damned. Actual marine environs aside, I have an overt and fierce love for oceanic metal. Throw waves or a lighthouse or an octopus or a big fish eyeball on the cover and I'm diving in, no questions asked. Metal that seeks and strives to capture a mere fraction of the sea's majesty, power, and near-mythical unknowability is tantalizing. It draws me, riptide-like. I'm pleased to say that GUYOÐ have joined the amorphous pantheon of oceanic metal notables with this latest. Their dark blend of black, death, and doom metal is appropriately heavy and morose and bleak. Though the use of both ambient interludes and unpredictable songwriting, Death Throes of a Drowning God feels far more vast than its 29 minute runtime might indicate. It is just unapproachable enough to inspire the kind of curiosity that drives one to swim a little too deep. 
Written by: Blackie Skulless
Admittedly, I was wary of diving into Ossuary due to the sheer number of bands with that name, and the fact that the last one I tried didn’t impress me much. Yet, a trusted source suggested actually paying attention to the one specifically from Wisconsin, U.S.A., and I’m quite glad I followed suit. Despite being around for over a decade now, it wouldn’t be until last year that the death metallers would drop a full-length record. Titled Abhorrent Worship, I can confidently say that they absolutely do worship an abhorrent sound. It’s not an overly uncommon day when one like me stumbles upon a grimy and gross death metal outfit leaning towards the doom/death spectrum, but when it hits extra hard, it feels extra exciting. Ossuary not only boasts one of the most hateful, hideous, and fucking disgusting sounds in the genre, they do it with such prowess that showcases strong instrumental mastery in the midst of the muck. All over this disc sits an even tradeoff of thick, chunky rhythms that are complimented by higher leads, moving around the fretboard achieving less than melody but more than mere vibes. Together with explosive blasts that don’t disrupt the rate of flow, we get a proverbial storm of rumbly clashes that flood the entire soundscape with an, *ahem* abhorrent swamp of musical filth. 
Written by: The Administrator
This one admittedly came down to the wire, but we still got this one in before 2026 begins so all is well. If you've missed out on my long-winded justifications for why my Favorites lists habitually run a year late, you can find an explanation here. Long story short, this year-behind approach allows releases to outlast a narrow moment in time. I enjoy the process of reflection, and I like to think a shoutout 18 months later or whatever is nice for the bands involved. So! These are 24 albums from 2024 that are, in significant hindsight, still very much my favorite albums of 2024. In terms of format, this list follows my established convention, i.e. alphabetical and unranked. Genres are primarily metal and hip hop adjacent--someday I may split the list into different genre categories for the sake of covering more releases, but today is not that day. If you are at all interested, you can check out my Favorite EPs of 2024 here, and my Favorite Album Artwork of 2024 here. The trilogy is complete. Regardless of whether or not you check out anything appearing in these lists, I hope you're inspired to revisit a favorite or two from yesteryear. To the readers: thank you for reading! It means a lot and I am very grateful that you've chosen to spend time checking out what some random internet guy thinks is cool. To the artists: thank you for making music that is cool. I have very much enjoyed listening and writing. Let's dive in, shall we? 
Written by: The Administrator
Whelp. Here I am once more, basking uncomfortably in the midst of list season, justifying why my year end lists are published a year behind schedule. If you've been around for a while, please feel free to skip ahead to the good stuff. If you're wondering why I do it this way, here's a brief explanation: I firmly believe that staying power is an important aspect of music appreciation. The ability of a project to outlast the narrow moment in time immediately surround release day is a testament to its quality. In deliberate spite of the inevitable industry churn, I enjoy the process of looking backwards to revisit old favorites at this time of year. But mostly, I started doing this because I got wildly off-schedule and found great value in committing to the bit. This is the way it is, now and forever. If you are at all interested, you can check out my Favorite Album Artwork of 2024 here, and my Favorite Albums of 2024 list will follow at, y'know, some random and inopportune point in the future. So: here are 20 EPs from 2024 that, given significant hindsight, are still my favorite EPs of 2024. They made an impact and stuck around in my rotation, and that's worth celebrating. As per established precedent, the following list draws from the assorted genres and subgenres that interest me, mostly within the sphere of metal and rap. I took some liberties with the "EP" label; some may technically be mini-albums, so apologies in advance. The list is alphabetical and unranked. Everything comes highly recommended. I'd also like to issue a massive umbrella "thank you!" to every artist who contributed to the releases contained within this list. And to you: thank you for your readership of this little music blog! You're very cool and I appreciate you very much.
Note: this was originally published as a guest review over at Peregrinator Reviews. Check it out here!
Written by: The Administrator
When you see enough people saying that a death metal album may very well be the death metal album of the year, it is honestly pretty easy to take them at their word. Indeed, perhaps moreso than any other genre, I fundamentally believe that death metal's sheer number of high quality albums is a statistical anomaly. There are, of course, some stinkers, but surely there must exist more low and middling quality albums to balance things out. But alas. A great many death metal albums are of a remarkably high quality. And so: I find myself once more bestowing the mantle of high quality death metal album upon a high quality death metal album. Malignity by Vile Apparition is undeniably a high quality death metal album. If you enjoy high quality death metal albums, this particular example may very well sit high on your list of high quality death metal albums released this year. 
Written by: The Administrator
Greetings, dear readers, and welcome back to yet another premiere! We're stepping it up today with a full album, courtesy of Baltimore's Born of Plagues. The mighty Dead Endings is their sophomore release, and if you're on the hunt for something as crushingly gloomy as it is crushingly heavy, I suspect you'll find this one quite worth your while. Born of Plagues play an intriguing brand of death-doom that feels as funereal and moody as it is brawny and sludgy. I'm immediately drawn to anything that seeks to combine the tenets of death and doom; like many of the great duos of history, the genre conglomerate succeeds because it is greater than the sum of its component parts. I'm obviously a massive fan of both on their own, but when the sheer aggression of death metal meets the morose melancholy of doom, something borderline magical is liable to occur. By virtue of comparison, the doomy elements seem doomier, and the deathy moments seem, y'know. Deathier? On Dead Endings, the doom elements do feel more overtly prominent across the breadth, but the death-adjacent inclusions serve well to elevate the project. There's a notable sense of dynamics at play, and the juxtaposition of a stygian gloom with well-placed bloody-knuckled pugilism helps maintain interest and intrigue. A good death-doom project will often demonstrate a strong sense of push and pull, ebb and flow, give and take. Dead Endings fulfills this quality quite handily. Prior to its official release tomorrow, November 21st, we're pleased to present Dead Endings in its entirety. Check it out below! Do it quickly, lest I bore you with more pontification on the many merits of death and doom's unholy union. As always, we'll meet again on the far side! 
Written by: Blackie Skulless
Five years ago, Caligari Records put out the debut EP by Pittsburgh’s death metal outfit Ritual Mass a little after their debut demo. To this day, the EP entitled Abhorred In The Eyes Of God is one of the most horrendous, disturbing, hateful, and completely void-of-life releases I’ve ever heard. It worked for its short dose of getting that unlovable feeling more than anything else, and I predicted a full-length might need a little more to it than just sheer over the top brutality and unrelenting weight meant to crush every bone in the listener into ashes. Unfortunately, I’ve been proven correct with the first album titled Cascading Misery, this time presented by 20 Buck Spin. Don’t get me wrong, as I’m pretty certain that Ritual Mass have done everything they set out to do, with not only a fitting album title but also a bleak and harrowing album sleeve. For all six of their tracks, they’ve tightened up their hateful sound into a more streamlined package, adding in clearer guitar shifts that are worth acknowledging from time to time as well. Much of this is chewing everything up and regurgitating explosive cavernous vocals a la Spectral Voice, guitar chugs that move from reverberating atmosphere to almost blackened tremolos, and pummeling walls of drum-gradients not too dissimilar to later Deicide. As great as all of this sounds, it’s void of anything that isn’t just “we want to make you uncomfortable.” 
Written by: Jacob
Horns. Dissonance. A chant. This is the greeting from Tooth and Nail, the latest outing from Dormant Ordeal. It can feel almost insignificant in the moment, as so many throwaway "intro" tracks in metal albums can. But as soon as things roll into "Halo of Bones", intentionality appears. This is not an album where moments are thrown out lightly, even 46 second intro tracks. From the first proper track, "Halo of Bones," you'll be getting, well, the "bones" of the entire album. Atmosphere. Intense groove. A touch of black metal. Blasting death metal. These are the foundation upon which Dormant Ordeal builds their masterwork. All present, all introduced at exactly the right time, and none overstaying their welcome. The seamless weaving of all these elements immediately give Tooth and Nail a sense of magnitude and heft. It becomes evident over time, though, that these tools were used to create something lasting and emotionally charged. Anger, pain, panic, defeat, and resurgence are all felt not just in individual tracks, but in their placement and flow. |
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